In fact, if you are developing true facility, you will have no need of "fingerings" whatsoever. In my opinion, scale "fingerings" going into the nosebleed section of the fingerboard will not help you to play jazz. But I know what you mean about it being "comprehensive". Mike Laird's jazz scale book is a reasonable place to start.
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For this reason, patterns (again, in all keys and in multiple positions, starting "from anywhere") are useful, not because you'll necessarily be playing large swaths of those patterns, but it teaches your hands how to manipulate scales to advantage. You use bits and pieces of scales as a framework for formulating and connecting ideas. Rarely in jazz will you just be playing a three-octave scale like you do in the Scherzo movement of the Spring Sonata (and even that one doesn't start on the tonic). In terms of just technique, equally important to the scales themselves is the ability to play them "from anywhere" starting on any note, in any position (within reason). Let's set aside, for a moment, the actual uses of scales (which one to select for what purpose).
The obvious thing to do is to select material to work on first, add to it, etc. Also, Laird's book is "so comprehensive" that a jazz violin student would find it tough sledding indeed, working cover to cover. Now, either scale book (Laird's or Flesch's) would keep a student busy for some years. Mike also writes on page 3 that "It is desirable that the student has been through the Carl Flesch Scale System book once. He also writes more generally about fingering, and touches on a few other topics.
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The book contains a full suite of scales and their fingerings, the usual suspects discussed in jazz theory books, a few pages of suggested rhythms, an adaption of a Kreutzer exercise to illustrate the use of the scales in jazz technique, and some bebop studies.
Mike Laird has published a comprehensive book to support people learning jazz violin: Arpeggios, Rhythms, and Scales: Fundamental Techniques for Jazz Improvisation On the Violin (ISBN 978-6-2).Īfter limiting the genres of jazz improvisation central to my goals to "standards", bebop, and Latin, fairly conventional choices, I turned to the book for study material.Graeme Webster Seeking a Path to Successful Jazz Scale Study