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Preface
Throughout the ages, the piano has always had a place in the music industry, which cannot be replaced by any Chinese and Western musical instruments.
In contemporary music education, piano teaching is not only the teaching of technology, but also the exchange and integration of culture.
Nowadays, with the integration of Chinese and Western musical elements, how to effectively combine Chinese and Western musical techniques in piano teaching to achieve integration has become a topic worthy of in-depth discussion at home and abroad.
But at the same time, the flexibility and difficulty of controlling piano techniques have also caused many experts and scholars a headache.
How can players find the balance between technique and emotion in the process of learning Xi piano?
The application of polyphony techniques in the fusion of Chinese and Western music
It is undeniable that when teaching Chinese works, teachers should first find the corresponding techniques in the study of music ontology and help the performers solve technical problems first.
Secondly, teachers should focus on guiding the performers to experience the emotions expressed by different techniques in the work, so that the skills and music are perfectly blended with each other, so that the emotions expressed are more natural and convincing.
Before that, we must know that polyphony refers to two or more relatively independent melodic lines at the same time, and the two melodies are both independent of each other and related to each other.
In fact, polyphonic music was the dominant form of musical thinking in the Western Baroque period.
In this work, the composer uses this Western technique, combined with the melody of Sichuan Qingyin, to bring us an auditory feast.
It is not difficult for us to find that the composer quoted and added the theme melody of the work on the basis of the original work "Little Kite Flying".
It also gives full play to the vocal range characteristics of the piano's multiple voices, so that the musical level of the work is richer and the music can be better expressed.
The A section of the work, as shown in the picture above, is composed of two separate parts.
In this regard, teachers should always remind the performers to pay attention to the layering of the music in the process of playing, and not only pay attention to the horizontal trend of the melody, but also ignore the vertical relationship between the two melodies.
In fact, in order to better complete the playing of the polyphonic part, we can use three Xi methods.
The first is split part Xi.
The melody of the high voice of the work directly references the theme melody of "Little Kite Flying", and you can sing and play it while Xi.
When playing, it is necessary to be singing, so the speed of touching the keys should be slow, the depth of the lower keys should be sufficient, and the melody should be more continuous as much as possible, giving people the feeling of lingering and endless for three days.
The second is to play the right hand part and sing the left hand part, and vice versa, which helps to train the two voices to be carried out independently at the same time.
The third is to play with both hands at the same time and choose an arbitrary voice to sing.
This helps to hear the part you want to highlight when playing both parts at the same time, making your performance more flexible.
Previously, Mr. Zhao Xiaosheng had proposed that when playing polyphonic works, "the theme is not always highlighted", and in addition to the theme part, other parts also have their own independent meaning.
During this period, we have to sing, listen and feel the most connotative lines that move in it.
After completing the above three Xi practice methods, and after being familiar with the two melody lines, the teacher can remind the performer to follow the normal melody and highlight the part he wants to express appropriately.
Key tips to improve the agility and sound quality of your piano fingers
The training of fast finger running technique is the basic and most important task of piano teaching.
Because the quality of the performance of the work is not excellent, it is closely related to whether the fingers can move quickly, evenly, accurately and finely.
For the fingers, in order to complete the continuous lifting and landing movements with agility, each finger must be able to quickly hit the keys and lift.
When the frequency of the hand command is high, it is especially necessary to discern the quality of the sound produced.
A good sound depends on the powerful swing of three joints and the hardness of the fingertips of one joint.
The picture above is Theme I of Section B, which is built on House #F, and when Xi, the snow in the right hand runs at high speed.
Most of the notes are on the black keys, which requires the player to touch the keys more sensitively and point the relationship more precisely, so it is recommended to practice slowly and assist in the use of dotted Xi.
In addition, players should always pay attention to the clarity, brightness and granularity of the sound quality when playing.
Therefore, it is very necessary to remind the player that hard fingertips are needed when playing, and it is very necessary to hook one joint and three joints to actively hit the keys.
The image above complements Theme 1, with a 3/8 beat that is very danceable, and the right hand plays a jagged ascending group.
Therefore, the player especially needs to find a balance between the jagged black and white keys, and be careful not to affect the sound quality of the black and white keys that combine high and low.
It is recommended that the player first practice slowly and then accelerate slowly, during which time you need to carefully use your ears to distinguish whether there is any sound leakage and whether the sound is even.
Finally, the player is reminded to divide the section into eight or three beats and form a beat rhythm of six notes.
The important role of the piano octave technique in expressiveness
One of the most difficult and essential playing skills for the piano is the octave.
Octaves are very expressive and are used in a wide variety of musical compositions, especially in the climax of a piece.
Such as the A1 section of this work, or the kind of magnificent work, such as Liszt's Hero, The Hunt.
Players who are proficient in octaves should know that this technique can not only make the volume and sound effect thicker, but also become an important means to set off the musical atmosphere, musical mood and enrich the musical level according to the needs of the music.
But there is not only one octave, otherwise we would not have said above that it is the most difficult to play.
The first type of octave staccato is the octave of the wrist, when playing the wrist is slightly lower than the palm, the fingertips should have the feeling of grasping something, and the wrist is flexible and relaxed.
When teaching, the teacher can first let the player experience the wrist movement of shooting the basketball, and when the downward shooting we can clearly feel that there will be a rebound force to bounce the hand.
And every action of shooting basketball is coherent, relying on the natural upward rebound force and downward inertia force.
The part of the circle in the picture above is the part where we need to use our wrist to skip notes.
While it is important to play it correctly, the musicality of the work cannot be overlooked.
When playing, the dancing must be in line with the musical image, like a lively and playful little girl singing, so the time must be short and light.
In this teaching, it is recommended that the performers listen to the original music more, bring in the role of the protagonist, and experience the emotions of the work.
The second type is the elbow octave, which uses a combination of 1 or 4 fingers or 1 or 5 fingers, and needs to support three joints and one joint when playing.
Under the premise that the wrist joint is stable, the arm and wrist palm become a whole, and the elbow is used as the center of the circle to exert downward force and pat down.
It is important to remind the player whether the notes are short, grainy, and sharp.
The picture above shows the octave cadenza that appears at the end of the work, using a more difficult piano technique, an octave staccato technique.
When playing this section, the forearm and wrist should be kept in a stable state, the forearm should move up and down, and the hand frame should firmly frame the octave.
In addition, the player also needs to be reminded that the sound group here is weak, and the strength must not be reversed.
But the most difficult thing to grasp is the horizontal line of the melody when training singing octaves.
When Xi for this, we must first ensure that the wrists, upper arms, and shoulders are not tense or stiff during playing.
Secondly, you need to maintain a controlled slow sinking between the arms and palms, and try to play as slowly as possible.
Not only that, but the sound should not have an actuary, but should be as soft and coherent as possible, and then use the big arm to evenly send the power to the fingertips, and finally to the keys.
The picture above is a variation on the theme of the AI section, which is the climax of the whole piece.
The melody is played with major chords plus an octave and requires extreme tension, so finger support is important.
Teachers should pay attention to reminding the performers to set up a "frame" with their arms and wrists when playing, and let their bodies also give strength support, so as to make the sound effect as thick and coherent as possible.
The unique effect and training method of the homophonic finger swapping technique
Finger change is a unique technique in the piano, and the melodic form played has a unique effect.
In the piano song "Kite Flying", he imitated a kind of opera singing tone, "Haha Tone".
There are two fingering techniques that can be employed when playing this finger technique.
The first is to use the same fingering, playing like a "chicken pecking rice", with the fingertips like a beak and the wrist like a chicken's neck.
The second is to change the fingers in turn.
Choose the appropriate fingering combination according to the needs of the work, and the fingering of 4321 is used in this work.
This method of performance is similar to the wheel finger technique in the pipa, a folk musical instrument in the mainland, and for this reason, this technique is also called the wheel finger technique.
There are five notes circled in red in the picture above, and we need to ask the player to distinguish the relationship between the five notes, the first four notes are skips, and the fifth note needs to be stopped.
When teaching, the teacher can let the players experience the feeling of shooting the basketball and observe the state of their wrists.
After feeling the feeling of the wrist, the boy and the fingers Xi together.
Swing your fingers downward with each downward tap of your wrist.
In addition, it is necessary to make full use of the flexibility of the wrist to complete the rapid movement with the rebound force of the piano action.
Therefore, when playing the wheel fingers, after the first note falls, you will change your fingers, especially pay attention to the state of your fingertips, and when you touch the keys, the fingertips are hooked together.
The integration of traditional music culture in modern piano teaching
The piano piece "Kite Flying" expresses the elements of traditional music culture through Western instruments such as pianos, so that the performers can feel the interest of traditional Chinese music culture in the familiar melody.
With the passage of time and the continuous reform and innovation of society, contemporary performers are exposed to more diverse music.
Traditional music such as Sichuan Qingyin is not as intimate as pop music.
Therefore, as a teacher, you should guide the performers to actively understand and listen.
Teachers should encourage them in the teaching process, and their most intuitive effect is to enhance the performer's self-confidence in the work.
In fact, in daily life, we can also take the performers to the field trip and go to the Sichuan Theater to listen to the concert with the theme of Qingyin, so that the performers can accept this kind of work happily and enhance the subjective enthusiasm of the performers in learning Xi.
In the process of learning Xi piano, the performers can experience the collision and integration between Chinese culture and Western instruments.
In this process, it not only promotes the education of the piano, but also enhances the player's sense of identity with their own national culture.
With the 13-year party proposing to "improve the teaching of aesthetic education and improve the aesthetic and humanistic qualities of performers", and in 15 years, the Ministry of Education announced the "Opinions of the General Office of the State Council on Comprehensively Strengthening and Improving the Work of Aesthetic Education in Schools", aesthetic education has been mentioned more and more frequently, and music education, as one of the important courses of aesthetic education, should shoulder the banner of aesthetic education.
Not only that, piano education can also indirectly shape the player to become a person who discovers, appreciates, creates beauty, and has an elegant character.
Works such as "Autumn Moon on the Peaceful Lake" and "Sunset Flute and Drum" enhance the performers' imagination of mountains, rivers and lakes.
"Yellow River Concerto", "My Motherland" and other works enhance the performers' pursuit of a better life and love for the motherland.
"Jin Se", "Qingyu Case: Yuan Xi", "Silent Night Thoughts" and other new ways of music allow performers to experience the beauty of ancient poems.
epilogue
Overall, the piano piece "Flying a Kite" not only provides technical support for the performers.
Even it takes the player's technique to a higher level.
More importantly, the performers are not only able to reach new heights technically, but also feel the charm of Chinese culture in the process of learning and Xi music.
Such effective teaching not only cultivates students' musical skills, but also shapes their aesthetic sentiments and cultural understanding, making them more well-rounded musicians.