1. employees
1. 1 fixed key: the staff should be sung in a fixed key, that is, no matter what key, the names of the volumes at the same pitch on the spectrum are the same, and they are all sung as do re mi fa so la xi do in C major. In C major, Mi Fa and xi are semitones, and the others are all full tones. Other tune names are based on key signature, and some notes need to be raised or lowered. Take the semitone in G major as an example: the semitone only improves fa by one semitone, and the other notes remain the same, so it becomes #fa so and xi do semitones, and the scale pulls xi do remi #fa so. The order of semitones is the same as that of C major, so the melody is the same, but the pitch is different, that is, the tonality is different.
1.2 spectrum table: The high-pitched spectrum table of violin spectrum is called G spectrum table.
1.3 naming rules of note length: If the whole note O is four beats, it can be divided into two beats and two notes, and this note is a binary note; Similarly, notes divided into four beats are quarter notes; A note divided into eight and a half beats is an eighth note; A note divided into sixteen quarters is a sixteenth note; And so on. Everything else is the same.
1.4 sound names: There are various sound names, but the sound name CDEFGAB has a fixed pitch. For example, sound with a frequency of 440 Hz is defined as sound. Volume name encryption and xi do correspond to semitones EF and BC, and everything else is full tone. Finger distance on the violin: the whole tone is separated and the half tone is close together.
1.5 How to remember the sound name on the violin: According to the chromatic relationship above, pull out the volume name la xi do re mi fa so la on the AE string, which is the sound name ABCDEFGA. On any string, you can find the corresponding sound name. For example, the sound name of the G string is G, draw an empty string on the G string, 1, 2, 3, 4, the volume name is so la xi do re, and the sound name is GABCD, which is very easy to arrange.
1.6 symbol: A semitone sharp sign, a whole-tone sharp sign X, a semitone flat sign B, a whole-tone flat sign bb, and the flat sign returns to the key of no rising or falling. The "8" above the note will raise the tone by an octave.
Note: The best way to learn the violin is to play the staff, and you must sing the music and find the correct sound according to the name of the volume, instead of remembering to play the piano with your fingers. You may not be used to singing fixed songs at first, but you can find some familiar melodies and sing the roll call as lyrics. For example, "Twinkling Little Star" with a big A, you can use roll call as the lyrics. After several trainings, you will get used to it, just like singing a simple soundtrack.
2. Interval (the high-low relationship between two voices)
2. 1 purity: two identical sounds
2.2. Sophomore: full tone (equal to two semitones), such as do re.
Second degree: semitone, such as meter method.
2.3 major third degree: full tone+full tone (finger is a small distance when playing double tone), such as do mi.
Third minor: whole tone+semitone (fingers are far away when playing double tones), such as hot method.
2.4 pure fourth degree: two full tones+semitones, such as do fa.
2.5 pure fifth: for example, three full tones+semitones, do this.
2.6 major sixth degree: four full tones+semitones (fingers are separated when playing double tones), such as do la.
Minor sixth degree: three full tones+two seMitones (fingers close together when playing double tones), such as mi treble do.
2.7 major seventh degree: five full tones+semitones, such as DOXI;
Minor seventh degree: four whole tones+two semitones, such as rettable do.
2.8 pure octave: five full tones+two semitones, such as do treble do.
2.9 Harmonious relationship between the two tones: pure one, four, five and octave are completely harmonious.
Three degrees and six degrees are incomplete harmony.
Two degrees and seven degrees are completely out of harmony.
Note: Playing two tones on the violin means listening to the pitch according to the above harmony relationship.
2. The popular understanding of10 interval: the distance between two objects is called the distance, and the unit is meters; The distance between two sounds is called interval, and the unit is "degree". Count how many sounds there are. For example, do re mi has three sounds, and do mi is the third sound.
Adjust the name
3. 1 first of all, remember that there is no semitone after the treble clef in the staff, whether it is C major or A minor.
3.2 Big Tone Name
3.2. 1 semitone: Based on C major, every time key signature adds a semitone, it counts up five degrees, starting with six semitones, and adding an "L" before the sound name. For example, none of the sharp signs are in "C" major, one sharp semitone is in "G" major, and six sharp semitones are in "#F" major, and so on. (For example, two sharp semitones should start with the G number of a sharp semitone in G major, GABCD, that is, D major)
3.2.2 key signature Flat Tone: Based on C major, every time key signature adds a flat tone, it counts up four degrees, starting with two flat tones and adding a "flat tone" before the sound name. For example, none of the symbols are in "C" major, one in F flat major, two in B flat major, and so on. (For example, two semitone signs should start with the number FGAB of F in F-flat major, and FGAB is B-flat major).
3.3 Quick shorthand method for the names of major scales: the four strings of a violin are G, D, A and E, which are the names of major scales with one to four sharp corners. In the first position of the violin, press 2 fingers and back 1 finger on the DG string in turn. The volume names are fa, xi, mi, la, and the sound names are F, B, E, A, which are one to four flat major sound names.
3.4 What notes should be raised or lowered in the key signature: the violin is in the first position, and the DA string is pulled out to call Fa do so Milla, and the AD string and DG string are pulled out to call xi Milla so do, which is very regular. Please remember: a sharp sign is a sharp sign, that is, one sharp sign is fa, two sharp signs are fa and do, and so on; Downward is key signature Descent, that is, one flat sign is Descent, two flat signs are Descent and Meter Descent, and so on. Pay attention to the above order, don't make a mistake.
3.5 Major-minor relationship: After the major name is defined, the minor name is reduced by three degrees. For example, three sharp semitones are A major, and the three flat semitones in A are #F, that is, #f minor; The two flat semitones are B flat major, and the "B flat" sound is G, which is G minor.
3.6 Major and minor with the same name: minor is smaller than major by three sharp signs (or offset by a flat sign). For example, there are three sharp semitones in a major and no sharp semitones in a minor; There are four sharp semitones in e major and one sharp semitone in e minor; G major is a semitone, and G minor is two semitones. There is no flat tone in C major, and there are three flat tones in C minor. There is a flat note in F major and four flat notes in F minor.
3.7 How to distinguish between big and small sounds: For songs with big and small sounds, look at the ending sound. For example, is the sharp corner tune in G major or E minor? If the ending is G, it is G major and E is E minor. In addition, with the first sound singing method (that is, simple music roll call), the ending sound is do, which means major, la, which means minor, and the third drop of do is la.
Note: The musical form of the major-minor structure conforms to this principle, and some China music is not a major-minor structure when it ends around re.
4. Scale (explained by the whole-tone and semitone relationship between notes)
4. 1 major scale: the first sound (full tone), the second sound (full tone), the third sound (half tone), the fourth sound (full tone), the fifth sound (full tone), the sixth sound (full tone), the seventh sound (half tone) and the eighth sound. Formula: all half, all half.
The first sound has the same name as the eighth sound, and whatever it is called is a major. For example, re mi #fa so la xi #do re conforms to the law that the third to fourth and seventh to eighth tones are semitones, and the first sound is named D, so it is a scale in D major.
Note: I usually draw a stair step for students, in which the third to fourth and seventh to eighth steps are half a step, and the others are one step, and they are marked with do re mi fa so la xi do in turn, which can intuitively understand the scales in C major. If you improve fa, you will improve the fourth step by half a step. At this time, #fa so is semitone, so you can intuitively understand G major.
4.2 Small scale
4.2. 1 natural minor scale (formula): full half full, full half full, full full.
4.2.2 Melody minor scale (formula): full half, full half, full half.
The first sound and the eighth sound have the same name, no matter what they are called, they are all minor. For example, la xi do re mi fa so la conforms to the law that the second to third and the fifth to sixth tones are semitones, and the first sound is called A, so it is a natural minor scale.
Note: When violin plays minor scale, it plays melody minor and natural minor. For example, the scale in A minor rises to xi and falls to xi.
5. Arpeggio (explained by interval relation)
5. 1 What is arpeggio? When more than three notes are played at the same time, it is called a chord; When they are played separately, they are called broken strings; When broken chords rise and fall, they are arpeggios.
5. 1 triad: low (root sound), medium (three tones) and high (five tones), and the adjacent sounds are all three degrees. Violins usually play the following triad.
5. 1. 1 major triad: bass (major third) midrange (minor third) treble, for example: do mi so so mi do.
5. 1.2 minor chord: bass (small) alto (big) treble.
5. 1.3 hexagon: bass (third degree) midrange (fourth degree) treble. The sixth chord is changed from the third chord, that is, the bass of the third chord is raised by eight degrees.
5. 1.4 Quad-6 chord: bass (fourth degree) alto (third degree) treble. The fourth and sixth chords are changed from the sixth chord, that is, the bass of the sixth chord is raised by eight degrees.
For example: re fa la (minor chord) bass octave becomes fa la re (sixth chord) bass octave becomes la re fa (fourth and sixth chords).
5.2 Seven chords: low (root note), middle (third note), second high (fifth note) and high (seventh note), and the adjacent notes are all three degrees. Violins usually play the following two kinds of heptachords.
5.2. 1 minus seventh chord: adjacent notes are minor. Like do, mi Didi, #fa, la.
5.2.2 It belongs to the seventh chord: the bass and alto are major third degrees, and the rest are minor third degrees. For example, so, xi, re, fa.
6. Time signature
6. 1 Reading method: The correct reading method should be reading from top to bottom. For example, 2/4 should read 24 beats. If you read it in 42 beats, you are not very expert, but you read it in 2/4 beats.
6.2 Meaning: The letters above the time sign indicate the beat per minute of each bar, and the letters below indicate how many notes there are in a beat. For example, 3 in 3/8 beats means three beats per bar, and 8 means one beat of the eighth note.
6.3 The relationship between the strength and weakness of beat per minute per minute: two beats (the first beat is strong, the second beat is weak), three beats (strong, weak, weak), four beats (strong, weak, second strong, weak) and six beats (strong, weak, second strong, weak, weak).
7. Common symbols to remember
Rento (Adagio) 50-60 beats per minute.
60-70 times per minute
Andante (Andante) 70-80 beats per minute.
Moderato (medium plate) beats 80- 100 per minute.
Allegro 100- 120 beats per minute.
Allegro beats per minute 120- 150 (the above is the approximate speed range. )
Slow down: rall or rit. Slow down: speed up. Restore the original speed: one beat.
Strong: f weak: p
Fade in: To darken or weaken.
Playing: Pitts plays with a bow: Ako pulls the string with his left hand:+
Solo ensemble
From beginning to end: d
Artificial overtone: natural overtone (or empty string): o vibrato: tr
Music theory is actually not difficult. The main content of a thick music theory book is compressed into just a few pages. Among them, tuning is a little more complicated, but it doesn't matter if you can't understand tuning for a while. Just pay attention to which notes in the key signature should rise or fall when playing the piano, and make clear the relationship between the whole tone and the semitone. As long as you analyze the relationship between rising and falling every time you play a new piece of music, you will soon remember the names of the symbols of rising or falling within four. I think violin learners can understand and remember it quickly if they analyze it according to my method. As long as you know tonality, time signature and speed, the violin music you play is basically inseparable. It can be said that it is enough for amateur violin lovers to master the above basic knowledge of music theory. If they want to further their studies, they can learn by buying some music theory textbooks for self-study.
It is the luck of violin lovers to learn to relax and play the piano. Only by relaxing can we be harmonious and make a beautiful sound. So how to play the violin to relax? I remember the first time I went to Wuhan Song and Dance Theatre to study with Teacher Wang Weili. I had been studying piano for about four years. After watching me play the piano, the teacher suggested that I start over. I painfully changed the wrong method formed over the years, and later realized that I should play the piano well in this way. However, my crooked ways of playing the piano have become a valuable asset for my future teaching. Let's talk about some common mistakes that the teacher asked me to correct for violin lovers' reference.
1. Hold the piano
Whether the method of holding the piano is correct or not is a key step to relax piano playing. Incorrect method: shrug your shoulders; Clamp the piano hard. Holding the piano like this causes muscle tension, piano fatigue, and difficulty in changing the handle and kneading the strings. When one muscle is tense, so are the other muscles.
The correct way: the teacher asked me to stick the piano on my neck, "align it to the left", hold the piano with the weight of my head, let my left arm swing freely and liberate my left hand. At that time, I was afraid that the piano would drop, and the teacher said, "If the piano is broken, it's on me." Hold the piano without any muscle tension, and keep this relaxed feeling when playing the piano. This is the correct way to hold the piano.
2. Left-handed type
Incorrect hand shape: caught by the tiger's jaws; Palm facing the neck; Hold the piano with the root of your index finger; The index finger is crooked. The teacher said, "Your hands are like crabs", which I will never forget. This hand shape is bound to cause tension, fingers can't be separated, fingers can't be opened and closed, and the playing is not accurate. It also affects the double tone and string rolling, which has no future.
Correct hand shape: tiger mouth open; Wrist flat; Palm to face; The inside of the thumb rests on the neck; The root of index finger exceeds the fingerboard; Changing strings with rudder action means keeping this hand shape no matter which string is pressed; In particular, check that 1 means that the root part cannot be skewed. Even if the finger goes backwards 1, it is backwards, not sideways.
Hold the rope with your left hand.
Incorrect method: the finger action is to press the string up and down, because the root joint of the finger is not moving, but the first and second joints of the finger are moving. The result of pressing the string in this way is that the fingers are weak, the pronunciation is unclear and the pulling is not fast.
The correct way: the teacher opened the piano top cover and showed me the movement principle of the hammer, so that I could imitate the hammer, keep the bent shape of my fingers, only move the root joints of my fingers, put them back and then put them down, and then the fingers fell high and fast from back to front. After putting it down, just relax your fingers and keep the force of your fingers pressing on the fingerboard. To cultivate this concept, the fingers playing the violin can only be separated and closed by moving back and forth, rather than being separated left and right like playing the piano.
Hold a bow
Incorrect bow grip: the thumb joint collapses and holds the bow rod. This mistake is the most fatal to playing the piano. You can never play well, and many slingshot techniques such as jumping can't play well.
The correct way to hold the bow: the hand droops naturally, and the first joint of thumb and middle finger is held in a circle. The thumb is only a fulcrum of the bow rod, and this fulcrum can be moved, so don't hold the bow rod, just hold the bow rod gently with the inside of the thumb tip. The thumb holding the bow is the key. As for the position of other fingers, it is decided by different schools. All schools have excellent violinists, so we can't say which school is the best.
Carry a bow and arrow
Incorrect method: press the string hard; The wrist moves laterally from left to right; Add too much wrist and finger movements when changing bows.
The correct way: The teacher asked me to hold the bow rod gently with my thumb and lift the bow with my center of gravity without any pressure. At that time, I felt that the sound was very light. After a period of training, I realized that the sound was not only beautiful, but also spread far. The teacher trained me a concept: "The volume is mainly bow speed, not pressure." Wrist movements should be consistent with the movement direction of the bow, and wrist and finger movements should not be artificially increased when changing the bow.
Left-hand cooperation
When I was young, I liked to play fast-paced music, but I could never play it clearly. The teacher thinks my left and right hands are very flexible, but the problem is that my left and right hands don't cooperate well. The teacher gave me the following training suggestions: Like the Laton bow, press your fingers first for each tone, and then pull the bow after hooking the string; Practice quickly and slowly, and gradually speed up. In fact, no matter how fast or slow, the left hand must hold the right hand.
The above items are the most basic and important ways to play the piano. I suggest you compare it when you play the piano to see if you are doing it right and relaxed. If it is not correct, it is worthwhile to spend more time to correct it. I have more than 30 years of teaching experience, and many students who transferred to our school to study piano have made great progress after a period of rectification. If the most basic methods are not correct, then training is to constantly consolidate mistakes, and after reaching a certain level, the level will not go up. It's like building a building. If the foundation is misplaced, the building cannot be raised after it is built to a certain height, because the building will collapse if it is built further. If you want to continue building, you must correct the foundation or simply demolish and rebuild. Moreover, the higher the building is built, the more difficult it is to rectify the deviation, so it will be more efficient to rectify the deviation first and then build it. I see that most amateurs learn violin in one way or another. As long as one of these common mistakes exists, it will affect the development of violin technology. The habit of playing the violin is often preconceived. Once a bad habit is formed, it is difficult to get rid of it. Therefore, in the primary stage of learning violin, the correctness of posture and method should be strictly required. As long as the method is correct, even the piano playing in the enlightenment stage will not "saw wood".
Of course, the relaxation of playing the piano is relative, and there must be tightness and looseness. I like to dance modern dance, and it is just right to describe the violin in the right way: stiff but not stiff, loose and unremitting.