In the last hundred years, the simple notation system has been introduced into China, and this system uses the initial key method. Most of the music teachers and popularizers in China still use the simple notation and the initial key method. This is favorable for us to play improvisation accompaniment, because in the piano improvisation accompaniment creation, first of all, to establish a clear tonality (i.e., the main tone of the high and low) concept, especially pay attention to the interrelationship between the tonality, modulation, and sometimes even rely on perceptual intuition to improvise. Therefore, it is easier to establish the concept of the first key and use the first-tone singing method to clarify the tonality, configure chords, or temporarily shift and transpose the key.
Practice has shown that simple music can sometimes play the role of the five-line score can not play. Because it is not like the pentatonic score, subject to the limitations of the fixed pitch position, but can be changed at will. Of course, if the simple score, the five-line score, the first key of the choral method and the fixed choral method of the four mutually integrated, which is flexible for us to master the piano improvisation accompaniment technology, is very useful.
To play a good piano improvisation accompaniment, you must have three conditions:
(1) to master a certain amount of basic knowledge of music theory;
such as harmony, works of analysis, compositional method and so on. Improvisational accompaniment belongs to the category of polyphonic music, of course, need the foundation of harmony, and the level of harmony theory is directly related to the acoustic effect and expressiveness of the accompaniment. While applying the knowledge of harmony, we also need to analyze the genre form, key, tune and content of the song, which requires a certain ability to analyze the work. For a complete piece of work, whether or not you can properly choose the harmony, weave, and accompaniment pattern mainly depends on whether or not you analyze the work clearly and y, such as what is the key, what is the content of the song, what is the rhythm, what is the tempo, and what kind of stylistic characteristics and so on. Consider the chord structure, harmonic effect, style and the content of the work is unified, these are to determine through the analysis of the work. There are many differences between a beautiful lyrical song and a firm and powerful march, and the treatment of the same song between each section and from the development of the presentation to the climax cannot be the same. Therefore, it is necessary to analyze the work from the point of view of the accompaniment, so it is necessary to master the ability to analyze the work.
(2) To master a certain keyboard playing ability; at least should have the level of Cherny 849 middle to play the accompaniment, but in the actual playing process, in order to richly express the content of a certain piece of music, it should have the level of Cherny 299 middle, so as not to appear a little clumsy. The actual learning process should synchronize the development of piano skills and improvisation accompaniment skills. Once you have mastered the fundamentals of the piano, you need to make statements in certain forms. Accompaniment pattern is applied to the specific works of the regular statement of the form, and this form is appropriate, how to be appropriate, there should be a certain basis. Such as the performance of the piano, the characteristics and expressiveness of the accompaniment pattern, the method of playing and the accompanist's existing level of piano skills, the level of the application of the ability and so on.
(3) to develop a good habit of hands and brain at any time, that is, diligent and scientific piano practice, the spirit of hard work. First of all, we must be prepared to think, to start from listening, watching, practicing and writing. Listening" means listening to music, especially listening to the accompaniment patterns and patterns; "watching" means reading music scores and analyzing the works on the basis of mastering certain music theories; "practicing" means actually playing the basic exercises and pieces; and "writing" means practicing with the hands. Practice" refers to the actual playing of the basic exercises and music; "write" refers to the familiar improvisation accompaniment with five-line scores written into the formal piano accompaniment score. As long as we are diligent in thinking, good at analyzing, hard work, practice, perseverance, will be able to play a good improvisation accompaniment.
Abstract: Higher teacher training colleges and universities are mainly responsible for the task of cultivating qualified and applicable teachers for the society and basic education. Many of the higher teacher training colleges and universities in the music school (department) in the piano teaching, most of them pay great attention to the piano playing skills skills training, which for the students to systematically master the ability to play the piano undoubtedly plays a pivotal role. However, the high level of piano playing alone does not necessarily solve the improvisation accompaniment ability needed for practical work. In the higher teacher training colleges and universities music education majors to open the piano improvisation accompaniment course has a positive and special significance and role.
Keywords: higher teachers, piano improvisation accompaniment, cultivation
The main task of music education majors in higher teachers is to cultivate professionals who systematically master the basic theories, basic knowledge and basic skills of music disciplines, and who have correct aesthetic concepts and a certain degree of research ability in music education. In the curriculum, many higher teacher training colleges and universities, according to the relevant provisions of the Ministry of Education and years of school practice, generally most of the basic music theory, sight-singing and ear-training, piano, voice, instrumental music, harmony, introduction to folk music, chorus and conductor, song composition, song analysis, Chinese and foreign music history, polyphony, computer music, music teaching method, piano improvisation accompaniment, form and dance and other professional courses. Among them, piano improvisation accompaniment is a course that integrates piano playing skills and piano improvisation accompaniment theory.
One, the significance of the piano improvisation accompaniment course for teachers
The opening of the piano improvisation accompaniment course has a positive and special significance and role in many higher teacher training colleges and universities, both the students and the teachers generally pay more attention to the training of the piano playing skills skills, imparting and learning, these training and learning, for the students to systematically master the ability to play piano undoubtedly plays a pivotal role. These trainings and studies undoubtedly play an important role in students' systematic mastery of piano playing ability. However, higher teacher training colleges and universities are mainly responsible for training qualified and suitable teachers for the society and basic education, so the high level of piano playing alone cannot solve the problem of the ability needed for practical work. For example, some students are able to play difficult music but cannot accompany a simple song. This kind of seemingly high-quality "piano teaching" is actually contrary to the cultivation goal of the higher teacher training program in music, and also contrary to the needs of the society. The main reason for this is that the problem of piano improvisation accompaniment has not been solved. The goal of music education in higher education is to train qualified music teaching personnel to adapt to the needs of basic music education, both with good piano playing ability, but also in a variety of occasions need to improvise piano accompaniment, and only in this way, the graduates we have trained will be welcomed by employers.
Two, piano improvisation accompaniment classification
Piano improvisation accompaniment according to the accompaniment of the weave and sound pattern, in general, can be divided into three categories:
(a) with the melody accompaniment
This accompaniment is usually used in the way is a hand playing the song melody, and a hand playing accompaniment sound pattern. This type of accompaniment requires the player to have good audition skills or be very familiar with the melody of the accompaniment song. In actual improvisation, it is not possible to know every song, so a good auditioning ability is required along with a certain level of piano playing skill. In melodic accompaniment, most of the accompaniment patterns are concentrated in the left hand, but when the melody is "left-handed", the accompaniment patterns go to the right hand as well. When playing simple songs or children's songs, we can use the inner-octave accompaniment pattern, which produces a clear image of the accompaniment without much difficulty in technique. If we play some difficult songs, and also need to carry out the necessary artistic processing, it is more common to use the bass and two octaves of the accompaniment pattern to play, this accompaniment can be clearly divided into three relatively independent parts of the song, that is, the bass part, the alto part, the melody part. For example, a melodic accompaniment can be used to accompany the song "Newspaper Selling Song". The left hand uses a semi-decomposed chord pattern within an octave in a jumping progression, and the right hand plays the melody, which will achieve good results [1].
(2) Accompaniment without melody
Accompaniment without melody means that the left and right hands play the bass and the accompaniment patterns respectively, and there is no melody in the accompaniment or the melody appears occasionally or the melody of the song is hidden in the harmonic body. Since the melody is not played, the division of labor between the two hands is more flexible, the patterns and combinations of the accompaniment patterns are more flexible, and the sound area of the accompaniment patterns is wider, more colorful, and more varied, which also strengthens the musical expression. Compared with the melodic accompaniment, it also reduces the difficulty of playing, and thus becomes a preferred improvisation accompaniment method! For example: to the song "Song and Smile" accompaniment, the use of no melody accompaniment, both hands *** with playing lively and cheerful semi-decomposed chord progression, the left hand to join the bass effect, you can successfully portray a group of naive, lively and lovely image of the teenagers.
(C) Comprehensive accompaniment
Whether with melody accompaniment or without melody accompaniment, there are certain defects, if only one method, it is difficult to play the accompaniment effect of a song to a higher realm, but the combination of the two together, then the two methods of complementing each other, contrasting each other, it is just right to make up for the respective shortcomings of the accompaniment function of the volatile The function of accompaniment is maximized. For example: to the song "the sea ah hometown" accompaniment, in the prelude, interlude, coda and the song's climax part of the melodic accompaniment, and in other parts of the use of non-melodic accompaniment, which not only reduces the difficulty of the accompaniment, but also enriches the form of accompaniment, accentuating the performance of the music, and to make the musical level more obvious.
Three, the cultivation of piano improvisation accompaniment ability for teachers
(A) have a solid piano playing skills
Piano improvisation accompaniment and piano playing are both different and connected, the connection is that piano playing is the technical basis of improvisation accompaniment, and the difference with piano playing is that accompaniment must serve the needs of singing, on the basis of the song's melody, make full use of the technical and theoretical knowledge of the composition to improvise and play the music. Theoretical knowledge of improvisation to play the accompaniment weave, while more emphasis on the development of transposition ability, such as: on the keyboard to play twenty-four major and minor scales, arpeggios and chord connections and fast transposition is an essential basic skills of piano improvisation accompaniment. The ability to play out of tune is a difficult skill in improvisational accompaniment, and needs to be honed over a long period of time. At the same time, pay attention to the control of timbre, because different timbre processing produces completely different musical moods, and more importantly, in the process of accompaniment, the control of the left hand timbre requirements are very high, and these requirements are based on a solid foundation of piano playing [2].
(2) Harmony application is the role of piano improvisation accompaniment
Harmony design is an important part of the piano improvisation accompaniment with the status of "soul", and the appropriateness of the harmony selection directly affects the purposefulness, reasonableness and perfection of the accompaniment treatment of the whole song. In the general melodic progression, the use of tonic triads can generally maintain the harmony and smoothness of the main melody and the fullness of the weave, but in the climax of the song and the transposition, the use of harmonic techniques and processing is required to reflect a specific effect. In the actual practice, we can't combine the harmony theory and practice, and can't choose chords appropriately, which should be remedied by playing more chords and chord connections, listening carefully to the sound changes, and feeling more acoustic effects, and also adding the writing of the song's harmonic contour appropriately, mastering the use of chords in the actual works, strengthening the training of the keyboard and harmony, and strengthening the ability to perceive the actual sound, which is beneficial to the harmony design ability in the piano accompaniment. Piano accompaniment in the harmonic design ability to improve.
(3) The ability to analyze the work is a prerequisite for the design of piano improvisation accompaniment
Having a certain ability to analyze the work for the design of the piano improvisation accompaniment will produce a more holistic effect, the accompaniment of the song is a one-part body or a two-part body? Is it a contrasting structure or a parallel structure in the two-part body? All according to different characteristics to be dealt with separately. In the piano improvisation accompaniment design first have a clear understanding of the song's structure, in the playing will be able to better grasp the whole song accompaniment framework, so that it has a reasonable overall layout. A certain ability to analyze the work for the piano improvisation accompaniment in the song on the overall framework of the establishment of a more accurate positioning, no matter in the logical development of the structure and style characteristics of the treatment of the situation can achieve a more ideal.
(4) The key to a good accompaniment is to deal with the prelude, interlude, and coda
The prelude is very important, as it enables the singer and the listener to enter into the specific environment required by the song. In the musical image of the prompt, the mood of the brewing aspects of the preparation, so that the singer and the audience in a proper atmosphere to express the music and appreciate the music. Interlude is a bridge connecting the section and phrase, if there is no interlude part of the participation is not able to successfully complete the music of the conversion and transition, especially large-scale works and art songs in the middle of the interlude is more important. Coda playing can make the theme of the song to the sublimation, in the structure of the role of complementary, especially in the end of the strong to the song to increase the power and sense of closure. All three in the accompaniment belongs to the player's personal colorful display of the part, play well is the highlight, play bad, the whole accompaniment will be eclipsed. For example, when we play the accompaniment of the song "Remembering Qin'e - Loushanguan", the prelude part should be played out a kind of impassioned, magnificent momentum, reproducing the Red Army's long march, the iron horse and the golden goose of the spectacular scenes. Introduce the audience into the atmosphere of sadness and heroism for the later singing into a good preparation. If the prelude is played softly, the overall artistic image of the song will be greatly reduced. At the same time can not drive the singer to sing with passion. The interlude repeats the splendor of the intro, and gives the singer time to rest and prepare for the rest of the song. Accompanist at this time through the magnificent accompaniment means to give the listener extremely shocking sound effects, the artistic image of the song for sublimation. The coda part of the playing to shape the revolution is about to win, the joy of the light is coming, the whole song to summarize the supplement. The artistic image of the song is sublimated again [3].
(E) more reference to the score accompaniment is to play a good improvisation accompaniment of the necessary means
Score accompaniment is the composer in the process of creation of carefully conceived, exquisite methods of expression, artistic infectious force is very strong, and even accompaniment part of the melody part has the same importance of the position. Piano improvisation accompaniment and score accompaniment is a kind of accompaniment corresponding to the existence of the two have the same important position, the reason is that the accompanist can be in a wealth of experience on the basis of improvisation, accompanied by a deep understanding and grasp of the style of the song content, mastery of skilled piano skills and a variety of accompaniment weaving techniques. But more analysis of the original score accompaniment, drawing on the original score accompaniment standard creative achievements, rich and delicate expression, mastery of the commonly used accompaniment weave and harmonic techniques, to effectively improve the level of improvisation accompaniment, undoubtedly has a very important role [4].
Of course, to play a good piano improvisation accompaniment, in addition to the above necessary technical training, but also must have good harmony design ability and learn to deal with the prelude, interlude, coda, and learn some popular music accompaniment accompaniment and learn their more unique on the harmony, texture and style of the processing method. While strengthening the training of basic skills, students should also practice diligently and courageously, and teachers should provide more opportunities for students to practice, so that there will be a breakthrough in the level of improvisational accompaniment! The simplest thing is to look at the right hand melody and the key of the piece
such as C major, generally 135 146 as the main expansion, such as chords, broken down chords, arpeggios
Often heard some people ask about the piano improvisation accompaniment, which can not be clear in a few words, but there are always people ask, and there are some in the university has learned improvisation accompaniment, of course, also learned the theory of music, Harmony, ready-made piano music is also great, bookstores have so many piano improvisation textbooks, but still can not master the improvisation accompaniment skills, and even after playing the piano for 10 or 20 years have not played on the stage (what a pity). The first is that it's not a good idea to have a good time.
First, some people have a good sense of music and a good understanding, plus they study hard and practice hard, so he or she can play a good improvisation accompaniment or performance.
Second, we must find the stage piano improvisation accompaniment playing experience, understand the music theory of the teacher, so that you can save time less detour
Third, we must pay attention to the study of music theory. For example, intervals, chords, scales, keys, modes, rhythms, beats, weaves, polyphony, compositions
and so on.
Fourth, a piece of music to use more than one accompaniment program to practice, to experience the effect of using different chords and accompaniment patterns
Fifth, every day, insist on practicing a variety of modal scales and chord connections (change of rhythm), to practice in different keys.
Six, insist on playing a good song (or piece of music) every week, at least in 3 keys
Seven, insist on listening to and analyzing a song every week (chords, rhythms, accompaniment patterns, polyphony, the emotion of the song, etc.), recorded to play
Eight, practice practice practice practice! Adhere to adhere to again!!!
Minor keys are not the same as major keys
That's all