How to learn piano accompaniment casually, is piano accompaniment easy to learn

Casual accompaniment is hard.

First of all you have to have a sense of the notes, the chords, in it.

There's some talent in it, otherwise listen to it more.

I mean pure piano music.

Then you need to carefully discern the player's chord combinations.

At the same time, as it was said upstairs, practice the chords.

When you are free, you can ask your friends to press the button at will, and you can distinguish it.

It doesn't have to be a chord, as the occasional dissonant note can alert you to avoid similar mistakes.

This discrimination requires at least 3 keys to be pressed at the same time.

As for the basics, I would like to say that judging by your question, I don't think you want to focus on piano.

If it's just a hobby, then teach yourself the theory.

If you don't understand, just ask the teacher. After all, no matter how high the talent is, theory is also the foundation.

Finally, it's up to you to practice the accompaniment spontaneously.

Make it a habit

It's a chord.

For example, 1 3 5 treble 1 ......

Something like that. There will be this kind of accompaniment book in the bookstore, you can look for it.

This is a specialized course and is generally called piano improvisational accompaniment. The premise of this course is that it requires a certain amount of theory and piano performance technique. Specifically, the theoretical aspects include:

Basic Music Theory, Keyboards and Acoustics, Typology, Polyphony. Piano playing technique should not be lower than the middle of Czerny 599. Generally speaking, only those who have the piano performance skills of Czerny 299 or above can better complete the piano improvisation.

First of all, the chord is practiced, **** college has a special teacher, you can go there to ask for advice.

Piano accompaniment is still very easy to learn, my friend is learning this, she told me that she thinks that as long as you are willing to practice hard, you can learn well. I'm going to break it down into four points to state this content.

First of all, whatever we learn, we have to upholdPersistenceprinciples. If you really want to learn to play piano accompaniment, you have to really put it into action, and you can do it by studying and practicing every day. However, the process of practicing the piano is very boring, but as long as you persevere, I believe you will be able to.

Secondly, I thinkInterestis the best teacher. If you are very interested in this aspect, you will definitely be motivated to learn piano accompaniment. Even when you encounter difficulties, you will not back down easily.

This interest will be an important motivation for you to move forward.

Third, there are two scenarios. The first is to start learning from scratch, which must take some time to get from the most basic staves.

It will take a long time to start learning. The second if you are having certainTheoretical knowledge basethen it will be relatively easy to learn piano accompaniment, and it will be easier to learn.

Finally, aboutThe difficulty of the accompaniment。In the beginning, it must start with the easy ones, then slowly work your way up to the medium and finally to the difficult level. Any learning process is a transition from simple to complex, as long as you follow it step by step, you can reach the level you want.

1. Only play the four commonly used keys of C, G, D, and F, including their relationship minor keys, of course.

2. Choose popular songs with a shallow degree of arrangement with left-handed accompaniment, if your favorite songs are more complex, you can delete the complex and simplify, and apply to the personal performance level as much as possible.

3. The left hand does not need complex chords, generally selects the third chord, the seventh chord, and adds a very small number of minor third chords.

4. The left-hand accompaniment texture can generally be singled, and the chord decomposition can be controlled within one octave, and in special cases, it should not exceed two octaves at most.

5. No polyphony, no inversion of the primary and secondary of both hands, that is, no left-hand melody and right-hand accompaniment.

It's very simple, write the main melody first, then write the root note to make the bass, and then add the main chord and subordinate chord with the bass as the main chord. The rhythm of the root note is dominant. Anything else is up to you to play at will!

1. The easiest way is to add the same note (an octave) to the left hand to what is the first note of each measure. But that sounds drably and blunt.

2. Learn the 1st, 4th, and 5th chords of the tune you are playing, 135, 146, and 725 respectively, familiarize yourself with their positions, and then match each bar with appropriate chords.

The landlord is good, and the general pop ** accompaniment is improvised accompaniment.

I'll tell you a few common improvised accompaniment scales, and all songs can be accompanied by these formula: 1 4 5 1

Formula 2: 1 6 4 2 5 1

Formula three: 1 6 2 5 1

Formula 4: 6 2 3 (3 l 5 7) 6

Formula five: 6 4 2 3 (3 l 5 7) 6 formula six: 2 5 1 4 7 3 (3 l 5 7) 6 formula seven: 6 2 5 1 3 (first 3 6 7 3 then 3 l 5 7 3).

Formula 8: 1 5 6 3 4

Formula nine: 1 3 6 3 4 3 2 5 1 Formula ten: 1 3 4 5 1

Equation 11: 1 7 (7 2 5) 6 5 (5 1 3 ) 4 3 (3 5 1 ) 2 5 1

If there is anything you don't know, you can ask me again.

The so-called standard answer may not exist.

There is always someone who knows part of the answer to your question.

But the answer grows forever, and between the answer and the answer, it grows new answersKnowledge is a living being, and no matter which answerer you know, I really hope that you can adopt someone who helps you.

Happy New Year, the landlord, the fifth day of the Lunar New Year will answer for you.

Here's how to play the piano accompaniment:

Based on the chords, the chord is centered on the melody of the right hand, and is used alternately in bars. Generally, the first or last note of a measure is used as the accompaniment reference. (The following are all C adjustments).

1. Simple method 25 (52), the left hand of the general song can be accompanied in this way.

Grade "1" is 135, "6" is 613, "4" is 461, and "5" is 572.

3. 1353, 1535 for songs in major and minor keys, and 135, 351 for three-beat songs. Four-beat songs in minor are 6131, 1363. 613,136 for three beats. Two beats vs. four beats.

4. The most common method of breaking down chords is based on three chords, which can be referred to the five in this article, or Beye's 599.

5. Press two or more chords at the same time in the column type. Such as 135, 146, 15, etc. Use when the rhythm is strong and bright. Polyphonic (more difficult, e.g. minuet).

How to play the piano:

The most important thing to do when practicing finger lift is to remember not to move your wrist. Some students will raise their wrists with them. It needs to be corrected.

When you start to raise your fingers, you need to lift your fingers quickly and quickly, and at the same time, the metacarpal joint is stretched as far as possible, and when you fall down to hit the key, the third joint of the fingers is well controlled, and the palmaral joint is used to drive the fingers to fall quickly.

When falling, do not loosen the knuckles and hook back in the palm. The fingertips must stand up. It is important to note that raising the finger is one finger making a movement, and the other fingers need to be relaxed and not move with it.

No, you need to exercise the independence of each finger more in the early stage. This is important to avoid not being able to keep up with your fingers when you are fast in the future.

As the name suggests, sticking to the keys is playing with your fingers on the keys, which is exactly the opposite of Zhaoshen raising your fingers. Be sure not to lift it up. Or the wrists, arms, and shoulders should be relaxed first.

When playing, put your fingers on the piano keys, push down with your knuckles, and restore support after pushing. Quickly move on to the next key, doing the same thing.

Piano accompanists need to have some playing skills, and in some ways even exceed the requirements for pianists. The piano accompaniment will be better played like this:

1. Emotion and strength are condensed at the fingertips, the fingertips should be very sensitive, the sense of proportion and control should be just right, and the moment of contact with the keys, the force and pronunciation should be controlled properly.

2. When touching the key, the speed of the lower key should be slow and uniform. Just like the slow motion of a fast keystroke**, try to minimize the impact of your fingers on the piano keyboard. Use a "soft landing" to dissolve the power and achieve a coherent and feminine tone.

3. The fingers perpendicular to the keys are slightly flattened, so that the meat pads at the finger ends touch the piano surface more. As the contact area between the fingertips and the surface increases, the pressure decreases relative to the same force acting on a small area, and the sound becomes softer and blends together like a thick smoke, with no clear boundaries.

4. Relax the arms and wrists, and pay attention to the transmission and transfer of weight. It is necessary to pay attention to the coordination of the transfer of force between the arms, wrists and fingers, and as the notes flow, the fingers should be as close as possible to the keys, so that the interdependence of the fingertips can make the notes closer to each other.

5. The time value of the lingering note and the holding note should be full and sufficient, and it mostly appears in the piano accompaniment of multiple voices.

Through the above induction, we can clearly understand that the size of the finger touch key and the touch surface in the accompaniment, the speed of the finger key, the strength and the depth of the key will affect the lightness and darkness, strength, thickness and even distance of the sound to varying degrees, and the technical skills of the piano accompanist are also reflected in the artistic skills of the fingertips.