Teaching skills of piano improvisation accompaniment

First, the characteristics of impromptu piano accompaniment teaching

The impromptu piano accompaniment of songs looks like "impromptu speech" or "impromptu speech" because there is no preparation in advance. Therefore, generally speaking, the piano improvisation accompaniment of songs is unlikely to completely adopt the complex expression techniques and skills used in the piano accompaniment spectrum of songs, but it is more practical, immediate and flexible. Even so, if it is absolutely possible to reach a certain artistic level and obtain better artistic effects, if accompaniment requires the accompaniment to have solid knowledge of music theory and good keyboard playing ability.

Piano improvisation accompaniment of songs is not only a technical problem, but also should be expressed passionately from the content and overall structure of the works through careful artistic conception. Therefore, we should have agile improvisational thinking ability and rich imagination.

Piano improvisation accompaniment of songs is an organic part of music works. Although it focuses on "companionship", it creates a perfect musical image with the accompaniment object. "Peony is beautiful, but it depends on the support of green leaves", and the finishing touch sets off the role of impromptu accompaniment. But the impromptu piano accompaniment of songs is "companionship" after all, so we must pay attention to "companionship" and not "usurp the host's role".

To sum up, the impromptu piano accompaniment of songs is the embodiment of the comprehensive ability of piano art, which not only requires the accompanist to be agile in thinking, flexible in finger skills, master the theoretical knowledge of harmony arrangement, and store rich accompaniment sounds, textures and various expression techniques in his brain, but also have the correct playing methods on the keyboard, design appropriate fingering and have the comprehensive ability to play on various commonly used keys.

Second, the training elements of impromptu piano accompaniment of songs

1, solid and rich theoretical knowledge is the premise.

When getting a song, the piano accompanist of a song should first understand the mode, ideological content, basic mood and genre form of the song through solfeggio in the shortest time, mark the function mark, design the accompaniment sound form of each paragraph and practice and combine accompaniment a little, so as to try to conceive the sound effect of harmony in his mind before playing. If the mode analysis is wrong, the harmony used will be wrong, which will directly affect the performance effect. For example, the children's song Wahaha, some students regard it as a minor style, thinking that ending with "6" is a minor style, but in fact they have not mastered the treatment of deviation; However, some students think that it is a big mode, that is, the mode knowledge is too poor, and the correct mode should be the seven Otoha modes of our national mode. This song has the characteristics of Xinjiang dance music, and some rich imaginations can also be made in the expression techniques, such as the alternate use of sound patterns, the processing of sustained sounds in the melody, and the simulation of sounds such as bird calls and rabbit jumps. The characteristics of syncopation rhythm can be expressed and highlighted in the form of left-handed accompaniment. For example, some songs with folk songs have high rhythm, long notes and free rhythm. We can use rests or extended chords to set off the melody, rather than a fixed sound pattern, so that the singer can fully express his feelings freely. When there is a long tone or pause in the melody, the accompaniment can be made active and passionate by using the timbre, fast scale and broken chord of the song, which requires students to have solid and rich theoretical knowledge as support.

2. Strengthening the training of sight-reading ability and mastering the correct playing method are the basis.

The piano is a highly skilled musical instrument. Correct and good playing methods, distinct key touching methods, good skills of scales, arpeggios, chords and octaves, and rational use of adagio, etc. , are the basis of impromptu piano accompaniment.

First of all, we should guide students to master the correct practice methods. As far as playing skills are concerned, the piano impromptu accompaniment of songs can be high or low, complex or simple, and they can be played freely on the basis of their respective skills without a lot of practice of mechanical X skills. However, it is necessary to practice the brain's reaction. Whenever and wherever, we should repeatedly think about the scheme of matching bullets, match bullets on the "keyboard" of inner vision, feel and feel the sound of matching bullets with inner hearing, and finally check the effect of matching bullets on the piano.

Secondly, in particular, we should strengthen sight-reading training. It is necessary to strengthen the intuition of the keyboard, so that there is a keyboard in front of you, your eyes are in front when you look at the notes on the spectrum, and your eyes have seen the second and third bars when you play the first bar with your fingers, so that you can count the beats in your mind and keep the beat stable and the rhythm correct. Not only that, but also the correctness of the spectrum should be strengthened. When playing visual spectrum, we must carefully read clef, key signature, note position, rhythm, tone sandhi mark and intensity mark, so as to develop correct and good reading habits. Pay attention to the configuration of harmony, and often listen to the different acoustic colors of various chords and the different effects produced by connecting them in different ways.

Finally, we should insist that students do transposition exercises, a short song, and move it to the seven commonly used keys to play. The practice steps can start with the simplest scale, master the basic chord configuration of seven commonly used keys, establish a solid tonal thinking on the keyboard and weaken the concept of playing in a fixed position.

Of course, you should be patient in training, insist on practicing slowly, and don't rush into it. As the saying goes, "One minute on stage and ten years off stage", it takes a long time to consolidate and improve the correct playing skills.

3. Rich imagination and creative thinking are the key.

The piano improvisation accompaniment of songs has its improvisation, but it can neither be rambling nor strictly abide by formulas and rules. Students should not be required to play a song in the same style, but should be encouraged to arrange it creatively according to their own imagination, so that everyone's inspiration and talent can be creatively and fully displayed on the logical track. Trust your hearing. Only by listening to the sound that feels good can the audience get aesthetic feeling and the sound of * * *.

It is suggested that students can consider the texture of piano accompaniment according to the changes of music image, thoughts and feelings, music background and the needs of harmonious movement. For example, arpeggios can be used to simulate the octave range of running water, birds singing and snowflakes flying in nature, and to express emotions through scenery; You can also imitate folk gongs and drums, guitar plucking and steel pipe playing to render the atmosphere; Of course, we can also learn from the familiar tones and rhythms in people's lives, such as the rhythm of folk songs or folk dance music, the sound of marching queues, and the rhythm of mothers shaking the baby's cradle. , to contrast the specific artistic conception of the work, and organically combine this creative thinking with the whole work, deepening the artistic appeal of the whole music work.

4. Good psychological quality is the guarantee.

Impromptu accompaniment of songs is the embodiment of comprehensive ability, which requires not only skillful playing skills, but also good psychological quality. Some students play very well under the stage, and when they accompany them on stage, their fingers are so nervous that they can't finish the song. This psychological obstacle directly affects the piano accompaniment quality of songs. For such students, it is necessary to improve their self-confidence, give them more individual counseling, create more opportunities for companionship, and "show their faces" in front of everyone. When students get used to playing the piano in front of others and have more experience in public performance, the fear of public performance will naturally disappear.

Impromptu piano accompaniment of songs often leads to various unexpected situations in performances. For example, the singer is out of tune, the rhythm is unstable, the mark is repeatedly wrong, the voice is out of control, and even the power is suddenly cut off. This requires the accompanist to have strong psychological adaptability, and can't be at a loss because of the small mistakes on the spot, which will affect the integrity of the music. If you accompany the soloist, when the intonation of the soloist is not very accurate, the accompanist can actively drive, influence and correct the soloist with the correct rhythm and intonation. Good accompaniment will make the audience not recognize the soloist's shortcomings, but let the soloist's advantages come into full play.

In addition, if the conductor is used to accompany the chorus, the rhythm and speed should be completely consistent with the conductor. In the absence of public address equipment and a small house, the volume of accompaniment should be properly controlled to avoid being too loud, exceeding solo and being especially careful when singing weakly. On a large performance stage, the sound effects are not consistent. It is best to ask someone to listen to the sound effects in advance under the stage to judge whether the ratio of piano to singing volume is appropriate (in the case of sound reinforcement equipment, the responsibility for adjusting the volume is mainly in the hands of the operator), so that the performance can achieve perfect results.