Quick catalogue of piano impromptu accompaniment

The first chapter is the chord marking and chord connection of positive triad and genre seventh chord.

Two chord markers commonly used in impromptu accompaniment

The positive triad in major belongs to the chord connection of the melody position of the seven chords and three tones.

The positive triad in major belongs to the chord connection of the melody position of the seventh chord and the fifth tone.

The positive triad in major belongs to the chord connection of the tonic melody position of the seventh chord.

The positive triad in major belongs to the chord connection of the melody position of the seven chords and three tones.

The positive triad in major belongs to the chord connection of the melody position of the seventh chord and the fifth tone.

The positive triad in major belongs to the chord connection of the tonic melody position of the seventh chord.

The second chapter is the chord connection between positive triad and melody, the rhythm and sound pattern of seventh chord and staccato chord.

For example: red river valley.

Impromptu accompaniment practice

Four seasons song

On a quiet night

The old man in the house

Red dragonfly

The moon in an abandoned city

Paul's hen

lullaby

by the roadside

Night outside Moscow

hometown

When the child is born,

Christmas Eve

The third chapter is about the relationship between positive triad and melody, the chord belonging to the seventh chord, and the rhythm and sound pattern of broken chord and column chord.

Impromptu accompaniment practice

When We Were Young

Ouch, mom

Song of harvest

Katyusha

Happy Gardner 2

Ah! friend

Chapter 4 Mixing Rhythm and Melody (1)

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Chapter V Types of Chord Rhythm without Melody Column (1)

Chapter VI Column Chord Rhythm Without Melody (2)

Chapter VII Rhythm Patterns of Broken Chords and Melody-free Broken Chords

Chapter 8 unfold the third-order column and chord texture with melody

Chapter 9: Melody amplification and three-level decomposition of semi-broken chord texture

Chapter 10 Mixed rhythm without melody

Chapter 11 Mixed rhythm and melody (2)

Chapter 12 phonology of right-hand additional harmonic parts and mixed rhythm

Chapter 13 Comprehensive exercises