Training and fixing the inner beat sense is the only way to play the piano, but people often can't grasp the left hand accompaniment well. Let me introduce the method of playing piano with left hand accompaniment for you. Let's have a look at it with interested friends!

The method of playing piano with left hand accompaniment

1. Emotion and strength are condensed at the fingertips, the fingertips should be very sensitive, proper limit and control should be properly balanced, and the local force and pronunciation should be controlled at the moment of touching the keys.

2. When touching the key, the key speed should be slow and even. Just like slow-motion playing with fast keys, try to reduce the impact of your fingers on the piano keyboard. Use? Soft landing? To dissolve the power and achieve the effect of coherent and soft timbre.

3. The fingers perpendicular to the keys are slightly tilted back, so that the meat pads at the ends of the fingers can touch the piano surface more. Because the contact area between the finger tip and the piano surface becomes larger, compared with the same force acting on a small area, the pressure will decrease, and the sound will become soft and blend together like diffuse smoke, without obvious boundaries.

4. relax your arms and wrists and pay attention to the transfer and transfer of weight. Attention should be paid to the coordination of force transfer among arms, wrists and fingers. With the flow of notes, fingers should stick to the keys as much as possible, so that the interdependence of fingertips can make the sounds closer.

5. The duration of the lingering sound and the holding sound should be full and sufficient, which often appear in the piano accompaniment with multiple voices.

from the above summary, we can clearly realize that the position and the size of the key-touching surface of the fingers, the speed, strength and depth of the keys pressed by the fingers will affect the sound's brightness, strength, thickness and even distance to varying degrees, and the technical skills of the piano accompanist are also reflected in the artistic skills of the fingertips. Piano accompaniment training skills

1. Use different volume according to the content and mood of the song. For example, the piano accompaniment of Liyinghai's adaptation of the Yunnan folk song "Streaming Water" gently plays a trickle of sound; The piano ending of the aria "No one sleeps tonight" in Turandot is shocking with strength.

2. Use multi-level volume according to the singing voice. For example, the accompaniment volume of coloratura soprano should be smaller, and dramatic soprano can be slightly larger, depending on the plot; Examples of baritone, such as Amand's aria "Check the Place in provine" in the opera La Traviata, can be used at a moderate volume; Examples of bass, such as Song of the Flea, need a strong volume.

3. Use the strength level according to the texture of piano accompaniment. When playing smaller vocal music works, piano accompaniment mostly obeys the theme music, and the accompaniment music only plays the role of contrast and foil. When playing such works, under normal circumstances, the intensity should not be too large, and some special treatment methods should be paid attention to, which will often play a finishing touch on the performance of music.

4. Use strength levels according to different styles of works. Different composers' works have completely different requirements for strength. When we accompany them, we should first study the different creative styles and characteristics of composers in order to make a reasonable choice and application of strength levels. Ways to strengthen the fixed rhythm of playing the piano

1. Use a beat machine.

Use the fixed rhythm points of the beat machine to train and fix the inner sense of beat, and gradually develop the good habit of strengthening the counting of beats, so that the inner sense of beat can be stabilized soon.

2. Practice with different rhythms while counting the beats.

Don't count in your mind. If the beat is not stable enough, you will often count faster and faster without knowing it, and even your mouth will be taken away by the music you are playing, and you will still think that you are right.

don't beat the beat with your feet, because your feet will be used for pedaling in the future. Therefore, the most difficult and effective way is to count the beats loudly while playing the beat machine, so that we can listen to the beats counted by ourselves with our ears and make the beats heard by our playing hands and ears match the beats counted by our mouths.

3. When playing, you should feel the difference of different rhythms in your heart.

Combine the rhythm of each Emirates tune, combine the rhythm of music melody with the basic characteristics of this rhythm and play it. For example, the beat is square, and what is the beat feeling? Strong, weak, sub-strong, weak? Like a majestic March, it gives people a sense of rushing forward. The leading racket is a rotating circle. What is the beat feeling? Strong, weak, weak? , such as waltz gorgeous dance steps, elegant and passionate?

4. Grasp the inner rhythm of music.

You should learn to flex the beat according to the needs of music to form different combinations of rhythm length. For example, in Strauss's Blue Danube, the theme and accompaniment are just like two identical parallel lines. If the left and right hands compress and stretch the beat respectively when playing, the music will sound poetic and particularly interesting. Although from the microscopic point of view, this has partially changed the speed, from the macroscopic point of view, they still belong to the way of unified and unchanging overall speed.

5. Learn to listen.

When playing (especially when playing a big work as a whole), be sure to listen to the music you are playing, and pay attention to whether your handling of speed is too abrupt or too procrastinating. Secondly, we must decide how to deal with the speed according to the age and style of the work; The flexibility of speed and the local expansion and contraction must also follow the overall layout of speed and conform to the final overall image of the work on the rhythm scale. For example, when playing classical works, it is necessary to be restrained in the beat, not as free as playing romantic works.

6. Stay independent and keep your hands on quick march!

In any rhythm training, we should emphasize the independence of both hands, strengthen the technical control of weak fingers, never rush or drag the beat, and no finger can roll or slip unevenly, especially when playing different beats with both hands (such as a triplet changing the beat of two octaves). No matter how the rhythm changes, we must do quick march with both hands. Remember!