Now, with the development and progress of society, more and more children are learning piano. Parents seem to be beginning to realize the importance of high-quality education for young children. What are the correct ways to play scales and arpeggios? The following is the relevant content I have compiled. Welcome to reading.
First, your fingers should be bent and your fingertips should touch the keys.
When touching the keys, except the fingertips of the thumb, the other fingertips make a 90-degree right angle with the key surface, and lean back a little to make a basic vertical angle. When touching the keys, the small joints at the front of each finger should stand upright to form an arc that supports outward. When playing the piano, fingers should have a certain hardness, so that the pop-up sound will be strong, while fingertips should have hardness and finger joints should be upright; If it collapses, it must be soft and weak, and it can't play a complete sound. This is why finger joints should stand upright. When playing the piano, the shorter the fingertip contact time, the longer the overtone vibration of the piano sound lasts. Generally speaking, when playing the piano, if your fingers bend, the reaction of your fingertips will be more agile than pointing, and the time to touch your fingers will be shorter than pointing, which is another reason for your fingers to bend.
Second, when playing the piano, raise your fingers. Every finger should be raised before and after each note is played, and the fingers that don't play intermittently should also be raised.
Keep your fingers bent when lifting. When playing the piano, the fingers are raised to keep a certain distance from the keys, which produces enough inertial force to pop up strong sound, so that the sound has enough overtone vibration and the reverberation is around the beam. Furthermore, raising your fingers while practicing the piano can also increase the amount of finger exercise and enhance the training effect of finger playing function. This is why the fingers stand up.
Third, take the metacarpal joint of the hand as the force point.
To use the metacarpal joint at the intersection of fingers and palms as the main force point, the metacarpal joint should emit enough force, which must be: 1, agile; 2, the motion range is as large as possible; 3, the action is hard.
Four, playing scales and arpeggios, fingers should be hard, wrists and forearms should be relaxed.
Wrist and forearm are the two most nervous and tired parts when playing the piano. Relax as much as possible. In this regard, many people have encountered a contradiction: when the fingers are hard, the wrists and forearms are subconsciously hard and nervous; Wrists and forearms relax and fingers become weak. Try to coordinate the relationship between the two, so that the former can exert its strength and the latter can relax. This problem is difficult, but it must be solved.
5. When playing scales and arpeggios, you should use your fingers' independent strength, and never use your wrist or forearm to exert pressure and strength.
Many people blindly use their wrists and arms to exert pressure when playing, because their fingers are weak, which often leads to two adverse consequences: first, their wrists and arms are too tired to play continuously, and even their hands are damaged in serious cases, which becomes the so-called' occupational disease'; One is to form a vicious circle, that is, because fingers are weak, wrists and arms are used; Also, with the help of the wrist and arm, the fingers depend on the wrist and arm, so they can never practice their own strength and rely on them forever. The appearance standard to measure whether the wrist and arm are pressed or strengthened is to see whether the wrist and forearm shake violently when playing. If the jitter is strong, it means that the pressure is applied; On the other hand, if it is restrained to make it shake strongly, it will lose the possibility of boosting and afterburning. Therefore, the effective way to overcome finger weakness with the help of wrist arm is to strictly restrain the strong jitter of wrist and forearm during performance, let fingers move by themselves without the help of external force, and gradually develop independent skills. Most parts of human arms, that is, palms, forearms, arms and even shoulders, may be tired when playing the piano; There is only one place, that is, playing day and night, and enjoying it, that is, fingers. Therefore, only when your fingers have developed enough independent skills to play the piano without relying on other external forces can you play it permanently, freely and well.
Six, playing scales and arpeggios, palms, wrists and forearms should be roughly in a straight line, and basically parallel to the key surface.
The wrist should be slightly lower than the palm, but never higher than the palm. Because, there is a rule: the wrist is slightly lower than the palm, and the pop-up sound can be strong and round; When the wrist is higher than the palm of your hand, the pop-up sound will be light, fuzzy and lack of fruit. Of course, the musical expression of scales or arpeggios in some music needs a light or fuzzy effect, and the wrist has to be played higher than the palm. This is a specific situation, which is another matter. Some people play the piano with their wrists higher than their palms and forearms, like a hump. In addition, some people's fingers are straight and not bent, like crawling turtles, and the pop-up sound is also vague. These bad habits must be corrected.
Seven, playing scales and arpeggios, the height of the inner and outer ends of the back of the hand should be roughly equal, and the whole back of the hand is basically horizontal.
Among human fingers, the fourth and fifth fingers are the weakest. Many people play the piano because they can't support it, which causes the outer end of the back of the hand to collapse outward and downward, resulting in the sound of the back of the hand being high inside and low outside, and the sound of the fourth and fifth fingers popping up becomes faint and fuzzy. This often forms a vicious circle: Fourth, the weakness of the five fingers leads to the subsidence of the outer end of the back of the hand, so that the four fingers and five fingers can not be fully lifted, and their own strength can not be trained, resulting in the subsidence of the outer end of the back of the hand. The way to overcome this vicious circle is to strictly limit the sinking of the outer end of the back of the hand when playing, and even when using the four or five fingers, consciously raise the outer end of the back of the hand slightly, giving the four or five fingers enough space to fully move, so that their strength can develop slowly. Fourth, the five fingers are fully raised, and the pop-up sound can be clear, bright and powerful.
Eight, playing scales and arpeggios, the first half of the thumb should naturally bend slightly inward, and the second half should have a slight gap with the palm.
Some people play the piano, the first half of the big finger does not bend inward, but turns outward, and the second half is tightly attached to the palm of your hand. This posture is completely contrary to physiology and nature. You can try. If the big finger is omitted, not only the big finger itself is tight and stiff, but also the inner half of the whole hand is bound to be tight and stiff.
Nine, playing scales and arpeggios, fingers, palms, especially metacarpal joints should be raised and stand upright, and the whole hand should form a natural "shelf" and "mold".
This "shelf" and "mold" should be neither tight nor hard, neither loose nor loose, elastic, moderate in hardness and natural. Some people play the piano with tight, stiff and hard hands, like iron claws; Some people are wrong when playing the piano. Their hands are loose and soft, like cotton.
When playing the piano, including scales and arpeggios, the whole arm should be placed in a natural position where you feel comfortable. Some people play the piano with their elbows and arms tightly clamped. Some people also play the piano with their elbows, with their arms sticking out too far and hanging high.
These are all bad habits and should be corrected.
Eleven, playing scales and arpeggios, right hand up or left hand down, after playing a note, the big fingers of both hands should bend inward immediately.
When the big finger is in, you must do the following:
1, relaxed, natural, not nervous and formal;
2. When you play the next finger, collect it at the same time, don't be late;
3, decisive and fast, not hesitant, slow;
4, once received, you can't just accept half;
5. When the wrist is closed, the height of the wrist remains unchanged, and the wrist cannot arch.
Why did you put your thumb in? Because there are other keys between scales and arpeggios, there is a certain distance between them, so after each key is played, if it is retracted, it will just reach the position of the next key when it plays the next key, so it is easy to pop up. If you don't put it in, when you play the next key, your big finger is still on the original key, and there is still a certain distance from the next key, so you can only jump and play. The thumb bounces hard again and again, and the wrist and forearm will shake up and down. Not only ugly, but also the pop-up sound is a mess. Many pianists ignore the important requirement that the big finger should be included, or even don't know it at all. Pay special attention to it.
Twelve, playing scales and arpeggios, when the right hand plays down or the left hand plays up, you should make the lifting action of the third and fourth fingers after the big finger of both hands.
Because, when you play with three or four fingers here, you have to overlap your big finger, which is very long and difficult to move. It is often difficult for many people to play here, but they only pay attention to the position and sound of the three or four fingers, while ignoring the elevation of these two fingers and the corresponding playing effect. Some people artificially let three or four fingers reach the target key, and even turn their elbows and wrists to play together. The pop-up sound is muddy and fuzzy, which looks ugly. The correct playing method is: when playing with the big finger pointing down, three or four fingers bend up at the same time and then play down; When the third and fourth fingers are lifted, the metacarpal joint and the front end of the palm are also lifted together; And keep your wrists at the same height, and don't arch.
Thirteen, playing scales and arpeggios, finger touch keys have two important standards:
1, try to concentrate the power of the moment when the finger touches the key;
2. Try to shorten the time when your fingers touch the keys.
In order to achieve the latter, fingers should be agile when playing, and the keys should be lifted off as soon as possible after playing (not for the slow playing of scales and arpeggios).
Many people think that the most difficult and important step in playing the piano is to play the piano well at hand; In fact, it is equally important to lift your fingers off the keys after falling, and in some ways, it is more difficult than falling. These fingers should be raised as soon as possible after playing, not for the slow playing of scales and arpeggios. Because, when playing slowly, every time your finger plays a key, you have to pause on the key for a moment before you can pick up the next key, so it is impossible to lift off the key quickly.
Fourteen, playing the piano skills monosyllabic texture, including scales and arpeggios, two parts of the hand are the most critical, namely the metacarpal joint and the fingertip part, including the finger facet joint. The main function of the metacarpal joint is to start the finger flick action, send out the finger flick force and control the finger change. The main function of the fingertip is to transfer the power of finger playing to the keys, and in the process, to finely control and adjust the finger touching keys. Some people are not good at playing the piano and fingers. After all, they are not good at metacarpal joints and fingertips. Therefore, the training of finger playing skills should focus on the training of metacarpal joints and fingertips. Make metacarpal joints flexible and powerful, and fingertips hard and sharp.
Fifteen, playing scales and arpeggios, the player should regard every sound, every key, every finger, in his inner concept and self-feeling, as an independent body, sound and sound, key and key, finger and finger, not attached to each other, not confused with each other, not adhered to each other, and one is clean and clear.
People usually use the term "granularity" to describe requirements. The so-called "graininess" includes four characteristics:
1, the pop-up sound is like grains, independent, prominent, distinct and clear;
2. Every sound played seems to have a solid core, and the sound is concentrated, full and full;
3, the touch key is short, and the pop-up sound has obvious gaps;
4. Every sound that pops up is uniform, regular and unified.
Standards for playing scales and arpeggios;
1, the pop-up sound is concentrated, powerful, straight, full and vivid.
Some people play, and their voices are faint and vague. If you compare the visual image with the auditory image, it is like a photo with inaccurate focus and blurred scenery, which is completely unqualified.
2. Play accurately, cleanly, clearly, fluently and smoothly.
Some people have been missing sound and making many mistakes; Some people can't play clearly and scribble; Some people play intermittently and some stutter. This is not up to standard.
3。 Play fairly. The category of uniformity includes three aspects: speed, strength and timbre.
Some people play fast and slow, and the speed is unstable; Some people are strong and weak, and their strength is uneven; Some people play flickering and have different timbres. This is also not up to standard.
4. The pop-up timbre is bright, transparent and vigorous, with long pronunciation, full overtone and full voice.
Some people play, and the timbre is dark, dull or dry, which is also against the standard.
5, playing with both hands is not generally neat, but highly neat. The playback effect is like two rows of neat teeth, but it can't be staggered. It should be noted that in recent years, the world piano stage has paid more attention to the unity of performance than in the past.
Some practice rules for playing scales and arpeggios;
1, it is best to play four octaves at a time, even for children.
2. In addition to playing with both hands in the same direction, practice with both hands in different directions.
3. Practice slowly, moderately and quickly. But don't practice fast if your ability is not good. After each key is played, don't practice the slow-playing method in which your fingers stay on the key for a long time before playing the next key. Because this kind of play is divorced from the actual requirements of normal play.
4. We should mainly practice parallel octaves and arpeggios in major and minor. You should also practice other scales and arpeggios (including harmony minor and nature minor). We should also practice chromatic scales. The scales of three degrees, six degrees and ten degrees with both hands belong to seventh chord and negative seventh chord arpeggio.
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