曲式结构我们常常见到学生在演奏中该强调的音乐没有演奏出来,不该强调的地方却“使劲儿地作表情”;也有人常把一首奏鸣曲的主题,特别是第二主题在呈示部和再现部的调性搞混,把和声性质搞错;有人在弹奏巴赫的复调作品时,听不出主题的变化、发展,或是到处用一样的力度强调主题的出现,反而使他们的演奏变得单调。这一类型的问题,大多是因为他们没有搞懂一首乐曲的结构。事实上,好的作曲家都很善于把他们的乐思、感情通过一定 Music structure We often see the students in the performance of the emphasis on the music did not play it, should not be emphasized where “hard to make expressions ”; some people often put a sonata theme, especially the second theme In the presentation department and the reproduction department of the tonal confused, the harmony nature of mistakes; someone playing Bach’s polyphonic works, can not hear the theme of change, development, or everywhere with the same intensity to emphasize the emergence of the theme , But make their performance monotonous. Most of this type of problem is because they do not understand the structure of a piece of music. In fact, good composers are good at passing their entertaining thoughts and feelings