How to practice piano wheel finger training to practice smoothly

Start by using dots before and after, you can practice with one eighth note with four sixteenth notes, practice slowly with both hands, and then gradually speed up when you go along, and finally try to break through the limit.

This is a practice makes perfect, the main thing is to ask your body to remember this feeling, it will be a little awkward at the beginning, and slowly it will be smooth.

That can't be helped! You can only do this: after you have practiced both hands with one hand, then slowly practice them together, and after you can play them together without making a mistake, speed up.

It's normal to practice wrong, at the beginning of anyone has a stage of incongruity, I personally recommend that you buy a Hanon piano fingering practice book, although it is very boring without any melody, but that is to really improve your hands to cooperate.

It will be better to play smoothly with one hand and then practice with both hands.

Start slowly, get each finger on your feet, and then increase your speed.

First of all, fast wheel fingering should be based on clear particles and uniform rhythm. In order to achieve this goal, it is necessary to practice slowly and then gradually speed up.

Secondly, no matter what fingering technique is used, there is no need for arm movements, but only the wrist is appropriately assisted. The most important thing is to keep your fingers as close together as possible, as low as possible from the key, and after a short touch of the key, you can immediately fold it into the palm (or side) and never swing it upwards.

Again, each finger wheel finger is a fingertip touch, and the entire finger belly of the first joint must not be used.

Finally, for most of the pieces, we finger the fingers in reverse numerical order, and the weaker big fingers are the last in a single group of fingers.

The correct touch of the finger when the finger is turned:

In any combination of finger rotation techniques, each finger actually has its own position for the lower button. The 3-2-1 finger wheel technique is to make the tips of three fingers look like a triangle on a key surface.

The big finger is close to the outside of the key, and the position of the second and third fingers is one to the left and one to the right, parallel to the inside of the key. If each finger can find its own independent position, they will be able to have their own independent space when playing, and will not interfere with each other. In the same way, the position of the 4-3-2-1 wheel finger needs to be found well.

Unlike the previous triangle, the tips of the 4-3-2-1 wheelfingers are more rectangular in shape. 4. The finger and big finger are parallel to the outer side of the key, and the finger is on the inside. This is like the four corners of a rectangle.

You can think about the vigorous movement of the four soles of the feet when the horse is running. Just like our four-finger wheel, it's a very elegant sequence of movements. Don't pursue the technicality of the wheel finger and have too much of a mechanical feeling.

We should have a graceful posture to play the wheel fingers like a horse running.

Piano finger rotation exercises can be practiced according to scales, arpeggios, octaves, chords, big jumps, etc.

Scale: The 24 major and minor keys of the scale are important and useful. Many large sonatas, music, and concertos have scales in many places, so it is necessary to master the scales well.

If you play the scale, you should pay attention to the sound of all the notes to be the same, not light and heavy, you must pay attention to the control of the fingers, if you play the scale when there are still some heavy and some light, the control of the strength is not good, you may not be able to play the sound bench that you are satisfied with and melody.

Arpeggios: Arpeggios include 24 major and minor arpeggios and 7 minus 7 arpeggios. This is something built on the scale, and it is also important to practice the expansion and contraction between the fingers.

The arpeggiation part of the piano music accounts for a large part, and all kinds of arpeggios will appear, but they are all arpeggiated inflection patterns with 24 major and minor 7 chords, so it is very useful and necessary to play the basic arpeggios well.

Octave: There are two techniques for playing 8 degrees, the first one is done with the wrist only, and the second one is done with the arm and wrist. If you play a long 8-degree clip, you need wrist skills, and if you play a small part of the 8-degree clip at the end, you need arm strength to create a magnificent effect.

If it is an 8-degree clip with the same two hands, you need to use the wrist and arm together, and if you only use the wrist or arm, it is difficult to pop the FF strength and jump well.

Chords: Chords are mainly a matter of practice. Whether it is a chord of several notes, it must be played neatly, there can be no front and back, the chord of p should be played very lightly and cleanly, the chord of F should have a metallic sound, the sound of playing down must sink, and the chord that cannot be played gives people a feeling of fluttering.

Big jump: To put it bluntly, it is a very mechanical action, especially 2 big jumps above 8 degrees are purely technical things, this is very important at the beginning of slow practice, only slow practice can relax the muscles, remember the position of the octave to play the arpeggio, and slow practice needs arc, so that when playing fast, there will be no more wrong notes.

Piano refers to other practice methods:

Independent finger practice: Mastering this technique requires a certain understanding of piano playing. The Shmidt Piano Tutorial is a difficult piano fingering exercise, but after playing it, you will find that the original unsolvable technical problems are no longer difficult.

Liszt's Nightingale is a very nice piece of music, but many people always play the cord, that is, the problem of finger independence has not been fundamentally solved.

Sixth-chord practice: This is one of the more difficult techniques, and the important fingering and finger flexibility are also important skills. For the right hand, it is easier to practice the scale and can play clearly, and the speed is no problem, but for the left hand, the speed and clarity can only be done 1 degree, although it is more difficult to play, but if you can keep practicing, you will have a certain gain.

1. Fingers close to each other and stick to the keys, lower the wrist to drive the palm, quickly tap down to play the key, and quickly lift it away, otherwise the sound of popping up and closing the macro will be muddy.

2. Keep your arms in a straight line and stay still, concentrating your strength on your fingers, so that the pop-up sound will be full. Try not to practice wheel fingers with your fingertips, as the sound of playing with your fingertips will be lighter.

3. At the beginning of the exercise, first find a note and play a group of wheel fingers at a slow speed to achieve the relaxation of the muscles of the whole body.

4. Avoid playing by the order of the fingers, because the thumb is shorter, the flexibility is worse than the finger, and if the thumb is dominant, the whole finger will become stiff.

5. The right hand plays the wheel fingers, when the 3 fingers are changed to 2 fingers, the hand should be moved to the right, so that the 2 fingers are located above the keys before falling. The opposite is true for the left hand, which reduces the chance of hitting the wrong sound.

1. First of all, we should practice slowly, so that each finger is active and flexible, and each sound is clear and elastic, and then gradually speed up.

2. Fingers, arms, wrists and fingers should be coordinated and cooperated, so that the arms and wrists should be flexibly adjusted to ensure that the fingers are in the best position in the playing of each note.

3. Feel the grouping of clauses according to the lines and clauses marked on the score, and make a natural and reasonable crescendo and weakening expression tendency according to the ups and downs of the tone, so as to increase the flow of the tone and the tone.

In the process of learning to play the piano, many friends do not know how to train their finger strength, and even doubt whether they are suitable for playing the piano. Now, let me tell you how to return to the army to train the fingers to play the piano. Let me introduce you to one method - the natural fall method!

How do you train your fingers to play the piano?

Take a look at the natural fall method.

The natural fall method belongs to the category of "how to exert force", and its principle is very simple: the finger has a certain potential energy after being raised, and it falls naturally, and it can make a sound by striking the key, and understanding this is the premise of correct force. We can do an experiment where we can put our whole hand and forearm on the table, and naturally raise our fingers to hit the tabletop, and you can hear the sound of "da, da".

This experiment proved that when the fingers are raised, they can use their own strength to make keystrokes without the need for additional strength from the leaking wrist or arm.

The fingers shown in the left figure are all raised in the air, which tends to cause tension in the muscles on the back of the hand, and the posture of the high fingers shown in the right orange group figure cannot fully transmit the power of the fingers to the key surface due to the "top wrist", and this posture causes the wrist to shake up and down.

Mastering the natural fall method is the first step in learning to raise your fingers.

When practicing finger wheeling, try to minimize the gap between the middle finger and ring finger and listen carefully.

The wheel fingers should be played evenly. Coherent and grainy, the individual notes should be at the tempo. The volume and timbre of Liang Sun are unified, and they can freely have a considerable degree of variation in these three aspects.

The fingers of the right hand should be very controlled and flexible. Independence and plucked chord dynamics.

The fingers should be close to each other, plucking the strings with minimal movement, and taking care to play the role of their first joint. Attention should be paid to strengthening the practice of the less flexible fingers and the coordination of the fingers. Wheel fingers that loop in two- or four-note increments in playing fingering can be called two-note wheel fingers or four-note wheel fingers, respectively, and so on.