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(huan)(huan)是比(bi)較難的(de),不(bu)管(guan)是自學還(huan)(huan)是找(zhao)老師學習,初學者學習打琴主(zhu)要從持竹、擊弦(xian)等開始。
1、正確的持竹
基本手(shou)(shou)形呈(cheng)半握(wo)(wo)拳狀,外(wai)實(shi)內空,如(ru)同手(shou)(shou)中(zhong)握(wo)(wo)著一枚雞蛋,大(da)指(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)自然(ran)擱在(zai)食(shi)指(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)外(wai)側(ce)(ce),四(si)指(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)合攏(long)。持(chi)竹(zhu)(zhu)時(shi)只(zhi)使用(yong)大(da)指(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)、食(shi)指(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)、中(zhong)指(zhi)(zhi)(zhi)(zhi)(zhi)(zhi),因此也稱此種持(chi)竹(zhu)(zhu)法為“三指(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)持(chi)竹(zhu)(zhu)”。具體握(wo)(wo)法是:首(shou)先將(jiang)琴(qin)(qin)竹(zhu)(zhu)的五(wu)(wu)分之一處(持(chi)口)放在(zai)食(shi)指(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)的第(di)(di)一指(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)關(guan)節(jie)靠指(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)尖一處,再(zai)(zai)將(jiang)大(da)指(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)自然(ran)壓在(zai)上面,中(zhong)指(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)第(di)(di)一指(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)關(guan)節(jie)靠指(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)根一處托于(yu)下方(fang)。通過三指(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)將(jiang)琴(qin)(qin)竹(zhu)(zhu)握(wo)(wo)穩(wen),再(zai)(zai)將(jiang)四(si)、五(wu)(wu)指(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)自然(ran)彎曲、收(shou)(shou)攏(long),位于(yu)竹(zhu)(zhu)尾(wei)處。最后檢查整個手(shou)(shou)形是否自然(ran)收(shou)(shou)攏(long),手(shou)(shou)形外(wai)側(ce)(ce)是否并攏(long),各個指(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)關(guan)節(jie)是否僵硬。注意大(da)指(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)與食(shi)指(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)不要把琴(qin)(qin)竹(zhu)(zhu)捏的過緊,四(si)、五(wu)(wu)指(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)也不要緊扣住竹(zhu)(zhu)尾(wei),更不能將(jiang)琴(qin)(qin)竹(zhu)(zhu)滿把握(wo)(wo)在(zai)手(shou)(shou)中(zhong)。正確的用(yong)力感(gan)覺如(ru)同我(wo)們日常抓握(wo)(wo)工具。
2、正確的擊弦動作
演(yan)奏(zou)(zou)揚琴的基本動(dong)作是手腕上下運動(dong)敲擊琴弦發音。擊弦動(dong)作的正確與(yu)(yu)否,直接(jie)關系到發音質量,發音質量又直接(jie)影響演(yan)奏(zou)(zou)效(xiao)果與(yu)(yu)水平。
普遍使用的(de)擊弦(xian)(xian)法是(shi)手(shou)(shou)(shou)腕(wan)(wan)(wan)(wan)彈動(dong)(dong)擊弦(xian)(xian)法,動(dong)(dong)作(zuo)(zuo)分三步:預備動(dong)(dong)作(zuo)(zuo)時,持竹(zhu)手(shou)(shou)(shou)腕(wan)(wan)(wan)(wan)豎起(qi),以(yi)(yi)琴(qin)竹(zhu)垂(chui)直于地面為(wei)準,我們(men)稱(cheng)這個動(dong)(dong)作(zuo)(zuo)為(wei)“起(qi)”;接(jie)著手(shou)(shou)(shou)腕(wan)(wan)(wan)(wan)以(yi)(yi)直線的(de)軌(gui)跡向正下方緩慢(man)轉(zhuan)動(dong)(dong),我們(men)稱(cheng)為(wei)“落”;接(jie)觸到琴(qin)弦(xian)(xian)后,再以(yi)(yi)相同的(de)軌(gui)跡向正上方緩慢(man)轉(zhuan)動(dong)(dong),停在預備動(dong)(dong)作(zuo)(zuo)位置,我們(men)稱(cheng)之為(wei)“回(hui)”;待(dai)“起(qi)-落-回(hui)”這一(yi)連(lian)續動(dong)(dong)作(zuo)(zuo)練熟之后就(jiu)可以(yi)(yi)將(jiang)中間(jian)環節的(de)“落”改為(wei)“彈”,即手(shou)(shou)(shou)腕(wan)(wan)(wan)(wan)帶動(dong)(dong)琴(qin)竹(zhu)快速(su)下落擊弦(xian)(xian),當觸到琴(qin)弦(xian)(xian)的(de)一(yi)剎(cha)那發力(li)(li),并靠琴(qin)弦(xian)(xian)與(yu)琴(qin)竹(zhu)頭的(de)反彈力(li)(li)回(hui)到原位。這個連(lian)貫(guan)動(dong)(dong)作(zuo)(zuo)“起(qi)-彈-回(hui)”的(de)力(li)(li)度安排應是(shi)放(fang)松-用力(li)(li)-放(fang)松。我們(men)可以(yi)(yi)通過拍(pai)皮球來(lai)尋找感(gan)覺(jue)。拍(pai)之前手(shou)(shou)(shou)腕(wan)(wan)(wan)(wan)是(shi)松弛(chi)的(de),拍(pai)球的(de)一(yi)剎(cha)那手(shou)(shou)(shou)腕(wan)(wan)(wan)(wan)用力(li)(li),緊接(jie)著手(shou)(shou)(shou)腕(wan)(wan)(wan)(wan)又(you)松弛(chi)下來(lai)。這當中要注(zhu)意,手(shou)(shou)(shou)腕(wan)(wan)(wan)(wan)在運(yun)動(dong)(dong)中不可“內扣”或“外翻”。扣腕(wan)(wan)(wan)(wan)與(yu)翻腕(wan)(wan)(wan)(wan)都會直接(jie)影(ying)響擊弦(xian)(xian)動(dong)(dong)作(zuo)(zuo)與(yu)發音。在雙手(shou)(shou)(shou)交(jiao)替(ti)擊弦(xian)(xian)時,兩手(shou)(shou)(shou)之間(jian)保持大約一(yi)拳(quan)的(de)距離,手(shou)(shou)(shou)心相對(dui),呈“八”字形(xing)。
3、正確的發音
(1)擊弦(xian)(xian)(xian)位置(zhi)(zhi):從揚琴(qin)(qin)形(xing)制來看,它是(shi)通過(guo)振動琴(qin)(qin)弦(xian)(xian)(xian)發(fa)(fa)音(yin)(yin)的(de)。一(yi)般高(gao)音(yin)(yin)區有(you)效發(fa)(fa)音(yin)(yin)弦(xian)(xian)(xian)長比較(jiao)(jiao)短,低(di)音(yin)(yin)區有(you)效發(fa)(fa)音(yin)(yin)弦(xian)(xian)(xian)長比較(jiao)(jiao)長。以有(you)效弦(xian)(xian)(xian)長的(de)十一(yi)分(fen)之一(yi)處為最佳擊弦(xian)(xian)(xian)點(dian)。以此位置(zhi)(zhi)計算(suan)方法是(shi):高(gao)音(yin)(yin)區在(zai)距琴(qin)(qin)碼(ma)兩公(gong)(gong)分(fen)到兩公(gong)(gong)分(fen)半(ban)處;中音(yin)(yin)區在(zai)距琴(qin)(qin)碼(ma)兩公(gong)(gong)分(fen)半(ban)到三公(gong)(gong)分(fen)的(de)位置(zhi)(zhi);低(di)音(yin)(yin)區在(zai)距琴(qin)(qin)碼(ma)三公(gong)(gong)分(fen)到三公(gong)(gong)分(fen)半(ban)處。通過(guo)耳朵(duo)的(de)聆聽與眼睛(jing)的(de)配(pei)合(he),再加上長時(shi)間的(de)訓練,一(yi)定可以找到標準的(de)擊弦(xian)(xian)(xian)點(dian)。
(2)琴竹(zhu)觸(chu)弦(xian)(xian)部位(wei):正確(que)的發(fa)音(yin)對琴竹(zhu)頭(tou)擊(ji)(ji)弦(xian)(xian)位(wei)置也有(you)要(yao)求。以琴竹(zhu)頭(tou)中部擊(ji)(ji)弦(xian)(xian),發(fa)音(yin)最為厚實、飽(bao)滿。靠前或靠后,不但影(ying)響(xiang)音(yin)色,還容易碰到(dao)上方或下方的琴弦(xian)(xian),影(ying)響(xiang)準確(que)性。
(3)手(shou)(shou)腕(wan)(wan)(wan)彈動(dong)(dong)的(de)發力(li):揚琴(qin)演奏需(xu)要全身各部位協(xie)調運動(dong)(dong)才能進行(xing)。在我們演奏時,肩(jian)關(guan)(guan)(guan)(guan)(guan)(guan)節(jie)(jie)、肘(zhou)(zhou)關(guan)(guan)(guan)(guan)(guan)(guan)節(jie)(jie)、腕(wan)(wan)(wan)關(guan)(guan)(guan)(guan)(guan)(guan)節(jie)(jie)以(yi)及指關(guan)(guan)(guan)(guan)(guan)(guan)節(jie)(jie)支(zhi)(zhi)撐(cheng)(cheng)整個手(shou)(shou)臂的(de)運動(dong)(dong)。肩(jian)關(guan)(guan)(guan)(guan)(guan)(guan)節(jie)(jie)是(shi)整個手(shou)(shou)臂的(de)支(zhi)(zhi)撐(cheng)(cheng)點,在手(shou)(shou)臂運送過程中擊彈、跳(tiao)動(dong)(dong)都離(li)不開(kai)它的(de)支(zhi)(zhi)撐(cheng)(cheng);肘(zhou)(zhou)關(guan)(guan)(guan)(guan)(guan)(guan)節(jie)(jie)支(zhi)(zhi)撐(cheng)(cheng)小臂,保持它在運動(dong)(dong)中不會上下活(huo)動(dong)(dong)。除非遇(yu)到強奏時,才以(yi)肘(zhou)(zhou)關(guan)(guan)(guan)(guan)(guan)(guan)節(jie)(jie)為(wei)軸心(xin)運動(dong)(dong)小臂增強力(li)度;腕(wan)(wan)(wan)關(guan)(guan)(guan)(guan)(guan)(guan)節(jie)(jie)是(shi)最重要的(de)支(zhi)(zhi)撐(cheng)(cheng)點,以(yi)它為(wei)軸心(xin)手(shou)(shou)腕(wan)(wan)(wan)上下運動(dong)(dong);指關(guan)(guan)(guan)(guan)(guan)(guan)節(jie)(jie)除了支(zhi)(zhi)撐(cheng)(cheng)手(shou)(shou)中的(de)琴(qin)竹(zhu)外(wai),它與(yu)手(shou)(shou)腕(wan)(wan)(wan)形成的(de)合力(li)也是(shi)保證手(shou)(shou)腕(wan)(wan)(wan)轉動(dong)(dong)的(de)重要因素。
4、正確的練習方法
掌(zhang)握了(le)基本的(de)(de)(de)(de)(de)動(dong)(dong)作(zuo)要(yao)領(ling)及規(gui)范,還要(yao)有科學(xue)、合(he)理的(de)(de)(de)(de)(de)練(lian)習(xi)(xi)方法,練(lian)習(xi)(xi)過(guo)程中首(shou)先要(yao)勤動(dong)(dong)腦,即帶著問(wen)題去練(lian)習(xi)(xi),每練(lian)一首(shou)練(lian)習(xi)(xi)曲(qu)或樂曲(qu)要(yao)明白是為了(le)解決什(shen)么(me)問(wen)題;練(lian)習(xi)(xi)為什(shen)么(me)會出現錯誤(wu)等等。其次,采(cai)取(qu)慢練(lian)的(de)(de)(de)(de)(de)方法,在慢速(su)練(lian)習(xi)(xi)過(guo)程中,有充足的(de)(de)(de)(de)(de)時間(jian)去注意技(ji)(ji)術動(dong)(dong)作(zuo)和要(yao)領(ling),這樣通過(guo)大量、反復的(de)(de)(de)(de)(de)慢練(lian)可以達到技(ji)(ji)術動(dong)(dong)作(zuo)的(de)(de)(de)(de)(de)定(ding)型化,使艱難的(de)(de)(de)(de)(de)技(ji)(ji)法轉化成一種信手拈來的(de)(de)(de)(de)(de)熟(shu)練(lian)技(ji)(ji)能。
另(ling)外,練習中(zhong)還要注意培養自(zi)己(ji)的識(shi)譜(pu)(pu)試(shi)奏能力,在(zai)演奏這一小節時,眼和腦已注視(shi)、反應到下(xia)一小節甚至下(xia)幾小節。長此以往(wang),識(shi)譜(pu)(pu)試(shi)奏能力會很(hen)快增長。
二、初學者如何學好揚琴
對于(yu)初學(xue)(xue)者(zhe)來(lai)說,學(xue)(xue)習(xi)揚琴(qin)是需要掌握(wo)好(hao)正確(que)的演奏方法,并持之以恒練習(xi)的,要想學(xue)(xue)好(hao)揚琴(qin),主要注意以下幾方面:
1、對于(yu)初(chu)學揚(yang)琴的(de)人而(er)言(yan),首先要注重(zhong)演奏時的(de)姿勢(shi),擊弦(xian)的(de)動(dong)作(zuo)和(he)基(ji)本的(de)竹法(fa)。然(ran)后通過練(lian)習(xi)一(yi)些基(ji)本的(de)練(lian)習(xi)曲和(he)部分的(de)樂曲教材(cai),掌(zhang)握揚(yang)琴發音的(de)技術動(dong)作(zuo)和(he)規范(fan),從而(er)掌(zhang)握“持竹點、擊弦(xian)點、觸(chu)槌(chui)點、支撐點、發力點”五個要點的(de)綜合技能。
2、在熟悉了(le)基(ji)本(ben)的(de)音位后(hou),初學(xue)者可(ke)以(yi)練習一(yi)些簡(jian)單的(de)小歌曲(qu),如:《小星星》、《我是(shi)一(yi)只粉刷(shua)匠(jiang)》,《采(cai)茶(cha)撲(pu)蝶》等,逐步深入練習難的(de)曲(qu)目。
3、初(chu)學者每天(tian)練琴(qin)的(de)時間多少,取決(jue)于自己(ji)的(de)精(jing)力和(he)體力。練習的(de)效果和(he)時間要成正比,須知“勤能補拙(zhuo),熟(shu)(shu)能生(sheng)(sheng)巧”,“勤”與(yu)“熟(shu)(shu)”是(shi)練習量的(de)增加,“補拙(zhuo)”與(yu)“生(sheng)(sheng)巧”則(ze)是(shi)質的(de)飛(fei)躍。
總而言之,對于初學揚琴的(de)人來說(shuo),掌握(wo)正確、扎實的(de)的(de)基(ji)本(ben)功以(yi)及科(ke)學、有效的(de)練(lian)習方(fang)法是至關(guan)重要的(de)。千萬不(bu)要遇到一些比較難彈奏的(de)片(pian)段(duan)就去拼命的(de)狠練(lian),手(shou)和(he)腕子(zi)不(bu)舒服了也不(bu)肯去休息(xi)一下,這樣肌肉會長期處于拉長的(de)狀態(tai),慢(man)慢(man)的(de)就會失去彈性,收縮不(bu)了,嚴重的(de)還會出現(xian)肌肉酸痛的(de)現(xian)象,從而導致不(bu)能繼(ji)續彈琴。冰凍三(san)尺,非一日之寒,希望廣大的(de)揚琴愛好者能夠持之以(yi)恒、刻(ke)苦鉆研,勇攀(pan)藝(yi)術的(de)高峰。