一、打琴的初步學法
打琴又稱揚琴,作為一門樂器,它的學習難度并不是太大,不過要想學好揚琴還是(shi)比較難的(de),不管是(shi)自(zi)學(xue)(xue)還是(shi)找老師學(xue)(xue)習,初學(xue)(xue)者學(xue)(xue)習打琴主(zhu)要(yao)從持(chi)竹、擊(ji)弦等開始。
1、正確的持竹
基本手形呈(cheng)半握拳狀,外(wai)實(shi)內空,如同(tong)手中(zhong)(zhong)握著一(yi)枚雞(ji)蛋,大指(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)自(zi)然擱在(zai)食指(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)外(wai)側(ce),四(si)指(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)合(he)攏。持(chi)竹(zhu)(zhu)(zhu)(zhu)時只使用大指(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)、食指(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)、中(zhong)(zhong)指(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi),因此(ci)也稱此(ci)種持(chi)竹(zhu)(zhu)(zhu)(zhu)法(fa)為(wei)“三指(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)持(chi)竹(zhu)(zhu)(zhu)(zhu)”。具體握法(fa)是:首先將(jiang)(jiang)琴(qin)(qin)竹(zhu)(zhu)(zhu)(zhu)的(de)五(wu)分之一(yi)處(chu)(chu)(chu)(持(chi)口)放在(zai)食指(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)的(de)第(di)一(yi)指(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)關(guan)(guan)節(jie)靠指(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)尖(jian)一(yi)處(chu)(chu)(chu),再(zai)將(jiang)(jiang)大指(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)自(zi)然壓(ya)在(zai)上(shang)面(mian),中(zhong)(zhong)指(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)第(di)一(yi)指(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)關(guan)(guan)節(jie)靠指(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)根一(yi)處(chu)(chu)(chu)托于(yu)下方(fang)。通過(guo)三指(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)將(jiang)(jiang)琴(qin)(qin)竹(zhu)(zhu)(zhu)(zhu)握穩,再(zai)將(jiang)(jiang)四(si)、五(wu)指(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)自(zi)然彎曲、收(shou)(shou)攏,位于(yu)竹(zhu)(zhu)(zhu)(zhu)尾處(chu)(chu)(chu)。最后(hou)檢查整個手形是否自(zi)然收(shou)(shou)攏,手形外(wai)側(ce)是否并攏,各(ge)個指(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)關(guan)(guan)節(jie)是否僵硬(ying)。注意大指(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)與食指(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)不(bu)(bu)要(yao)把(ba)琴(qin)(qin)竹(zhu)(zhu)(zhu)(zhu)捏的(de)過(guo)緊,四(si)、五(wu)指(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)也不(bu)(bu)要(yao)緊扣住竹(zhu)(zhu)(zhu)(zhu)尾,更不(bu)(bu)能將(jiang)(jiang)琴(qin)(qin)竹(zhu)(zhu)(zhu)(zhu)滿把(ba)握在(zai)手中(zhong)(zhong)。正(zheng)確的(de)用力感覺如同(tong)我們日常抓握工具。
2、正確的擊弦動作
演奏揚(yang)琴(qin)的基本動(dong)作是手腕上(shang)下運(yun)動(dong)敲擊(ji)琴(qin)弦發音(yin)。擊(ji)弦動(dong)作的正(zheng)確與否,直接關系到(dao)發音(yin)質量,發音(yin)質量又直接影響演奏效果與水平。
普遍使(shi)用的(de)(de)擊(ji)弦(xian)(xian)(xian)法(fa)是手(shou)(shou)(shou)腕(wan)(wan)彈動(dong)擊(ji)弦(xian)(xian)(xian)法(fa),動(dong)作(zuo)(zuo)分三(san)步:預備動(dong)作(zuo)(zuo)時,持竹手(shou)(shou)(shou)腕(wan)(wan)豎起(qi)(qi),以(yi)(yi)琴(qin)竹垂直(zhi)于地面(mian)為準,我(wo)(wo)們(men)稱(cheng)(cheng)這個動(dong)作(zuo)(zuo)為“起(qi)(qi)”;接(jie)(jie)著手(shou)(shou)(shou)腕(wan)(wan)以(yi)(yi)直(zhi)線的(de)(de)軌跡向(xiang)正下(xia)(xia)方緩(huan)慢轉(zhuan)動(dong),我(wo)(wo)們(men)稱(cheng)(cheng)為“落(luo)”;接(jie)(jie)觸到(dao)琴(qin)弦(xian)(xian)(xian)后(hou)(hou),再以(yi)(yi)相同的(de)(de)軌跡向(xiang)正上方緩(huan)慢轉(zhuan)動(dong),停在(zai)預備動(dong)作(zuo)(zuo)位置,我(wo)(wo)們(men)稱(cheng)(cheng)之為“回”;待“起(qi)(qi)-落(luo)-回”這一(yi)連續動(dong)作(zuo)(zuo)練(lian)熟之后(hou)(hou)就可以(yi)(yi)將(jiang)中(zhong)間環節的(de)(de)“落(luo)”改(gai)為“彈”,即手(shou)(shou)(shou)腕(wan)(wan)帶動(dong)琴(qin)竹快速(su)下(xia)(xia)落(luo)擊(ji)弦(xian)(xian)(xian),當觸到(dao)琴(qin)弦(xian)(xian)(xian)的(de)(de)一(yi)剎(cha)那(nei)(nei)發力(li),并(bing)靠琴(qin)弦(xian)(xian)(xian)與琴(qin)竹頭的(de)(de)反彈力(li)回到(dao)原位。這個連貫動(dong)作(zuo)(zuo)“起(qi)(qi)-彈-回”的(de)(de)力(li)度安排應(ying)是放松(song)(song)-用力(li)-放松(song)(song)。我(wo)(wo)們(men)可以(yi)(yi)通(tong)過拍(pai)皮球(qiu)來尋找感(gan)覺。拍(pai)之前手(shou)(shou)(shou)腕(wan)(wan)是松(song)(song)弛(chi)的(de)(de),拍(pai)球(qiu)的(de)(de)一(yi)剎(cha)那(nei)(nei)手(shou)(shou)(shou)腕(wan)(wan)用力(li),緊接(jie)(jie)著手(shou)(shou)(shou)腕(wan)(wan)又松(song)(song)弛(chi)下(xia)(xia)來。這當中(zhong)要注意,手(shou)(shou)(shou)腕(wan)(wan)在(zai)運動(dong)中(zhong)不可“內扣”或“外(wai)翻(fan)”。扣腕(wan)(wan)與翻(fan)腕(wan)(wan)都會直(zhi)接(jie)(jie)影響擊(ji)弦(xian)(xian)(xian)動(dong)作(zuo)(zuo)與發音。在(zai)雙(shuang)手(shou)(shou)(shou)交替擊(ji)弦(xian)(xian)(xian)時,兩(liang)手(shou)(shou)(shou)之間保(bao)持大(da)約一(yi)拳(quan)的(de)(de)距離,手(shou)(shou)(shou)心(xin)相對,呈“八”字形。
3、正確的發音
(1)擊弦(xian)(xian)(xian)位(wei)置(zhi):從揚琴(qin)形制來(lai)看(kan),它(ta)是通過振動琴(qin)弦(xian)(xian)(xian)發音的(de)(de)(de)。一般高音區有效發音弦(xian)(xian)(xian)長(chang)比較短,低(di)音區有效發音弦(xian)(xian)(xian)長(chang)比較長(chang)。以有效弦(xian)(xian)(xian)長(chang)的(de)(de)(de)十一分(fen)(fen)(fen)之一處(chu)為最佳(jia)擊弦(xian)(xian)(xian)點。以此位(wei)置(zhi)計(ji)算(suan)方(fang)法是:高音區在距琴(qin)碼(ma)兩(liang)公(gong)分(fen)(fen)(fen)到(dao)兩(liang)公(gong)分(fen)(fen)(fen)半(ban)處(chu);中音區在距琴(qin)碼(ma)兩(liang)公(gong)分(fen)(fen)(fen)半(ban)到(dao)三公(gong)分(fen)(fen)(fen)的(de)(de)(de)位(wei)置(zhi);低(di)音區在距琴(qin)碼(ma)三公(gong)分(fen)(fen)(fen)到(dao)三公(gong)分(fen)(fen)(fen)半(ban)處(chu)。通過耳朵(duo)的(de)(de)(de)聆(ling)聽與(yu)眼睛的(de)(de)(de)配合,再加上長(chang)時(shi)間的(de)(de)(de)訓練,一定可以找到(dao)標準(zhun)的(de)(de)(de)擊弦(xian)(xian)(xian)點。
(2)琴竹觸弦(xian)部位:正(zheng)確的發音對琴竹頭擊弦(xian)位置也有要求。以琴竹頭中部擊弦(xian),發音最(zui)為厚實、飽滿。靠前或靠后,不但影響音色,還容(rong)易碰(peng)到上方或下方的琴弦(xian),影響準確性。
(3)手(shou)(shou)(shou)(shou)腕(wan)(wan)彈(dan)動(dong)(dong)(dong)的(de)發力:揚(yang)琴演奏(zou)需(xu)要(yao)全(quan)身各部(bu)位協調運動(dong)(dong)(dong)才能(neng)進(jin)行。在我們演奏(zou)時(shi),肩關節、肘(zhou)關節、腕(wan)(wan)關節以及指(zhi)關節支(zhi)撐(cheng)整個手(shou)(shou)(shou)(shou)臂的(de)運動(dong)(dong)(dong)。肩關節是整個手(shou)(shou)(shou)(shou)臂的(de)支(zhi)撐(cheng)點(dian),在手(shou)(shou)(shou)(shou)臂運送過程中(zhong)擊(ji)彈(dan)、跳動(dong)(dong)(dong)都離不開它的(de)支(zhi)撐(cheng);肘(zhou)關節支(zhi)撐(cheng)小(xiao)臂,保持它在運動(dong)(dong)(dong)中(zhong)不會上(shang)下活動(dong)(dong)(dong)。除非遇到強(qiang)奏(zou)時(shi),才以肘(zhou)關節為軸(zhou)心運動(dong)(dong)(dong)小(xiao)臂增強(qiang)力度(du);腕(wan)(wan)關節是最重要(yao)的(de)支(zhi)撐(cheng)點(dian),以它為軸(zhou)心手(shou)(shou)(shou)(shou)腕(wan)(wan)上(shang)下運動(dong)(dong)(dong);指(zhi)關節除了支(zhi)撐(cheng)手(shou)(shou)(shou)(shou)中(zhong)的(de)琴竹外,它與手(shou)(shou)(shou)(shou)腕(wan)(wan)形成的(de)合力也是保證(zheng)手(shou)(shou)(shou)(shou)腕(wan)(wan)轉動(dong)(dong)(dong)的(de)重要(yao)因素(su)。
4、正確的練習方法
掌握(wo)了(le)基本(ben)的(de)動作(zuo)(zuo)要(yao)領及規范,還要(yao)有(you)科學、合理(li)的(de)練(lian)(lian)(lian)(lian)習(xi)方(fang)法,練(lian)(lian)(lian)(lian)習(xi)過(guo)(guo)(guo)程(cheng)中(zhong)首先要(yao)勤動腦,即(ji)帶著問(wen)題去(qu)練(lian)(lian)(lian)(lian)習(xi),每(mei)練(lian)(lian)(lian)(lian)一首練(lian)(lian)(lian)(lian)習(xi)曲(qu)或樂曲(qu)要(yao)明白是為了(le)解(jie)決什么問(wen)題;練(lian)(lian)(lian)(lian)習(xi)為什么會(hui)出現錯誤(wu)等等。其次,采取慢(man)練(lian)(lian)(lian)(lian)的(de)方(fang)法,在慢(man)速練(lian)(lian)(lian)(lian)習(xi)過(guo)(guo)(guo)程(cheng)中(zhong),有(you)充足(zu)的(de)時間(jian)去(qu)注(zhu)意技(ji)(ji)術(shu)動作(zuo)(zuo)和要(yao)領,這樣通(tong)過(guo)(guo)(guo)大(da)量、反復的(de)慢(man)練(lian)(lian)(lian)(lian)可以達(da)到技(ji)(ji)術(shu)動作(zuo)(zuo)的(de)定型化,使艱難的(de)技(ji)(ji)法轉化成一種(zhong)信手(shou)拈來的(de)熟練(lian)(lian)(lian)(lian)技(ji)(ji)能。
另(ling)外,練習中(zhong)還要注意培養自己的識譜試奏(zou)(zou)能力(li),在演奏(zou)(zou)這一(yi)小節時(shi),眼和腦已注視、反(fan)應到下一(yi)小節甚至下幾(ji)小節。長此以(yi)往,識譜試奏(zou)(zou)能力(li)會很(hen)快增長。
二、初學者如何學好揚琴
對于初學者來(lai)說,學習(xi)(xi)揚琴(qin)是需要掌握好正確(que)的演(yan)奏方(fang)法,并持之以恒(heng)練(lian)習(xi)(xi)的,要想(xiang)學好揚琴(qin),主(zhu)要注意以下(xia)幾方(fang)面:
1、對于初學揚琴(qin)的人而言,首先要注重演奏(zou)時(shi)的姿勢,擊弦(xian)(xian)的動作和基本的竹法(fa)。然后通(tong)過練習(xi)一些基本的練習(xi)曲(qu)和部分的樂曲(qu)教材,掌握揚琴(qin)發音的技術動作和規范,從而掌握“持竹點(dian)(dian)、擊弦(xian)(xian)點(dian)(dian)、觸(chu)槌點(dian)(dian)、支撐點(dian)(dian)、發力點(dian)(dian)”五個(ge)要點(dian)(dian)的綜合(he)技能(neng)。
2、在熟悉了基本的音(yin)位后,初學者可以練習(xi)一(yi)些簡單的小歌曲(qu),如:《小星星》、《我(wo)是一(yi)只粉刷匠》,《采茶撲蝶》等(deng),逐步(bu)深入練習(xi)難的曲(qu)目。
3、初學(xue)者(zhe)每天練(lian)琴的(de)(de)時間(jian)多少,取決(jue)于自己的(de)(de)精力(li)和體力(li)。練(lian)習(xi)的(de)(de)效果和時間(jian)要成正(zheng)比,須知“勤能補拙(zhuo),熟能生巧”,“勤”與(yu)“熟”是(shi)練(lian)習(xi)量的(de)(de)增加,“補拙(zhuo)”與(yu)“生巧”則(ze)是(shi)質的(de)(de)飛躍。
總而言之,對于初學揚琴的(de)人來說,掌握正確(que)、扎實的(de)的(de)基本(ben)功以及科學、有效的(de)練習方法是(shi)至(zhi)關(guan)重要的(de)。千萬(wan)不(bu)要遇(yu)到(dao)一些比(bi)較難彈(dan)(dan)奏的(de)片段就(jiu)去拼命(ming)的(de)狠練,手(shou)和腕子(zi)不(bu)舒服了也(ye)不(bu)肯(ken)去休息(xi)一下(xia),這樣肌肉會長期處于(yu)拉長的(de)狀態,慢(man)慢(man)的(de)就(jiu)會失去彈(dan)(dan)性,收縮不(bu)了,嚴重的(de)還會出現肌肉酸痛(tong)的(de)現象,從而導致不(bu)能(neng)繼續彈(dan)(dan)琴。冰(bing)凍(dong)三尺,非一日之(zhi)寒,希(xi)望廣(guang)大(da)的(de)揚琴愛好者能(neng)夠(gou)持之(zhi)以恒、刻苦鉆研,勇攀藝術的(de)高峰。