一、月琴的結構

月琴結構和(he)阮近似(si)，不(bu)同(tong)處(chu)是在琴(qin)(qin)(qin)(qin)身中膠有音(yin)梁(liang)和(he)支有音(yin)柱、琴(qin)(qin)(qin)(qin)頸(jing)短(duan)小(xiao)。月琴(qin)(qin)(qin)(qin)由琴(qin)(qin)(qin)(qin)頭、琴(qin)(qin)(qin)(qin)頸(jing)、琴(qin)(qin)(qin)(qin)身、弦(xian)軸、琴(qin)(qin)(qin)(qin)弦(xian)和(he)縛弦(xian)等部分組(zu)成(cheng)。

1、琴(qin)頭(tou)和琴(qin)頸(jing)是(shi)用一整(zheng)塊紫檀(tan)或其他(ta)(ta)硬木制作。琴(qin)頭(tou)頂(ding)端的裝(zhuang)飾，是(shi)單獨用木料(liao)雕(diao)塑成龍頭(tou)或其他(ta)(ta)圖案，再(zai)膠粘上(shang)去(qu)。琴(qin)頸(jing)上(shang)部(bu)開(kai)有弦槽，槽側并有安裝(zhuang)弦軸的圓孔。琴(qin)頸(jing)下(xia)端有方形木桿(gan)裝(zhuang)在琴(qin)身上(shang)。

2、琴身(shen)是呈扁圓(yuan)形的(de)(de)共(gong)鳴箱，由面、背、框(kuang)板膠粘而成(cheng)(cheng)。框(kuang)板用6快規格(ge)一致(zhi)的(de)(de)木(mu)(mu)板膠接成(cheng)(cheng)一圓(yuan)形琴框(kuang)，上(shang)下開有(you)裝(zhuang)入(ru)琴頸方(fang)木(mu)(mu)的(de)(de)孔眼。它的(de)(de)兩(liang)面粘著(zhu)面、背板。面板和(he)(he)背板是月(yue)琴發音的(de)(de)共(gong)鳴板，用紋理順直均勻、無疤節和(he)(he)木(mu)(mu)色(se)一致(zhi)的(de)(de)桐木(mu)(mu)制作。在面、背板中(zhong)間橫置兩(liang)道音梁，中(zhong)間支有(you)兩(liang)個音柱。

3、弦(xian)軸用(yong)黃楊木，外(wai)表刻有(you)斜條瓣紋(wen)，擰轉的(de)一端還嵌(qian)有(you)象牙或骨飾。

4、琴弦(xian)(xian)用絲(si)弦(xian)(xian)、尼龍(long)弦(xian)(xian)或尼龍(long)纏鋼(gang)絲(si)弦(xian)(xian)。以鋼(gang)絲(si)尼龍(long)弦(xian)(xian)的效果最(zui)好(hao)。

5、縛弦用(yong)紅木或竹子(zi)制作，粘在面板(ban)下部的(de)中間(jian)。

優質月琴(qin)的(de)音(yin)階準(zhun)(zhun)確、音(yin)準(zhun)(zhun)偏差不超(chao)過正負(fu)15音(yin)分，音(yin)色清脆柔(rou)和(he)，音(yin)響寬亮(liang)；琴(qin)身圓度準(zhun)(zhun)確，框板(ban)寬度一(yi)(yi)致，面(mian)背板(ban)平(ping)光潔凈(jing)；琴(qin)頭(tou)雕飾細致；音(yin)品間隔準(zhun)(zhun)確，排(pai)列整齊；琴(qin)頸(jing)和(he)面(mian)板(ban)在一(yi)(yi)個(ge)平(ping)面(mian)上，無前傾或后(hou)仰現象；弦軸(zhou)(zhou)、軸(zhou)(zhou)孔配(pei)合嚴，齒(chi)輪銅軸(zhou)(zhou)靈(ling)敏。各膠合部位拼粘牢固(gu)，涂漆(qi)勻凈(jing)光亮(liang)。

演奏(zou)月琴(qin)左手持琴(qin)按弦(xian)，右手拿撥子彈(dan)奏(zou)，其技巧已(yi)發展到彈(dan)、撥、撮、滾(gun)、掃滾(gun)、按、顫、滑、吟等30多種，其中還(huan)包括有獨特效果的(de)“刮品”技巧，不但(dan)可用于伴奏(zou)，同(tong)樣也是一件出色的(de)獨奏(zou)樂(le)器(qi)。

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二、月琴怎么演奏

月琴(qin)的(de)演奏(zou)技(ji)巧很豐富，但通常右手(shou)為(wei)彈、撥(bo)、撮(cuo)、長輪、掃弦等方法，左(zuo)手(shou)為(wei)推(tui)、拉、揉、移指等方法。

月琴(qin)右(you)手(shou)(shou)(shou)(shou)(shou)演奏的基(ji)礎是(shi)：彈(dan)(dan)、撥(bo)(bo)、撮(cuo)、輪(lun)稱為“基(ji)本功”。其方(fang)法為右(you)手(shou)(shou)(shou)(shou)(shou)食(shi)指(zhi)(zhi)(zhi)與(yu)拇指(zhi)(zhi)(zhi)緊(jin)握(wo)彈(dan)(dan)片，手(shou)(shou)(shou)(shou)(shou)腕(wan)與(yu)小手(shou)(shou)(shou)(shou)(shou)臂(bei)形成45度，利用(yong)手(shou)(shou)(shou)(shou)(shou)腕(wan)的力量(liang)彈(dan)(dan)到(dao)佛(fo)手(shou)(shou)(shou)(shou)(shou)的上(shang)前(qian)方(fang)琴(qin)弦，反(fan)復(fu)(fu)彈(dan)(dan)撥(bo)(bo)，彈(dan)(dan)撥(bo)(bo)力度均(jun)勻(yun)(yun)，切(qie)記(ji)不要(yao)彈(dan)(dan)強、撥(bo)(bo)弱。待右(you)手(shou)(shou)(shou)(shou)(shou)基(ji)本熟練后(hou)，配合左手(shou)(shou)(shou)(shou)(shou)。左手(shou)(shou)(shou)(shou)(shou)的方(fang)法是(shi)用(yong)拇指(zhi)(zhi)(zhi)把住琴(qin)頸，其余四(si)指(zhi)(zhi)(zhi)分(fen)(fen)別用(yong)指(zhi)(zhi)(zhi)尖彈(dan)(dan)在(zai)品上(shang)，記(ji)住要(yao)用(yong)指(zhi)(zhi)(zhi)尖稍前(qian)的部位。手(shou)(shou)(shou)(shou)(shou)指(zhi)(zhi)(zhi)抬起時不能過(guo)高、太高，影響速度。另外，還有推、拉、移指(zhi)(zhi)(zhi)等方(fang)法。初學者(zhe)可以從音階練習開(kai)始訓(xun)練，從十(shi)六分(fen)(fen)音符(fu)(fu)(fu)、八分(fen)(fen)音符(fu)(fu)(fu)、四(si)分(fen)(fen)音符(fu)(fu)(fu)，由慢到(dao)快，反(fan)復(fu)(fu)練習，要(yao)求達到(dao)旋(xuan)律流暢，音符(fu)(fu)(fu)均(jun)勻(yun)(yun)，每(mei)個音符(fu)(fu)(fu)均(jun)帶有顆(ke)粒狀。

音階練習(xi)(xi)熟練后，可以進(jin)(jin)行移指(zhi)練習(xi)(xi)，爬(pa)音練習(xi)(xi)，這(zhe)(zhe)是演奏(zou)樂曲(qu)(qu)中(zhong)不(bu)(bu)可缺少(shao)的(de)基(ji)本功。另(ling)外，演奏(zou)樂曲(qu)(qu)時(shi)要把握樂曲(qu)(qu)中(zhong)不(bu)(bu)同(tong)的(de)內容，不(bu)(bu)同(tong)的(de)變化來進(jin)(jin)行處理，彈與撥(bo)的(de)力(li)度與幅度如用(yong)法不(bu)(bu)準(zhun)確(que)就會破壞作品的(de)涵義。例如：月琴(qin)獨奏(zou)曲(qu)(qu)《百萬雄(xiong)師過大(da)江》的(de)前奏(zou)引子部分(fen)。這(zhe)(zhe)就不(bu)(bu)能用(yong)簡單的(de)彈、撥(bo)手(shou)法來處理，而是要用(yong)長輪，并且控制音量，因這(zhe)(zhe)首(shou)樂曲(qu)(qu)此時(shi)的(de)引子部分(fen)是表現淮(huai)海(hai)大(da)戰前夕的(de)寧靜。

月琴(qin)右手方(fang)法(fa)之一(yi)的掃弦(xian)，也是演奏(zou)樂曲(qu)中常(chang)用(yong)的方(fang)法(fa)。例如：《百萬雄師過大江》引子部(bu)分結束后(hou)突然彈出(chu)強烈的和(he)聲，此時演奏(zou)方(fang)法(fa)為(wei)掃弦(xian)，樂曲(qu)表(biao)現(xian)為(wei)中國人民解放軍勢如破竹的強大攻(gong)勢已開始，要(yao)注意掃弦(xian)不是可以亂用(yong)的，一(yi)定要(yao)和(he)樂曲(qu)內容相吻合。

“撮”分為正撮，反撮。正撮為彈撥(bo)三次，反撮彈撥(bo)四次，例如舞(wu)劇(ju)《紅色娘子軍》中(zhong)一段(duan)音樂(le)。這一段(duan)音樂(le)的演(yan)奏，右手腕(wan)要果斷，不(bu)能拖泥帶(dai)水，否(fou)則(ze)彈出的樂(le)曲沒有沖擊(ji)力，也談不(bu)上音色顆粒狀。

反(fan)撮的(de)方法用得就普(pu)遍了。例(li)如(ru)：現(xian)代(dai)京劇《杜鵑山》中(zhong)柯湘的(de)一(yi)段唱(chang)(chang)“亂云飛”，唱(chang)(chang)到心情沉重的(de)時候(hou)就用反(fan)撮。正、反(fan)撮在京劇音樂伴奏(zou)中(zhong)經(jing)常使用。需要(yao)強(qiang)調的(de)是無論正、反(fan)撮，左、右手一(yi)定放(fang)松，隨著樂曲的(de)變化會碰到高難度的(de)跳把位，如(ru)按品的(de)位置太緊，是會影響音色與(yu)速度的(de)。

演奏月琴時(shi)，將琴(qin)(qin)(qin)斜抱于胸前，左手(shou)(shou)(shou)持琴(qin)(qin)(qin)按弦(xian)(xian)(xian)(xian)(xian)(xian)，右手(shou)(shou)(shou)用(yong)(yong)(yong)(yong)食指(zhi)或(huo)執撥(bo)(bo)片彈(dan)(dan)撥(bo)(bo)琴(qin)(qin)(qin)弦(xian)(xian)(xian)(xian)(xian)(xian)發音(yin)。撥(bo)(bo)片用(yong)(yong)(yong)(yong)竹片、牛角(jiao)片或(huo)骨片制成。月(yue)琴(qin)(qin)(qin)常以(yi)五度(du)或(huo)四(si)(si)度(du)關系(xi)定(ding)(ding)(ding)弦(xian)(xian)(xian)(xian)(xian)(xian)，四(si)(si)弦(xian)(xian)(xian)(xian)(xian)(xian)月(yue)琴(qin)(qin)(qin)即可(ke)兩(liang)弦(xian)(xian)(xian)(xian)(xian)(xian)定(ding)(ding)(ding)同音(yin)，又(you)可(ke)每弦(xian)(xian)(xian)(xian)(xian)(xian)各定(ding)(ding)(ding)一音(yin)。一般定(ding)(ding)(ding)弦(xian)(xian)(xian)(xian)(xian)(xian)如下：二弦(xian)(xian)(xian)(xian)(xian)(xian)月(yue)琴(qin)(qin)(qin)定(ding)(ding)(ding)弦(xian)(xian)(xian)(xian)(xian)(xian)為(wei)：d1、a1；e1、a1；g1、d2。三(san)(san)弦(xian)(xian)(xian)(xian)(xian)(xian)月(yue)琴(qin)(qin)(qin)定(ding)(ding)(ding)弦(xian)(xian)(xian)(xian)(xian)(xian)為(wei)：g、d1、g1；g、c1、g1。四(si)(si)弦(xian)(xian)(xian)(xian)(xian)(xian)月(yue)琴(qin)(qin)(qin)定(ding)(ding)(ding)弦(xian)(xian)(xian)(xian)(xian)(xian)為(wei)：d1、d1、a1、a1；a、d1、g1、c2。長(chang)桿月(yue)琴(qin)(qin)(qin)定(ding)(ding)(ding)弦(xian)(xian)(xian)(xian)(xian)(xian)為(wei)：g、c1、g1、c2。在四(si)(si)川(chuan)涼山，三(san)(san)弦(xian)(xian)(xian)(xian)(xian)(xian)月(yue)琴(qin)(qin)(qin)定(ding)(ding)(ding)弦(xian)(xian)(xian)(xian)(xian)(xian)有(you)(you)兩(liang)種(zhong)，用(yong)(yong)(yong)(yong)撥(bo)(bo)子彈(dan)(dan)奏(zou)(zou)的(de)月(yue)琴(qin)(qin)(qin)定(ding)(ding)(ding)弦(xian)(xian)(xian)(xian)(xian)(xian)為(wei)：e1、a1、e2；用(yong)(yong)(yong)(yong)手(shou)(shou)(shou)指(zhi)彈(dan)(dan)奏(zou)(zou)的(de)月(yue)琴(qin)(qin)(qin)定(ding)(ding)(ding)弦(xian)(xian)(xian)(xian)(xian)(xian)為(wei)：d1、a1、d2。在云(yun)南墨江，彝族(zu)(zu)聶(nie)蘇支(zhi)系(xi)的(de)月(yue)琴(qin)(qin)(qin)定(ding)(ding)(ding)弦(xian)(xian)(xian)(xian)(xian)(xian)為(wei)：f1、f1、c2、c2。在廣西隆(long)林(lin)，苗族(zu)(zu)月(yue)琴(qin)(qin)(qin)定(ding)(ding)(ding)弦(xian)(xian)(xian)(xian)(xian)(xian)為(wei)：d1、a1、a1。月(yue)琴(qin)(qin)(qin)的(de)音(yin)色悅耳、動聽(ting)，高音(yin)清脆、中(zhong)音(yin)明亮、低音(yin)豐滿。用(yong)(yong)(yong)(yong)撥(bo)(bo)片彈(dan)(dan)奏(zou)(zou)的(de)月(yue)琴(qin)(qin)(qin)，右手(shou)(shou)(shou)奏(zou)(zou)法(fa)以(yi)彈(dan)(dan)、挑、滾為(wei)主，有(you)(you)時(shi)也用(yong)(yong)(yong)(yong)撮、掃(sao)滾等，并有(you)(you)獨特效果的(de)“刮品(pin)”技(ji)巧。左手(shou)(shou)(shou)則有(you)(you)按、顫、滑、吟等技(ji)法(fa)。用(yong)(yong)(yong)(yong)手(shou)(shou)(shou)指(zhi)彈(dan)(dan)奏(zou)(zou)的(de)月(yue)琴(qin)(qin)(qin)，還(huan)吸(xi)收了(le)柳琴(qin)(qin)(qin)、琵琶(pa)等彈(dan)(dan)弦(xian)(xian)(xian)(xian)(xian)(xian)樂器的(de)技(ji)巧。四(si)(si)川(chuan)涼山的(de)月(yue)琴(qin)(qin)(qin)，由原來兩(liang)弦(xian)(xian)(xian)(xian)(xian)(xian)一個八(ba)度(du)發展為(wei)三(san)(san)弦(xian)(xian)(xian)(xian)(xian)(xian)三(san)(san)個八(ba)度(du)音(yin)域后，演奏(zou)(zou)上(shang)(shang)既保持了(le)本民族(zu)(zu)的(de)風(feng)格特點，又(you)突破了(le)舊的(de)傳統，還(huan)吸(xi)取(qu)三(san)(san)弦(xian)(xian)(xian)(xian)(xian)(xian)和琵琶(pa)的(de)技(ji)法(fa)，彈(dan)(dan)、撥(bo)(bo)、挑、掃(sao)并用(yong)(yong)(yong)(yong)，還(huan)不時(shi)加上(shang)(shang)雙弦(xian)(xian)(xian)(xian)(xian)(xian)、和弦(xian)(xian)(xian)(xian)(xian)(xian)和持續音(yin)等種(zhong)種(zhong)變化，擴大和豐富了(le)表現力。彈(dan)(dan)奏(zou)(zou)舞(wu)曲時(shi)，還(huan)常用(yong)(yong)(yong)(yong)手(shou)(shou)(shou)指(zhi)敲擊(ji)面板(ban)，以(yi)增(zeng)強熱烈氣氛。