They are often the first notes a student plays: scales, arpeggios, and chords. At their simplest, they are mechanical exercises—a sequence of notes, a predictable pattern. Repeated endlessly, they can feel monotonous. Yet at their core, they are a fundamental part of learning music, shaping technique and understanding in ways that go beyond rote repetition. Scales, arpeggios, and chords divide opinions. Some musicians swear by them, while others dismiss them as old-school. Traditional methods focused on drilling them endlessly, but modern approaches often weave them into actual pieces. The real debate isn’t whether they matter, but why some people stick to them while others move on.

The Paradox of Technical Mastery

Here’s a strange reality: A musician might be able to play Liszt’s "Transcendental Études" or Rachmaninoff’s concertos effortlessly, executing massive left-hand leaps with ease, yet struggle to play a C major scale cleanly at a slow tempo. Why? Because scales and arpeggios operate on a different level. They demand consistency, control, and uniformity in ways that flashy repertoire often doesn’t.

At the same time, students who commit to a few weeks of focused scale and arpeggio practice often experience noticeable improvements in their playing—better hand coordination, cleaner articulation, more fluid transitions. These exercises act as recalibration tools, forcing the hands to function with precision. But does that mean everyone needs them? Not necessarily.

When Repertoire Becomes the Practice

For many advanced musicians, scales and arpeggios fade into the background. Their pieces are so technically demanding that the repertoire itself serves as an exercise. A pianist playing Brahms’ Piano Concerto No. 2 develops left-hand control through sheer necessity—because the leaps and power required are so ingrained in the music itself. Likewise, a Chopin Étude inherently trains specific techniques without requiring additional exercises.

But skipping them entirely has its downsides. A student might play a piece brilliantly yet struggle with an exposed scale passage. An arpeggiated accompaniment might feel awkward simply because the underlying movement was never ingrained through repetitive drilling. Sometimes, having a well-oiled technical foundation prevents small gaps in ability from becoming larger roadblocks.

Building Habits That Stick

Musicians who practice scales and arpeggios consistently often notice that their hands become more relaxed, their technique more fluid. These exercises force efficiency: minimizing excess movement, learning to distribute effort evenly, and reducing unnecessary tension. And yet, other musicians develop these same qualities purely through playing repertoire. They don’t isolate technique, but they still internalize it.

Both paths are valid, but the key takeaway is this: technique must be built, whether through structured exercises or through pieces that demand those skills naturally. Some students thrive on drills; others get bored and do better learning technique within music. The method isn’t as important as the outcome.

The Real Debate

The conversation around scales, arpeggios, and chords often misses the bigger picture. Some argue they are indispensable for building technique. Others dismiss them as outdated drills that take time away from real music. Both perspectives have merit, but the truth is more nuanced.

These exercises aren’t the goal. They’re tools. Some musicians use them directly to refine their skills, while others absorb their benefits organically through playing. The best approach depends on the musician’s learning style, needs, and goals. There is no single answer—only what works.

Connecting the Small Picture to the Big Picture

For a beginner, learning scales may seem tedious, but they establish patterns that make playing easier in the long run. For an intermediate student, technical exercises can bridge the gap between effortful and effortless playing. For a parent, understanding the role of technique drills might help them support a child’s practice habits. For a teacher, it’s a question of strategy—how much structure should be imposed, and when is it better to let repertoire do the work?

For professionals, it’s a choice. Some make scales and arpeggios part of their routine; others don’t touch them at all. But whether practiced explicitly or absorbed indirectly, their influence is unavoidable.

Scales, arpeggios, and chords are not the destination, but they shape the journey. Whether you drill them methodically or absorb them through playing, their impact is everywhere. The real question is not whether they are necessary, but how each musician chooses to engage with them in their own way.