How to improve pitch ability

How to improve pitch ability

Introduction: When it comes to pitch, what is usually used to measure pitch is the pitch that conforms to a law. So how can you improve your pitch ability? Let me tell you now! How to improve your pitch ability

(1) Practicing scales is the basis for fixing pitch.

Practice scales every day, the purpose is to get every note right. For most violin lovers and beginners, what they love most to practice and play are the touching and perfect melodies, and what they love least to practice may be boring scales. In fact, insisting on practicing scales is the simplest and most direct way to establish and consolidate the inner abstract position of pitch. In many cases, the stepped appearance or partial appearance of a scale can appear as a melody in a violin piece. In all violin works, those brilliant rapid passages and difficult cadenzas are combinations of various scales. At the same time, scales can also establish the framework of the hand and better establish the touch of the fingers. The great violinist Heifetz said: "The foundation of violin playing technology is scale, which is the most important aspect of violin playing technology." It can be seen that practicing scales is the most important basic exercise for violin players, and it must be done Practicing every day and taking it seriously will be of great help in solving all aspects of violin problems, especially intonation problems. Let me take the specific method of practicing a single-note scale as an example:

When practicing a single-note scale, you must first figure out what tonality it is. The first note at the beginning of each string of scales must be extremely precise, otherwise all the notes will not be where they should be. A common joke is: after playing the last note of a G major scale, When we compare the sound with the G string, we find that there is a big difference. This is because the sound gradually becomes inaccurate when we play the piano. Gradually, all the notes deviate from the normal track, but our ears cannot feel it. Therefore, when playing a string of scales, in addition to the accurate first note, when we play a note that can be the same as an open string, we must subconsciously check it with the open string (in fact, it is not only the notes that are the same as the open string). Reference tone, all other notes can adjust their pitch through 5th, 3rd and 6th degrees), so that all the notes that can correspond to the open strings in a string of notes can be accurately aligned. Our string of notes The framework of intonation is also guaranteed. At least the above problems will not occur again. Every time we practice, the sound of each note must be very accurate. Our ears must supervise our hands, otherwise If you repeat the mistake 100 times, it will still be wrong, and it will never be correct!

(2) Use hearing to guide pitch

For students with no hearing problems, the pitch will not be accurate. The fundamental reason is that when I practice the piano, I don't use my ears to carefully identify whether the notes I play are correct, and I don't correct the incorrect notes and just let it go. Hearing does not play its due role of guidance and supervision. After doing this for a long time, you will get used to the incorrect notes. They may also mistakenly think that the sound they produced is correct, thus making the problem of inaccurate sound never corrected.

The correct approach is: when practicing the piano every day, you should use your hearing to check the pitch. If you encounter an inaccurate note, you should correct it in time and don't let it go. Facts have proven that the better you do at correcting the pitch, the greater the certainty that you will be able to hit the pitch at once during formal performance. When adjusting the pitch, you must have the courage to give up the wrong position of your fingers when pressing the strings, and be diligent in finding the most accurate position. Never assume that the location you press the first time is necessarily accurate. If you are not sure about the pitch of a certain note, you should practice it repeatedly, compare it repeatedly, and adjust it repeatedly until you get the note right. Doing this can not only correct the pitch and get the finger feeling of pressing the note correctly at one time, but also sharpen the hearing. In turn, keen hearing can help us correct our pitch more quickly, thus forming a virtuous circle in pitch. Students with less sensitive hearing will have to work even harder. If necessary, you can ask a sight-singing and ear-training teacher for guidance and do some special hearing training to improve your hearing ability.

After you have played the notes correctly, you will gradually become familiar with the location of the correct notes on the fretboard. Over time, you will be able to hit the notes correctly at once, and at the same time develop a good intonation habit. And once good intonation habits are developed, it won't be easy to play the tune incorrectly.

(3) Establish a correct left hand posture

In order to hit the right note quickly and accurately on the fingerboard, in addition to using your hearing, it is important to establish and maintain a correct hand shape. The famous violin educator Galamian pointed out: "Good pitch is mainly based on the touch feeling guided by the ears." He proposed two effective training methods: "hand frame" and "double contact principle" method. The so-called "hand frame" means: in any position, the four fingers of the left hand should try to maintain an accurate pure fourth relationship between one and four fingers; when playing double notes, try to maintain an accurate one-fourth finger relationship. The pure octave relationship between them. Its purpose is to find the exact position of the second and third fingers by stabilizing the first and fourth fingers. The "double contact principle" means: in addition to pressing the strings with your fingers, when in the low position, the sides of the thumb and index finger of the left hand lightly touch both sides of the neck in a relaxed state; when in the fourth position or above, the sides of the index finger With the edge away from the neck of the violin, your thumb and hand touch the body of the violin at different positions, and keep two points in contact with the violin at the same time. Its purpose is to establish the feel of the left hand at each position of the violin and to ensure the strength of the fingers when pressing the strings. In this kind of practice, you must pay attention to the relaxation of different parts of the thumb and hand, and do not let these two points exert force on each other, which is what we often say, "Don't crush the piano to death!"

( 4) Pay attention to the study of sight-singing and ear training

A violinist’s ears are like a pilot’s eyes. If a pilot has an eye problem, he will not be able to fly a plane; similarly, if a violin player has an ear problem If there is a problem, he will not be able to play the violin well! Many people believe that the reason why the ears cannot distinguish the pitch when playing the violin is because they do not have "inner musical hearing". The so-called 'inner music hearing' is explained in the "Music Encyclopedia Dictionary" as follows: "People's inner memories or imaginations of some music they have heard or not heard. Relative to listening to actual music performances. But inner music hearing It is formed on the basis of rich experience of listening to music. Most people have different levels of inner music hearing ability, which can be gradually improved through shallow and profound training, and some people will achieve certain development. "It can be seen that at this time. Any pitch problems that arise can be improved through training. ;