Among many students, there are many outstanding talents. But in the process of piano teaching, I often hear some teachers say that students have no sense of music when playing. Why can't some gifted students play a sense of music? The key point is that students don't grasp the author's writing style and background. Because we can't "put skills before art, but use art to drive skills and use skills to express art". Therefore, music theory education is very important in the process of cultivating piano improvisational accompaniment ability. Students' music theory education mainly includes the understanding of the basic problems of piano performance and the ability to analyze music, such as music and skills, content and form. In teaching, teachers should let students establish a correct view of art and scientific analysis methods. There are mainly the following suggestions.

First; It is necessary to cultivate students' grasp of emotion and understanding of music. The authors of piano works are generally divided into baroque period, classical period, The Romantic Period period, impressionism period and modern period, and the works of each era not only reflect their times, but also contain the composer's thoughts. For example, the style of Bach's works is because Bach did not pursue fame all his life, and his works are intended to express his true feelings. Therefore, most of his works are not written for the general audience, but for himself, his family and his students. Therefore, the style of his works is characterized by meditation, philosophy, emotional flicker and rational thinking. The intensity of playing his works should be controlled and not indulged, and it needs to be adjusted through careful trading. There can be no too strong or too weak contrast, nor too strong or too weak, and the change of strength is very limited. Beethoven's sonatas, with great intensity and great changes, often use strong notes; The main characteristics of Mozart's music are accurate rhythm, delicacy and vividness. Therefore, only by understanding the role of classicism and the difference between harmony and modernist color harmony can we describe and grasp the differences in artistic conception, artistic conception and style of music works in different times, schools and music works. Therefore, teachers should guide students to accurately analyze and grasp the mode tonality, theme style and content emotion of songs or music in the teaching process. Understand and approach the composer's original intention and overall conception as much as possible, so that his performance is close to or basically in line with the composer's original intention. Those who have the ability and time should read some books such as music history and biographies of musicians to help them understand.

Second; Pay attention to cultivating students' imagination. On the basis of theoretical education for students, theoretical analysis and research are carried out purposefully and consciously to cultivate students' music understanding ability. With rich emotional experience, music creativity and expressive force can be stimulated. Then constantly expand imagination and thinking ability. Only in this way can we break the restriction and bondage of pure "theory" and "skill" and give full play to the role of piano accompaniment. There are many interesting examples in Bouguemuller's works No.100 and Advanced Piano 25. For example, the ninth "hunting" is a hunting map of a rural manor. The realization of the left-handed chord is like several horns blowing at the same time, announcing the beginning of hunting. The right hand jumps into the repetitive sound, which makes people sound like horseshoes, showing the scene of hunters chasing each other. pause

There are some beautiful melodies in A minor, describing the natural scenery of forests and fields. In this piece, the jumping and repetition of the right hand, the chords and disyllables of the left hand are highly technical, but they are all organically integrated with the music content. There are many such works in music, and teachers should pay attention to cultivating students' imagination.

Second, the training of basic skills of impromptu accompaniment is the key.

Piano teachers in normal universities should let students know that piano improvisation accompaniment, no matter how complicated and changeable, is inseparable from the most basic elements, namely 1, and the basic sound materials are monosyllabic, disyllabic, chord and octave; 2. Basic sound types: decorative sound, tremolo, arpeggio and scale (including chromatic scale); 3. Basic rhythm types: triplet, quadruple, first eight and last sixteen, first sixteen and last eight, syncopation, dotted line and pause; 4. The trend of sound mode: upward, downward, curved and straight; 5. Ways of change: speed, rhythm, amplitude and duration. After students know these basic playing elements, the next step is how to combine these basic elements with various parts of the body (such as palms, wrists, arms, etc.). ) and apply it to different styles of music works for improvisation.

As the supporting point of strength, the palm is the key part to ensure the sound quality. In teaching and training, it is common for some students' palms to collapse, because the palms are soft and unable to support, and the palms can not act as the fulcrum of strength, resulting in the wrists can only arch rather than the fulcrum of strength. This can cause tension in the shoulders and arms. Therefore, when students play, the teacher must emphasize that the palm rest must be firm whether playing strong notes or weak notes.

Wrist is the link between finger and arm. There are many movements of the wrist, including up, down, left and right. Some of them are done independently by the wrist, and some need the cooperation of the arms. The key is to pay special attention to the fourth and fifth fingers. When playing, you should adjust your hands to the best position and send the strength to the keyboard to make the highest or lowest sound stand out and smooth.

The reason why we should emphasize the training of palms, wrists, arms and other parts of the body is to train the coordination of the body. Because, in playing, it is a flexible whole from the part where the body touches the piano stool to the part where the fingers touch the keyboard. Therefore, when improving the ability of impromptu accompaniment, we must pay attention to the relationship between body parts and keyboard. When discussing the relationship between body parts and keyboards, Piano Quarterly magazine in the United States put forward such a viewpoint: the human body can sit up straight at a general volume; The louder the voice, the more the body needs to lean forward to the keyboard; And if the body leans back a little, it is only at the lightest sound. For example, it is obviously unreasonable for the human body to lean backwards when playing hard; On the other hand, it is not correct for the human body to lean forward greatly when it is weak.

Thirdly, practical activities are the key to improve students' improvisational accompaniment ability.

Since most music majors in normal universities will work as music teachers in primary and secondary schools after graduation, the piano accompaniment ability of teachers is very important. Therefore, piano teachers should pay special attention to this teaching link in the teaching process. Mainly from the following aspects.

First; Arrange piano practice reasonably. In teaching, teachers should adopt the principle of "intensive speaking and more practice, focusing on practice" and have enough piano practice time in teaching arrangements. In practice, students should pay attention to the practice of scales, arpeggios and chords in various tonality modes, which is very important for students to improvise accompaniment and tone sandhi. Scales and arpeggios play a very important role in modern piano playing. According to statistics, in small classical sonatas, scales account for more than 65%, and almost no piano works do not contain these two techniques. If you want to play these two skills well, it's best to play them for a long time every time, so that your hands can get full and continuous activities. In piano technical training, persistent practice is very beneficial, which Cherny expounded through his etudes, Op. 337 and Op. 365. He asked that each short paragraph of these two etudes be played several times to dozens or twenty times. In the preface of Op. 365, he wrote: "To play each exercise repeatedly according to the prescribed number of times, the experience convincingly shows that a student can achieve proficiency within a few months, but if the usual method is used, it will take a lot of effort and various requirements, and it will take several years." Cherny's remarks seem a bit exaggerated, but they are also reasonable. The truth is that the ability to play the piano takes time to practice. Therefore, piano teaching in normal universities needs to arrange time reasonably so that students can get full practice.

Second; Pay attention to practice. In spare time, teachers and classes of the college can improve students' accompaniment ability by holding colorful practical activities such as observation, competition, study and exchange meeting. Performing on the stage is different from daily practice because you have to face the audience directly when performing on the stage. Players should not only deeply understand the ideological content of music works, but also understand the psychology of the audience, and bring the audience to the concert with persuasive and infectious artistic means. At the same time, the stage environment, the audience's reaction and the unexpected situation will have a direct impact on the performers. In addition, the difference between the performance on the stage and the usual practice is that it is one-off. If we say that in diving competition, a diver should show the results of months or even years of exercise in a few seconds; Similarly, in a concert, a performer should perform the results of his long-term hard training in a few minutes or dozens of minutes. You are not allowed to practice as usual in front of the audience. If you are not satisfied, you can practice it again. You must succeed on the stage once. Every performer expects to share his dynamic achievements with the audience in a short time. Such an opportunity to perform on stage is a practical psychological test for students. Therefore, such practical activities should be held more often so that students can gain experience in practice. If students' piano accompaniment ability runs through every link of piano teaching, they can't be divorced from reality.

Therefore, it is necessary for piano teachers in normal universities to combine theory with practice to cultivate students' piano improvisational accompaniment ability through every teaching link.