AnalysisoffolkmusicensembleclassartscollegetostepupthetrainingWritepapersNet:[Abstract]Thisarticleonhowtoimprovetheartoffolkmusicensembleclassesofsecondaryschoolqualityandefficiencyarediscussedfromthreeaspectsdo:First,toenhancestudentsabilitytoreadmusictoplayafixedpitch,andsecond,tostrengthenandenhancestudents’theabilityofsight,three,andstrivetoimprovetheirabilitytocooperateensemble.[Keywords]artscollegefolkmusicensembletrainingArtscollegeinstrumentalensembleclasswassetuptoimprovetheircoordinationandcooperationfortheabilityandteamspirit,theexperienceaccumulatedensembleensemble,andforstudentstostudyandworkinthefuturetobettergrasptheplayinavarietyofdifferentstylesandwithavarietyoftechniquesThecreationofmusic,andinunderstanding,appreciationoftheseaspectsofmusicalworkstolayafoundationasthetechnologycontinuestoimproveperformance,alotof1current,contemporarymusic(includingTrio,chambermusic,ensemble,etc.)continuetoemerge,whichareallOurstudentspresentedfolkmusicandhigherrequirements.onhowtoimprovetheartoffolkmusicensembleclassesofsecondaryschoolqualityandefficiency,Ithinkinpractice,shouldstrengthenthetraininginthefollowingthreeaspects.First,enhancethestudentsabilitytoreadmusictoplayafixedpitchNationalartscollegecoursesteachinginstrumentalmusic,theyuseanotationthroughout,andreadmusicknowledgeacquisition,itisthroughbasicmusictheoryandeartraininglessonstobesofromthemainsubjectteacherstoleadstudentstotheusesheetmusictoafixedpitchtoplaydidnotattractenoughattention,resultinginareadmusictolearnandpracticeplayingaseriousgapintheensembletrainingsessions,whenstudentsgetafixedpitchinmindwhenwritingmusic,oftenataloss,butIdonotknowwheretostart(becausemanyofthemusiciswrittenwiththereadmusicnote,andalargenumberofnewnotationmode)andwhatismore,eventhecorrectrangewillsound2wrongarea,playingasoundapartfromthesoundnotationoctaveortwooctaves,properfingeringbowcannotbedivided,etc.Somepeoplesay,‘Attitudeiseverything’,wemustfirstchangethefactthattheconceptoftheproblem,attentiontoreadmusiclearntoplayafixedpitchandonlychangedtheconceptofunderstanding,wecanmainsubjectandthecollectiveensembleofprofessionaltraininginmusictheoryclassesaswellprofessionalcoursessuchasSolfeggiocombinewitheachother,sothatthepenetrationoftheinteractionofseveralcourse,incontext.cannotusesheetmusictoplayjustasafixedpitchchangewiththespectralproblem,thisisthetraditionalnotationtomakeourteachingbettertoadd,improve,sothatstudentscanpracticeamorecomprehensivelevel,toenhancetheirprofessionalskills.Asaresult,wenotonlyreadmusicwithafixedpitchtoplayoutside,butalsotobetterlearnfromandabsorbsomeoftheskillsandknowledgeofWesternmusicalinstrumentssuchaspipemusicmajors,theavailablespectrallinesintheplayaboutWesternBandclarinet,oboeandothermusic,inafamiliarpositionatthesametimelinebetweenincreasethenumberof3foreignmusicsuchasclause,section,breathingRenton,spitsoundskippingskills;pullstringstoplaytheviolin,violasomeofthepieces,learnthefingering,bowing,etc.onlytolearnthelinespectrum,butalsohasasomesenseandtheconceptoffixedpitch,youcanalsolearnthetechniquesofWesternmusicalinstrumentsforourownusemethods,andcanunderstandthemusicwhenunexpectedresults.Atthesametimetheycanhaveplentyofnewmusicnotationmethod,swapsex,intervals,chords,rhythmandothermoredirectknowledgeofadeeperexperience,wherethemainsubjectinmanywaysisaprofessionalnotlearnofthestudentdurin...