After reading a famous book carefully, I believe everyone has gained a lot. Write a review and record your gains and contributions. So how should I write my thoughts after reading? The following is my review of piano impromptu accompaniment course, which is for reference only and I hope it will help you.

The piano impromptu accompaniment course I watched was compiled by Mr. Feng, a professor at Tianjin Conservatory of Music. The earliest version was 1994 in July, and it was printed for the second time in May 2002. It is a traditional impromptu accompaniment course, which is very different from the "Pop Piano Impromptu Accompaniment Course" edited by He Chu and He Shan. But for those who study and study piano impromptu accompaniment, it is the foundation of this course and has great value trend. Because I first systematically studied the modern improvisational accompaniment theory and then the traditional accompaniment theory, I have a horizontal and vertical comparison between modern and traditional improvisational accompaniment courses.

Piano impromptu accompaniment course is based on tradition, acoustics and four harmonies. After talking about "how harmony matches melody" and "the evolution of accompaniment texture", this theory is also applicable to the left-handed four-part accompaniment, whether with melody or without melody. Then gradually transition to the left-handed three-part and two-part accompaniment, the method of increasing or decreasing the parts, the simplification of the accompaniment spectrum and so on. Strong logic, simple operation and easy memory. However, compared with the accompaniment courses supported by modern harmony, its shortcomings are particularly obvious.

First, the shortcomings of chord symbols

In the traditional harmony course, chords are marked by scale notation, which actually describes chords according to the first key, so the traditional piano improvisation accompaniment is based on traditional harmony and also adopts scale notation. This notation requires the performer to have a deep foundation of traditional harmony theory and a very strong ability to cope with the change from fixed key to first key in actual performance. How many people can study such a high demand thoroughly? In addition, because every major is related to it, and minor uses the same key signature, the question of whether minor triad belongs to major or minor has always been complicated. Instead of being so complicated, it is better to choose simple and clear notation-pitch (that is, sound name) and chord notation, such as C, Dm, Bdim7 and so on.

Second, it emphasizes that accompaniment is absolutely for singing and lacks interactivity.

Traditional accompaniment advocates that "accompaniment is accompaniment, which is regarded as an independent voice", and does not use gorgeous accompaniment texture, emphasizing that accompaniment is absolutely for singing, and accompaniment is only a secondary position, lacking the interactive relationship between accompaniment and singers in music.

Third, it overemphasizes the position of the positive triad in consolidating tonality, ignoring the rich tonal functions of the auxiliary triad and seventh chord.

Traditional accompaniment and modern impromptu accompaniment give people the impression that traditional accompaniment is too simple, orthodox and serious, while modern accompaniment gives people the impression that it is gorgeous, relaxed and flexible. Moreover, because the modern popular piano accompaniment attaches importance to the minor chord, the seventh chord and the minor seventh chord, and treats major triad equally, it adopts the "survival of the fittest system", and whoever has strong acoustic expression ability can use it, and whoever the player likes can use it. In addition, in order to enrich the harmony colors in modern popular pianos, extended chords, such as G(*add 1 1), namely sol, si, do and re, were newly born. Continuous chords, such as Csus2, that is, do, re, sol.

Fourth, the bass is not smooth and melodious, and the accompaniment texture is dull.

Pop piano improvisation has broken through the application of tradition and acoustic theory. Bass is no longer only emphasizing the harmony function, but tends to be melodic and streamlined. Accompaniment skills are also integrated into the modern harmony system and the band accompaniment skills of modern pop music. The accompaniment texture is no longer limited by the fixed accompaniment texture mode, but changes freely from loose to tight according to the melody rhythm of music. Meanwhile. No longer influenced by the general idea and artistic conception of the lyrics, it is more humane to choose a more free and prominent improvisational accompaniment method.

Fifth, it is absolutely not allowed to solve subordinate chords, and it is overemphasized to solve subordinate chords.

In modern popular piano accompaniment, it is not surprising that subordinate chords are allowed to be solved from subordinate chords, and even parallel five octaves appear.

Although there are so many problems in this piano impromptu accompaniment course, it is not the difference between this book and modern harmony accompaniment, but the difference between traditional impromptu accompaniment course and modern pop piano impromptu accompaniment course. We should not only see the changes of the times and aesthetic effects from the changes of the two systems, but also trace back to the source and thoroughly understand the connections and differences between the two systems. Better understand the actual value of improvisational accompaniment, the purpose of accompaniment and the standard to measure the level of accompaniment. Therefore, it is necessary to study the indirect experience of modern improvisational accompaniment, and learn, compare and summarize the direct experience of traditional improvisational accompaniment.