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Preface
As we all know, "On the Songhua River" is a technically demanding repertoire in Chinese music, so its complex technical difficulties pose a great challenge to the performers.
However, after in-depth research and repeated practice, it was found that as long as you master these five main technical difficulties, you can solve the problem easily.
These difficulties include the span of the vocal range, the arpeggios of multiple voices, the coordination of melody and accompaniment, and the handling of chords.
However, after a detailed analysis of the technical difficulties of "On the Songhua River", how to help the performers better grasp this piece with the help of practical practice methods?
The challenge of a large vocal range
Although the piano piece "On the Songhua River" is a highly technical work in Chinese music, as long as the technical difficulties are identified and solved, they can be effectively learned.
Cui Shiguang used a richer accompaniment texture structure in "On the Songhua River", from the multi-part arpeggios in the introduction, to the triplet and octave at the climax, adding color to the music layer by layer.
Therefore, it is also important to pay attention to the emotions that need to be expressed in different accompaniment textures.
Among them, the first technical difficulty is that the range span of 1-4 bars is large, and the accuracy is difficult.
Therefore, the Boeing of the left and right hands is followed by the high voice playing, the vocal range of the hands is wider, and the chord span is larger, because of the need to highlight the melodic sound of the high voice, (when it reaches the low register, it is easy to play inaccurately), so the strength of the weak note control after the strong note needs to be properly controlled and accurate.
The second technical difficulty: measures 19, 25 and 29, first of all, the counterpoint of the quintuple and the septualet, and it is difficult to achieve the counterpoint of the left hand and the right hand when playing.
At the same time, when the melody of the right hand appears, the left hand is often easy to pass by, and when the rhythm is accurate, it is easy to "leak sound" and other conditions, such as when the fingertip touches the key, the force is too small and easy to leak, such as when the power is too large, it is easy to cover up the melody of the right hand.
Then there's the issue of octave strength, which undoubtedly makes it more difficult for smaller players to practice and play.
In addition, the strength of the left hand is not easy to sink to the bottom during the exercise, which makes it difficult to play accurately, and the power of the key drop should be clear.
The third technical difficulty is in measures 51-52, where the change in rhythm of the left hand, the arpeggio ascending, the chord progression, the chromatic scale, and the right hand chord highlight the melody.
Coupled with the fact that this section of measure 50 shifts from a four-step bass triplet run to a five-measure four-note run, the left-hand four-note group is prone to technical problems such as uneven running, natural slowing down, sound leakage, and fricative.
The fourth technical difficulty is measures 61-62, the first is the inversion of the major chord, and the position of the finger drop key should be clear and accurate.
The second is the ascending arpeggio of measure 62, which is easy to play unclearly when playing the arpeggio ascending intervals, and if the right hand is not flexible enough, it needs to be the focus of practice.
Finally, the fifth technical difficulty is measures 67-69, where each triplet chord in measure 67 is marked with an accent mark, and the triplet is prone to leakage and the accent mark is not in the end.
Measures 68-69 focus on the practice of octave arpeggio running and the alternating ascending of the octave of the left and right hands.
Chords and melodies
In addition, in the process of practice, in order to get faster and better results, it is necessary to find out the technical difficulties in the repertoire and find a way to solve them.
In this way, you can not only quickly improve the progress of the practice, but also achieve twice the result with half the effort, and solve the same technical problems with ease.
As we all know, the analysis of the technical difficulties of "On the Songhua River" was divided into five representative technical difficulties, and then the structure division and the practical experience of their own exercises were summarized and summarized for each technical difficulty.
First, the solution to the technical difficulties.
Here, when playing, it is necessary to highlight the melodic tone of the high voice, and when practicing, the high voice and the low voice are practiced separately, so that the melody part of the high voice is played smoothly, and at the same time, the power of the 5 fingers of the right hand is required to sink.
In the actual performance, when the Boeing of the low voice is "weak" and "fast", there will often be leakage or plosive sound.
Therefore, when practicing, you can first practice with the velocity of f, play each note clearly and then gradually practice with the velocity of p, and then connect each phrase to play when the left and right hands can control the boein more freely.
The second technical difficulty is to solve the problem that when the left hand quintuple and the seven-puplet are played, the rhythm of the five-uplet and seven-tone is often inaccurate, and in order to match the normal progress of the melody of the right hand, the left hand will be fast and slow.
There may even be multiple sound misses or timbre that is not complete.
Therefore, first align the third note of the pentature on the left hand with the octave of the right hand, and then play it with both hands.
The same is true for the left-hand septagram, where the octave of the right hand is aligned with the left-hand septualet, which is between the third and fourth notes of the left-hand septuary, which is more difficult than the pentatto, and requires patience when practicing slowly.
In addition, acceleration exercises can be carried out after the alignment is clear, and at the beginning of the acceleration, due to the realization of the heart, the speed is increased too fast at one time, which changes the muscle habits of the fingers.
Therefore, although there is a long period of pumping and slow practice, there are still many wrong sounds, but you can also gradually speed up the rhythm practice in many slow-fast, slow-fast repeated exercises to achieve the desired effect.
After that, you can use the "step-by-step" acceleration method, first adjust the metronome to a speed of 40, five or seven notes per beat, and repeat one-handed practice, and then practice playing with both hands.
Then, after familiarizing yourself with the difficult points, the metronome adjusts to a speed of 50 and then repeats the same method of practice repeatedly, and at the same time, the change of muscle memory is accelerated and gradually forms accuracy steadily, which greatly strengthens the efficiency of the exercise.
Octave progressions, on the other hand, focus on accuracy exercises for players with smaller hands.
Moreover, the chord texture of this section is narrative in terms of musical expression, and the connection and coherence of the octave are extremely important, so it is difficult to take into account the uniformity, consistency and coherence of the timbre when playing in the early stage, and can only rely more on the use of pedals to connect this series of melodies.
It can be seen that it is not easy to play a very coherent sound on the piano.
Therefore, when practicing, use the power of the arm to push to the fingertips, the power sinks to each key, the interval is strong and powerful, and then the power of the arm is pushed and transferred to the second group of sounds, driving the strength of the arm, and practicing step by step to achieve better results.
And the third technical difficulty solution.
When these two bars are first practiced, it is easy to have "mistones" and "missing notes" in the left hand, especially the continuity between triplets and triplets.
Therefore, in the arpeggio ascending, do more training with slow and high finger raising, so that the timbre is clearer and clearer, and at the same time, the rhythm can be varied, such as the front and back points, to ensure the evenness of the timbre when running, through such training, it has been possible to play clearly and quickly when the fingers touch the keys at the end of the play.
And the fourth technical difficulty solution.
This section is often played with the "D" note missing or accidentally touching the "C" or "B" note, or playing clearly but too loudly.
Therefore, the right-hand arpeggio running needs to be practiced with one hand, slow down the speed and use the arm to drive the fingers to run, when turning the fingers, 1 finger needs to be quickly pierced to prepare in advance, and the power points of 3 fingers and 5 fingers need to rely on 1 finger support to carry out 3 finger and 5 finger intervals to quickly force the keystroke.
In addition, the body can gradually move to the right according to the position of the pitch when playing, so that the right hand is more active and relaxed when playing the arpeggio upward, and the accuracy can be mastered and the timbre can be better controlled.
And the fifth technical difficulty solution.
Due to the increase in emotion and the frequent occurrence of accent marks in this section, it is technically required not only to play clearly, but also to push the arm strength to the fingertips to play the force, so as to solve the problem of insufficient force in the actual performance.
In addition, the transposition of the triad chords of the right hand and the left hand in measure 67 should be accurate, and secondly, when playing, the upper arm should be used to exert force, and there is a tendency to push forward, so that the chord can produce a strong and powerful sound.
The reverse octave of measure 68 is used as an emotional push, and its purpose is to push to the highest point of the whole piece, and its practice can be done by playing two sets of octaves as a unit, supplemented by a rapid rhythm of four sixteenth notes, and so on until measure 69, and the training of measure 69 is the same as that of measure 68.
Only with this kind of practice can you better combine emotions and techniques.
Dynamics and emotion
Dynamics are an inseparable part of our practice in musical performance, and there are two parts to play with dynamics.
The first part is to check the dynamics marks on the piano sheet music during practice, these dynamics marks are used for the creation of emotional expression, such as the accent ">", the sudden "sf" and other marks, you need to follow the dynamics marks to play the appropriate emotional expression;
The second part, that is, the second creation, is the degree of understanding of the repertoire, from the background music background and the understanding of the structure of the song, to express the most real emotions in their hearts, the performers show their true feelings about the repertoire when playing, and finally present the expression of emotions.
However, everyone has their own opinion on the expression of emotions, so the level of comprehension of the repertoire, the way of practice, and the control of dynamics marks when playing are different, and the final stage effect will also be different.
For example, in the exercises, "f", "ff", and "ff" will appear.
At the same time, the stronger the sound of the expressive content will be, and the closer it will be to the musical content expressed, on the contrary, if in the exercise, "p", "pp" and "ppp" appear.
Then the acoustics of the expressed content will be weaker, the sense of distance will be farther away, and the sound effect will be quieter and more lyrical.
The piano song "On the Songhua River" has a lot of emotional markers, and when the emotional part will mark the "FFF" strength mark, you can rely on the hips to drive the strength of the waist to exert force, so that our arm strength has enough space to give full play, and the timbre will be more powerful than only using the hand to exert force.
In addition, you can also use the pedal sustain pedal to decorate the lack of timbre, the piano is a percussion instrument, when we hit the keyboard, the hammer hits the strings, the vibration makes a sound, and the vibration will gradually stop the vibration and stop the sound with the help of the silence cotton.
And when you press the sustain pedal, the mutton will lift up, and when you hit the keyboard again, the vibration time of the strings will be prolonged because there is no barrier of the matte cotton, and the vibration of the strings will be louder.
Therefore, when the "f" velocity mark appears, the sustain pedal can be used to help the player play.
epilogue
Although "On the Songhua River", as a highly technical piano piece, presents multiple challenges to the performers.
However, after dissecting these technical difficulties and proposing specific practice methods and techniques, the performer is able to better understand and master the piece.
At the same time, the performer is not only able to improve his technique, but also to gain a deep understanding of the artistic expression and emotional expression behind the repertoire, so as to better convey the essence of the work in the performance.
The comprehensive and in-depth perspective provided by "On the Songhua River" helps the performers to make significant progress in both technical and artistic expression.