【日常练琴】-音乐织体日常练习附和声进行（仅供参考）有些和弦我也没有照着弹跟着感觉走而已。

鄙人是以为古典钢琴生，弹流行纯粹爱好出发。 个人感觉流行乐理很大程度就是从纵向思考并被简化了的古典乐理，当然观点不一定准确，只是随意发表。 接下来说说我的经历吧，我在国内的时候就琢磨着如何把古典和流行给学生学习，也做了一些尝试，发现学生在学流行的时候，除了弹柱式流行和弦外，就是看五线谱演奏来得更实际，所谓即兴演奏是不存在的，都是设计出来的，都是大量曲目积累，扒带，耳濡目染形成的乐感和审美造成的。 不过也可以在一些特定的曲风中，弹一些riff出来，然后让学生组合也是可行的。 反正要教学生能够自由组合乐句，只能任重而道远，只要一位老师开始设想让学生古典流行一起学，一起弹，那就不再是纯演奏的路线，而是演奏+作曲的路线。以后我也会发一下学生的演奏，给大家汇报我的心得体会。 I consider myself primarily a classical piano student, and my playing of pop music purely comes from personal interest. In my view, pop music theory is largely a vertical simplification of classical music theory. Of course, this may not be entirely accurate—just a casual opinion. Now, let me share a bit about my experience. Back in China, I was already exploring how to combine classical and pop music in students’ learning. I tried a few approaches and discovered that when students study pop, aside from playing chordal accompaniments, it is often more practical for them to read and play from the staff notation. So-called improvisation doesn’t really exist—it is usually pre-designed. What really shapes a student’s sense of music and aesthetics is the accumulation of a large repertoire, transcribing, and being constantly exposed to music. That said, in certain styles, it is feasible to have students play some riffs and then combine them together. But to truly teach students to freely combine musical phrases will be a long and demanding journey. Once a teacher envisions having students study both classical and pop side by side, it’s no longer a purely performance-based path—it becomes a path of performance plus composition. In the future, I’ll also share some of my students’ performances as a way to report my insights and experiences to everyone.