(1) The basic piano practice method is slow practice;

Slow practice is like a "big mirror", which unfolds all the details in music. The biggest advantage of slow training is that it can adjust and modify the defects and deficiencies in time according to the response information obtained by vision and hearing. One way to practice slowly is to use a pacemaker. Even after the practice of the work is mature, we should not ignore the appropriate slow training.

(2) Study in a planned and targeted way:

Rome was not built in a day. Practicing the piano requires persistent posture. There are many piano tracks and various playing techniques. Beginners should make a long-term learning goal and a short-term learning plan, start from the root causes, step by step, and achieve the goal of becoming a talent.

(3) learning the piano with a good attitude;

In the process of learning the piano, you may encounter a bumpy mood. We should adjust our mood, appropriately reduce the difficulty of continuing to study, fully mobilize the interest in learning the piano, and ease the tension in learning the piano.

2. The application of natural elements in piano performance.

The application of natural ingredients requires that the whole arm can relax freely, from stretching and sagging of shoulders to mediation and sagging of all arms. After the sensitive wrist is relaxed, the arm parts are transferred to the keyboard through the fingers.

(1) Understand the natural components of the arm:

From leaning forward to sitting on the upper body, your arms hang down completely loosely. At this time, the arm seems to be an object hanging naturally from the shoulder. Swinging in the air, blood rushed to the palm of your hand and led to your fingertips. After understanding the natural composition of the arm, we use this natural composition to play the piano. Next, the finger will develop its functions and functions.

(2) Fingers should accept and support the weight of the whole arm:

The three small hinges of fingers protrude gently, especially the finger root hinge in the palm (hereinafter referred to as "palm hinge") must be used as the support point of strength. The natural component of the arm drops and needs the support of every finger. We practice with the method of 4437 1 staccato: first, distinguish one finger from the other finger standing on the piano, combined with the natural weight of the arm.

After a stage, each finger can easily pop up a complete sound, and then slowly enter the practice of Legato. Besides, we can adjust the weight of the piano. 3. The body intermediary when playing the piano is related to the basic sitting posture and posture of playing the piano. We should understand that with the deepening of order, it should be developed and better applied from time to time.

(1) The basis for ensuring physical mediation:

The basic thing to ensure physical mediation is to adjust the accurate and fair sitting posture according to my physical condition. With the progress of the level, more and more requirements are put forward for the change of strength, speed, musical mood and color, and the participation and conditioning of the body is becoming more and more important.

(2) Basic requirements for sitting posture:

Sit your hips firmly in the middle of the piano stool. For the sake of sensitivity and hard work, don't sit full, just sit half. And in order to go up and down according to speculation, you should sit in the middle of the piano, don't move casually, and put your legs on both sides of the pedal. When hitting hard, the left leg can retreat as the fulcrum of the whole body strength. This is the basic requirement of sitting posture.

(3) the left and right adjustment of the body:

The left and right conditioning of the body is mainly based on sound level. Take the scale as an example. In the weak bass area, the body center of gravity is on the left leg. When playing alto, the sides of the body's center of gravity are flat; When playing high notes, the body's center of gravity is on the right leg.

(4) Before and after body conditioning:

The front and back conditioning of the body can be judged according to volume and strength.

4. Finger ability and training

(1) Finger ability:

Finger ability refers to whether each finger has the ability to move independently and whether it is sensitive and powerful. Today, watches play clearly, evenly and smoothly.

5. Key promotion in piano performance:

(1): Touch the key with your finger.

The tendon connected with the forearm muscle pulls down the finger to realize the key-pressing action. After the tendon is relaxed, the fingers and keys return to their original positions.

Practice method: Let the right hand be in a normal playing posture, the back of the hand and the back of the wrist are almost on the same horizontal plane, the fingers are attached to the keyboard, in the position of C to G, the wrist has been loosened in several lifting movements, the fingers have been attached to the keys, and the fingers are stable and slightly bent.

Example 1: staccato: Every time you play a note, press the key quickly with your finger, release it at the moment when the note is withdrawn, and retract to the key. The wrist is always flat.

Legato: Just like staccato, every note should be played and held. The pressure used by the finger can only prevent the button from bouncing back. When playing the next note, the forearm rotates slightly to the right. In this way, when one key is released, the other key just takes back the sound.

(2): Touch the key manually:

The first feature of touching the key by hand is that the hand moves down. Widely used in all kinds of touch keys. The wrist bounces up and becomes an unchangeable symbol of touching the key.

Practice method: put your right hand in the keyboard position shown in store example 1 Wrist relaxed, fingers stable. Lift your thumb about 1/4 inches from the key, and press your hand firmly on and in the key of C, so that your thumb touches the key. At this time, the wrist will immediately arch to the height of 1 inch, and then immediately release it and return to its original position. Only the sample constitutes the result of staccato.

You can practice both hands like this. Emphasis should be placed on the upward movement of the wrist in each keystroke. You can also practice Legato in the same way, but turn your hand slightly in the direction of the next note, and return to the original position immediately after your wrist arches up. Wrist relaxation and finger stability are the most difficult requirements to achieve in touching keys. Finger-touching keys are widely used, such as playing various scales, arpeggios and other fast paragraphs with complicated sounds. It is also often used to play strings and octaves.

(3): the arm touches the key.

Touching keys with the arm is to suddenly lower the forearm or the whole arm, so that one or more keys to be played are pressed in this landing action. The final posture is shown in Figure B, with hands and arms hanging down from the keyboard. Touching the keys on your arm can pop up the consequences of staccato, and you can only let go of your fingers immediately after restoring the sound. The arm-drop touch key is most suitable for sticking to the sound or viewing the consequences.

Practice method: first raise your wrist so that your fingertips can almost stick to the keyboard. Then suddenly let go of your arm. Follow your arm to the ground so that you can hear the sound to be played. Hold the tone with your fingers, and your wrist is lower than the keyboard. Then go back to the high wrist position and play the next note. During the whole practice, the wrist is relaxed.

The touch of keys combined with the strength of hands and the drooping of arms is extremely important in the expression of clauses. Take a connected two-tone group as an example. First, touch the key with one arm to play the first sound, lay a good foundation, then touch the key with one hand and play the second sound at the required light or staccato level. The first sound in each group is played by touching the key with the arm (D= wrist down), and the second sound is played by touching the key with the hand (U= wrist up).

Left-handed and right-handed independent sound groups with wires can be practiced by these two methods of touching keys independently. As for the light scale with connecting lines, the arm can touch the key and play the first sound, so that the wrist can be raised gradually (touch the key with the hand). When playing the last note, the wrist hangs in mid-air. Various scales, exercises to separate left and right hands.

Note: The thumb always touches the keys with his arm. Except for playing the beginning note of the scale (whether rising or falling), other fingers touch the keys with their hands. Two kinds of touch keys are used in octave. On the black keys, the keys are always touched by hand, while the white keys are followed by black keys, who touches them with his arms.