Piano improvisation accompaniment is a skill that combines piano playing skills with improvisation accompaniment theory. It is a comprehensive art that the accompanist temporarily matches the appropriate harmony and sound forms in a short time according to the content, style and characteristics of the song without prior preparation, and completes the accompaniment with the piano at the same time of creation. Impromptu accompaniment plays a very important role in vocal music reporting, singing performance activities and music teaching in primary and secondary schools. Good impromptu accompaniment can fully arouse students' enthusiasm and enthusiasm for singing; It can enrich the second creation of songs and play the role of finishing touch. In some performances, wonderful impromptu accompaniment can drive the singer's singing passion and render the atmosphere of the performance, thus making the performance receive good results. At present, piano teaching in normal universities focuses on skill training and teaching, and many students lack the ability to improvise piano accompaniment. One reason is that my piano playing level is limited; The second is to pay attention to the training of skills, play the teaching materials step by step, and have no accompaniment practice. Although it is necessary to improve playing skills and lay a good foundation for playing, it cannot replace the use of impromptu accompaniment. In fact, there is still a serious disconnect between the two. If some people have the ability to play difficult music, but can't improvise a simple song, because the notes, speed, dynamics, phrases and expressions to be played are clearly written for the accompanist, and the accompanist only needs to "recite" them as perfectly as possible [1]. Impromptu accompaniment only provides the melody spectrum of a song, and the accompanist must immediately create and pop up a suitable piano accompaniment according to the content, style, mode, structure and actual singing form and requirements of the song. Therefore, in the process of cultivating talents who can adapt to music teaching, it is very important to practice piano improvisation accompaniment. Not only should you have good piano playing ability, but you should also be able to improvise piano accompaniment in various performance occasions. Such teachers are often particularly popular with teachers and students at school. So what conditions do you need to improve the ability of piano improvisation accompaniment? The following author talks about some experiences and suggestions through his own experience in impromptu accompaniment. First, solid piano playing skills are the premise of learning piano improvisation. Piano impromptu accompaniment is a creative accompaniment process through piano playing melody or texture, so a solid piano playing technique is naturally a necessary condition. All the correct piano playing methods need to be carefully mastered, such as opponent's type, finger standing, wrist application, fingering, reading ability and so on. First of all, we should pay attention to the performance of etudes, at least master the skills of Cherny's works 599 to 299, strengthen the coordination of left and right hands, and constantly improve the speed and granularity. Many piano learners do not take playing etudes seriously. In fact, etude is not only a light practice technique, but also can cultivate a sense of music, because etude has a certain musical image, and there are also many rich accompaniment textures and harmonies that we need to experience and express. Secondly, we should strengthen the training of the left hand. The left-handed kung fu is very important, and most piano learners ignore the training of the left hand. You should know that most of the modes of accompaniment are played with the left hand. For example, Cherny's etudes, the left hand contains a large number of accompaniment patterns. Third, being able to skillfully play the scales, arpeggios and chord connections of the 24 keys on the keyboard, and being able to quickly transpose the keys, is an indispensable basic skill for piano improvisation. Although these exercises are inevitably a bit boring when playing, they should not be underestimated. You must be very familiar with each key to reflect the "improvisation" characteristics of accompaniment. This requires players to be calm and steady at the beginning of practice, and not to rush. The author's experience is to practice one key a week, not two weeks or a month, so as to achieve "step by step, slow and steady." To connect the key chords, you can practice the positive triad (I, IV, V) first, and then gradually add the auxiliary triad, seventh chord and so on. It is suggested that you can do the following basic chord connection exercises: Ⅰ-Ⅳ 46-Ⅳ 6-Ⅰ-Ⅳ 46 Ⅰ-Ⅲ-Ⅳ-Ⅰ 46 (Ⅱ)-Ⅳ 7-Ⅰ. These are the most commonly used harmonic progression in accompaniment, and you should practice every key repeatedly and you can do it in any key. Fourth, we should play more Chinese and foreign music step by step. Different piano music has different technical difficulties and characteristics. By playing, you can master skills that you haven't learned in etudes. It is more important to be familiar with the style characteristics of various music works: classical, national, modern and so on; It can also enhance the sense of music and broaden the musical horizon. Playing a solid piano basic skill is a very important first step in learning piano impromptu accompaniment. Second, the comprehensive application of music theory knowledge is the core and key to learn impromptu accompaniment well. Impromptu accompaniment itself contains a variety of musical theory knowledge. To learn improvisational accompaniment well, we should not only have a good foundation of music theory and harmony, but also have a certain level of polyphony and the ability to analyze works. 1. Harmony is the skeleton of piano impromptu accompaniment, and harmony design is an important part of accompaniment and has the status of "soul". Whether the harmony configuration is appropriate or not directly affects the purpose, rationality and perfection of song accompaniment processing. We should combine the theoretical knowledge of harmony with the practical application of harmony. Feng Degang said in the book Improvised Piano Accompaniment of Songs: "Without the actual sound experience, harmony learning seems to be a boring note arrangement and combination game." In the general song melody, the arrangement can be basically completed by using the positive triad. As long as there are not too many external chords, the whole song will have a harmonious, smooth and full texture effect. However, at the climax or end of some complex songs, the handling of harmony techniques needs specific effects. For example, the song "Song of the Yangtze River" is a broad and magnificent hymn, which sings and praises the Yangtze River through a firm and powerful rhythm. The climax of the song is: "4, 32, 226 │ 5-34 ∣" Ⅳ Ⅱ Ⅴ If the harmony here is set to "Ⅳ, Ⅴ, Ⅴ", the use of II major chords can enhance the tendency of harmony and increase the intensity of harmony, thus effectively promoting the passionate and brilliant emotional development of the song. Another example is the end of the song. If an unstable variable chord falls in VI, it will have a "blocking" effect, and then it will reach the end of the main chord, from unstable to stable, which will make the song more emotional. Therefore, to play impromptu accompaniment well, we must play more chords and their connections, and strengthen keyboard harmony's training. The common chord connection introduced by the author in front must be honed for a long time before improvisation accompaniment can be "handy"! Second, the ability to analyze songs directly affects the quality of impromptu accompaniment. The analytical ability of the works will have great differences on the overall effect of impromptu accompaniment. Can better grasp the structure and style of songs. For example, analyze the musical structure, and make clear the tonality, rhythm, speed and style characteristics of songs. These factors directly affect the choice of accompaniment sound type and skill of impromptu accompaniment. For example, children's chorus songs are mostly in the form of two parts. Piano accompaniment should pay attention to the contrast effect and use methods to arouse children's auditory interest. If it is a melody with cheerful rhythm, it is best to use a semi-decomposed sound form; If it is a lyric melody, it should be played with a fully decomposed sound pattern or arpeggio, which does not need to be too complicated and the technique is simple and clear. For songs with marching style, the column-string style with distinct rhythm is generally adopted to highlight the firm marching characteristics. In addition, such as folk songs and dances (Uygur, Tibetan, Mongolian, etc. ), European and American modern songs and dances (tango, rumba, jazz, etc. ), these music styles have their own unique rhythm characteristics, and they all have relatively fixed accompaniment sound patterns, which requires us to get more contact with and understand this kind of songs, which can help us to accompany many modern pop songs well and is very practical in real life. Third, a good sense of music and rich accumulation of musical materials are important sources of inspiration for improvisation. Piano improvisation is characterized by improvisation, which is the ability of accompaniment to improvise songs in a short time, and also the musical expression of accompaniment's wisdom and inspiration in a very short time. It is the task of impromptu accompaniment to choose a suitable accompaniment scheme, ensure the smooth performance of singing, render music to express emotions and enrich the sound effect. Often good impromptu accompaniment can pop up more wonderful effects than normal music, because the collision of wisdom and inspiration can sometimes make the soul of music more perfect. This seems a bit mysterious, and it seems that only a few "musical geniuses" can master it, but it is not entirely true. Besides the rich theoretical knowledge and playing skills mentioned above, the ability to feel music is also very important. Of course, the sense of music should be accumulated and honed for a long time. For example, when listening to songs, you should not only be familiar with the melody, but also be able to hear the harmonic progression and texture structure of the accompaniment part; Listen to others and accumulate good accompaniment texture; Multi-analysis of orthographic accompaniment is a typical learning method, because orthographic accompaniment is carefully conceived by composers, with exquisite techniques and strong appeal. We can learn from the rich and standardized expression of orthographic accompaniment for our use, and make flexible changes appropriately, which plays a very important role in improving the level of impromptu accompaniment. In addition, most of them accompany different styles of songs, and accumulate music materials in practice, thus accumulating their own accompaniment experience. The thinking and action of piano impromptu accompaniment all happen in an instant, which requires the accompanist to practice hard and quickly, and not to be eager for success. The accompanist should use his own performance to stimulate the accompanist's musical imagination and singing passion, so that the other party can blend in tacitly, singing and piano sound, and the music works can be fully expressed, creating a harmonious and wonderful artistic atmosphere.