The Carl Flesch Scale System is one of the most complete scale methods available. Written as a companion book to The Art of Violin Playing, this classic method for violin was revised and expanded by Max Rostal, a former Flesch pupil, in 1986, and is also available in viola, cello, and bass versions. Although originally published only in C major, with the implication that the player would transpose the exercises into the other pertinent keys as needed, the expanded violin edition does that transposition for us, and includes various fingering and bowing options for each exercise.
Beginning with C major, then moving to a minor, the fairly hefty volume is formatted according to relative key relationships. After a minor, it moves through the flats sequentially until it reaches e-flat minor, at which point it starts with B Major and works its way back down the sharps, ending with e minor. For each key, the layout is pretty similar: the exercises are numbered from one to twelve, with number one being a one-octave scale, and number twelve being a scale in double-stopped harmonics. In this way, the player using this system runs a gamut of technical demands in every possible key—an essential workout for any aspiring performer. If you are already fortunate enough to be living your dream, the Flesch exercises are a fantastic way to stay in shape.
I have used this book for many years in my own practicing, but I am not sure I ever paid much attention to either Mr. Flesch’s or Mr. Rostal’s words in the preface. Doing so now, I find the system making much more sense, and can appreciate more fully Mr. Flesch’s contributions to the school of violin playing. His words are full of (probably unintended) humor, but give real insight into his conviction that true artistry must rise above systems and methods. The irony of holding such a conviction while having, at the same time, published one of the most successful tools for violin pedagogy was not lost on Mr. Flesch. Of his own work, he said, “I [use] the word ‘System’ in want of a better one and against my inclination. It is merely meant to denote a practically tested form and not by any means a rigid unelastic method of practicing, which is always inimical to genuine artistic delivery. The prerequisite of true artistry is the entire freedom from all and every kind of ‘Systems’.”
Every violinist should know this book, even if he or she already uses another scale system. For those who, like me, have spent many years despising scales (despite being aware of their importance), I will warn you: the Flesch is not a “fun” book. On the other hand, because the exercises are broken down into twelve pieces, you can spend smaller amounts of time on them, and disperse them throughout your practice time. Furthermore, I encourage you to learn more about Carl Flesch the violinist and pedagogue. Good luck, and happy technique-building!
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- Phoebe Gelzer-Govatos, Violinist & Shar Apprentice |
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