Piano teacher's summary: scale and arpeggio fingering
Piano learners all know that there is a book called "scales and arpeggios", which talks about whether it is thick or not and whether it is thin or not. It may contain hundreds of scales and arpeggios. In addition to 12 major and 12 minor (including 24 melody minor), there are chromatic scales, diatonic scales, chromatic scales and so on, not to mention arpeggios of various colors. On the complexity and diversity of skills, the piano is worthy of the title of "the king of musical instruments".
So many scales and arpeggios are actually not so terrible, that is to say, even if you can do it, there is nothing to show off because there are rules to follow.
The scale test range of Grade 5 piano performance in imperial examination is 24 scales and main chord arpeggios of all sizes. Of course, in the requirements of the imperial examination, speed is second, and the auditory law and fingering of scales are the focus of investigation. On the other hand, if you don't even understand the basic rules of scales, you will start to practice speed, which is putting the cart before the horse.
There is a simple teaching method for scales: throw students a book "Scales and Arpegmatians" and write it on the spectrum while playing! This is to leave the difficulties to students to solve and the laws to students to understand. This is not the worst way. However, I summed up some tips. Share it with everyone here.
First, we must first find the auditory rules of all major and minor tones. To put it bluntly, first of all, we should be familiar with what kind of tunes the major and minor scales are. Take major as an example: although there are as many scales as 12 in major, in fact, to put it bluntly, the pitch of the same song has changed when it is turned to 12, but the song itself has not changed. Familiar with this tune, that is, do, re, mi, fa, sol, la, si in c major, at least you can clearly know whether you played it wrong after the sound transfer (that is, playing other major scales).
Generally speaking, after a student learns the scale in C major, I can ask him to play the scale in sol. Soon I found that fa sounds strange, so I asked him to listen to it again in semitone, which is really more like a play. Then continue to find D major, A major, and E major through hearing, and each key is raised by one more tone. And the four keys are exactly the same as the fingering in C major, and then they can be practiced together.
Second, it is not that simple, but it is not that difficult. B-flat, E-flat, A-flat and D-flat can be studied together. After finding the sound of this key through hearing, fingering is a problem. Fingering is very different from C major. How to remember?
It's actually quite simple. Any fingering of major and minor actually comes from C major, which means that "every fingering of major and minor includes fingering of C major". Take B flat major as an example. The figure below shows the fingering of playing this scale on the keyboard.
The corresponding right-hand fingering on the staff is shown in the figure below.
In fact, the scale in B-flat major includes the fingering of the scale in C-flat major, as shown by the red note in the figure below.
In fact, there are only two fingering differences between B-flat major scale and C-flat major scale: 1, not from C, but from B-flat major scale, which means that the fingering of B-flat major scale begins with the fingering of the seventh note in C-flat major. In other words, the fingering of the two scales can be regarded as the same, but starting from different points. 2. In the scale of B flat major, mi and si need to be flat.