Jonathon Glonek is credited on the cover of his scale manual as editor, suggesting that the scales themselves were created by some higher power. Perhaps they were. Here scales and arpeggios appear in straight-up-and-down three-octave form, give or take the odd loop at beginning and end, with G, A flat and A starting both de profundis and an octave higher, giving the assiduous practiser four octaves in all. Thirds, sixths, octaves and tenths are given over two octaves. There are consequently no Flesch- or Sevcík-style workouts in the upper reaches of the lower strings.
In his introduction Glonek expresses concern that (many players conceive of scales as a form of athletics, and are therefore restricted to a fragmentary knowledge of their instrument.¹ For this reason, he presents what he calls a more unified perspective of scales as they exist in their simplest and most practical forms.¹ This is presumably why he treats majors and minors of each key together, with the three forms of the scale followed by a key-hopping assortment of arpeggios.
The fingerings in the single-note scales he attributes to Heifetz, so who can argue. Some of the (apparently freakish¹ fingerings found elsewhere, reflect the demands that are commonly imposed by many contemporary scores¹. His contention that fingerings are ultimately a matter of choice, particularly in musical rather than purely technical contexts, is incontestable.
From this philosophy comes a manual at once comprehensive and compact, certainly more manageable as an everyday practising companion than some of the exhaustively all-encompassing tomes available, for which a specially strengthened music stand is advisable. It is extremely cleanly laid out, with plenty of space between each stave, and is sturdily bound.
- It's beautiful! Nicely laid out, beautiful printing, thoughtful (and inspiring) preface (makes me want to go practice scales which is really saying something..!) , and good fingerings.