In the late 1970s, with the reform and opening up and economic development, people's living standards were improving day by day, and they paid more attention to their spiritual and cultural needs. Facing the new century, the Chinese education sector began the process of comprehensively promoting quality education. , Today, a national social education garden with children as the main body has been formed. The piano has become the preferred instrument for children’s preschool education in many economically developed countries around the world. The results of long-term research by scientists show that learning the piano is an important step in developing the right Half of the brain and the most effective approach to child intelligence. Learning the piano not only stimulates the ten fingertips, but also makes the brain, eyes, hands, ears, and even the whole body devote themselves to coordination. Long-term training improves children's organizational skills, coordination skills, command skills, reading skills, and memory. Ability, analysis ability, understanding ability, imagination ability, listening ability, observation ability, concentration, endurance and other aspects have been significantly developed. Therefore, it is not unreasonable to say that children who learn piano will become more intelligent and capable. At the same time, long-term exposure to classical music will lead to qualitative changes in a child's personality, interest, and upbringing.

my country's popular piano education has developed rapidly with the country's reform and opening up. The number of children learning piano is gradually increasing, and the school age is also getting earlier. On the one hand, it promotes the development of piano teaching. On the other hand, it promotes the development of piano teaching. It also places higher demands on piano teachers. Here I would like to briefly talk about some thoughts on target="_blank" class="keylink">children's piano enlightenment teaching.

1. The first step in learning the piano

Enlightenment; it is meant to enable beginners to obtain basic and introductory knowledge. Therefore, enlightenment is also called entry. Regarding the division of piano learning stages, some people classify enlightenment teaching as the primary stage, while others list enlightenment teaching as a separate stage. The latter is intended to highlight the importance of enlightenment teaching in order to attract sufficient attention from people. In teaching practice, we often hear this argument: "You can't teach people with advanced skills, but it's not easy to teach people who don't know it at all." Find a teacher to learn first, and then find a better teacher in the future. In the eyes of some people, enlightenment Teaching starts from scratch, which is the most insignificant and simple thing. On the contrary, piano enlightenment teaching is like building a high-rise building. You must first lay a good foundation. If the foundation is not strong or crooked, the building will not be built high. Even if it is barely built, it will collapse sooner or later. The enlightenment stage in piano teaching directly affects students' future development prospects. The first is whether students can love the art of piano, and then lay a solid foundation for development to a higher level. Irresponsible enlightenment teaching will mislead students and parents into preconceptions; and develop many irregular and even wrong habits and methods. Even if you meet a good teacher in the future, it will be difficult to correct it and you will often have to give up halfway.

Children’s piano enlightenment teaching targets mostly preschool children, and it is generally appropriate to start piano learning around the age of five. If you are too young, your soft fingers will have difficulty adapting; if you are too old, you will miss the best period of brain development. The natural age is only a reference. The most important thing is to determine the physical and psychological adaptability of children, as well as their intellectual development and musical quality. Children who start learning piano should at least be able to distinguish between the left and right hands, five fingers, and be able to count tens or more. The hand conditions should be loose, large, palm-width, and finger-length. As for general learning, there is no need to be too demanding, but for children whose knuckles are too weak, slightly delaying the time to play the piano is more conducive to learning. The examination of children's musical quality can be carried out by letting children perform programs. Whether singing or dancing, it will reflect the child's sense of rhythm and music. Then, the children's musical hearing, memory and imitation ability are tested by simulating the pitch of the piano or human voice, simulating various rhythm groups and other methods. For children who already have the basic conditions, some preparation work should be done before playing the piano. First, let the children listen to and feel the music played by the piano, let the children shake their bodies with the sound of the piano, and sing familiar songs to the sound of the piano, so that they can get close to the piano unknowingly and become friends; second, we must design various games , allowing children to become familiar with the keyboard and learn to read music in the game.

It is very easy for children around five years old to master the most basic knowledge of musical notation through a few phonetic symbols. Mastering the knowledge of musical notation eliminates the obstacles to reading music and playing on the piano; thirdly, we must create before formally learning the piano. Give children the opportunity to watch the performances of their peers, stimulate their interest and enthusiasm for learning, and turn what they want to learn into what they want to learn.

The first step in children's piano enlightenment teaching is to start from learning the correct playing posture. First, let the child learn the sitting posture. The performer's sitting position should be aligned with the center of the piano (the keyhole of the piano or the gap between the keys). The height of the seat should be such that the forearms are at the same level as the keyboard. The elbow bend should be slightly greater than a right angle in front and back of the seat. Place your feet in front of the pedals, and place your feet on something with your knees bent at no less than a right angle. The upper body should be upright and natural, lean forward slightly, relax the shoulders and back, sit only one-third of the seat, and feel the support of the body's center of gravity by the buttocks and feet. The posture of the player's hands should be naturally rounded, with the palm joints propped up, the knuckles protruding, the degree of finger bending varying depending on the length of the fingers, the wrists naturally flat, and the elbows relaxed. When teaching children, it is necessary to use vivid and vivid language. For example, let the children imagine that they have caught a very cute little bug in each hand, and they can neither crush it to death nor let it escape. So I held my little hand into the shape of a hollow inside and a circle outside, and then put the little bugs on the keyboard and let them come out to play. Then slowly release the four fingers (2-5) until the fingertips are aligned with the keyboard. At this time, the basic hand shape for playing the piano is found.

Basic playing methods include the three most basic methods, non legato, legato and staccato, as well as their comprehensive application. Good music-reading habits refer to reading music and playing at the same time, keeping an eye on both the music and the keyboard. There should be a time difference between reading music and playing. There should be an advance amount of time when reading music. When reading music, one should strictly follow the five principles of "good" (good pronunciation). , the rhythm is good, the fingering is good, the playing method is good, and the expression is good). The development of basic postures for piano playing, the learning of basic playing techniques and the cultivation of good music reading habits are the basic conditions for the ability to practice independently; and only when students have the ability to practice independently can they improve their learning consciousness and form a virtuous circle . As an abstract art and auditory training, students can understand at the beginning of their enlightenment that the purpose of practice is to play music, express music, and know how to use their ears to listen to music and test music. For young children, this is somewhat difficult. Therefore, requirements must be based on the actual situation of the child.

2. Selection and use of teaching materials

With the development of popular piano education in our country, more and more enlightenment teaching materials have been introduced and compiled. On the one hand, they provide reference and On the other hand, the room for choice also increases the difficulty of selecting teaching materials. Teaching materials play a very important role in the success or failure of teaching. Therefore, before starting children's enlightenment teaching, teachers must first prepare the teaching materials. Among the more popular children's enlightenment textbooks at present, they can be roughly divided into three types of entry-level staffs, namely the entry-level treble staff method, the entry-level method of middle C, and the entry-level multi-note method. The traditional enlightenment textbook "Bayer's Basic Piano Tutorial" uses the treble clef introductory method. Volumes 1-5 of "Thomson's Easy Piano Tutorial" currently widely used in China start from middle C, while learning the high and low clefs, and gradually expand to high and low notes. The polyphonic entry method is a new method adopted abroad in recent years. It is also called the polytonal entry method. It allows children to master the relationship between the lines and spaces in the staff and between the keys, and break the C major scale. limitations to become familiar with the twelve tonally different units and keyboards. Textbooks for this type of introductory method are not yet popular in China. In addition, there are also interval introductory methods and various comprehensive introductory methods. When choosing children's piano enlightenment teaching materials, we should not only take into account the characteristics and limitations of a certain introductory method, but also comprehensively measure the scientific nature, interest and practicality of the teaching materials. Of course, after correctly selecting excellent teaching materials, there is another important issue, which is how to use the teaching materials, including the horizontal combination of various teaching materials. At the right time, join "Bayer's Basic Piano Tutorial" to strengthen legato training, and join "Thompson's Easy Piano Tutorial" to start training your sight-reading ability and musical expression as early as possible. The large number of world-famous songs in the third volume will greatly broaden children's musical horizons. After children's piano enlightenment teaching has completed the first stage of non-legato playing, children can start to implement basic skills training-finger exercises in due course. Training of basic skills requires accumulation, so start early. Basic skills training is relatively boring, so it should be done sparingly but accurately.

"Children's Piano Finger Exercises" compiled by Li Feilan absorbs the essence of many foreign piano finger exercises and combines the physiological and intellectual characteristics of Chinese children: in use, as long as the students choose exercises purposefully according to the actual situation and persist for a long time, they will definitely master Received good results

3. Parents’ cooperation and guidance

The success or failure of children’s piano enlightenment teaching depends on three factors. The first is the child’s talent and diligence; the second is the teacher’s level and attitude; the third is the parents’ cooperation and guidance. The three influence each other and complement each other. Teachers must not only teach students well, but also guide parents to provide reasonable guidance and tacit cooperation. Correct cooperation and guidance from parents first come from their correct understanding of their children's piano learning. Before the child starts learning piano, both parents should reach a consensus. If one advocates learning piano and the other advocates learning dance, once the children start learning, the conflict will intensify and the child will be at a loss. On the basis of consensus, we must also have a clear understanding of learning piano. For the vast majority of children, learning piano is just to improve their quality, develop their intelligence, and cultivate their abilities. Even children who are indeed talented cannot set the goal of becoming a pianist when they first receive enlightenment teaching. If they act too hastily and make unrealistic demands, the result will often be the opposite effect.

The cooperation between parents and teachers is mainly implemented in the guidance of children in all exercises outside of class. Preschool children receive initial piano teaching just like when they just learn to walk, and they need the help of their parents. But this kind of help can neither be a substitute of feeding someone, nor can it be a coercion of slaps and rulers. Nowadays, many parents have realized the importance of tutoring and have invested a lot of time and energy in learning with their children since they started learning piano. When young children just start learning piano, parents should first help their children develop good practice habits. For example, before starting to practice, they should wash their hands, trim their nails, and check the height and position of the piano bench and foot pads. Provide appropriate lighting for children to prepare for piano practice, so as to avoid interruptions such as drinking water and going to the toilet after playing the piano. Try to concentrate on the child once playing the piano until the practice requirements are completed. Young children learn piano for reasons of intelligence and ability. Parents can help me remember the teacher's requirements in class and repeatedly emphasize them during practice, so as to cultivate their children's ability to practice piano independently as early as possible and step by step. Parents should help their children learn to arrange daily piano practice content, practice focus, and practice goals. They must not simply stipulate how much to play, otherwise there will be only quantitative changes at best and no qualitative improvement. Parents should discover problems in time during their children's practice and communicate with teachers in a timely manner. Research specific solutions. Parents should encourage their children's learning attitude and performance, and point out that certain deficiencies can be improved for the better.

4. Principles of piano practice for young children

As for the arrangements for children to practice piano, the following principles should generally be adhered to:

(1) Arrange the practice time on a fixed basis When children are energetic, it is helpful to concentrate, ensure quality, and develop good study habits.

(2) The concentration time of children around 5 years old is generally about 20 minutes, so it is appropriate to arrange 20-30 minutes for each practice, two to three times a day, and it is convenient to eat less and more meals Digestion.

(3) Every time you practice piano, you must have clear requirements and specific goals. Don’t simply stipulate how many times you want to play or how many hours you want to play. You must have quality and quantity.

(4) Insist on practicing the piano every day without interruption. Piano learning requires accumulation, and good study habits must be developed through persistence. Practicing the piano every day can cultivate children's perseverance and quality.

5. Eight taboos for teaching children

(1) Avoid being formulaic. Every class starts from finger exercises to scales and arpeggios, etudes, and music, so that children can feel Monotonous, boring. In fact, in order to improve the quality of class, children and parents will try their best to practice it once or twice before class. Therefore, children can be allowed to play their favorite and most confident songs first in class, so that they can face the teacher with confidence and perform seriously. The class is interspersed with stories about music and singing along with the piano, making the class diverse and interesting.

(2) Avoid interrupting the performance if you make a mistake. Children will inevitably make mistakes in their playing. When a child makes a mistake while playing, the teacher will immediately interrupt the performance and point out the problem, which will frustrate the young mind who originally wanted to show off in front of the teacher and parents. After a few times, the child will lose confidence and desire to perform. , and even generate dissatisfaction.

Teachers should let them play a piece of music with full confidence and ease as if performing a performance, and then make comments.

(3) Avoid criticizing and reprimanding blindly. Regarding the psychology of young children, criticizing and reprimanding blindly will only make them feel fearful, lose their self-confidence, and put teachers on the opposite side. Instead of saying how come you still made mistakes in the review lessons? It would be better to say: Today is an improvement compared to last time. It would be better if these mistakes are corrected. The latter will make the child feel that the teacher is standing with him, encouraging his progress, and creating a sense of closeness.

(4) Avoid covering everything. For the problems that arise in students’ playing, including problems in playing methods and problems in playing repertoire, simply summarize them and clearly tell students that this time What are the main problems to be solved after class and what problems should be solved first.

(5) Avoid just teaching without practicing. In addition to promptly and clearly pointing out the problems and mistakes that occur during the piano learning process, the teacher should also let the children practice on the spot and experience and understand them in practice. Recognize the difference between wrong and right. As for the specific practice methods after class, children should also be allowed to do them in class. Only after basic mastery can the efficiency of the week's practice be guaranteed.

(6) Avoid cramming. When an error is discovered, the teacher should point out that there is a certain type of error in a certain paragraph, a certain part or a part played by a certain hand. Then encourage students to play it again, read the score carefully, listen carefully, and find out the mistakes themselves. Or adopt a comparison method, where the teacher plays the correct and incorrect ones and allows the children to find out the problems in the comparison. For new topics, students should also use clever questions to inspire students to reason and find answers based on the knowledge they have learned before. In children's piano enlightenment teaching, it is extremely important to use heuristic teaching principles and methods to cultivate and develop children's music perception ability.

(7) Avoid simplistic assignments. For young children in the enlightenment teaching stage, not only should they demonstrate, but also point out the key points, difficulties and practice methods of the new lesson. The teacher's demonstration should be conducted at two different speeds: practice and performance. This not only allows students to hear what the new lesson will be like after playing it well, but also enables students to truly understand the new lesson through the teacher's slow demonstration. Eliminate the fear of difficulties.

(8) Avoid long-term teaching. Preschool children’s concentration time is very limited, about 10 minutes for children around 4 years old, about 20 minutes for children around 5 years old, and 20 minutes for children around 6 years old. half an hour. . The time for teaching young children should fully consider the attention span of children of different ages.

6. Pay attention to the cultivation of musical sense

The so-called musical sense is simply the sensitivity, imagination and expression of music. When we say that a child's performance has a strong sense of music, it means that he has strong expressive power for melody, rhythm, harmony, dynamics, etc., and has a rich imagination for the musical image of the work, and through his own performance Use your imaginative expression of these feelings to infect others. The ultimate goal of learning piano is to use the sound of the piano to express music. Therefore, the cultivation of musical sense is an important topic that should be focused on from an early age. While learning various basic techniques, we still need to remember to inspire children to actively express music. The focus of cultivating children's sense of music should be on the sense of layering and the sense of rhythm. The levels of music include the horizontal progressive layer and the vertical part construction layer. Different works should be selected for conscious training. To cultivate the sense of rhythm, we must pay special attention to the accuracy, unity and natural strong play of the rhythm. This is the basis for cultivating the sense of rhythm. In addition to paying attention to teaching and practice, children should also be given opportunities to appreciate excellent performances and singing, including records made by performers, singers, and live performances. Although some works are incomprehensible to them, they will feel the beauty of music through constant edification and improve their sensitivity to music through the enjoyment of beauty.

The enlightenment stage of piano teaching directly affects the future development of students. In the process of teaching and learning, teachers, students and parents are a link, and the three complement each other and are inseparable. If you want to truly learn piano well, you need the joint efforts of teachers, students and parents. Only the harmonious combination of these three aspects can achieve the same goal!