In several years of teaching, I have come into contact with many piano children. In the process of learning piano, they mainly have the following four problems:
First, the reading spectrum is incorrect. For the learned tracks, the teacher will not prompt the sound name and volume name of the first note and its position on the piano, so the students can't find the keys themselves. When playing, they focus on the fingering of notes and don't know the roll name and sound name of the notes.
Second, the concept of rhythm is inaccurate. Never used metronome, the beat is uneven, the skilled part plays fast, the unskilled part plays slowly, and the speed is random and uneven.
Third, the method of touching keys is not standardized. Finger "prone" on the keys, wrist press the keys hard. The metacarpal joint and the first finger joint are particularly soft, and they often sink in when they touch the keys.
Fourth, lack of sense of music, do not love music. The pop-up music is very mechanical, playing the piano under the pressure of parents, and there is no enthusiasm for learning.
If students continue to study like this, they will be more and more impressed by the incorrect methods. When they encounter slightly difficult music, they will not be able to practice it smoothly. Even if they play reluctantly, they will be irregular-the rhythm is inaccurate, the timbre is poor, and there is no sense of music. After a long time, students will have resistance to the piano and even hate music, which goes against the original intention of parents to cultivate their children.
In piano enlightenment education, teachers should pay attention to cultivating students' abilities in the following aspects.
First, the cultivation of reading ability.
There are four correct steps in reading spectrum. First, look at clef, time signature and key signature clearly; Second, look at the position of notes on the staff; Third, look at the duration of the notes; Fourth, look at the fingering that should be used to play notes. Some students take shortcuts when playing the piano, and don't look at the position of the notes on the score at all. They decide which finger to move directly according to the fingering marked on the notes. Teachers should find and stop this wrong reading method in time, and the most effective way to solve this problem is to sing music. When playing a new song, students are required to read, read and sing the music first, which can effectively avoid the above problems.
Second, the cultivation of sight-reading ability.
The cultivation of sight-reading ability should start from the enlightenment stage. Playing the piano is divided into three processes: first, looking at the music score to get information; Second, the brain quickly responds to organizational information; Third, the hand is directed by the brain to play music feedback information. The repertoire played at the beginning of piano learning is very simple. After reciting several times under the guidance of the teacher, the students stopped reading the music, stared at the keys and buried their heads in the keys to find the wrong position in the middle. When asked about the position of the place where they are playing on the spectrum, they seem puzzled. Students in the enlightenment stage are still familiar with the staff, and every reading of the staff is an intensive stimulus, which is of great benefit to improving reading ability. If teachers don't remind students of the wrong methods and become habits, it will directly lead to low learning efficiency and slow reading speed. A new piece of music must be memorized before it can be played completely. Get started slowly. As the difficulty of music increases, it takes more and more time to play a song. Forgetting quickly, because reading music is less, basically depends on remembering the position of keys and the bones of hands.
Muscle memory plays a tune well, and perceptual memory loses the support of rational memory and soon forgets it. After a while, the students played music again, as if it were the first time. Therefore, teachers should pay attention to cultivating students' sight-reading ability, teach students to read music scores most of the time, touch the keys with their hands, and quickly see the position of their hands on the keys, even if they touch the wrong keys. If you persist in this way, students will gradually find the key quickly and accurately and improve their learning efficiency.
Thirdly, the cultivation of standardized posture.
Teachers should pay attention to step by step in the enlightenment stage, and should not overemphasize children's hand shape, because their fingers are developing and their bones are soft. It takes time to establish the correct hand shape, which can only be counterproductive. If students fail to meet the requirements for a long time, they will have rebellious psychology. Teachers should emphasize the concept of standardized posture, with natural hand shape, stable wrist, prominent finger joints, high fingers and fingertips touching keys, as if holding a small ball. It is difficult for most students to reach the posture standard when they are beginners. Teachers must make students compare the wrong posture with the correct posture through frequent demonstrations and tireless reminders, thus forming the concept of the correct posture.
In addition, students have just started to learn piano, and their fingers can only make a weak sound. If you emphasize the volume blindly, students will make a loud sound with their wrist buttons, which is not desirable. Teachers can let students do more cantilever exercises, learn to relax their arms, stand their knuckles when their fingers fall on the keys, and gradually get bright and round timbre on the basis of correct hand shape and key touching method. After a period of' tempering', students will gradually master the correct hand shape and standardized key touching methods.
Fourth, cultivate a good sense of rhythm.
A good sense of rhythm is not only to teach students how long the duration of various notes is, but to let students establish a correct concept of rhythm. In the enlightenment stage, the teacher should let the students learn to listen to the metronome, because the beats counted by the students themselves are often fast and slow, which is very subjective. How to make students turn off the beat accurately? Teachers can let students sing along with the metronome first, so that students can have a unified rhythm experience. In addition, for children, electronic metronome is a better choice, and it is more intuitive to simulate the beat of human voice.
Five, the cultivation of good listening
Students are more interested in what they have heard and can sing, and learn faster. This is because in their minds, they have an impression of music, and they are close to the music that appears in their minds during the performance. If they make mistakes, they can detect and correct themselves. Therefore, classroom demonstration is very important. Teachers should play the music completely and expressively, so that students can concentrate on listening to the strength and timbre of each note, so that students can form an auditory and visual impression, and students will be very willing to imitate the teacher's demonstration and improve their interest in learning.
Sixth, the cultivation of musical imagination.
Piano enlightenment is not only to teach students to know a few notes and rhythms in each class, but also to knock them out on the piano with your fingers. These are the means of expression of music, not the ultimate goal. How to make students feel the fun and beauty of music from the process of learning piano is a problem worthy of teachers' consideration. Children will have different associations when they are exposed to music with different contents. Some students took the initiative to tell the teacher when they heard the "train", and this piece ran faster and faster, just like a train. The double tones in Old MacDonald are like ducks croaking; The last song "Princess Waltz" is a beautiful doll dancing ... Musical imagination is a very important aspect of musical sense. Teachers can teach in flexible and diverse forms, such as singing and even dancing. The classroom atmosphere is lively but not boring, so as to explore students' musical imagination, make piano lessons not just mechanical finger movements, and let students enjoy and love music by learning piano.
Teachers are not only the enlighteners for students to play the piano, but also the guiders to guide students into the wonderful music world. Therefore, teachers should not only have good music literacy and strong professional ability, but also have clear teaching ideas and good teaching ability, so as to have good teaching effect and let students benefit from the world of music for life.