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Fingering diagram of 1234567 playing piano with left hand

2018-03-10 09:36:17

Take C major as an example Left hand: pinky 1, ring finger 2, middle finger 3, index finger 4, thumb 5, switch middle finger 6, index finger 7, thumb 1. The fingers of the left hand scale do re mi fa sol la si do are 5 4 3 2 1 (three fingers across from the big finger) 3 2 1 If you want to continue (four fingers across from the big finger) 4 3 2 1 3 2 1 and so on. The greatest American pianist of the twentieth century, Joseph Hoffman, said: "Scale practice is important, not only to train the fingers, but also to train the ear with a sense of coordination, an understanding of intervals, and an understanding of the overall range of the piano." There are many ways to get started on the piano. Judging from the current situation in China, staccato is widely accepted and adopted. Although staccato begins with a single tone as the element, it is practiced one by one, "a 'when you fall down, your finger stops and a' is raised", the problem is that everyone also practices staccato, but the practice method is very different. Whether the practice is correct or not must be tested by the sound. From the first monophonic staccato, we must learn to listen. When the fingers touch the keys and the mallet strikes the strings, we must listen to whether the sound is sufficiently emitted. Whether there is good vibration and resonance; When the fingers remain standing on the keys, the ears should listen to the sound and learn to distinguish between good and bad sounds. On this basis, students should understand that bad sounds are directly caused by wrong playing methods. After we learn to listen to one single note, the second step should listen to the tendency between the notes in the short music, listen to whether the sound of each group of notes is even and balanced; The third step, in the beginning of learning the small connection of two sounds, listen to whether the two sounds are connected, listen to whether the first sound of the small connection is stressed in tone, and the second sound is lifted as the last sound of the combined weight, whether the sound is soft and euphemistic and weakening; The fourth step, after learning the connection of several sounds and the connection of music sentences, we should listen to the progress of music sentences with the combination of the beginning, the end of the sentence, the tone, the intonation, the strength and so on. 2, the use of fingers Ten fingers is the most direct and sensitive part of the most outpost. Therefore, the power of ten fingers, sensitivity, speed, and the ever-changing touch mode and control ability are the foundation of the foundation. The support and uniformity of ten fingers is one of the most basic requirements of elementary piano training. The firm and flexible support of the knuckles is the first and most important issue. Usually, we can do a lot of high finger lifting training for a long time to achieve rapid finger movement; You can minimize the low finger movement to increase the continuous internal force of the finger, so that the finger can be condensed to the maximum strength. As far as the technical training of the fingers is concerned, there are many effective methods. 3, the use of the wrist wrist is in a very important position, is the bridge connecting the fingertips and the big arm, is the only way for the big arm to convey strength to the fingertips. The wrist must be firm, not weak, otherwise the wrist will collapse and the strength of the arm will be lost at the wrist and not reach the fingertips. But it has to be elastic, not stiff and dull, otherwise, the sound will be stiff, no elasticity, no change. The flexibility of the wrist is reflected in the way it moves. The wrist moves in three directions: side to side, up and down, rotation, (one of the left and right movements shakes). The action of the left and right direction mainly lies in: ① It is used to cooperate with the turning of the big finger. When playing scales and arpeggios, and any other passage that requires the big finger turn, on the one hand, the big finger is actively extended in a horizontal shape; On the other hand, moderate wrist movements are required. Then, the big finger needs to be pushed out so that the entire palm turns outwards. At the same time, the wrist must be supplemented by necessary and appropriate horizontal movement. The combination of the big finger and the wrist in a smooth horizontal motion is the most important key to the palm turn. When playing legato sentences, the wrist needs to make horizontal movement to achieve the transfer of power, so that the sound is more coherent and singing. The up and down movement of the wrist is mainly used to play some light continuous rapid double notes, octaves, chords, and when it is necessary to strengthen the depth of the touch. In playing this kind of phrase, the wrist completely needs its own burst of power, and the ability to concentrate the maximum force in a very short period of time with the smallest range of movements. The stronger the controlled shaking of the wrist itself, the more likely it is that the elbows, arms, and whole body will relax. For example, when we play parallel octaves, the wrist should be relaxed, the fingers that play the octave should be stable and not stiff, the unused hand should be slightly round, and the wrist movement should be flexible and free. 4, the coordination of the trunk of the piano master Arao once said: the time of daily practice should be determined by each person's physical strength and energy. The most important thing is that the body does not feel tired, advocating physical relaxation and mental concentration to play music. Piano performance is a veritable "whole body movement from head to toe", which is a high degree of cooperation, coordination and unity of all parts of the body. Playing the piano requires both relaxation and exertion of the torso. We can draw a scientific conclusion: the greatest secret of piano playing in force is the high concentration of energy in extreme relaxation, or, in other words, the explosion in relaxation, the internal force in softness, the strength in gentleness. Reference: Encyclopedia - Piano Playing Techniques

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