小提琴的揉弦技术Violinvibratotechnique.docx

小提琴的揉弦技术Violinvibratotechnique.docx

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小提琴的揉弦技术Violinvibratotechnique

小提琴的揉弦技术（Violinvibratotechnique）

小提琴的揉弦技术（Violinvibratotechnique）

Oristhehandandfingers,soacomponentismoreoutstanding,butifnotstiff,eachstringwillaffectitsadjacentmuscles,willjointheothertwovibratocomponents.Inthestudybeforeitmustbeemphasizedthatvibratoinanycase,shouldpayattentiontohandontheneckhardtightness,mustavoidanyhardpinchneckway.Because,iftheinstrumenttogoafterthiswillinevitablycausegreatvibrato,tension,andmakeyourlefthandparalysis.Almostallthepeopleinthebeginningtolearnvibratowillsubconsciouslytopaycloseattentiontotheneck,whichweholdmostbeginnerpiano,holdthebow,isanormalpsychologicalreaction.Asanexperiencedteacher,mustemphasizestudents'lefthandmustbeveryrelaxedwithneck,andthensticktoconstantlyreminditisalwaysinastateofrelaxation,whichinthefutureinthedevelopmentofviolinplayingheighthasadirectimpact.

1.armvibrato:

Powerarmvibratodirectlyfromtheleftarm,thefingerisdriven.Ifabeginnerhasacquiredabettertouchstringhabit,herequiresonlyenoughstrengthtopushthestringdown,andkeepsthepositionofthefingersonthestring,andstillhasenoughflexibility.Inthiscase,themovementofthearmisthemostidealandscientific.Inthebeginningwiththefingervibratobackwardandforwardswingandstraightandbent,payattentiontothefirststepshouldbethefirsttostartisheaddirectionalongthefingerboardandstringsbeforeandafterexercise,anddon'tsway

Dynamic.Indoingtheabovemovements,firstholdtheharp

slightlyfixed,andthenfromthefirstbittothefifthbituniformmovementbackandforth,andgraduallyreducethemovementofthethirdinthecenterofthefinger.Finally,thearmkeepsthechange,whilethefingertipandthumbstayinoneofthethirdfingers.Atthistime,themusclesofthehandshouldberelaxed,thefingersofthefingersshouldbeflexible,andcontinuetorubgently.Inthirdtheabovepracticethevibrato,put2fingersonthestring,inthehandsofeachswing,touchedthepianosideasinthepalmofthehandontheviolinonthesideofthefalloftheaction,inordertopracticethepurposeofdoingsoisveryhelpful.Italsomovesevenlyandrhythmically.

2.handvibrato:

Thehandvibratoiscalled"wristvibrato.Inplayingthiskindofvibrato,handmovementsfromthesomewhatrealarmto.Inthebeginnerstage,itissuggestedthatyoushouldbreakawayfromtheinstrumentanddosomesimpleandeffectivebasicmovements.Relaxyourbodyfirst,andstretchoutyourlefthandtotouchyourthumbandforefinger.Makeverticalmovementsandhorizontalmovements,respectively,upanddown.Thisexerciseallowsbeginnerstobuildmusclemovementsfirstinastateofnaturalrelaxation.Whenthemovementcontinuesonthechin,thefingersstretchwhenthehandswingstowardthehead,whenthehandreturnstoitsoriginalstartingpoint

Thefingersbecomebentagain.Inordertopracticethehandvibrato,firstputitinthethirdpositioninthemostconvenient.Atthispoint,thelowerhalfofthehandisclosetothechin.Ithasabackingeffectonthewrist.The2finger

isplacedontheEchordoftheAstring,andthehandmoveshorizontallyfromthewristtotheheadofthepiano,

Thesmalljointsofthefingersarestraight;whenthehandreturnstoitsoriginalshape,becarefulnottochangeitspositiononthestring.Doahandswingingactiononthestring,thestringfromitandthecontactpointonthenailtonailfromplacetochange,theuseofsuchactionwhenthesoundfromtheoriginalEpitch,slightlylowerthanitisononesideofthetendencytoward.Whenthehandreturnstoitsstartingpoint,andreturntoitsoriginalshape,andthestringoftheEaudiolocalcontact,acyclethatvibratoiscomplete.Inthecourseoflearning,thelowerhalfofthepalmofthehandshouldmaintaincontactwiththebody,toensurethatthearmisinamotionlessstate.Thebestistheneckandtheleftsideoftheindexfinger.Justbeginningtolearnvibrato,eachshootkneadafewbestthereisastrictnumber:

taketwo,thenthreeorfour,six,thefuturecanbegraduallyincreased,untiltoomanytocount.Inthegraspofthethirdpositiontousevibratoandcanhaveverygoodeffect,canlowerthelevelofpractice.Atfirst,youmayfeelalittlesleepybecauseyourhandshavelostthesupportofyourinstrument

Difficult,atthistimeshouldpayspecialattentiontothesupportingroleofwrist.Withthewristisrelativelyindependentofthehabitgraduallyestablished,inthefirstplaceofpractice,shouldpayattentiontotheindexfingerclamptheneckdonotfeel.

3.fingervibrato:

Goodfingervibratothantheothertwotypesofvibratotrainingismuchmoredifficultto.Therefore,beforefullycontrolthearmwithoutvibratoandhandvibratoisbestnottolearnfingervibrato.Dynamicfingervibratofingersfromitself,fromtherootjointswing,handpassivetoughnesswithswingfingerslightly.Themagnitudeofthevibratothantheothertwosmaller.Inthebeginningofthestudystage,besurenottorush,you'dbettertaketheinstrumentofffirst,holdyourlefthandwithyourrightthumbandfingers,andkeepyourpalmmotionless.AndthenwiththerightarmclipQin,inordertoembracethebodyposturetorepeattheabovemovements,andfinallydohorizontalmovementsonthepiano.Fingervibratoisaverysensitivefingermovements,especiallyinthosetoofastandtoolatetousetheusualvibrato,butrequirestheuseofexpressivephrases.Thehigherrequirementtotheplayersoitneedsplayingvibrato,essentialinneremotioninmusicsensibility,butalsotheneedtocoordinatethefunctionofthe.Inuse,youshouldflatyourfingersandmakeaslighteffectfromthesmalljointsofyourfingersafterthesoundissentout.Theelbowshouldpayattentiontotheleft,sothatthefingerscanbefullyputinthestring;theactionlookslikelazy,fingersuplowandslowdownisveryslow,whentouchingthestrings,fingerjointsoftdown.

Fingerjointrelaxationisessentialinallthemusicmovement.Whentheyneedtoimprovetheirflexibility,theycanbeadjustedwithafewlefthandsilentexercises.Ifthelefthandisplacedonanyfingerornoteaftertheinstrumentisheld,wecangentlypressthesmalljointsofthefingerswiththefingerssoastofullyunderstandthenaturalflexibilityofthejoints.Theoriginalsoundwhennecessary,canalsobethe

passivebowiscausedbytheactionoftheeffectofpullout.Inaddition,youcanplaceyourfingersonthestringsothatitswingsbackandforth,

Makethejointsclosesttothenailsalternateinbendingandstraightening.Anotherwayistokeepyourhandsandwristsstill.Useonlythefingerstoreplacethehigherfingerswiththelowerfingersonthesamesound.

Two,styleandplayingvibratopersonality

1.stylevibrato

Studyoftheabovethreekindsofdifferentwaysoflearningandusevibratotechnique,hasbecometheultimategoal,itforcesustobegintopayattentiontotheresultofapplicationproblems.Theuseoftheplayerinsomeofhisworkshavearelativelyuniformvibrato,ifignored,fromtheworkstyleofmusicislikelytoleadtofailure.Thisiscloselyrelatedtothecreationoftheworks,theregionalbackgroundandtheauthor'spersonalstyleofmusic,aswellasthespecificexpression.

A.Bach'sworks:

thecreationofBachinheritedthepreviousChoraleandorganmusictradition,absorbanduseofpolyphonictechniques,formeditsownuniquestylemaynotonlyhasthehighlylogical,structured,andinherentphilosophy,profoundmeaning.Whenweplayhissoloworks,inordertohighlighttheopen,nonoisesoundeffect,andplayingdualtone,chordsoundeffect,thevibratoshouldpayattentiontoavoidexcessiveanddenseandthesoundisnotastablemanner.Atthistime,should

adoptthehandvibratobasedvibratomode.Intheslowpassage,weshouldpaymoreattentiontosolvebecauseoftherhythmoftherigorous,bringdifficultiestotheconnectionbetweenthenotesofvibrato.Whenperformingcontinuouslyevenfasterbowsmallnote,Isuggestitisbestnottousevibrato.Inplayingsomemediumnotesshouldpayattentiontotheuseofverysmall,almostimperceptiblefingervibrato,todoasmuchaspossibletocontrolthefrequencyandtheamplitudeofvibrato,doesnotaffectthepronunciationandintonation.

B.Mozart'sworks:

Mozart'smusicstyleandelegant,sincereemotionandnotracesofhardtoil;hisbrilliantandlivelyrhythm,fullofyouthfulspirit,andthebeautifulmelody,sparklingmakeshismusicimageoutstandingpersonality,truetolife.WhenweplayMozart,vibratoshouldfocusontheoutstandingperformanceofitsbright,cheerfulandcontrolside.Atthistime,inordernottomakeanyfingerheavypressureonthestring,wemustpayspecialattentiontothefingertouchesthestringpointofsoundandelastic,whilefocusingonthevibratoeffectafter.Inordertomakethesoundtobrighteffect,choosethemorenarrowspotandfrequencyslightlyfastervibrato.Inaddition,alsopayspecialattentiontothebowspeedwithvibratoandproduced

TheeffectofitsoutstandingexpressiveforceisthatMozartmusiccannotbeignored.Inanycase,Mozartplayedthemusictograspthewaytoaproperextent,notoverdosth..

C.Brahms'sworks:

Brahms'smusicalstyleisserious,sedate,simpleandintroverted,andhisromanticfeaturesareembodiedinthecreationofmusicitselfandtheloveoffolkmusic.His

musichasneverbeenpurepursuitofsplendidacoustics.Fromthefullnessoftheflowofvoices,ithasprod