The technique of playing guitar and singing at the same time is a very difficult operation for many friends. Below is what I have compiled. Welcome to read and refer to it.

Four tips for playing guitar and singing at the same time

1. Complete each part independently, playing and singing separately

Don’t rush Qiu Cheng immediately started practicing playing and singing at the same time. It will be better to practice both parts separately. This tip is suitable for those who are unfamiliar with both the playing and singing parts.

To what extent? It's simple, you can play it well without thinking - and then you can start to join in the singing. Here, the state of "without thinking" is very important. Our brains don’t like multi-threaded tasks, which will also make people react slowly and unnaturally, and may also cause you to ignore some problems that you can’t detect, such as delayed shots and rushed shots.

2. Allocate a place to focus your attention and pay attention to the key points in each piece of music

Just now we mentioned that our brains do not like multi-threaded tasks, but while playing When singing while singing, no matter how "without thinking" you play, both parts will still be entrenched in your brain. At this time, we need to allocate "key tasks" - where we should pay more attention to singing, and where we should pay more attention to playing.

So when you are familiar with both the playing and singing parts, try to put them together, play them several times with the above purpose in mind, and assign a "priority order" to the two parts.

Of course, this "switch focus" state does not need to be turned on at any time during the entire song, which may make you more distracted. Just roughly divide it according to the feeling and needs of the music. If you encounter some passages that are difficult to complete, analyze them more carefully.

3. Playing with friends, trust and cooperation will improve your tacit understanding

Have you ever found that playing and singing during band rehearsal is more effective than practicing alone? ?There are many reasons for this:

First of all, when you are playing together, you will have less pressure because there are others playing other parts. The drummer is helping to control the speed and beat, and the bassist and guitarist are ensuring the harmony. Maybe whose melody or rhythm is similar to yours, you can use it as a reference.

Of course, saying this doesn’t mean you can pretend to be in the crowd, your teammates are also listening to you. There are also the audience, other musicians and professionals... Lack of familiarity will always affect the performance of playing and singing.

4. Patience! Time! No matter how difficult it is, you can’t help but practice.

If your goal is to improve your ability to perform simultaneously and sing, you need to be prepared to practice patiently and for a long time. As we mentioned before, you may have mastered simple playing and singing, but you will be blinded when encountering complex rhythms. So it's been a long road. Moreover, this is actually a process of expanding the brain's "CPU" to create a new execution thread. If you can play a musical instrument, you must be familiar with this process - it is something you need to get used to slowly.

This ability and training to "segment" the brain are universal at the same time. For example, playing guitar requires the brain to control the left and right hands to do different things at the same time. The same goes for playing piano, drums, etc. So if you play the guitar well, training in playing and singing will be much easier.

Four common misunderstandings encountered by guitar beginners

Type 1: The specific technical essentials of a certain technique are not clear so that they fail to practice at the beginning If you meet the practice requirements of this technique, you still won't be able to master it after repeated practice many times in the future, resulting in a waste of time and energy.

Type 2: The practice process lacks planning, and there is no clear purpose for each practice. As a result, nothing is gained from the practice, resulting in waste. Taking learning a new etude as an example, students must clarify the technical requirements of this etude in the early stages of learning, and start from this step: sight reading + slow practice ---- step by step acceleration + targeted practice - ---Play skillfully + accurately express various performance symbols ----- Memorize music + perform according to practice requirements. Every step of this learning process is an important part of practice. Only by strictly demanding yourself every practice can you gain something. In addition, I would like to emphasize practicing slowly. In the process of slow practice, all technical components will be "amplified". The so-called "amplification" in practice cannot simply be understood as an increase in quantity, but an improvement in quality and precision. In short, the principle of slow-speed practice is to improve the quality and accuracy requirements on the basis of actual performance, and prepare for the original speed performance.

Type 3: Although they have mastered some playing techniques, they don’t know how to use them. This is another waste. In fact, since most of the students’ technical exercises are exercises for a single technique, There is a lack of practice in connecting and converting various types of technologies, which causes students to have difficulties in using technology. In addition, the skills that have been learned gradually become unfamiliar and forgotten because they are not reviewed again, which is equivalent to a waste of the original practice process. In addition, what I want to tell you is that shaping the musical image of an etude through technical practice is the ultimate goal.

The combination of soft phrases and decisive and powerful phrases; the continuous notes echo the melodious musical tone. These musical images all rely on the mutual cooperation and skilled use of various types of techniques.

Type 4: This is also the most common among amateurs or self-learners. That is, most students show eagerness for quick success during the practice process, but the actual results are counterproductive. How much time does it take to analyze the harmony, form structure, and tonality of the etude content? In fact, it does not exceed an hour. This requires our guitar teachers or self-learners to have such musical qualities. However, in Practicing without research and analysis, meaninglessly repeating it over and over again, takes more than an hour? What's more important is that such practice is ineffective and even harmful.