The "Bayeux" course is divided into three parts: the first stage, the second stage and the appendix, with 109 exercises, 34 appendix exercises and 22 pieces. Today's study can be selective, planned, targeted to play the entries. Of course, when conditions permit (such as sufficient practice time), playing correctly through the whole piece, article by article, will certainly achieve greater gains in music learning. At the stage of basic piano practice, it is also an effective way to learn the piano by using the entire "Bayeux" as sight-reading exercises. The following will be based on the People's Music Publishing House in August 2000 version of the "Bayer basic piano course" to analyze the discussion.
"Bayer" in the first stage of the right hand key touching exercises (page 6), left hand key touching exercises (page 6) and two-hand key touching exercises (page 7), the back of the appendix in the right hand playing exercises (page 76) left hand playing exercises (page 77) and two-handed exercises (page 79), can be planned and purposeful These exercises can be distributed in the daily practice of a certain stage as the consolidation and improvement exercises of broken playing, high lifting finger non-continuous, continuous and semi-continuous tones, to optimize the hand shape, to standardize the fingering, and to further experience the relationship between the state of force and the state of loose passages in the playing.
The "Twenty-four Major and Minor Scales" (p. 83) in the appendix of "Bayeux" provides a good foundation for the development of the four-octave scale of "Hanon". It can be used in combination with the scales of the "Hanon" to further rationalize the fingering sequence and to familiarize yourself with the keyboard position. The "Sequence of Keys and Relationships between Major and Minor Keys" in the appendix of "Bayeux" can be practiced in conjunction with tonal discrimination, scale playing, manual memorization, and aural memorization, to obtain the dual benefits of learning to play the piano and learning to play music.
From the analysis of the types of playing techniques, "Bayeux" can be divided into the following eleven categories: First, the fixed position playing, such as the 12th-31st, 56th, 44th-45th. The second is the playing of chordal accompaniment patterns, such as the 46th, 48th, 50th, 52nd, 55th, 59th, 66th, 74th, 77th, 80th, 81st, 82nd, 88th, 89th, 90th, 91st, 94th, 96th, 97th, 98th and 100th. The third is the practice of balanced development of both hands, e.g., Articles 60, 72, 83 and so on. Fourth, the hands "drop and roll" to play the "five-note phrase" keyboard movement exercises, such as Article 62. Scale playing and scale style training, such as Articles 65, 75, 81, 82, 83 and so on. Sixth, double-tone playing exercises, such as Articles 68-71, Article 67, Article 84, Article 90, Article 97 and so on. The seventh is the practice of playing the change notes and ornamental notes, such as: Article 80, Article 100, Article 102 and so on. The eighth is the practice of musical rhythm, such as: Article 88, 89, 98, 102, etc. Chromatic scales, e.g., 108th and 109th. Ten is fluency playing exercises, e.g., Article 87, etc. Eleven is a small music playing exercises, such as: Irish folk song "Years ago" (Article 78), etc..
The preparatory exercises before playing the C major scale - "up and down finger practice" (at least eight times) content (p. 46), as a very important content to master, it is a key to get the key to the scale, never! It is a key to the essentials of the scale, and should not be taken lightly.
All of the major and minor scale exercises (after p. 46) and the chromatic basic fingering exercises (pp. 73-74) in the tutorial should be mastered.
In the study of "Bayeux," you can take the 60th, 62nd, 65th, 66th, 72nd, 80th, 81st, 82nd, 83rd, 84th, 87th, 88th, 89th, 90th, 96th, 97th, 98th, 100th, 101st, 102nd, 108th, and 109th, 108 and 109 (22) as the focus of the content of the mastery, and rich in the musical art of playing the performance.
For the practice of Article 84, the two methods of playing can be used in order to improve the sense of solidity of the fingers and the ability to move the fingers independently.
The Bayer program is a collection of Etudes, which is a genre of music that is designed to improve technique and achieve certain technical goals. However, treating Etudes as musical exercises enriched by musical expression is a modern and more scientific concept of learning.
Many of the pieces in the Bayeux are capable of forming a distinctive musical image if they are psychologically enriched with musical aesthetics and tempo. For example: the 66th and 89th, there is a beautiful stretch of the nature of the dance; the 81st, 82nd and 98th, you can play a lively and joyful image of the round dance; the 80th, 88th and 100th, you can play a light-hearted and lively image of humor; the 90th, you can play a hunting song of the genre characteristics and so on.
The first book of the "steel base" used "Bayer" four articles, that is, pages 22, 37, 41 and 42 on the practice song.
"Steel base" book 1, page 22, "Exercises" is "Bayeux" article 77, the piece of music speed labeled Moderato (medium speed, about 88 beats per minute), but the practice of 76-116 beats per minute music speed. The right hand should pay attention to breathing in short and long phrases, the chordal accompaniment patterns in the first and third bars of the left hand should be clearly metronomic (the same below), and the rhythmic imitation of the right hand melody in the second and fourth bars of the left hand should be emphasized in tone. The eighth note should be played evenly and consistently, and the dotted half note should be kept in time. Pay attention to the intensity of the changes in the music, strong playing in the transport finger to be highly consistent, sound round and full of coherent; weak playing in the transport finger to be dexterous, clean and refined, control of proportionality, so that the sound is weak but not floating. Playing this piece at 120 beats per minute can show the genre style of competitive music.
"Steel base" book 1, page 37, "Exercises" is "Bayeux" article 88, the music is labeled Moderato speed, practice can be used to 80-116 beats per minute music speed. The left hand is a chordal accompaniment pattern with a held bass, and the little finger should play deep and hold the time. The left hand pattern should also be played with a layered voice. The left hand accompaniment is a two-beat pattern unit, played with ""five-one-three-one"" or "five-one-two-one" fingering, paying attention to the left hand five fingers and one finger continuity. Dotted note rhythm of the right hand to be precise, especially with the left hand to achieve a natural combination of coherent, practice can be practiced first right hand, and then with the left hand to practice a good bar, to find the feeling of playing and then after the development of practice, so you can get twice the result with half the effort learning effect. The right hand of the 7th-8th bar is a G major scale in two octaves upward running, in accordance with the requirements of the scale playing method to break up the fine practice (the same below). The highest note on the right hand in the 8th measure is changed to eighth note jumping, to be accurate, this sound jumping rebound point is also the following low-octave tone playing focus on the landing point, the wrist and arm to be smooth through the natural. The eighth note skips at the end of the piece, not too short, to do a good job of ending the piece with a sense of completion. The dolce at the beginning of the piece is beautiful and soft, and we should try to achieve the contrasting changes in strength and the gradual trend of the scale upward, and pay attention to the performance of the strong note markings. Playing this piece at 120 beats per minute will show a light-hearted and humorous character of the piece.
The "Exercises" on page 41 of the first book of "Steel Basics" is the 80th piece of "Bayeux", and the tempo is labeled as "Allegretto" (Allegretto, 108 beats per minute), but you can use the tempo of 86-116 beats per minute to practice. . The left hand accompaniment is labeled leggiero, meaning light or soft, and should be played with the rhythmic rise and fall of semi-broken chords in 4-3 beats (see Lessons 8-9 for details). The right hand should be prepared to adjust the black and white key position when playing phrases with changing notes. The right hand should be concerned with weak rising tones. The front leaning note of the right hand should take up home note time and be played in synchronization with the quarter note on the left hand, but should not take up more home note time in order to play a light and flexible ornamentation effect. In bars 9-12, the right hand and the left hand will cross the keyboard, and the visual and manual senses should pay attention to memorize the distance of the keyboard to ensure the accuracy of the playing. The left hand chord accompaniment pattern can be used in the first beat and the second beat plus a legato line playing method, the first beat on the single tone strength of the deep to connect to the second beat of the double-tone skipping, the third beat and then use the double-tone skipping, the formation of "strong weak weak" distinctive sense of the beat, so that the piece of music more light and lively. Listen to the tonal color changes between D major and G major, and pay attention to the contrast between strength and weakness and the gradual strength and weakness of the piece. Playing at a tempo of 126 beats per minute, you can express a witty and humorous musical image of the piece.
The "Etude" on page 42 of the first book of "Steel Foundation" is the 81st piece of "Bayeux", and the tempo is labeled as "Allegretto" (Allegretto), but you can use the tempo of 86-125 beats per minute for practice. The left hand chordal accompaniment is the same as in "Bayeux" No. 80, and is also labeled leggiero. However, the former is in the keys of D major and G major, while this exercise is in the keys of A major and D major, and there is a distant bass seventh chord (bar 3, etc.), so be aware of the change in the keyboard position and the change in tonality. The piece is in ABA triad, A section is the 1st-8th bars, in the key of A major, the right hand is an A major scale melody, to play the sense of fluency of the phrase and the characteristics of the weak melody, at the same time, pay attention to the general law of the upward gradual strength and downward gradual weakness of the characteristics of the law and rich in the practice of the cuts.B section is the 9th-16th bars, in the key of D major. In D major, for the genus relationship transposition (this is the Western tradition), the 9-10 bars of the right hand for the smooth fingering, the 11-12 bars of the right hand contains through the fingering, the 13-15 bars for the wheel fingering, playing to pay attention to fingering norms and pay attention to the strong note marking and wheeling the finger when the tone of the weak start. In measure 16, the right hand's octave jumps should be decisive, and two strong notes should be played. 17-24 measures are a reproduction of the A section, and attention should be paid to the sense of completeness of the end of the piece. Playing at a tempo of 140 beats per minute, you can express a light and lively musical image of the round dance.
Playing "Bayeux" with a sense of musical imagery can bring a certain amount of interest, but ultimately, it is important to be aware of the technical content of the training in "Bayeux". Such as: mastery of the fingers to support the weight of the arm, the arm weight of the playing method (Article 64 before), pentatonic position of the basic hand, the basic hand on the polyphonic weave (such as Article 19), the basic hand on the polyphonic factors and sustained tone (such as Article 29), the basic hand on the imitation of polyphonic characteristics (such as Article 60), rhythmic training (such as Articles 44, 48), the use of finger-through and finger across the method of playing Scale training (Article 65 and onward), the third and sixth diatonic legato (such as Article 68-71, Article 84, Article 67), chromatic scales even and smooth playing, ornamental playing and so on. The above mentioned playing techniques should be mastered correctly and skillfully, in order to lay a good foundation for subsequent in-depth study.
Playing "Bayeux" at the level of "599" or even "849" is an ideal pursuit of quality optimization, which can be enriched by practice, such as: playing "Bayeux" at the level of "599" or even "849". For example, repeating an entry of "Bayeux" many times and playing it faster; playing a certain entry with a faster tempo and different playing methods, etc., are all ways to optimize the quality of "Bayeux". A good level of "Bayeux" playing is an important guarantee for the success of the "599" study. Ferdinand Bayeux is an excellent, experienced piano educator, his "Bayeux" course was written in the 1850s, nurturing generations of musicians to thrive, the value and significance of her practice is extremely profound and far-reaching.
When discussing the musical image of "Bayeux" performance, the above mentioned dance, round dance, humor and hunting songs, which are the names of musical genres. The characteristics of these genres are described below.
Dance music is a kind of accompaniment originating from dance, with a distinctive beat, often accompanied by typical rhythmic patterns and national character. Such as the minuet and the gavotte.
Waltz (Waltz) translated as "waltz", is a three-beat dance music, originated in the German folk, the eighteenth century into the Vienna court, the nineteenth century by the development of Weber to the "king of the waltz," Johann Strauss, the prevalence of Waltz has a rapid rhythmic pattern and national character. Waltz has fast, medium and slow speed, flexible rhythm and expressive melody. Light and passionate, languid and lyrical, and soft and contemplative, can be expressed in this kind of dance music. Accompaniment for a bar of a chord, accent on the first beat, with quarter note rhythm of the accompaniment pattern, in three beats in the performance of "strong weak weak" rhythmic ups and downs. For example, the Blue Danube Round Dance composed by Johann Strauss.
Humor (Humoreske), also known as the "funny song", the music is fun and optimistic, lively and angry, music, especially rhythmic power. The most popular Humoreske can be said to be the nineteenth century Czech composer, pianist Dvorak's Humoreske.
Hunting songs are a kind of Western hunting songs, produced in the 14th century, commonly used in the same degree of round singing form, art depicting the capture of hunting and yelling scenes, vivid and realistic, fast-paced, spirited.