How to play the piano's two-tone connection?

The two-tone connection in piano is also called small connection. It is not a simple thing to play this well. I'll tell you how to play the piano. Welcome to read!

How to play piano two-tone connection

Legato is the most important technique in piano performance and the biggest difficulty for beginners to learn. If you don't play Legato well, there will never be any hope of improvement in piano playing.

The dynamic basis of non-legato method is "the arm falls-the finger stands firm", and the dynamic basis of legato method is "the weight of the arm shifts from one finger to another". The power source is the weight of the arm. The former means that every time you play a note, you have to make a falling motion with your arm. The first sound of the latter is pronounced by the fall of your arm, and the second sound and all the sounds contained in the connection are pronounced by the weight of your arm. When the connection is over, your arm is raised. Therefore, the technical key of Legato method is that fingers actively transfer the weight of arms from one finger to another. Many textbooks use "seesaw" as an analogy, which should be appropriate. Therefore, in addition to continuing to implement the "arm weight sense" and "finger support sense", the active movement of fingers is the key to master continuous shooting's technology. In the previous study, we have started the second group of five-finger exercises. The focus of this exercise is the active movement of fingers, which lays a good foundation for the study of Legato technology.

It is suggested that the learning of linking sounds should start with the connection of two sounds. Touch key technology has a complete process as follows.

Step 1: Put down your arm-stand firm with one finger and bear the weight of your arm.

Step 2: Finger B "walks" and stands firm * * * instead of finger A to bear the weight of the arm * * *

Step 3: Raise your arms.

No one will object to the first step or the third step, and the differences mainly appear in the second link. B I used the verb "go" for the technical movements of my fingers. Compare AB's two fingers to a person's two legs. Use a as the leg to support the weight first, and then use b to support the weight. In the first step, there is no difference between the keys of the first sound and the original non-Legato technique, with "falling-standing" and finger A as "supporting fingers", and finger B to be played as "preparatory finger" is still in a relaxed state; In the second link, finger B "walks" with the most natural action and becomes a "supporting finger", finger A naturally relaxes and becomes a "relaxing finger", and the weight of the arm is transferred.

The so-called most natural "walking" means that we all repeat actions countless times in the subconscious. If there is no special need, no one should lift his feet lightly, tiptoe every step, and no one will try his best to shake the ground every step. Obviously, these movements are unnatural. The key point of "walking" is the flexibility of the third joint of fingers. Lift your legs when you walk, and lift the third joint * * * metacarpal joint * * * when your fingers "walk". Of course, in the most natural posture, do you walk with your legs held high? Therefore, there are no special circumstances, and there is no need to hold your fingers high. You can naturally lift the finger you want to play from the third joint, wave it naturally and stand firm. This is the "walking" of your fingers.

"Go" should handle two relations well.

Firstly, the relationship between the third joint, the first joint and the second joint in the front of the finger. When the fingers are raised, the first and second joints should be relaxed properly, without hooking or straightening forward. Compared with the posture when touching the keys, the fingers should be slightly unfolded, and the first two joints should be slightly folded inward when the third joint is waved, which provides a good direction for the "arching" support after the fingers touch the keys and will be easier to control.

The second is to handle the relationship between "supporting fingers" and "loosening fingers". When discussing disyllables, it is relatively easy to explain their relationship. When it comes to Legato, it is much more difficult to handle this relationship. When A refers to support, B refers to "relaxing fingers", B refers to fingers ready to relax naturally, B refers to "supporting fingers" after "walking", and A refers to "relaxing fingers" at that moment. It's already been used. It should be timely. The author summarizes this relationship as a key: "one stands firm, two relaxes"-"supporting finger" stands firm, "preparing finger" relaxes, and "out of tune finger" relaxes.

Unfortunately, as far as I can see, many "supporting fingers" stand unsteadily, many "preparing fingers" clench their teeth, and more "out-of-tune fingers" can't get up on the keys, resulting in a series of notes that are vague and have no aesthetic feeling.

It should be easier to master the alternating playing of two fingers with the alternating action of "walking" legs. The only difference is that when people stand still in a certain place, they stand on two legs instead of one finger when playing. People walk with both feet on the ground at the same time in a short time. Legato "walking" should not have two sounds at the same time, which will produce a "cloudy" sound effect.

If there are more than two notes under the line, technically speaking, not only from A to B, but also continue to repeat the action of the second link "Go" to C, D or even E. When the line ends, the arm is raised. In short, the core of link technology is to explain to students, just one word "go".

Five-finger combination exercise of playing

Including various scales, arpeggios, various tones, chords and octaves. Scale arpeggios are divided into major mode, pentatonic mode and chromatic scale according to their types; According to the form, it can be divided into octaves with both hands in the same direction, three degrees parallel, six degrees, five degrees and ten degrees. Marguerite Long pointed out: "Playing fast scales in one fell swoop is a wonderful step into the art of advanced performance."

Scale arpeggio is one of the important basic exercises and finger training in piano performance, and it is also a daily compulsory course for players. When playing, the joints should be flexible and natural, and the direction of finger movement should be adjusted; The cross movements between fingers should be accurate and agile, so as to ensure the coherence and smoothness of rising and falling tones, and at the same time, we should pay attention to the uniformity and moderation of each finger and the balance of hands.

Double tones are divided into three or six degrees, four or five degrees and two or seven degrees according to the interval; Chords increase or decrease non-triple overlapping chords according to the size of the structure, such as triad, seventh chord, ninth chord and 245 degree, additional chord and polyphonic chord. The playing method of two-tone chords requires that the fingers touch the keys firmly, the wrists are flexible and elastic, and the playing sounds are even and consistent.

Octave and octave chord are very difficult and important technical topics in piano playing. Players need hard and persistent practice, otherwise they can't play all the difficult works. The key points of its play are: firm fingers, flexible wrists, strong and elastic elbows, active cooperation between big arms and back, and sinking weight between arms and body. Especially the training of the little finger plays an important role in octave playing. On the one hand, it is the weakest and most clumsy of the five fingers, on the other hand, it carries the most important sound in music. Two fingers are high and low, the highest note is melody, which is the soul of traditional music, while the bass determines the functional attributes and color characteristics. Therefore, we should try to narrow the gap between the little finger and other fingers in strength, independence and flexibility.

The Method of Piano Finger Speed Practice

1, hold your finger high and press the key quickly. The metronome speed is 40-60, one note at a time. This method is very famous in China, so I don't need to go into details. Raise your fingers before playing and play as fast as possible.

Many people like to tear this. You know, this is a practice method, not a game. Of course, when you play music, you don't play it like this! As for whether it will hurt your hand, I specifically asked Alexander Technique, a doctor who studies human anatomy, how to exercise, how to exert strength and how to relax. She said that correct practice would not.

This method can exercise the muscles of arms and fingers well. High-order fingers can bounce down, and the next finger can bounce up at the same time, which can train the speed of finger reaction.

I also scoffed at this method before going abroad. On the contrary, several different professors in Germany mentioned the effectiveness of this method.

2, finger hook, action as fast as possible, metronome speed 40-60, a beat of two notes. It can relieve the sound of lifting your fingers too much and exercise every muscle on your whole finger. Fingers don't need to bend too much on the keys, hook in their own direction quickly, as soon as possible, and big fingers can do the same, but the movements are different from other fingers, and everyone's situation is different.

3, jump, play at medium speed, metronome 40-80, play four notes at a time. Exercise finger reaction speed. Listen carefully when playing to see whether each note is disconnected and whether the long and short timbres are unified. This exercise can also be accompanied by gradual entry and exit, which is more musical.

Few people at home and abroad know this, but it is super easy to use. The volume is mf or mp. After playing a note, you can relax quickly and let the weight of the keys automatically lift your fingers back, so that each note is a short jump and the movement range of your fingers is very small. Take a note at 40-60. If you can't find the right feeling before, you can put one hand on the piano, keep a relatively round hand shape and relax completely, and press a finger with the other hand. When the other hand is raised, the fingers playing the piano should be automatically raised by the weight of the keys, and the hands playing the piano should not be forced at all. This exercise can effectively improve finger speed and relax.

5. Play standing, touch the keys deeply, feel the weight, and play four notes at a time with a metronome of 40-80. This is a bit dangerous, because the wrist and arm are at a certain angle, and the action is more difficult to do. If you feel tired or stiff, you should stop and rest immediately. My professor said it was a little dangerous. In addition to professional students, ordinary people can use the weight of the arm instead, and the fingers support the weight of the whole arm.

6, fast, paste keys, Legato, as fast as possible, while paying attention to clarity and uniformity.

There are two kinds of exercises. One is exaggerating, deliberately making bigger movements, making ordinary movements difficult, such as running leg lifts or tying sandbags. The other is to increase speed, reduce physical exertion and move as little as possible. Where 1, 2, 3, 5 belong to the first type, and 4, 6 belong to the second type.