How to play chords on violin
When playing violin, connotation of chords is rich in layers, and extension is vast and endless. Shocked, stunned.
There are many problems that need to be solved in order to play chords perfectly. I will now throw bricks from my learning experience as follows, and also hope to accept corrections.
First, difficulty of playing chords
1 Right hand, bow moves continuously on two very strict planes and remains unchanged. from an airplane. Immediately transfer to another aircraft. During transformation, there can be no change in strength, and two planes are coherent. To maintain complete and unified.
2 Left hand, four fingers simultaneously press different strings, pitch must be accurate, hand is natural (not hard). When you press strings, span is large, shape of hand of one interval changes, and habit affects intonation. As a rule, step will be smaller.
3 Problems with sound in ears, it is not easy to distinguish intonation as a single tone and adjust it in a timely manner. I don't know if pitch is high or low, because of harmony, pitch requirement is higher, and inaccuracy will be more noticeable.
4 Difficulties with reading music notation, looking through a line of notes in a very short time, and responding to both hands.
5 The range of motion of right hand is large, and it is difficult to achieve uniformity, stability and accuracy. prone to noise.
6 The left finger is stretched, and compression ratio is relatively large. There are not only problems with vertical thinking, but also problems with horizontal thinking.
7 There was a problem with interaction of both hands, and left hand cannot be in place first.
8 Some parts of fingers touch strings, causing noise.
Second, how to solve above problems
1 Solve auditory sounds; When practicing chords, practice double tones such as major and minor thirds, sixths, octaves, and tenths at same time. If sound is inaccurate, move your finger to make sure it is that way, and strengthen ear sound training in comparison, which can increase ear sound sensitivity and speed up process. Tone of hearing plays a very important role in piano playing. Piano practice does not pay attention to sound in ears, and this greatly affects improvement of skills.
2 Solve right-handed bow; first draw a double note. First, two long tones and one bowed, two tones must be coordinated with each other without intermittent changes in sharpness, and then long and short are stretched, and each tone must be balanced. Then change strings two or two tones, demanding uniformity, stability, and consistency. Both ascending and descending bows should be practiced. Continuously.
3 Solve left hand, more difficult chords (main full chord in key of E, dominant ninth chord in key of D, etc.)about to string pillow. or then press finger close to string pad, shape of hand should be in a more comfortable state, and pay attention to interaction of elbow as much as possible to solve finger unloading problem. The index finger moves away from neck. Pay attention to degree of joint flexion.
4 Decide on movement of right hand, transition to a new surface requires smoothness, no pressure, and there seems to be a slight pause in middle. Visually observe where bow meets string. The index finger of right hand is connecting point of power, and little finger of right hand should not move away from bow. The right bowl flexes naturally as you move and is a test of relaxation. The index finger should never apply sudden pressure while running. Especially when drawing a bow, most people will not unintentionally press on middle and bottom of bow.
5 Tighten and stretch your fingers, find some studies in this area and practice hard on difficult areas. When practicing, pay attention to shape of hands as comfortable as possible, not stiff. Other requirements cannot be made as they vary from person to person. The principle is not to deviate from general direction.
6 The left finger and root of index finger touch strings, when playing chords, noises appear, which are often caused by touching strings. When practicing piano, you need to pay attention to this. If pad of finger is large, pay attention to verticality. The finger that is not pressing tone must leave string, and be careful not to touch string. In high position, fingers should be brought together for sake of pitch, in order to approximate sound distance.
7 There is a problem with coordination of both hands; left finger should have a certain amount of lead, and chords should be practiced with flexible fingering techniques. Move harder finger first, then press rest of fingers.
8 Strengthen knowledge of harmony, which is useful for hearing and memory.
It's best to draw lightly on 9 chords. Light drawing is easy to spot problems, and it's very easy to increase strength further to reflect harmony. For more complex chords, practice in broken form is very helpful for intonation, good hand shape, and consistency between chords.
Over course of eight years, I occasionally studied chording skills, searched for articles on chording, and browsed and searched major music colleges across country. Due to insufficient range of works, valuable works in this area have not yet been received. Check out this article I posted earlier. I don't think this is enough. The article says too little about practical technical issues. Now it has been added as follows.
We play a few pieces, a chord or two. You will feel that it is not so difficult. But I ran into a more advanced solo.These are constantly changing, very wide ranges. Large chord progressions will be overwhelming. I can't do it. The reason is lack of preparation for skills of playing chords. Has not mastered some basic chording skills, including such skills;
Some tips for playing triads
1; A technique for pressing double strings with one finger in a chord progression. This device is by no means a one-finger double string in course of a melody, its difference is that a double string appears in any tone of 135th chord. can only be pressed once. Once pressed, it cannot be moved, and if it is not used at right time, chord will not be played.
2; Change sequence of chords. This kind of change is much more complicated than change of melody, and frequency is almost one after other, and their intonation will be like a group of obstacles. The finger is not pressed into place ----- function of finger is out of control. Harmony is not audible at all, -------- lack of listening and recognition exercises for all intervals within two octaves.
3; It is not possible to intelligently use previous fingering as a reference for determining position of next chord's fingering. The reference finger at this time should be based on finger closest to new position. This may be due to bass of new chord, or its high or mid notes. We don't always have to start looking for positions on one finger of a chord.
4; When changing handles with one melody. We have shoe toes. That is, last finger press before changing handle, etc. The starting finger is different when chord is continuous, and there will be large changes. We must choose appropriate one from one, two, three, and four fingers to start, based on principle of convenience. Sometimes we hit treble first and then find bass pitch. It by no means always starts on root note.
5; When changing grips, make most of a perfect fifth to change fingers and grips, which contributes to pitch.
6; When changing descriptor, if previous chord's fingering position appears in next chord, try using original fingering position to find new position's fingering position to help find fingering position.
7; Pay attention to treble in chord, its position is very important, most chords for highlighting treble. Not only does it take a long time. And most of them are percussion and end sounds. Very obvious, never dare to be careless.
8; When handle changes, when fingers move, there will be a very slight sliding stop sound - sound of end. It is necessary to quickly fix its existence and listen to filing.
9; When bass is an open string. It is not very convenient to switch to a high position. At this time, you can quickly start with high frequencies with your finger and then follow high frequencies to find low tone.
10; Pay attentionmania for sixth step, third step and double tone of octave. Sophomore, minor step-by-step practice.
11; Do fourth or so. Stretch tiger's mouth several positions higher and practice with open palms. At this time, thumb is slightly below pole of neck. Do not move, if necessary, change position to a lower or higher position. It can be used for stretching tiger's mouth, opening and closing palms, and for thumb hooking exercises.
12; For continuous lower bow chords, each bow is like playing with upper handle.
13; To change steering wheel at a long distance, you can quickly press with your fingers when you are about to reach position and make a knock to slide to find sound. If sliding distance is too long, pronunciation is too small and difficult to hear. Every time you change handle, you must lift and press it to make a tail sound. Use it.
14; On finger, you can 126.96.36.199 refer to order. Also available in 188.8.131.52 Order. It's all about practice.
15; Depending on degree of erection of fingers, it can be adjusted, and distance between palm and fretboard can be increased to increase degree of erection in order to eliminate shortcomings of some chords.
16;Learn following different chord fingerings;
4 2 3 2 4 2 1 1
2 1 2 4 1 4 3 2
1 3 4 1 3 3 2 4