Scales overlayed by rhythm without any disturbance

I you play single, dual, triple .... up to septal groups of notes going for scales over on up to seven octaves every note comes to stay at every position of a rhythmic group. The first note of every group is the loudest, the rest has to go decrescendo. For example triple groups sound loud-middle-low. In C-major the note C stands one time as the loudest, one time as the middle and one time as the lowest note (in either direction up or down) if you go up in triple groups over three octaves.

Through this you get the best possible independence between fingering and rhythm!

Make yourself conscious why it is so difficult to play parallel scales with both hands: THere seems to be an irregular sequence of position changes right and left. To get them worked out, here a pattern, two octaves up and down again:

The following studying steps can program the contained informations into the brain and the motoric system. As a multi-sensorial programming you should announce every of these steps aloud because with the language comes conscience, self-control and last not least breathing the spirit of music......

1) Announcment of all note-names

2) Announcement of every finger number first left then right

3) Announcement of every written finger number from the above scheme

4) Announcement of all written information of the lower line, where the change of position takes place: left (le), right (ri), of both (bth).

Any of these steps has to be accelerated up to the limit of speaking tempo because you have to really fasten an important basic motoric program, which makes you possible to play the scales later with any of the rhythmical overlays in a totally free manner. Freedom through skill!

For other scales like b major or b flat major other fingerings are easily transferrable in the same principle.