1. Non-legato articulation: let students experience the weight falling and the arms relaxed. First lift the wrist slowly, relax the hand and droop (you can shake the wrist moderately to feel the relaxation of the whole hand), slightly higher than the keyboard and then fall naturally, after falling, the wrist is slightly lower than the hand, keep the basic hand shape of the arch. In addition to the fingertips and fingertip joints that are touching the keys, the rest of the fingers, as well as the palms, wrists, arms, shoulders and even the entire upper body, should be kept relaxed, so that the weight of the shoulders and arms can be "condensed" on the fingertips unhindered. For students, non-legato training begins with the 3 fingers, which are the most powerful and easy to command. After mastering the essentials of movement with 3 fingers, learn the other four fingers and so on. When learning non-legato articulation, it is necessary to give full play to the students' listening and discernment, so that students can distinguish the quality of the sound that comes out of various methods, and strive to pursue a sound that is not knocked or smashed, not empty or floating, and is as mellow and plump as a bell, so that it can establish a correct sound concept in the early stage of learning the piano.
2. Legato articulation: The key to understanding the coherence between tones is the movement of the center of gravity. The legato method should start with the legato of two notes, so that students can experience the same falling as the non-legato method in the two-note legato playing, and then gently raise the second finger to move the gravity of the fingers when the first note falls to play the second note evenly and smoothly as if walking, and then raise the hand again as if playing the non-legato sound. Once you have mastered the legato of two notes, practice the legato of more notes and gradually expand it. When learning legato articulation, special attention should be paid to the connection between the tone, before the next note is played, the previous finger can not leave the key, otherwise the sound played out will not be coherent.
3. Skipping method: It is divided into arm skipping, wrist skipping, finger skipping, etc. The initiation teaching of young students can start with arm jumping. The playing of arm skipping is the same as the non-legato to lift the weight of the wrist and fall, as soon as the fingers touch the keyboard, it immediately gets up, quickly leaves the key, light and elastic. This kind of skipping is easy for students to master, but it is not easy to distinguish the relationship with non-legato sounds. Pay attention to the wrist and arm relaxation after the button, and use the force of the fingers to quickly leave the key. Arm skips are used for single, double or chord jumps where the rhythm of the notes is not too fast, and the dynamics are strong or strong. The second is to learn the wrist skipping technique, which is a way to keep the arm still, maintain a stable arched hand frame, and move up and down with the wrist joint as the hub. Its movements are like the flexible and rapid swing of the neck up and down when a chick pecks rice. The whole hand resembles a chicken's head, the fingertips resemble a chicken's mouth, and the wrist resembles a chicken's neck. Wrist skipping is performed by the wrist and elastically up and down through the wrist joint relaxation, plus the bouncing force of the fingers. It is used for fast, weak or weak dynamics of continuous single, double or chord skips. There is also the learning of finger skipping articulation, which requires the metacarpal joints to move up and down quickly, with explosive power, after the fingers quickly press the key, the force is concentrated on the fingertips, and the fingers quickly bounce off the keyboard once they touch the keys. Finger skips are suitable for continuous single-note skips or homophonic repetitions that are weak and fast. Regardless of the jumping method, wrist elasticity and bottom-up bounce are always key.
1. Staccato method: disconnect each note so that each note is clear and elastic. With your arms relaxed, your hands on the keyboard, and your fingertips touching the keys, you should concentrate the power of your arms, wrists, and fingers on your fingertips to produce bright tones. For staccato technique, you can start with a single note and gradually expand to double notes and chords. In the process of learning, it is necessary to pay attention to maintaining the relaxation of the arms and the independence of the fingers, and master the rhythm and strength changes.
2. Semi-staccato method: Compared with the staccato method, there are lines between the notes of the half-staccato method, and the interval between the notes needs to be shortened as much as possible to make the sound more coherent. When playing the half-staccato technique, it is important to keep your arms relaxed, your fingers to touch the keys gently and elastically, and to master the dynamics and rhythm.
3. Bounce playing method: It is required that the fingers are close to the keyboard when playing, and the first force of the fingers is used to play. This method of playing is suitable for expressing a light and dexterous image. When practising bouncing articulation, pay attention to the sensitivity of your fingertips and the elasticity of your wrists, and master the changes in strength and speed.
4. Press-and-jump method: It is required to press the force on the keyboard when playing, so that there is a clear disconnection between the notes. This method of playing is suitable for expressing a powerful and deep ** image. When practicing the pressure jumping technique, pay attention to the strength control of the arms and wrists, and master the changes in strength and rhythm.
5. Decorative performance: Decorative flowering treatment is carried out on the melody to make the melody more gorgeous and lively. When practicing ornamentation, pay attention to the dexterity and rhythm of your fingers, and master the variations in strength and speed.