In the past hundred years, notation was introduced into China, and the method of naming the first sound was adopted. In our country, music teachers and mass music popularization workers in universities, middle schools and primary schools still use the notation and the first tune roll call method. This is beneficial for us to play improvisational accompaniment, because in the creation of piano improvisational accompaniment, we must first establish a clear concept of tonality (that is, the level of tonic), pay special attention to the relationship between tonality and mode, and sometimes even rely on perceptual intuition to improvise. Therefore, it is easier to define tonality, configure chords or temporarily transpose tones by establishing the concept of the first key and using the method of naming the first key.
Practice has proved that notation can sometimes play a role that staff can not. Because it is not limited to a fixed pitch position like the staff, it can be changed at will. Of course, if the notation, the staff, the first-tone roll call method and the fixed roll call method are combined with each other, it will be of great benefit for us to master the piano improvisation accompaniment technology flexibly.
If you want to play piano impromptu accompaniment well, you must meet three conditions:
(1) Master some basic knowledge of music theory;
Such as harmony acoustics, work analysis, composition and so on. Impromptu accompaniment belongs to the category of multi-part music, and of course it needs harmony foundation, and the level of harmony theory is directly related to the acoustic effect and expressive force of accompaniment. . While applying the knowledge of harmony, we also need to analyze the genre, mode, form and content of songs, which requires us to have certain ability to analyze works. For a complete work, whether harmony, texture and accompaniment can be chosen properly depends mainly on whether the analysis of the work is clear and profound, such as mode, song content, rhythm, speed and style characteristics. Whether the chord structure, harmony effect and style are consistent with the content of the work depends on the analysis of the work. There must be many differences between a beautiful lyric song and a firm and powerful March, that is, the treatment of the same song between each paragraph, from presentation to climax reproduction can not be static. Therefore, it is very necessary for us to analyze the works from the angle of accompaniment, and we must master certain works analysis ability.
(2) Master certain keyboard playing ability; At least you have to have the level of Cherny in the middle of 849 to play accompaniment, but in the actual playing process, you have to have the level of Cherny in the middle of 299 to express some music content richly, so as not to appear awkward. In the actual learning process, piano skills and improvisational accompaniment skills should develop simultaneously. Once you have mastered the basics of piano, you should make a statement in a certain form. Accompaniment sound form is a regular form of statement applied to specific works. Whether this form is appropriate and how it is appropriate should have certain basis. Such as piano performance, the characteristics and expressive force of accompaniment sound type, playing method, the existing piano skill level of accompaniment, the level of application ability and so on.
(3) We should develop the good habit of using our hands and brains at any time, that is, the spirit of practicing the piano diligently and scientifically and studying hard. First of all, we should be mentally prepared, starting with listening, watching, practicing and writing. Among them, "listening" to music, especially the requirements for accompaniment sound type and texture; "Look" refers to reading more music scores and analyzing works on the basis of mastering certain music theory; "Practice" refers to the practice of actually playing basic skills and music; "Writing" refers to memorizing impromptu accompaniment into a formal piano accompaniment score together with the staff. As long as we are diligent in thinking, good at analysis, diligent in study and practice, brave in practice and persistent, we will certainly be able to play impromptu accompaniment well.
Normal university mainly undertakes the task of training qualified applied teachers for social and basic education. Many music colleges (departments) in normal universities attach great importance to the training of piano playing skills in piano teaching, which undoubtedly plays an important role in students' systematic mastery of piano playing ability. However, just a high level of piano performance may not solve the improvisational accompaniment ability needed in practical work. It is of positive and special significance and function to offer piano impromptu accompaniment course for music education majors in normal universities.
Keywords: piano impromptu accompaniment training in normal universities
The main task of music education major in normal universities is to cultivate professionals who systematically master the basic theory, knowledge and skills of music, have correct aesthetic concepts and have certain research ability in music education. ? In terms of curriculum, according to the relevant regulations of the Ministry of Education and many years of school-running practice, many normal colleges generally offer professional courses such as basic music theory, solfeggio, piano, vocal music, instrumental music, harmony, introduction to folk music, chorus and conductor, song practice, musical form analysis, Chinese and foreign music history, polyphony foundation, computer music, music teaching method, piano improvisation, people and dance. Among them, piano improvisation accompaniment is a course that combines piano playing skills with piano improvisation accompaniment theory.
First, the significance of impromptu piano accompaniment classes in normal universities
The offering of piano impromptu accompaniment course has positive and special significance and function. In many normal colleges, both students and teachers pay more attention to the training, teaching and learning of piano playing skills, which undoubtedly plays a decisive role in students' systematic mastery of piano playing ability. However, normal colleges and universities mainly undertake the task of training qualified and applicable teachers for social and basic education. Only a high level of piano performance can not really solve the ability needed for practical work. For example, although some students can play difficult music, they can't accompany a simple song. This seemingly high-quality "piano teaching" is actually contrary to the training objectives and social needs of music majors in normal universities. The main reason is that the problem of piano improvisation has not been solved. The goal of music education in normal universities is to cultivate qualified music teaching talents who meet the needs of basic music education. They are not only good at playing the piano, but also can improvise piano accompaniment on various occasions. Only in this way can our graduates be welcomed by employers.
Second, the classification of piano impromptu accompaniment
According to the texture and sound type of accompaniment, piano impromptu accompaniment can generally be divided into three categories:
(1) accompanied by melody
This kind of accompaniment usually uses one hand to play the melody of the song and the other hand to play the accompaniment sound pattern. This kind of accompaniment requires the player to have good hearing ability or be very familiar with the melody of the accompaniment. In the actual impromptu accompaniment, we can't be familiar with every song, so we need to have a strong listening ability while having a certain piano playing skills. Melodic accompaniment mode is mostly concentrated in the left hand, but when the melody is left hand, the accompaniment mode will also reach the right hand. If we want to play some simple songs or children's songs, we can play them with an octave accompaniment, so that the pop-up accompaniment music is vivid and technically not difficult. If you want to play some difficult songs, you need necessary artistic treatment. It is common to use bass and accompaniment modes within two octaves. This accompaniment method can clearly divide the song into three relatively independent parts, namely, bass voice, alto voice and melody voice. For example, you can accompany the song "Newspaper Song" with melody. Good results will be achieved if the left hand jumps semi-chordally within an octave and the right hand plays the melody [1].
(B) No melody accompaniment
Melody-free accompaniment means that the left and right hands play bass and accompaniment respectively, and there is no melody in the accompaniment or occasional melody or melody of songs is hidden in the harmony style. Because the melody is not played, the division of labor and cooperation between hands is more flexible, the style and combination of accompaniment patterns are more flexible and diverse, the range of accompaniment patterns is wider, the colors are richer and more diverse, and the musical expression is strengthened. Compared with melody accompaniment, it also reduces the difficulty of playing, so it becomes the first choice for impromptu accompaniment! For example, when you sing and smile for a song, you can successfully create a group of innocent, lively and lovely teenagers by using melody-free accompaniment, playing lively and cheerful half-broken chords with both hands and adding bass effect to your left hand.
(3) Comprehensive accompaniment
Whether there is melody accompaniment or no melody accompaniment, there are certain defects. If only one method is adopted, it is difficult to bring the accompaniment effect of a song to a higher level. However, if the two methods are combined, the two methods complement each other and contrast with each other, which just makes up for their respective shortcomings and vividly shows the accompaniment function. For example, when accompanying the song "Hometown of the Sea", melodic accompaniment is used in the prelude, interlude, ending and climax of the song, and non-melodic accompaniment is used in other parts, which not only reduces the difficulty of accompaniment, but also enriches the accompaniment form, sets off the expressive force of music and makes the music level more obvious.
Third, the cultivation of piano impromptu accompaniment ability in normal universities
(A) have a solid piano playing skills
There are differences and connections between piano improvisation accompaniment and piano performance. The connection is that piano performance is the technical basis of piano impromptu accompaniment, but the difference from piano performance is that accompaniment must serve the needs of singing. On the basis of the melody of songs, making full use of the theoretical knowledge of composition techniques and emphasizing the cultivation of transposition ability, such as skillfully playing 24 scales, arpeggios and chord connections on the keyboard and being able to transpose quickly, are indispensable basic skills for piano impromptu accompaniment. The ability of tone sandhi is a difficult skill in improvisational accompaniment, which needs long-term training. At the same time, pay attention to the control of timbre, because different timbre treatments have completely different musical emotions. More importantly, in the process of accompaniment, the control requirements of left-handed timbre are very high, and these requirements are based on solid piano performance [2].
(2) The application of harmony is the role of piano improvisation.
Harmony design is an important part of piano impromptu accompaniment, and the proper choice of harmony directly affects the purpose, rationality and perfection of the whole song accompaniment. In general melody, the use of tonal triad can roughly maintain the harmony and smoothness of the main melody and the fullness of the texture, but in the climax paragraph and mode modulation part of the song, the application and treatment of harmony techniques need specific effects. In practice, we can't combine harmony theory with practice and choose chords properly, which should be compensated. Play more chords and chord connections, listen carefully to the sound changes and feel the acoustic effects. You can also appropriately increase the writing of songs and harmony outlines, master the application of chords in practical works, strengthen the training of keyboard harmony, and enhance the perception of actual sounds, which is conducive to improving the ability of harmony design in piano accompaniment.
(C) the ability to analyze works is the premise of designing piano impromptu accompaniment
Having a certain ability to analyze works will have a more overall effect on the design of piano impromptu accompaniment. Is the accompaniment song one-paragraph or two-paragraph? Is the two-stage structure a comparative structure or a parallel structure? We should treat them separately according to different characteristics. When designing piano impromptu accompaniment, we should first have a clear understanding of the music structure of the song, so as to better grasp the accompaniment framework of the whole song and make it have a reasonable overall layout when playing. A certain ability to analyze works can accurately locate piano improvisation accompaniment on the basis of the establishment of the overall framework of songs, and achieve an ideal position in the logical development of structure and the handling of style characteristics.
(4) Handling the prelude, interlude and epilogue is the key to playing accompaniment well.
The prelude is very important, through which the singer and audience can enter the specific environment needed by the song. Do a good job in prompting the music image and preparing the mood, so that singers and listeners can express and appreciate music in an appropriate atmosphere. Intermittent music is a bridge between paragraphs and phrases. Without the participation of interlude, the transformation and transition of music can not be completed smoothly, especially for large-scale works and art songs. The end of the performance can sublimate the theme of the song and play a complementary role in structure, especially in the powerful end part, which adds motivation and ending feeling to the song. These three are all part of the personal colorful display of the performer in the accompaniment. If you play well, it will be the highlight. If you don't play well, the whole accompaniment will be eclipsed. For example, when we played the accompaniment of the song "Remembering Qin E-Loushanguan", as soon as the prelude came out, we played an impassioned and magnificent momentum, recreating the spectacular scenes of the Red Army's Long March and Ma Tiejinge. Introduce the audience into a tragic atmosphere and pave the way for the later singing. If the prelude is played softly, the overall artistic image of the song will be greatly reduced. At the same time, it can't drive singers to sing passionately. Intermittent part should repeatedly reproduce the brilliant effect of the prelude part, and at the same time give the singer a rest time to prepare for the later singing. At this time, the accompanist can bring extremely shocking sound effects to the audience through gorgeous accompaniment means, and sublimate the artistic image of the song. At the end, we should play the joy that the revolution is about to win and the light is coming, and make a summary supplement to the whole song. The artistic image of songs has been sublimated [3].
(5) Learning from orthographic accompaniment is a necessary means to play improvisational accompaniment.
Orthographic accompaniment is carefully conceived by the composer in the creative process, with exquisite expression techniques and strong artistic appeal, and even the accompaniment part has the same important position as the melody part. Piano improvisation accompaniment and orthographic accompaniment exist correspondingly, and they have the same important position. The reason is that the accompanist can improvise on the basis of rich experience, deeply understand and grasp the style and content of songs, and master skilled piano skills and various accompaniment texture techniques. However, it is undoubtedly very important to analyze orthographic accompaniment, learn from the creative achievements of orthographic accompaniment norms, and master the commonly used accompaniment texture and harmony techniques to effectively improve the level of impromptu accompaniment [4].
Of course, in order to play piano impromptu accompaniment well, in addition to the above-mentioned necessary technical training, you must also have good harmony design ability and learn to deal with prelude, interlude and epilogue, and learn from some accompaniment methods of pop music to learn their unique methods of dealing with harmony, texture and style. While strengthening basic skills training, students should also be diligent and brave in practice. As teachers, they should provide students with more practical opportunities, so as to make a breakthrough in the level of impromptu accompaniment! The simplest thing is to look at the melody of the right hand and the melody of this piece.
For example, in C major, 135 146 is the main sustain, such as chord, staccato and arpeggio.
I often hear people ask about piano improvisation, but I can't say it clearly in a few words. However, people always ask. Some of them have studied piano improvisation in college, and of course they have also studied music theory and harmony. The ready-made piano music is also very good. There are so many piano improvisational accompaniment textbooks in the bookstore, but I still can't master the improvisational accompaniment skills freely, and even played the piano for 20 years from 65438 to 00 (what a pity). Why?
First, some people have a good feeling and understanding of music, and they study hard and practice hard, so they can play improvisational accompaniment or performance well.
Second, we must find a teacher who has experience in improvisational accompaniment of stage piano and understands music theory, so as to avoid detours and save time.
Third, we should attach importance to the study of music theory. Such as: interval, chord, scale, mode, mode, rhythm, beat, texture, polyphony and composition.
Wait a minute.
Fourth, a piece of music should be practiced with a variety of accompaniment schemes to experience the effect of using different chords and accompaniment sounds.
5. Practice various modes, scales and chord connections every day (change the rhythm) and practice on different keys.
Sixth, insist on playing a song (or music) well every week and practice at least three keys.
Seven, insist on listening to a song, analyze a song (chord, rhythm, accompaniment, polyphony, song emotion, etc. ) every week, and record it and play it.
Eight, practice, practice and practice! ! ! Hold on, hold on, hold on. ! !
Minor is different from major.
that's it