That truly is another way to view scales, particularly so for the wanting improviser, so many get drilled into the "starting on the 1" linearity only to find that they must relearn somewhat to be able to grab scale lines from the inside and not be stuck suddenly having run out of fingers or the like.

It also supports my prevailing theory that, in music, there are many different ways to perceive the same event, situation, theory, etc. - and though different, each way may prove to be quite valid.

An example of that is all of the piano students who were taught to curl the hands when playing, the old "classic" method, then along came Flat-Handed Vladimir Horowitz, who ran rings around most of the others and also had his own identifiable touch when playing the exact same pieces. Faster. With more brilliance. With interpretation. I actually had a piano teacher, when I pointed out Horowitz's hand positioning after viewing him perform on TV, tell me some malarky about how that might be good for Horowitz, but he was somehow much greater than the whole, or something. I decided not to listen to that teacher. That decision didn't turn me into Horowitz, but it did help me improve on a few issues.


--Mac

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