The first leap in learning the piano

Learn the piano. From not being able to play some simple melodies at all, to the two hands matching each other to such a stage, a child of fifteen or six years of age. It will take about a year. This is the first step in playing the piano, not to master the piano skills. If you go down, you'll have some trouble.

Play sixteen-point notes composed of a slightly faster sentence, fingers will be twisted and twisted, always not good. In order to be able to play these sentences and improve the degree, teachers then have to work hard to get students to get the ability to play their fingers themselves, students also have to concentrate to learn this as soon as possible.

For students with better conditions, a sharp mind and a sharp mind, such as under the guidance of a reasonable method, they will benefit even unknowingly through this difficult situation. But quite a number of beginners, at this time encountered obstacles, if not resolved well, but also in the future to form a problem. So some people call this difficulty a "crisis". Once passed, it can be said to complete a leap, began to master the piano skills.

A flyover to learn the piano

Why is this difficult? Why is it only after that that it has been set up to master piano skills? This is because the previous playing moves (such as playing monotonics, slow chords, or simple melodies) at this stage are not very different from some of life's movements and are easy to master. Only when you encounter a quick sentence will you have to play with the individual movements of your fingers. Such an action, is to play the piano unique action, in life almost nothing, and very difficult, must be through long-term special training to master, so also can talk about piano skills.

An untrained hand, the situation is roughly as follows: fingers have difficulty moving alone, to lift a finger, the next finger is reluctant to follow the lift; When touching the key, the first joint recessed, scattered and offset the use of a part of the force, so that the sound is ambiguous, the palm of the hand in the playing collapse, shaking; These are all issues that must be addressed.

In training, the following points should be paid special attention to t

(a) Relax your hands and arms and wrists. This is a well-known requirement for relaxation. But relaxation must be linked to strength and the following.

(2) Keep your wrists calm when you play and avoid beating. (The play referred to here is the playing of finger training, the same below)

(3) When playing, the finger should be raised, keep the finger has a large amount of movement.

It's really uncomfortable for beginners to do the above at the same time. In fact, it is not too difficult to do. As long as in accordance with the reasonable method, through a certain number of questions of practice, hands and fingers will slowly acquire this ability. For a six- or seven-year-old, if properly instructed, practice attentive, three or four months or less, that is, a preliminary grasp. Although the speed is not fast, the strength is not great, but after all, the finger can have a little independent ability. After this basic approach is resolved, the rest is on this basis of sustained and unremitting efforts to practice.

Wrist beats when playing is a very harmful phenomenon, if not improved in time, the fingers will be difficult to gain independence. There is a need for a certain degree of control of the wrist, but it is not necessary to cause tension and stiffness by not making it beat. An important reason for the wrist to beat is the lack of independence of the fingers.

Therefore, more students to pay attention to the use of the third joint of the finger to play, gradually make the finger become strong, in order to get rid of the finger on the wrist dependence, wrist to get calm and relax, fingers and wrists are closely related to these two aspects, can not expect from a certain aspect to solve the problem alone.

Wrist acid is also a bad phenomenon associated with this. This is due to the wrist beating, do not relax caused. Some students have bounced to a fairly high level, the fingers also have a certain strength and speed, but such as the bounce of stronger, longer, faster, wrist acid. A car ernie 740, can not even finish;

This is all due to the failure to solve the key problem of finger independence and wrist relaxation from the beginning. A well-trained person can play continuously for a long time without feeling the wrist, as if the wrist did not exist, even if he felt a little tired physically.

When teaching your child to practice, of course, you don't need to talk about it. Teachers who give some examples of images tend to get good results. For example, don't jump on the wrist, you can tell your child to sail like a ship, sailing on a calm sea, not on a choppy sea. Teachers can also cite similar other sideitems to illustrate the requirements.

When starting to do this, the speed of the bullet is not fast, the force is not big, even the fingertip joint a little concave down can be temporarily ignored, can be left to the next step to solve. Speed and intensity, to the students can do the above points of demand to determine.

Whether the students' attention can be focused is a very important question. In order to better concentrate, at the beginning, the two hands practice is very effective. Teachers should pay attention to observe the students' playing, correct the posture in a timely manner, the movement does not meet the requirements of the place, until the students gradually formed the playing habits, to this time that is to master the method.

Early school children, playing one or two groups of scales, as well as Hanon's first few songs (can only play the middle range part), or the lower-level decomposition chords in carney's 599 and some of Baye's practice songs, these can be used to train the material.

Finally, the author of this article draws the reader's attention, the play method of wrist calm and finger raising is referred to in this article, which refers exclusively to the playing method when training the independent ability of the finger, and does not refer to the playing method in the general sense. There is a link between the two, but there is a difference.

Because the modern playing method stronger adjusts the hand and pad body to participate in the playing, break the fixed hand type, constantly adjust the position of the hand, it seems to have contradictions with the above requirements. But the author believes that the basis of piano skills lies in the finger part, the most difficult to master, the most time-consuming and hard-working part. If there is no good finger foundation, it is not about piano skills, not modern playing methods. Therefore, it is necessary to use some specialized methods to train your fingers.

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