小提琴的揉弦技术Violinvibratotechnique.docx

1、小提琴的揉弦技术Violinvibratotechnique小提琴的揉弦技术（Violin vibrato technique）小提琴的揉弦技术(Violin vibrato technique) Or is the hand and fingers, so a component is more outstanding, but if not stiff, each string will affect its adjacent muscles, will join the other two vibrato components. In the study before it must b

2、e emphasized that vibrato in any case, should pay attention to hand on the neck hard tightness, must avoid any hard pinch neck way. Because, if the instrument to go after this will inevitably cause great vibrato, tension, and make your left hand paralysis. Almost all the people in the beginning to l

3、earn vibrato will subconsciously to pay close attention to the neck, which we hold most beginner piano, hold the bow, is a normal psychological reaction. As an experienced teacher, must emphasize students left hand must be very relaxed with neck, and then stick to constantly remind it is always in a

4、 state of relaxation, which in the future in the development of violin playing height has a direct impact. 1. arm vibrato: Power arm vibrato directly from the left arm, the finger is driven. If a beginner has acquired a better touch string habit, he requires only enough strength to push the string d

5、own, and keeps the position of the fingers on the string, and still has enough flexibility. In this case, the movement of the arm is the most ideal and scientific. In the beginning with the finger vibrato backward and forward swing and straight and bent, pay attention to the first step should be the

6、 first to start is head direction along the fingerboard and strings before and after exercise, and dont sway Dynamic. In doing the above movements, first hold the harp slightly fixed, and then from the first bit to the fifth bit uniform movement back and forth, and gradually reduce the movement of t

7、he third in the center of the finger. Finally, the arm keeps the change, while the fingertip and thumb stay in one of the third fingers. At this time, the muscles of the hand should be relaxed, the fingers of the fingers should be flexible, and continue to rub gently. In third the above practice the

8、 vibrato, put 2 fingers on the string, in the hands of each swing, touched the piano side as in the palm of the hand on the violin on the side of the fall of the action, in order to practice the purpose of doing so is very helpful. It also moves evenly and rhythmically. 2. hand vibrato: The hand vib

9、rato is called wrist vibrato. In playing this kind of vibrato, hand movements from the somewhat real arm to. In the beginner stage, it is suggested that you should break away from the instrument and do some simple and effective basic movements. Relax your body first, and stretch out your left hand t

10、o touch your thumb and forefinger. Make vertical movements and horizontal movements, respectively, up and down. This exercise allows beginners to build muscle movements first in a state of natural relaxation. When the movement continues on the chin, the fingers stretch when the hand swings toward th

11、e head, when the hand returns to its original starting point The fingers become bent again. In order to practice the hand vibrato, first put it in the third position in the most convenient. At this point, the lower half of the hand is close to the chin. It has a backing effect on the wrist. The 2 fi

12、nger is placed on the E chord of the A string, and the hand moves horizontally from the wrist to the head of the piano, The small joints of the fingers are straight; when the hand returns to its original shape, be careful not to change its position on the string. Do a hand swinging action on the str

13、ing, the string from it and the contact point on the nail to nail from place to change, the use of such action when the sound from the original E pitch, slightly lower than it is on one side of the tendency toward. When the hand returns to its starting point, and return to its original shape, and th

14、e string of the E audio local contact, a cycle that vibrato is complete. In the course of learning, the lower half of the palm of the hand should maintain contact with the body, to ensure that the arm is in a motionless state. The best is the neck and the left side of the index finger. Just beginnin

15、g to learn vibrato, each shoot knead a few best there is a strict number: take two, then three or four, six, the future can be gradually increased, until too many to count. In the grasp of the third position to use vibrato and can have very good effect, can lower the level of practice. At first, you

16、 may feel a little sleepy because your hands have lost the support of your instrument Difficult, at this time should pay special attention to the supporting role of wrist. With the wrist is relatively independent of the habit gradually established, in the first place of practice, should pay attentio

17、n to the index finger clamp the neck do not feel. 3. finger vibrato: Good finger vibrato than the other two types of vibrato training is much more difficult to. Therefore, before fully control the arm without vibrato and hand vibrato is best not to learn finger vibrato. Dynamic finger vibrato finger

18、s from itself, from the root joint swing, hand passive toughness with swing finger slightly. The magnitude of the vibrato than the other two smaller. In the beginning of the study stage, be sure not to rush, youd better take the instrument off first, hold your left hand with your right thumb and fin

19、gers, and keep your palm motionless. And then with the right arm clip Qin, in order to embrace the body posture to repeat the above movements, and finally do horizontal movements on the piano. Finger vibrato is a very sensitive finger movements, especially in those too fast and too late to use the u

20、sual vibrato, but requires the use of expressive phrases. The higher requirement to the player so it needs playing vibrato, essential inner emotion in music sensibility, but also the need to coordinate the function of the. In use, you should flat your fingers and make a slight effect from the small

21、joints of your fingers after the sound is sent out. The elbow should pay attention to the left, so that the fingers can be fully put in the string; the action looks like lazy, fingers up low and slow down is very slow, when touching the strings, finger joint soft down. Finger joint relaxation is ess

22、ential in all the music movement. When they need to improve their flexibility, they can be adjusted with a few left hand silent exercises. If the left hand is placed on any finger or note after the instrument is held, we can gently press the small joints of the fingers with the fingers so as to full

23、y understand the natural flexibility of the joints. The original sound when necessary, can also be the passive bow is caused by the action of the effect of pull out. In addition, you can place your fingers on the string so that it swings back and forth, Make the joints closest to the nails alternate

24、 in bending and straightening. Another way is to keep your hands and wrists still. Use only the fingers to replace the higher fingers with the lower fingers on the same sound. Two, style and playing vibrato personality 1. style vibrato Study of the above three kinds of different ways of learning and

25、 use vibrato technique, has become the ultimate goal, it forces us to begin to pay attention to the result of application problems. The use of the player in some of his works have a relatively uniform vibrato, if ignored, from the work style of music is likely to lead to failure. This is closely rel

26、ated to the creation of the works, the regional background and the authors personal style of music, as well as the specific expression. A. Bachs works: the creation of Bach inherited the previous Chorale and organ music tradition, absorb and use of polyphonic techniques, formed its own unique style

27、may not only has the highly logical, structured, and inherent philosophy, profound meaning. When we play his solo works, in order to highlight the open, no noise sound effect, and playing dual tone, chord sound effect, the vibrato should pay attention to avoid excessive and dense and the sound is no

28、t a stable manner. At this time, should adopt the hand vibrato based vibrato mode. In the slow passage, we should pay more attention to solve because of the rhythm of the rigorous, bring difficulties to the connection between the notes of vibrato. When performing continuously even faster bow small n

29、ote, I suggest it is best not to use vibrato. In playing some medium notes should pay attention to the use of very small, almost imperceptible finger vibrato, to do as much as possible to control the frequency and the amplitude of vibrato, does not affect the pronunciation and intonation. B. Mozarts

30、 works: Mozarts music style and elegant, sincere emotion and no traces of hard toil; his brilliant and lively rhythm, full of youthful spirit, and the beautiful melody, sparkling makes his music image outstanding personality, true to life. When we play Mozart, vibrato should focus on the outstanding

31、 performance of its bright, cheerful and control side. At this time, in order not to make any finger heavy pressure on the string, we must pay special attention to the finger touches the string point of sound and elastic, while focusing on the vibrato effect after. In order to make the sound to brig

32、ht effect, choose the more narrow spot and frequency slightly faster vibrato. In addition, also pay special attention to the bow speed with vibrato and produced The effect of its outstanding expressive force is that Mozart music can not be ignored. In any case, Mozart played the music to grasp the w

33、ay to a proper extent, not overdo sth. C. Brahmss works: Brahmss musical style is serious, sedate, simple and introverted, and his romantic features are embodied in the creation of music itself and the love of folk music. His music has never been pure pursuit of splendid acoustics. From the fullness of the flow of voices, it has prod