Piano improvisation accompaniment for songs is one of the most practical, commonly used, and fastest performance skills in the form of piano accompaniment, which requires the accompanist to combine piano playing skills, keyboard harmony techniques, and knowledge of compositional theory, and to carry out instantaneous artistic recreation under the constraints of melodic conditions and without any prior preparation. Songs piano improvisation accompaniment class has become a compulsory course in all teacher training colleges across the country, is one of the important features of piano teaching in teacher training colleges
Who can introduce the skills of piano improvisation accompaniment
What is called improvisation accompaniment? In fact, it is still the essence of matching chords for songs. However, it's more of a reflection of a person's overall qualities than just matching chords in general. In the bar in the resident band, as well as the band around the performance, in that kind of occasion, on your improvisation accompaniment ability, more have very high requirements, for example, if a certain audience, the pleasure to come, have to sing a song, the song, may be you have not played, or even you have not heard of it. Then how to do? Have to fry now, this is improvised accompaniment. According to my years of experience in playing the piano and accompaniment, the following, I will say from several aspects, how to do a good improvisation accompaniment. 1 Your ear must be good. Maybe you will say, "I certainly have a good ear, in the jet airplane next to drop a pin I can hear ......", I fell, I said here that the ear is good, and not you mean this. Rather, it's your ability to hear and recognize sounds. That is to say, when you hear a melody, you can, in the first place, feel exactly the tone he uses, that is to say, you can form a score in your head. And quickly determine its key (major? Minor key?) , and find the key used by the singer on the guitar. Which in turn prepares you for the next step in the progression. 2 Familiarize yourself with the chords as much as possible This familiarity comes in many ways. For example, you need to memorize all the chords in each key and form a certain pattern of thinking by connecting the common chords in your head. For example, in major and minor keys, the main chord is used at the beginning and the end, and at the end of 90% of the songs, the chord progression subordinate-generic-main is used. The chord progression of the main chorus and the chorus of the song is generally the dominant chord (weak progressions will drop the main chord to the dominant chord and then go directly to the chorus). This is a very important part of improvisational accompaniment. Of course, some rote memorization is unavoidable at the beginning, but you should gradually develop this feeling by playing and analyzing more. 3 On the question of choosing the rhythmic pattern of the accompaniment. In the beginning, if your skills are not yet skilled, it is best to use more dispersed chords in the improvisation, because it embodies the chord color is not particularly obvious, even if you accidentally match a very bad chord, there will be time to correct, of course, after proficiency, you can follow the style of different songs, to match the appropriate rhythm 4 on the fretboard as familiar as possible, so that you can accompany the fretboard in the beginning, but you should gradually develop this feeling through more playing and analysis. So that you can play the chords you want in different positions during the accompaniment. To summarize, you will find that improvising an accompaniment is divided into these steps: hear the singer sing the melody - > form the melody in your head - > find out the key used on the guitar - > assign chords to it - > play it out on the guitar. Playing it out is so many steps, but in practice, it is done almost at the same time. So, it requires you to react quickly, you can't just think of the chords to go with it when the person finishes the song. A few related exercises: 1. Listening and recognizing tones To do this exercise, you should start with a "reverse thinking" approach. Although the ultimate goal is to listen to and recognize notes, this is not the way to do it when you are practicing. You should first find some sheet music and play it on your guitar while singing along with it with your mouth (your guitar doesn't have to be standard, but the relative pitches must be accurate, or else you will form the wrong intervals in your head later on, and you'll be in deep trouble). Practicing in this way, soon you will be able to achieve the ability to sight-read sheet music, and in turn, when you hear a melody, you will be able to hear its sound. 2 Chord Memorization Exercises Generally we start out learning chords in the key of C. For bB, D, and other keys that are close to the key of C, we can use the chords in the key of C to extrapolate. Then, you memorize the key of G. For other keys, you can use the chords of the key of G to make projections. Such as the keys of A, F, etc. And familiarize yourself more on the guitar. Some common sense you need to understand, is that, for example, the second degree of C major is a minor chord, that is, no matter what other major modes, its second degree is a minor chord (that is, in the chord is also added to the end of a m), and that is, the main chord of each key, is the first degree of the major chord of the key, for example, the main chord of the key of C is the C chord, and the main chord of the key of F is the F chord, and so on. 3 Fingerboard Familiarization Exercises You can practice familiarizing yourself with the fretboard by playing the same notes on different strings. You can try to play the same note on different strings and in different positions. For example, on the first string ...... >>
How to play a good improvised accompaniment on the piano?
First of all the basic skills of the piano are necessary. The second is a good grasp of music theory, including chord inversions, the design of the weave, etc.
The most important thing is that you should be able to play a good improvisational accompaniment.
The most important thing is the judgment of chords. A lot of people play improvised accompaniment that sounds harmonious, but is obviously very different from the original, because of the wrong choice of chords. Chords are the backbone of the style of the piece, controlling the emotion and color of the piece.
Impromptu accompaniment does not mean "improvising" each note of a piece with chords, but rather, the accompanist takes the original harmonic direction of the piece as a benchmark, and reproduces and restores it. There may be some differences from the original, but the basic harmonic structure should not be changed. Therefore, the word "improvisation" in improvised accompaniment refers more to the "improvisation" of the accompanist in terms of proficiency and performance status than to the "improvisation" of the harmony.
To learn how to improvise well, you first need to recognize and learn the existing chords of popular song accompaniment and the harmonic direction. I personally believe that part of the popular accompaniment and chord system in China originated from the Canon. Take the Canon accompaniment to "Dandelion's Promise (the first half of the main song part)", "Quiet (chorus *** part)", "Still Love You", "Unfortunately not you (the first half of the main song part)" and other songs on the set, the details will be a little different from the original version, but the general framework is not a problem at all.
Canonic accompaniment belongs to a classification of popular music accompaniment, starting from the main chord progression, the end can be half terminated or completely terminated, generally used in major keys. It is characterized by a descending scale arrangement of the chord roots, a propulsive bass, and a brightly colored chord progression. The chord formula (in the key of C, for example) is: C G Am Em F C F G; C Em A C7 F Em Dm G C. There are also a series of derived chord progressions.
There is also an accompaniment that starts with subordinate chords from the dominant key, with intermediate accompaniment chords stepping down five leaps, and a tail that can be either semi or fully terminated, and can be used in either major or minor keys. For example, the chorus (***) part of the songs "Breathing Pain" and "Too Bad It's Not You", as well as songs such as "Heart Wall". The formula is: F G Em Am Dm G C; F G C Am F G C. F G Em Am Dm Em A. F G C Am F G A (the first two are in major keys, the last two are in minor keys). These are just examples, but in practice there are many variations depending on the composer's and performer's style.
The formula is briefly introduced here, and there are many more chord combinations that we need to understand and learn. In fact, judging from my years of experience, most improvisational accompaniment does not require live chord matching. A competent accompanist should know all types of chord formulas well, and be able to integrate them. When playing in a live performance, he or she will be able to react at the first moment: which formula should be used? Should I use half of it or the whole thing? Should the termination be solved by a heavy chord or by the traditional "subordinate-generic-major" termination? Do you use the original chord as a 7th chord when the chord has a downward 5th progression, etc.?
So, in order to learn to improvise well, the first thing a player needs to do is to practice the accompaniment of existing songs. To put it plainly, just like learning martial arts, you have to practice and familiarize yourself with the routines, and understand a series of sequences, so that you can react quickly in the real battle, and then play a set of consecutive techniques. If you don't understand the true meaning of improvisation, and think that each note in the tune is in time with the chords is "improvisation", then no one can help.
What is the difference between piano playing and piano improvisation
Accompaniment is the left and right hand have a score, look at the play on the OK, improvisation accompaniment is much more difficult, is only the right hand of the score, the left hand pure improvisation, it is a test of skill. Self-playing and singing need to reach a certain level, come on oh!
Piano when to learn improvisation accompaniment is more appropriate?
Good owner, music learning is regardless of age Oh
Improvisation accompaniment to learn quickly
Because the common improvisation accompaniment is so few, as long as you know what beat can be music
If you buy related books to read if learning about a year it
If you practice often can be learned in advance
Left-handed piano, the piano is a good place to learn, but also a good place to learn. Formula 6: 2 5 1 4 7 3 (3 l 5 7) 6
Formula 7: 6 2 5 1 〈1.2〉 3 (first 3 6 7 3 / then 3 l 5 7 3)
Formula 8: 1 5 6 3 4
Formula 9: 1 3 6 3 4 3 2 5 1
Formula 10: 1 3 4 5 1
Formula 11: 1 7 (7 2 5) 6 5 (5 1 3) 4 3 (3 5 1) 2 5 1
Anything else that is not clear to the owner can be followed up
The so-called standard answer may not exist
There will always be a person who knows a part of the answer to your question
But the answer will always be growing again, and between the answer and the answer it will be growing a new answer
Knowledge is a living organism, no matter you are adopting the knowledge of which answerer, I sincerely hope you can adopt a person who really help you.
I wish the owner all the best, and I hope you will be happy with your family!
How to practice piano improvisation
Often hear some people ask about piano improvisation, which can not be said in a few words, but there are always people who ask, and some in the university has learned improvisation, of course, also learned music theory, harmony, ready-made piano music is also playing great, bookstores have so many piano improvisation textbooks, but still can not freely grasp the improvisation skills, and even played 10 years of piano improvisation, so that you can play the piano, but the piano improvisation is also a very important part of the piano. Even after 10 or 20 years of playing the piano, you have never played on the stage (what a pity). Why? First, some people have a good sense of music and good understanding, plus diligent study and hard practice, so he (she) can play a good improvisation accompaniment or performance. Second, must find a stage piano improvisation accompaniment playing experience, understand the music theory of the teacher, so that you can save time to go through less detours Third, to pay attention to the study of music theory. Such as: intervals, chords, scales, keys, modes, rhythms, beats, weaving, polyphony, composition and so on. Fourth, a piece of music to practice with a number of accompaniment scheme, experience the effect of using different chords and accompaniment patterns fifth, every day, insist on practicing a variety of modal scales and chords connected (change of rhythm), to practice in different keys. Sixth, insist on playing a good song (or piece of music) every week, at least in 3 keys to practice seventh, 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 again! Insist on insisting on insisting again!!!
How to play the piano improvisation
Pentatonic modulation
C Palace, D Shang, E Angle, G Sign, A Feather
G Palace, A Shang, B Angle, D Sign, E Feather
D Palace, E Shang, F Angle, A Sign, B Feather
A Palace, B Shang, E Angle, E Sign, F Feather
E Palace, F Shang, G Angle, B Sign, C Feather
B Palace, F Angle, B Sign, C Feather
B Palace, C Angle, F Sign, F Feather
B Palace, C Angle, B Sign, C Feather
B C merchant ascending D corner ascending F sign ascending G feather
Ascending F palace ascending G merchant ascending A corner ascending C sign ascending D feather Equal tone: descending G palace descending A merchant descending B corner descending D sign descending E feather
descending D palace descending E merchant F corner descending A sign descending B feather
descending A palace descending B merchant descending C corner descending E sign descending F feather
descending E palace descending F merchant descending G corner descending B sign C feather
descending B palace descending C merchant descending D corner descending F sign descending G feather
F Gong, G Shang, A Angle, C Sign, D Feather
Pure Rhythm
In addition to the pure eight, five, and four degrees of rhythm, the new interval of the pure and harmonious major third is added as the basis of the method of generating the rhythm and the resulting system is called Pure Rhythm. The main characteristic of the pure law different from the five degrees of the phatic law is that, because the major third of the pure law (pure harmony) is slightly smaller than the major third of the five degrees of the phatic law, there are already minor whole tones and major semitones in the most common natural seven-tone scale. The minor whole tone is the difference between the pure major third and the major whole tone, 5/4 ÷ 9/8 = 10/9, its length ratio is 10:9, the interval value is 182 cents. This major semitone is the difference between a pure fourth and a pure metric major third, 4/3 ÷ 5/4 = 16/15, whose length ratio is 16:15 and whose interval value is 112 cents.
Going back to Ancient Greece, the pure metric major third with a length ratio of 5:4 had already been discovered by Athitas (active from 400 to 365 BC). Eratosthenes (c. 284 BC - 202 BC) had already discovered the pure law minor third with a length ratio of 6:5. Didym (63 B.C. - 10 A.D.) discovered the minor whole tone and its difference with the major whole tone, so this tone difference is also called the "Didym's Tone Difference". This is a tone difference often encountered in the pure scale, but also between the pure and five degrees of similar intervals of the two legal systems, the length ratio is 81:80, the interval value of 22 cents, and nowadays is called the common tone difference or synergistic tone difference. Although in Ancient Greece, there were musicians who discovered the interval of pure law, but as a system of law at that time, it was still dominated by the five degrees of phasic law.
The practice and theory of pure meter is embedded in the performance of the seven-stringed zither, an ancient traditional Chinese instrument, and its related accounts. The intervals of the seven-stringed zither, caused by the presses and overtones of certain emblems, are reflected in the theory of the zither's emblems and tuning method (see the zither law), but due to the late date of the zither law's description, it had less influence on the theory of traditional Chinese music theory, and failed to form a systematic mathematical theory of the pure law.
The ancient Indian theory of 22 Shruti is the oldest and most distinctive systematic theory of pure meter, which was elaborated by the literary theorist Brahmaputra in his Treatise on Music and Dance in the 2nd century BC. The theory does not call for the division of the octave into 22 equal intervals in order to adopt a 22-tone meter, but rather requires that the number of "shrutis" (meaning "hearings," i.e., differences that can be discerned by the sense of hearing) be used to distinguish between similar intervals, with the most notable being the distinction between major and minor whole tones. One of the most important differences is the difference between a large and a small whole tone. According to this theory, "4 Shrutis" are used to refer to major whole tones, and "3 Shrutis" are used to refer to minor whole tones, so that the common difference is represented by "1 Shruti". The composition of the traditional Indian scales is shown in Table 5.
Without the knowledge of pure law, the present generation cannot understand the subtle but stylistic differences between the Indian scales and the major and minor modes, which have different intervallic structures even when the dominant is not yet determined.
Pentatonic Law
Since European music entered the polyphonic period, the problem of the incongruity of the pentatonic law of three and six degrees has become more and more obvious, and the demand for the adoption of the pure law of three and six degrees has become a natural trend, and so some people will bring back the pure law theory of ancient Greece. The English abbot W. Aldington proposed a tone sequence containing pure meter in 1275-1300. In the same century, the German music theorist Franco of Cologne used the pure meter major and minor thirds as harmonic intervals. in the 14th century, the French composer and theorist P de Vitry and the music theorist Jean de Mille (1325-?) proposed, respectively, the use of pure meter minor and minor sixths as harmonic intervals. The French composer and theorist P de Vitry and the music theorist Jean Demille (1325-?) proposed, respectively, the pure melodic minor sixth (8:5) and the pure melodic major sixth (5:3) as harmonic intervals. By the 16th century, the Italian theorist G. Zarlino proposed the pure metric scale based on the establishment of the concept of major and minor triads according to the pure metric theory.
The fifths and the pure scales each have a striking difference, the former is the "ancient difference", the latter is the "common difference", the size is similar. 1726, the French music theorist J.-P. Rameau found a very small gap between the two, called the "small difference", the "small difference". The French music theorist J.-P. Rameau found a very small difference between the two, which is called "small microtonal difference". This sound ...... >>
How to learn piano improvisation on your own?
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Piano Formulaic Improvisation Accompaniment 1351 What It Means
This is the C chord breakdown pattern! Formulaic means: basically all chords can be accompanied by this pattern! Suggestion: look at the marching pattern of the piece! Because this kind of accompaniment is often used in lyrical compositions, where the tempo is not very fast! It is generally recommended to use 2-3 accompaniment patterns for one piece! So it's better to morph again! For example: 15 35 35 35 for four beats (halved or doubled for two beats); 1 5 3 or 15 35 35 for three beats. As for chords, you can basically refer to guitar chords! This way you will soon be able to play improvised accompaniment! If you do not know the chords, you need to learn the simple composition of the chords, it is still recommended to learn the chords of the guitar, it is recommended to use only the basic chords, and then learn the composition and use of the chords of 7, 9, 11, etc. After you have mastered the chords, you will learn the composition and use of the chords.
What do I need to know to improvise on the piano?
1. tonal analysis. 2. chords. 3. arpeggios.
4. intervals (common for 3.6.8 degrees 4.5 degrees is also required. This varies from person to person)
The most important thing is music theory. Timing, rhythm, speed, strength and weakness...