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比較難的,不管是自學(xue)還是找老師(shi)學(xue)習,初(chu)學(xue)者學(xue)習打琴主要從持竹、擊弦等開始(shi)。
1、正確的持竹
基本手(shou)形呈半握(wo)拳狀,外(wai)實內空(kong),如(ru)同手(shou)中(zhong)握(wo)著一枚雞(ji)蛋,大(da)指(zhi)(zhi)(zhi)自(zi)然擱在食指(zhi)(zhi)(zhi)外(wai)側,四指(zhi)(zhi)(zhi)合(he)攏(long)。持(chi)(chi)竹(zhu)(zhu)時只(zhi)使用(yong)大(da)指(zhi)(zhi)(zhi)、食指(zhi)(zhi)(zhi)、中(zhong)指(zhi)(zhi)(zhi),因此也稱此種持(chi)(chi)竹(zhu)(zhu)法(fa)為“三指(zhi)(zhi)(zhi)持(chi)(chi)竹(zhu)(zhu)”。具體握(wo)法(fa)是(shi)(shi)(shi):首先將(jiang)琴竹(zhu)(zhu)的五(wu)分之一處(持(chi)(chi)口)放(fang)在食指(zhi)(zhi)(zhi)的第(di)一指(zhi)(zhi)(zhi)關節靠指(zhi)(zhi)(zhi)尖(jian)一處,再將(jiang)大(da)指(zhi)(zhi)(zhi)自(zi)然壓在上面,中(zhong)指(zhi)(zhi)(zhi)第(di)一指(zhi)(zhi)(zhi)關節靠指(zhi)(zhi)(zhi)根一處托于(yu)(yu)下(xia)方。通過三指(zhi)(zhi)(zhi)將(jiang)琴竹(zhu)(zhu)握(wo)穩,再將(jiang)四、五(wu)指(zhi)(zhi)(zhi)自(zi)然彎(wan)曲(qu)、收攏(long),位(wei)于(yu)(yu)竹(zhu)(zhu)尾處。最后檢查整個手(shou)形是(shi)(shi)(shi)否(fou)自(zi)然收攏(long),手(shou)形外(wai)側是(shi)(shi)(shi)否(fou)并攏(long),各個指(zhi)(zhi)(zhi)關節是(shi)(shi)(shi)否(fou)僵硬。注(zhu)意大(da)指(zhi)(zhi)(zhi)與食指(zhi)(zhi)(zhi)不(bu)要把琴竹(zhu)(zhu)捏(nie)的過緊,四、五(wu)指(zhi)(zhi)(zhi)也不(bu)要緊扣(kou)住竹(zhu)(zhu)尾,更不(bu)能將(jiang)琴竹(zhu)(zhu)滿把握(wo)在手(shou)中(zhong)。正確的用(yong)力感覺(jue)如(ru)同我(wo)們(men)日常抓握(wo)工具。
2、正確的擊弦動作
演奏揚(yang)琴的(de)基本(ben)動作是手腕(wan)上下(xia)運動敲擊琴弦(xian)(xian)發(fa)音。擊弦(xian)(xian)動作的(de)正確(que)與否,直接(jie)(jie)關系到發(fa)音質量,發(fa)音質量又(you)直接(jie)(jie)影(ying)響演奏效果與水平。
普遍(bian)使用的(de)(de)擊弦(xian)(xian)(xian)(xian)(xian)(xian)法是(shi)手(shou)腕彈動(dong)(dong)(dong)(dong)(dong)擊弦(xian)(xian)(xian)(xian)(xian)(xian)法,動(dong)(dong)(dong)(dong)(dong)作分(fen)三步:預備動(dong)(dong)(dong)(dong)(dong)作時,持竹(zhu)手(shou)腕豎(shu)起(qi)(qi),以(yi)琴竹(zhu)垂(chui)直于(yu)地(di)面為(wei)準,我(wo)們(men)稱這(zhe)(zhe)個動(dong)(dong)(dong)(dong)(dong)作為(wei)“起(qi)(qi)”;接(jie)著(zhu)手(shou)腕以(yi)直線的(de)(de)軌(gui)跡向(xiang)(xiang)正下(xia)方緩慢轉(zhuan)動(dong)(dong)(dong)(dong)(dong),我(wo)們(men)稱為(wei)“落”;接(jie)觸到琴弦(xian)(xian)(xian)(xian)(xian)(xian)后,再以(yi)相同的(de)(de)軌(gui)跡向(xiang)(xiang)正上方緩慢轉(zhuan)動(dong)(dong)(dong)(dong)(dong),停(ting)在(zai)預備動(dong)(dong)(dong)(dong)(dong)作位置,我(wo)們(men)稱之(zhi)為(wei)“回”;待(dai)“起(qi)(qi)-落-回”這(zhe)(zhe)一連續動(dong)(dong)(dong)(dong)(dong)作練熟(shu)之(zhi)后就可(ke)以(yi)將中間環節的(de)(de)“落”改為(wei)“彈”,即手(shou)腕帶動(dong)(dong)(dong)(dong)(dong)琴竹(zhu)快速下(xia)落擊弦(xian)(xian)(xian)(xian)(xian)(xian),當觸到琴弦(xian)(xian)(xian)(xian)(xian)(xian)的(de)(de)一剎(cha)(cha)那發力(li),并(bing)靠琴弦(xian)(xian)(xian)(xian)(xian)(xian)與(yu)琴竹(zhu)頭的(de)(de)反彈力(li)回到原位。這(zhe)(zhe)個連貫動(dong)(dong)(dong)(dong)(dong)作“起(qi)(qi)-彈-回”的(de)(de)力(li)度安(an)排(pai)應是(shi)放(fang)松(song)(song)(song)-用力(li)-放(fang)松(song)(song)(song)。我(wo)們(men)可(ke)以(yi)通過拍(pai)(pai)皮球來(lai)尋找感覺。拍(pai)(pai)之(zhi)前手(shou)腕是(shi)松(song)(song)(song)弛的(de)(de),拍(pai)(pai)球的(de)(de)一剎(cha)(cha)那手(shou)腕用力(li),緊(jin)接(jie)著(zhu)手(shou)腕又松(song)(song)(song)弛下(xia)來(lai)。這(zhe)(zhe)當中要注意,手(shou)腕在(zai)運動(dong)(dong)(dong)(dong)(dong)中不可(ke)“內(nei)扣”或“外(wai)翻(fan)”。扣腕與(yu)翻(fan)腕都會直接(jie)影響擊弦(xian)(xian)(xian)(xian)(xian)(xian)動(dong)(dong)(dong)(dong)(dong)作與(yu)發音。在(zai)雙手(shou)交(jiao)替(ti)擊弦(xian)(xian)(xian)(xian)(xian)(xian)時,兩(liang)手(shou)之(zhi)間保持大(da)約一拳的(de)(de)距(ju)離,手(shou)心相對,呈“八”字形(xing)。
3、正確的發音
(1)擊(ji)弦位(wei)置:從揚琴形制來看(kan),它是(shi)通(tong)過振動琴弦發音(yin)的(de)(de)(de)。一(yi)般高(gao)音(yin)區(qu)有效(xiao)發音(yin)弦長比較(jiao)短(duan),低音(yin)區(qu)有效(xiao)發音(yin)弦長比較(jiao)長。以(yi)有效(xiao)弦長的(de)(de)(de)十一(yi)分之一(yi)處為(wei)最佳(jia)擊(ji)弦點。以(yi)此位(wei)置計算方法是(shi):高(gao)音(yin)區(qu)在(zai)距(ju)琴碼兩公分到(dao)(dao)(dao)兩公分半(ban)處;中音(yin)區(qu)在(zai)距(ju)琴碼兩公分半(ban)到(dao)(dao)(dao)三公分的(de)(de)(de)位(wei)置;低音(yin)區(qu)在(zai)距(ju)琴碼三公分到(dao)(dao)(dao)三公分半(ban)處。通(tong)過耳朵的(de)(de)(de)聆聽與(yu)眼睛的(de)(de)(de)配合,再(zai)加上(shang)長時間的(de)(de)(de)訓練(lian),一(yi)定可以(yi)找到(dao)(dao)(dao)標準的(de)(de)(de)擊(ji)弦點。
(2)琴(qin)(qin)竹(zhu)(zhu)觸弦(xian)部(bu)位:正確的發音(yin)對琴(qin)(qin)竹(zhu)(zhu)頭(tou)擊(ji)弦(xian)位置(zhi)也(ye)有(you)要求。以琴(qin)(qin)竹(zhu)(zhu)頭(tou)中部(bu)擊(ji)弦(xian),發音(yin)最為(wei)厚實、飽滿(man)。靠(kao)前或靠(kao)后,不(bu)但影(ying)響(xiang)(xiang)音(yin)色,還(huan)容易碰到上方(fang)或下方(fang)的琴(qin)(qin)弦(xian),影(ying)響(xiang)(xiang)準確性。
(3)手(shou)(shou)腕(wan)(wan)彈動的(de)發力(li):揚琴演(yan)奏需要(yao)全身各部位協調運動才能進行。在(zai)我(wo)們演(yan)奏時(shi),肩(jian)關(guan)(guan)(guan)(guan)節(jie)、肘關(guan)(guan)(guan)(guan)節(jie)、腕(wan)(wan)關(guan)(guan)(guan)(guan)節(jie)以(yi)及指(zhi)關(guan)(guan)(guan)(guan)節(jie)支(zhi)撐(cheng)(cheng)整(zheng)個(ge)手(shou)(shou)臂的(de)運動。肩(jian)關(guan)(guan)(guan)(guan)節(jie)是(shi)整(zheng)個(ge)手(shou)(shou)臂的(de)支(zhi)撐(cheng)(cheng)點,在(zai)手(shou)(shou)臂運送過程中(zhong)擊彈、跳動都(dou)離不開(kai)它(ta)的(de)支(zhi)撐(cheng)(cheng);肘關(guan)(guan)(guan)(guan)節(jie)支(zhi)撐(cheng)(cheng)小臂,保(bao)(bao)持它(ta)在(zai)運動中(zhong)不會(hui)上下活動。除(chu)非遇(yu)到(dao)強奏時(shi),才以(yi)肘關(guan)(guan)(guan)(guan)節(jie)為軸(zhou)心運動小臂增強力(li)度;腕(wan)(wan)關(guan)(guan)(guan)(guan)節(jie)是(shi)最重要(yao)的(de)支(zhi)撐(cheng)(cheng)點,以(yi)它(ta)為軸(zhou)心手(shou)(shou)腕(wan)(wan)上下運動;指(zhi)關(guan)(guan)(guan)(guan)節(jie)除(chu)了支(zhi)撐(cheng)(cheng)手(shou)(shou)中(zhong)的(de)琴竹外,它(ta)與(yu)手(shou)(shou)腕(wan)(wan)形成的(de)合力(li)也是(shi)保(bao)(bao)證手(shou)(shou)腕(wan)(wan)轉動的(de)重要(yao)因(yin)素。
4、正確的練習方法
掌(zhang)握了基本的(de)(de)(de)(de)動(dong)作要領及規范(fan),還要有(you)科學(xue)、合理(li)的(de)(de)(de)(de)練(lian)(lian)(lian)習方(fang)(fang)法(fa),練(lian)(lian)(lian)習過(guo)程中首先要勤動(dong)腦,即帶(dai)著問(wen)(wen)題去(qu)練(lian)(lian)(lian)習,每練(lian)(lian)(lian)一首練(lian)(lian)(lian)習曲或樂曲要明(ming)白是為了解決什么問(wen)(wen)題;練(lian)(lian)(lian)習為什么會出現錯(cuo)誤等等。其次(ci),采取慢練(lian)(lian)(lian)的(de)(de)(de)(de)方(fang)(fang)法(fa),在慢速練(lian)(lian)(lian)習過(guo)程中,有(you)充足的(de)(de)(de)(de)時間(jian)去(qu)注意技(ji)術(shu)動(dong)作和要領,這(zhe)樣(yang)通(tong)過(guo)大(da)量(liang)、反復的(de)(de)(de)(de)慢練(lian)(lian)(lian)可以達到(dao)技(ji)術(shu)動(dong)作的(de)(de)(de)(de)定型(xing)化(hua),使(shi)艱難的(de)(de)(de)(de)技(ji)法(fa)轉化(hua)成(cheng)一種信手拈來的(de)(de)(de)(de)熟(shu)練(lian)(lian)(lian)技(ji)能。
另外,練習中還要注意培養自(zi)己(ji)的識(shi)譜試奏(zou)能力,在演奏(zou)這一(yi)小節時,眼(yan)和(he)腦已注視、反應(ying)到下(xia)一(yi)小節甚至下(xia)幾小節。長(chang)此以往,識(shi)譜試奏(zou)能力會(hui)很快增長(chang)。
二、初學者如何學好揚琴
對于初學(xue)者來說,學(xue)習(xi)揚(yang)琴(qin)是需(xu)要(yao)掌握好正確(que)的演奏方法,并(bing)持之以恒(heng)練習(xi)的,要(yao)想學(xue)好揚(yang)琴(qin),主(zhu)要(yao)注意以下幾方面:
1、對于初(chu)學揚琴的(de)(de)人(ren)而言(yan),首(shou)先要注重(zhong)演奏時的(de)(de)姿勢,擊弦的(de)(de)動作和(he)基本的(de)(de)竹法(fa)。然后通過練(lian)習(xi)一(yi)些基本的(de)(de)練(lian)習(xi)曲和(he)部分(fen)的(de)(de)樂曲教材,掌握(wo)揚琴發(fa)(fa)音的(de)(de)技術(shu)動作和(he)規范,從而掌握(wo)“持(chi)竹點、擊弦點、觸槌點、支撐點、發(fa)(fa)力點”五個要點的(de)(de)綜合技能(neng)。
2、在熟悉(xi)了(le)基(ji)本的音位后,初學者可以練(lian)習(xi)一(yi)些簡單(dan)的小歌曲,如:《小星星》、《我(wo)是一(yi)只粉刷匠》,《采茶撲(pu)蝶(die)》等,逐步深入(ru)練(lian)習(xi)難的曲目。
3、初學者(zhe)每(mei)天練琴(qin)的(de)時間多少,取決于(yu)自(zi)己的(de)精力和體力。練習的(de)效果和時間要成正比,須知“勤能(neng)補(bu)拙(zhuo),熟能(neng)生巧”,“勤”與“熟”是練習量的(de)增加,“補(bu)拙(zhuo)”與“生巧”則是質的(de)飛躍(yue)。
總而言之,對于初學揚琴的(de)(de)(de)(de)人來說,掌握正確、扎實的(de)(de)(de)(de)的(de)(de)(de)(de)基本功(gong)以(yi)及(ji)科學、有(you)效的(de)(de)(de)(de)練習方法是至關(guan)重(zhong)要的(de)(de)(de)(de)。千萬不(bu)要遇到一(yi)(yi)些比較難(nan)彈奏(zou)的(de)(de)(de)(de)片段(duan)就(jiu)去拼(pin)命的(de)(de)(de)(de)狠練,手和腕子不(bu)舒服(fu)了也不(bu)肯去休息一(yi)(yi)下(xia),這樣肌(ji)肉會(hui)長期(qi)處于(yu)拉長的(de)(de)(de)(de)狀態,慢慢的(de)(de)(de)(de)就(jiu)會(hui)失(shi)去彈性,收縮不(bu)了,嚴重(zhong)的(de)(de)(de)(de)還會(hui)出(chu)現肌(ji)肉酸痛的(de)(de)(de)(de)現象,從(cong)而導(dao)致不(bu)能繼續彈琴。冰凍三(san)尺,非一(yi)(yi)日之(zhi)寒,希望廣(guang)大的(de)(de)(de)(de)揚琴愛好者能夠持之(zhi)以(yi)恒、刻苦鉆研(yan),勇攀藝術的(de)(de)(de)(de)高(gao)峰。