Fanessay整理了一篇essay范文--Ability to improvise，本篇文章讨论的内容是关于即兴伴奏方面的，可以供同学们了解下。即兴伴奏是根据歌曲旋律的，钢琴的即兴伴奏是门综合性和实践性很强的学科，不管是钢琴伴奏基础好还是弹奏基础差，想要真正掌握这项能力，并非是一件易事。即兴伴奏的自主性强，更容易促进学习者对即兴伴奏的学习兴趣。尤其是一些炫技式的表现，是演奏者的乐趣，而这种自主学习与表现，通常都更加容易促进学习者对即兴伴奏的学习兴趣。通过了即兴伴奏的表现力，可以提高学习者对作品的感受、表现力和理解，并且增加学习者对音乐的兴趣，促进学习者自主学习。
At present, many piano learners have mastered certain piano playing skills, can play some famous piano works, also have great interest in piano improvisation. Being able to improvise for a song or instrumental has become a skill many people aspire to acquire. For teachers engaged in music classroom teaching and vocal music teaching, piano improvisation is particularly important.
Piano impromptu accompaniment is a comprehensive and practical subject. Whether it is good or not, it is not easy to master this ability. Most people have a desire to learn impromptu accompaniment at the beginning of learning, but into the actual learning and playing, it is difficult for many people. This paper discusses the cultivation of piano improvisation accompaniment ability from the following aspects, hoping to arouse learners' resonance.
Since impromptu accompaniment has strong autonomy, it is easier to promote learners' interest in impromptu accompaniment. In particular, some showy performances are the fun of performers, so this kind of independent learning and performance is often easier to promote learners' interest in learning improvisational accompaniment. At the same time, through the expressiveness of the impromptu accompaniment, it can improve learners' feelings, understanding and expressiveness of the works, increase learners' interest in music, and promote learners' independent learning.
As a comprehensive ability, impromptu accompaniment requires not only rich music theory knowledge, but also a solid keyboard foundation. The cultivation of this kind of ability requires the combination of music theory and keyboard practice to further improve the comprehensive quality of music, and plays an important role in improving the psychological quality of players, the ability to cope with the situation, and the ability to analyze and understand music. The improvement of the ability of impromptu accompaniment will inevitably promote the improvement of the ability of other music related disciplines.
The ability of impromptu accompaniment is not only an important basic skill in classroom teaching practice, but also often plays a crucial role in other related activities of work practice. In daily classroom teaching, improvisational accompaniment is an effective assistant in teaching and plays a crucial role in music teaching. And performance rehearsal, teaching discussion or communication, especially in some performances due to temporary changes in the repertoire or can not find the accompaniment of the situation, impromptu accompaniment embodied by the music comprehensive ability can help to successfully complete the practical task of accompaniment.
Impromptu piano accompaniment is based on the melody of the song, impromptu playing process on the keyboard. Learning to improvise accompaniment must have certain ability to read music and piano performance. If you want to play the impromptu accompaniment, your hands must have a certain degree of flexibility. Therefore, impromptu accompaniment is inseparable from persistent training in the basic skills of piano playing: being familiar with scales, arpeggios, chords and corresponding fingering rules in common major and minor keys. The difference between the two is that the piano playing ability is mainly mechanical practice, while the piano improvisation ability is creative mental work to complete the process of melody accompaniment. When learning impromptu accompaniment, attention should be paid to the synchronized development of piano skills. In impromptu piano accompaniment teaching, on the basis of paying attention to the basic skills training of the piano, it is necessary to focus on cultivating the ability of allocation accompaniment and self-singing. Allocation accompaniment should not be an additional content of individual piano teaching, but a key point.
To learn the impromptu accompaniment at the beginning, we need to put aside the concept of the piano staff fixed tone, set up the concept of the first tone of the simple music. Using the basic music theory knowledge, the melody of the song mode and tonality analysis. At the same time, impromptu accompaniment belongs to the category of multi-voice music, so we must master the basic knowledge of harmony. The design of harmony is the "soul" part of the process of impromptu accompaniment. Therefore, the harmony selection of impromptu accompaniment needs to be as reasonable and complete as possible, so as to enrich the acoustic effect of impromptu accompaniment and enhance the expressive force of music.
Accompaniment pattern refers to the structure of chord, which is an important carrier for the accompanist to show his inner rhythm and harmonic thinking. Accompaniment texture refers to the three levels of melody, bass and harmony in the accompaniment of the longitudinal combination of the form and the horizontal movement of the form, is an important means of expression of the accompaniment. The key to the success of impromptu accompaniment is to choose the right accompaniment texture according to the content and emotion of the song. If a song chooses the appropriate accompaniment tone and accompaniment texture, the often simple harmonic vocabulary can make it colorful due to the transformation of tone and texture, so that the content and artistic image of the work can be more accurate and vivid sublimation.
Impromptu piano accompaniment not only needs skilled playing skills, but also needs good psychological quality. Many accompanists perform well in the audience, but there is tension on stage, especially during temporary events. This should improve the ability of the accompanist to adapt to the stage, to create more opportunities for the accompanist to perform on stage, let the accompanist accumulate certain experience. In the performance will often encounter a lot of unexpected circumstances, such as: the singer misremembered the lyrics, or the singer misremembered repeated marks, rhythm instability and other conditions, which requires the accompanist to have a strong psychological adaptation and reaction ability, not because of the temporary situation and unprepared, affect the effect of the whole performance. At this point the accompanist should overcome their own tension, give full play to their advantages, make up in time, to drive the singer's mood, and strive for the perfect combination. The ability of impromptu accompaniment needs to be tested by practice. So, paying attention to practice is the necessary way to master the impromptu accompaniment. We can promote and promote the improvement and development of the improvisational accompaniment ability of the accompanist through various practical activities such as observation, competition and exchange of learning experience.
In cooperation, the accompanist should distinguish the hierarchy according to the needs of the work. Generally speaking, "green leaves with red flowers", because the accompaniment is in the secondary position, so the accompanist should play the volume of the singing according to the singer, in order to listen more carefully to the other side of the singing, timely find and correct, especially to pay attention to the moderate speed, breathing mouth and the prelude to come in the sense of drive.
In short, to improve the ability of impromptu accompaniment on the piano is not a problem that can be solved overnight, but requires good skills preparation and a lot of practice accumulation. Therefore, only through solid basic training and a lot of practice accumulation can be achieved. When we have certain piano skills, rich theoretical basis, broad, flexible thinking, we can greatly improve the ability to play the piano improvisation accompaniment.