What are the difficulties for students to form a band?

As one of the effective means of quality education, many universities have set up large and medium-sized student bands. However, a university without an art major is very difficult, so many people lack confidence in it. At present, although some universities don't recruit students specially, thanks to the strong support of the relevant leaders of the school, the correct formation ideas and appropriate training methods, through hard work, a band of 30-50 people can finally be trained into a team capable of major performances or competitions, and there are many experiences and knowledge worth discussing and popularizing.

Keywords:: Reflections on the formation of student associations in colleges and universities

The universities mentioned in this paper, of course, do not include universities with arts and music majors, but are aimed at other ordinary universities. In order to enrich after-school life, strengthen students' comprehensive quality education and improve their comprehensive cultural quality, almost every university will set up various art groups, among which it is difficult to set up a small band. In universities, it is difficult to form and cultivate a standard and capable student band according to the traditional model, such as orchestra, folk band and brass band. Some universities enjoy the enrollment of special students, while more universities do not. For example, if a band is formed according to the traditional standard mode, even if it is barely formed, it is difficult to train the effect, because the band part does not match. It is unrealistic to train students to learn musical instruments from scratch. Even if some students are enlightened and make rapid progress, they graduate before they can perform on stage. Moreover, students have a heavy learning burden, so it is impossible to spare a lot of time to practice musical instruments. Therefore, people can only see small electro-acoustic bands spontaneously formed by some college students, and can only accompany pop songs.

Therefore, it is difficult for ordinary universities to form standardized bands (or orchestras or national bands) according to traditional ideas, and in most cases, its feasibility is almost non-existent. This is a question before us: can ordinary universities successfully form and train large and medium-sized bands in a short time?

First, adjust your thinking.

Let's take a look at some students who are common among many college students who like musical instruments.

1. There are many students who can play the violin, piano, electronic organ, erhu, flute and electric guitar, and a few students still have a considerable level, and the amateur examination level has reached 7 or above. This is because these musical instruments are very popular in children's training activities all over the country. In order to cultivate their children's comprehensive quality, many parents often choose one of the musical instruments for their children to learn.

2. Students who can play cello, guzheng, pipa and dulcimer can often find them, but not too many.

3. Students who can play other musical instruments, such as flute, clarinet, trumpet, trombone, sheng, Ruan and suona, are hard to find, and even if they exist, they are isolated.

4. Students who can play oboe, bassoon, viola, cello for two, harp, timpani, suona with keys, Qin Liu, Hugh and other musical instruments are almost impossible to find, and they are all non-public musical instruments.

Then, we can only seek the way out of the problem from the first and second types of talents. Therefore, the author believes that in order to solve this problem, we should first adjust the idea of forming a band, that is, create conditions to form a comprehensive band according to the specific conditions commonly possessed by ordinary colleges and universities at present, and write a feasible band score according to the specific conditions of the band (which is very important), and formulate a flexible training plan with appropriate professional training and rich experience exchange, with knowledge and interest as partners. Only in this way can we successfully form a slightly larger band, that is, a comprehensive band.

Second, it is suitable for the crowd.

At present, there are few works devoted to comprehensive bands in domestic music theory circles, and even professionals hold a negative attitude towards them.

In fact, as early as the 1960s, the famous large-scale music and dance epic Dongfanghong adopted a comprehensive band, which is a huge band composed of a complete band and a big national band. At this stage, some professional groups often adopt comprehensive bands to complement each other in timbre. For example, Anhui Huangmei Theater is usually a national band, accompanied by three Chinese operas, plus violin, viola, cello, cello, flute, clarinet and electronic synthesizer to form a medium-sized comprehensive band of about 20 people, which is also very expressive and has a good overall tone.

If there are some students who can play erhu, violin, electronic organ, piano, bamboo flute, electric guitar and drum set in ordinary universities, why not create some conditions to form a comprehensive band based on these talents? The question is whether we can develop strengths and avoid weaknesses, tailor our measures to meet individual needs, tap potential and solve problems through appropriate training. In short, we need dialectical thinking.

Third, the formation of college students' comprehensive bands.

In the following, the author takes the difficulties encountered in the process of helping a university to form and cultivate students' comprehensive bands and the process of solving problems as an example to discuss this problem.

First of all, the school leadership officially issued a document, and the student union of the school Youth League Committee made great efforts to grasp this matter and persevere-this is the premise of success.

Secondly, when recruiting student band members, students are divided by musical instruments. The most students are piano, electronic organ, then violin, erhu, guitar, and a few other musical instruments: dulcimer, pipa, guzheng and drum set. Except for the Zheng and the pipa, no other instruments can play solo. Most of them have never worked with a band before. Among them, there are two electronic pianos, two erhu, two violins and two bamboo flutes, and the drum set is relatively better. Zheng and pipa amateur examination level 9, can solo.

According to the above situation, the author has formulated a set of comprehensive band formation scheme suitable for people:

1. Two electronic organs, one of which is body double for viola, cello and cello, are grouped into a string group. The other instrument consists of brass, woodwind, harp, electric piano and aluminum Zhong Qin.

2. The wind band consists of two bangdi, four Qu Di and an electronic organ.

3. The percussion group consists of six female students, who can play the piano as percussion instruments such as snare drum, wooden fish, bell, castanet and cymbals (practice has proved that students who have studied piano have a good foundation in music theory and can compose music accurately, and small percussion instruments can also play well as long as they are trained properly); The other two male students are China Drum, Drummer and Konka Drum.

4. Two students who play guitar, one changed from classical guitar to plucked guitar, put it in plucked music group, and the other changed to electric bass.

5. The plucked music group consists of dulcimer, pipa, A Zheng and plucked electric guitar.

6. The string group consists of four violins, four erhu, an electronic organ and an electric bass.

In this way, a comprehensive band of about 30 people came into being. What music can such a band play? There is no score written for this band in publicly published music, so it is necessary to write a score specially for this band, or adapt, transplant other scores or create new works. Because the performance ability of each voice is fully considered when compiling the soundtrack, the difficulty of rehearsal is relatively much smaller.

Fourthly, the cultivation of college students' comprehensive bands.

We can't let players go from elementary etudes to intermediate etudes and then to advanced etudes ... so students don't have that much time and the overall level can't be improved quickly, so we should start with music.

1. Firstly, the classic folk music ensemble A Full Moon Flower is selected and its parts are redistributed. Simplifying some melodies that are too difficult not only conforms to the ability of each part of the band, but also makes students feel less difficult, and skillfully adds some small percussion scores. As a result, it took only three days to rehearse (six class hours) to complete the overall framework of music. After that, we will train the balance of the overall volume, the coordination between all parts, and the most important thing is the contrast of strong and weak changes, the contrast of fast and slow speed, the contrast of Legato and tonality. The players learned a lot of knowledge through the rehearsal of a song, initially mastered the essentials of horizontal cooperation, and deepened their understanding of music.

2. Write several expressions, such as speed terms or intervals, chords, etc. Let everyone understand and remember on the whiteboard before each training, and point out that what you just learned is used somewhere in the music being rehearsed. Musicians will never forget how to express it concretely after such study.

Among the common notes, there are two notes that are often ignored by amateurs, that is, the dot note and the rest. In order to make the players fully understand, we use the contrast method to tell. For example, how to play a sound with a symbol, and vice versa, this contrast often leaves a very vivid impression on the performer. As for the rest, many people understand it as pause and pause, but they don't know that it often plays an important emotional role. For example, there is often a pause before a strong sound, and the pause of this sound highlights the strength of the strong sound behind it. Another important problem is breathing, just like reading an article, with commas, periods, exclamation points and so on. Let all musicians and bagpipers breathe with the conductor's breath. This is also one of the important ways for them to express their feelings, but it is often ignored.

4. Tell music stories. For example, when the music "Flower Full Moon" was born, the author Huang Yijun did everything he could. For example, Dance of the Yi people describes the specific living environment and lifestyle of ethnic minorities, and what kind of pictures should the listeners feel in each paragraph of music. Through this teaching, the musicians' interest in learning has been increased, which has played a positive role in improving students' comprehensive quality.

5. Combined with daily training, tell the performers about the arrangement of various bands and the grouping in each arrangement, the common techniques of each group in the orchestration texture, and analyze some specific ensembles, duets and solos. Combined with the situation of comprehensive band grouping, players can pay more attention to the relationship between vertical and horizontal, and get through the running-in period as soon as possible. For example, when musical instruments play a certain section as the main melody, the overall volume should be appropriately strengthened, while when playing another section, the overall volume should be appropriately reduced. How to grasp the number of volumes depends on the understanding of music score. Therefore, when training in this field, it is necessary to draw a simple score as an example, so that each group of the band can try to play at different volumes to hear the effect. This method can often make players understand how to deal with their scores immediately, which is the best effect.

6. Tell the band how to use and maintain musical instruments correctly, so as to keep their performance in the best condition.

7. In the process of training and rehearsal, musicians are strictly required to do the following: ① The person in charge of the string group must first try to play the score and determine the bow method (some scores have been marked), and strictly abide by the bow method when rehearsing. (2) Every time we rehearse, everyone should bring a pen and record the conductor's handling and temporary changes on the music score in time (for amateur bands, there are often temporary changes). (3) Develop good behavior habits, such as not to misplace musical instruments; Good sitting and standing posture; Do not hit with your feet; Copy the score neatly, don't miss any marks, and mark the number of bars correctly. In addition, according to the actual situation of the performance, we should often train the band to go up and down, correct posture, facial expression, mental outlook and curtain call.

8. Tell the performer the basic knowledge of conducting movements, so that the musician can fully understand every movement and look of the conductor.

Five, competent command is also the key.

In addition, it is much more difficult to train amateur comprehensive bands than professional bands. In addition to the above points, the most important thing is to have a good command. In my opinion, the conditions and problems that a college student comprehensive band conductor needs to meet are as follows.

1. Only by being honest, honest, kind, loving the collective and being earnest and enthusiastic about the work can you be a teacher. Because most of the band members are freshmen and sophomores, they are young, simple and full of ideals, and their conducting style will have a great influence on their thoughts and spirit.

2. Cultivate students' team spirit. Caring for others' progress means caring for their own progress, and caring for others' musical instruments means caring for their own musical instruments. To have the ability to improvise business problems, such as a song that has been rehearsed several times but still doesn't work, we should consider whether to let students go back to practice and arrange the music, or readjust the distribution of parts in time, or make some changes to the score of a sentence. This often depends on whether the conductor can handle problems dialectically and whether the professional level of the conductor can handle these difficulties quickly.

3. The conductor should be familiar with the playing methods of all instruments and the playing conditions of each player, so as to write the music score practically. Choose tracks to foster strengths and avoid weaknesses. For example, the Yi dance music "Introduction" adapted for a big band was played by Zheng. Later, for a while, the student was too busy with the exam subjects to attend the rehearsal. The author immediately rewrote the melody of the introduction into another type, which was played by the piper. At this time, the band is in harmony, and there is no need to modify it, and the result is just as good. Moreover, because the percussion group of Gonggong Big Band is rich in musical instruments and talented people, most of them have studied the piano and have strong sight-reading ability, the author specially wrote a percussion piece for Yi dance music, which made this piece unexpectedly appear a shocking carnival mood. If the concept of conducting is not updated, the Yi dance music played by this comprehensive band can only imitate the original "regular" folk music, which is difficult to work because of different arrangements.

It is not easy for a conductor to know how to balance the timbre of electro-acoustic instruments and big bands. Many professional conductors often enjoy it when dealing with such problems. I think the key is that the conductor doesn't know enough about the auxiliary equipment of electro-acoustic instruments. For example, electro-acoustic instruments have their own speakers, as well as volume pedals, sustain pedals, effectors and volume knobs. All these links should be personally questioned and debugged repeatedly, not just extensive management.

5. The conductor should grasp the position and volume of the stage sound and microphone, because many university auditorium sound engineers don't know the sound balance of big bands, and he doesn't know what the correct balance effect of each part and microphone amplification should be when the band plays, so the conductor must personally help solve this problem. Actually, it's not difficult The conductor can listen to the effect while rehearsing on the stage, and then adjust the position and volume of each microphone reasonably several times.

6. The conductor should be good at words and his speech should be infectious.

7. In addition, as a conductor under such a specific condition, he must withstand the test brought by the replacement of players due to academic upgrading (mature players constantly quit and are replaced by new players).

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The above are some superficial experiences of the author in the process of establishing and cultivating comprehensive college student bands, hoping to play a certain reference role for similar colleges and universities to establish and cultivate student bands. This experience shows that it is completely feasible to successfully form and train students' comprehensive bands in colleges and universities as long as the thinking is correct and the methods are proper. That's about it. ...