Pipa is one of the traditional national musical instruments in my country. It is simple and elegant. It has unique and rich means of expression because of its various playing skills that shape the image of music. You have been welcomed by literati throughout the ages because of the beauty of "holding a pipa and half covering your face" and the texture of "big beads and small beads falling on a jade plate". However, it is not easy to learn to play the pipa, especially compared to the majority of children, it is even more difficult for them to persevere. It is said that "interest is the driving force of learning", therefore, to stimulate students' interest, to continue to guide and develop their interests into their own hobbies is the main goal of children's beginning pipa learning. In the pipa teaching in recent years, after careful research and bold attempts, I have gradually found a set of primary pipa teaching methods suitable for children, which has promoted the cultivation of children's musical quality and the improvement of their piano skills.

Create mood, stimulate interest

One of the charms of music to people is that it can make people have rich associations, as if they are in the scene, and thus generate interest. Therefore, before each class, I first play or play a piece of music that students are familiar with that is full of children's interest for them to enjoy, so as to create an atmosphere where the unfinished tune comes first, and introduce them into the unique timbre of the pipa. in the mood to stimulate their interest in learning. For example: in the first lesson for the freshmen, I played "Happy New Year", "The Painter", "Pulling the Radish" and some other well-known tunes. After the children heard the familiar tune, they all hummed softly to the beat. Taking this opportunity, I inspired them: "If you can play such a beautiful piece of music with your own hands, it will definitely be more beautiful and more beautiful!" All of a sudden, the children became interested in the pipa and eagerly wanted to learn it. play. So, I led them to start from playing, and learn boring skills and skill exercises in the way of games. For example: When getting familiar with four strings, I designed the game "Drive the Little Train", where everyone took turns playing or picking an empty string in order of 5125. In this way, students memorize the pitch and position of the four strings as they play. Another example: When I practiced playing with my left and right hands, I designed the game "Find a home for the notes". That is, I sing a sound, ask students to find the sound as fast as possible, and pop it out. In this way, the students' left and right hand coordination is exercised unconsciously in the game, and the students' sensitivity to pitch and intonation is cultivated. Through the above methods, let them start playing, not to regard learning the pipa as a burden, but as a game they are willing to accept. When they found that they could also play nice music in the game, their interest was consolidated and strengthened.

Emotional fusion, play the piano with love

Every piece of music has its thoughts and connotations. Music sensibility refers to the ability of people not only to feel the height and length of the sound, but also to experience the emotions and thoughts and feelings reflected in the music, and to resonate therewith. In teaching, I attach great importance to emotional integration, play the piano with love, cultivate children's sensibility to music, let them experience music, and acquire corresponding music knowledge and pipa playing skills on the premise of being emotional. For example, when I demonstrated the performance of "Pulling the Radish", I showed the expressions of the small animals trying their best to pull the radish together. After the performance, I will show the fairy tales depicted in the music to the children. Then compare the score and tell them that the eighth point rhythm in the music is the performance of the little animals pulling the radish. Let them really geograph the music and incorporate those feelings into their playing. For another example, after playing the piece "Kitten Fishing", I took advantage of the situation and inspired my students: learning Pipa is like fishing. In this way, the children not only understand the music in the performance, but also understand some principles of life.

Teaching according to individual conditions

In the process of learning the pipa, children and children have obvious differences in the mastery of the pipa skills due to their different talents. Some progress quickly, while others feel exhausted. In order to fully mobilize the learning enthusiasm of students at different levels, I divided them into three groups according to their learning situation, and taught them according to their aptitude. In close cooperation with parents, a general training goal and specific goals for each stage are formulated for each student. In order to cooperate with the teaching, I also carefully selected materials and compiled a "Pipa Primary Teaching Material for Children". The selected etudes are often heard and easy to remember by children. According to the characteristics of different children, I have arranged songs with different degrees of difficulty. Students who can play well can "eat enough", so they can progress faster; for students at the middle and lower levels, appropriate homework is arranged so that they can not only digest it, but also make new progress.

In addition, I also pay attention to cultivating students' stage practice experience, and regularly convene parents to hold some small learning report performances to enhance students' performance awareness, and let them find gaps in their performances, so that they can learn in a direction and catch up with goals. At the same time, when the school and some other units hold theatrical performances, I also ask students to actively sign up to participate, so as to cultivate self-confidence and a healthy sense of competition. Learning Pipa in this way not only improves children's interest in musical activities and cultivates their musical quality, but also cultivates their temperament and enables them to develop harmoniously both physically and mentally.