What are the skills of Ma Touqin's bow?

2007-09- 19 2 1: 13

(1) Connect the bow

Playing two or more notes at a time with a bow is called a Legato bow. Pronunciation should be coherent, even and soft, and there should be no trace of string change. Therefore, the movements of the upper and lower arms and wrists should not be too big, and they should be resilient. The symbol of Lian Gong is the connecting line ""above the notes.

(2) Split bow

The bow that plays notes is a split bow. This is the basis of other bow techniques, which are used more in music, just like connecting bows. When using this bow method, we should pay attention to the coordination of the big arm, the small arm and the wrist. Change bows evenly, reduce the traces of changing bows, and maintain the unity of sound quality and volume between bows.

Bow splitting can be divided into the following categories:

A. fully open the bow: generally, when you open the bow, the speed will not be too fast. But pay attention to uniformity and consistent timbre. To cooperate with the upper and lower arms, the wrist plays an auxiliary role.

B. Half bow: This bow is played with the middle bow or the left half bow. The cooperation between forearm and wrist.

C. Short bow: This bow method is the most commonly used, and it can be played with the middle bow, the tip of the bow and the root of the bow. This bow is mainly used for forearm and wrist, but it is different from fast bow. The short split bow is generally used in the music of half-beat and one bow change.

D. Fast bow opening: generally called fast lead, it is characterized by high speed and is often played with the bow tip and the left middle bow. The requirements are fast and not chaotic, and the sound quality is uniform and consistent. Every note should be played very clearly, the bow should be short and the wrist should be controlled well. Bow shaking is also called broken bow or bow shaking. This kind of bow is a series of quick and short bows played by the trembling movement of the wrist. Often played with the left middle bow and the tip of the bow. The symbol is "".

(4) The bowing method of bowing is to play by strings intermittently during bowing time. Its logo is "V". There are two kinds, one is divided bow and the other is continuous bow.

A. Divergent pitch is to add gravity to each tone head, and then immediately subtract the pressure from the bow on the strings; Make a short and elastic sound, but the bow hair does not leave the string. Every partial is played with a bow.

B, Lianton Lead plays all the notes with pause symbols in a bow. The method is the same as the split collar bow introduced above. However, it is more difficult than opening a bow. The sign of shield bow is "". The effect of these two bows is actually to give the listener a feeling of a short pause between voices.

(5) Draw a bow

This kind of playing method is that the player uses the elasticity of the bow, taps the strings with the bow hair, and then taps. The sound quality obtained by this way of playing is light and elastic. In Ma Touqin's performance, the left half bow or the left middle bow is often used. When playing, the wrist should not be too tight, too tight or too loose. It is mainly played with the close cooperation of the lower arm and wrist. The symbol for bowing is "". In order to facilitate the notation, sometimes every note is not marked, but the notation of "the same below" is used to mark the passages that need to be played with the bow down.

(6) Bow jumping

There are two kinds of bow jumping, one is natural bow jumping and the other is artificial bow jumping. A. When playing the natural jump bow, the artificial strength is less, mainly using the elasticity of the bow itself. When playing, all parts of your right hand should not be nervous, and your wrists and fingers should be relaxed enough to hold the bow. The index finger and middle finger are loosely placed on the arch shaft, the ring finger and little finger hook the arch hair, and the thumb slightly presses the arch handle. The bows should be parallel. The most suitable parts of natural bow jump are the middle bow and the left-leaning middle guide, which is very suitable for playing fast and even music. When playing, bow hair is best without strings. B. When playing the artificial jump bow, the artificial strength is greater, and the forearm, wrist and fingers control the bow slightly. The difference with natural skipping rope is that the bow hair leaves the strings. This bow is suitable for playing slow music. You can also play slow and fast music. The most suitable part of the bow is the middle bow or the right middle bow. The symbol for jumping bow is "?" The jumping bow in Changle section can also be expressed by the notation of "jumping bow", and the above two bowing methods can be flexibly used alternately according to the speed of the music. Players can also use different parts of the bow flexibly according to the elasticity of their bow, the speed of music and the specific situation of internal and external strings. The practice method of natural bow jump should first start with the use of middle bow. Use a fast and short bow as much as possible, and press the center of gravity of the bow firmly and evenly on the string, which is not called bow jump. When doing the second exercise, use the same method, but without pressure, so that the bow will jump naturally. At this time, we should pay attention to all parts of the right hand. When jumping the bow, the bow hair should not jump too high. It is required that the bow hair touch red for a short time and the sound quality is clean and clear.

(7) Suogeshizhe's bow is a kind of fast and short bow; This is a common bow technique used by Ma Touqin when playing long-tune songs. The method of playing is to play quickly with the tip of the bow or the left half bow in the middle or the second half of a long tone, and play two or three decorative sounds repeated in the same green. Its symbol is "". This bow method is actually an auxiliary means when a bow can't play for a long time. When using this bow, you should relax your wrist. At the same time, we should use it flexibly according to the mood of music.

(8) Double bow

In fact, this bow method is to play two bows (one push and one pull) for each tone, which generally appears in allegro performance. Its symbol is "`" in the lower right corner of notes or "double bow" at the beginning of music. ;

Second, fingering.

1. Fingering common sense

Ma Touqin's fingering is different from other bowstring instruments. It not only has a unique method of pressing strings, but also has a unique fingering, thus forming its own unique national style. If this special fingering is not well mastered, then the national style will not be reflected.

Now the fingering skills are introduced as follows:

(1) finger tapping method

Usually, when playing stringed instruments, the strings are pressed from the front, but Ma Touqin is different. It uses the nails of the index finger and middle finger to top the strings from left to right, and the ring finger and little finger use the fingertips to top the strings from left to right. When the little finger can't reach the inner string, it extends from the bottom of the outer string to the top of the inner string (directly jacking the string when playing the outer string). Generally beginners can keep their nails longer to prevent their fingers from slipping off the strings.

Index finger winding method 1

Index finger winding method II

Second finger winding (outer chord) method 1

Second finger winding method 2

The third is the method of fingering chords (inner chords)

The third is the method of pressing the chord (outer chord) 1

The third refers to the method of pressing the string (outer string) 2.

Fourth finger winding method 1

Fourth finger winding method 2

(2) Finger undulation

Don't lift your fingers too high after playing different music sounds, otherwise it will affect the playing speed and artificially cause the tension and stiffness of your fingers. In addition, because the phoneme interval of Ma Touqin is relatively wide (especially the phoneme of the first and second grip), hands should be relaxed, fingers should be naturally opened, and they should not be crowded together, otherwise fingers will not be pressed on the phoneme, and the sound played will be inaccurate. If the upper chord of the finger is stressed too much, the sound quality will be problematic, the music will be high, and the flexibility of the finger will be affected. If the winding force is too small, the sound quality will be weak and pale, resulting in floating sound and noise. Therefore, in actual operation, we should carefully look for the most suitable strength needed for the neck string.

(3) intonation problem

The key to accuracy and inaccuracy lies in whether the finger is pressed on the accurate phoneme. Because the speed is different when playing, sometimes the pressure may be low or high. At the same time, Ma Touqin plays the chord from the side, and sometimes it may be too strong to make a high sound. This is mainly determined by the player's hearing, which requires the player to strengthen hearing training in peacetime, be familiar with the scales of various tonality and modes, and improve the ability to recognize sounds. In addition, we should develop the habit of fingering, be familiar with the feel and phoneme of the piano, and gradually reach the level of "touching the strings". What needs to be mentioned here is that Ma Touqin is a kind of four-degree stringed instrument, and its handles are changed very frequently, so it is often prone to inaccurate notes when changing handles, which requires the player to master the phonemes of each handle and the distance between phonemes in peacetime. To achieve "accurate touch of strings", we must work hard on the word "practice", gradually make the arms, hands and fingers form a direct feeling of the moving distance and position, and unify this feeling with hearing to achieve the purpose of accurate pronunciation.

2. Fingering skills

(1) Replace the handle

A. slide the finger to change the handle.

It is not only a way to change the handle, but also a means to express the national style by playing Mongolian music. The speed of changing the handle can be divided into two types, depending on the content of the music and the needs of the mood. Slow skating refers to changing the handle in slow music, while fast skating refers to changing the handle in cheerful music.

B. Jump your fingers and change hands.

In Mongolian music, there are many big jumps of octaves and above. When this happens, you need to jump your fingers and change hands. When changing fingers, one is to jump directly to the required phoneme, and the other is when you need to play music on the second, third and fourth fingers. Or one finger jumps to one finger phoneme, and then two, three or four fingers are used to immediately connect to the needed phoneme. The finger at this time is just a "passing sound". This kind of "sound transmission" is very important when practicing jumping fingers and changing hands. It can help the player to play the sound after changing hands more accurately, and then remove the "sound transmission" after proficiency, but one finger must be in the "sound transmission" position. In the process of changing the handle, fingers should leave the strings. Don't make any noise (and sliding the finger to change the handle means that the hand doesn't leave the string). Be sure to reduce the force of touching the string with the finger, otherwise the bow will make a sliding sound from weak to strong and from strong to weak due to the corresponding increase of the force. No matter what kind of handle is used, you should pay attention to the driving (lifting) action of your left wrist when playing, that is, change the handle with your wrist first, and your fingers are driven by your wrist. After sliding (or jumping) from this position to another position, the. Restore the posture of the left wrist and left hand. Otherwise, if the wrist and fingers move at the same time, it will cause the wrist to be tense and stiff, which will affect the normal change of the handle. In the process of changing the handle, we should pay attention to relaxing the left hand to avoid clamping the piano rod too tightly, otherwise it will affect the speed, flexibility and accuracy of changing the handle and bring bad consequences to the performance. When practicing the passing sound, please refer to the following examples:

(2) homophonic strumming decorative sound (symbol "tr" or "three" or "four")

Playing decorative tones in unison is one of the special techniques of Ma Touqin's performance, and it is also one of the concrete means to express Mongolian music style. There are two ways to use this fingering technique, one is behind the beat and the other is in front of the beat. They are characterized by playing the strings with two, three and four fingers when using the second and third phonemes. If one finger is playing a melody, then use two, three or four fingers to play strings with different phonemes; If you play the melody with two fingers, play it with four fingers; If you play the melody with three fingers, you can also play it with four fingers. In terms of phoneme, although it is 6-6i or 6-6i, strings with different phonemes are played, but the sound effect is still good. Although the strings are played in different phonemes, the playing effect is not the real sound of the played phoneme, but the homophonic decorative sound of the played sound. A few strings with your fingers are just a few homophones. For example, if you call three times, it is 6 6. Play four or five legacies a little faster, and two or three legacies a little slower. In Ma Touqin's performance, one finger presses the string and three fingers plays the string; When two or three fingers press the string, four fingers play the string. However, in the three-wheel string-pressing and four-finger method, it is applied to the high grip position, because the phoneme distance of the high grip position is short, so the string can be played with three phonemes.

(3) quivering fingers (symbol "tr")

The fingering skills of trembling fingers are transplanted from the playing skills of stringed instruments such as western violins. Generally, it is used when playing modern music and other national music, but rarely used in national and traditional performances. Different from homonym decorative sound, it plays the real playing sound, thus playing chords repeatedly with melody sound. When playing, relax your fingers and use their elasticity to play the strings. For example:1= D. In practice, the common problems are: ① the thumb is too tight; ② Stiff wrist; (3) The finger pressing on the string pushes the string too hard; (4) the finger is lifted too high, which affects the speed; ⑤ Fingers are not high enough, have no elasticity or have unstable rhythm, and are fast and slow. Correction: relax your arms, wrists and fingers while playing in a controlled way.

(4) Playing the strings with the same sound

This way of playing is different from homophone decorative sounds, but the sound played is not decorative sounds, but the basic sounds in the melody. Play in the same way as homophonic decoration. It is also one of the manifestations of Mongolian music style, which has the characteristics of deep, full and strong excitement. It doesn't have the intermittent feeling brought by changing bows too much. Homophonic strings are usually played with bows. For example. In this example, the second and third "8" sounds of "33 5" in the first bar are obtained by sweeping the strings. Similarly, the two "5" sounds in the second bar are also obtained by fingering. Which finger can be used to play the strings? It can be represented by numbers and brackets. Just like (3) in the previous example. From this example, we can see that the notation is: "3" sounds are all pronounced with three fingers on the phoneme of "5" sounds. The first and second a6 "sounds in the second bar are played by the third finger on the phoneme" 7 ",and the first finger is not raised. The key of homophonic string playing method is that string playing does not change the nature of melody sound, but only gives melody sound a "discontinuous" feeling. Fingers are not pressed on strings, but on strings, which requires elasticity. If you press your finger on the string, the original melody sound will become the real sound of the pressed phoneme.

(5) Sliding sound

When Ma Touqin plays Mongolian music, he often uses the sliding tone to express the emotion of the music. This is also a special expression. There are three kinds of gliding commonly used.

① Slippery sound (symbol ",")

The upper glide is a melodic sound that slides from the played melodic sound to the top. Generally speaking, when you jump to the melody above it, you will use the glide. For example, the actual playing method is: 355 Slippery is to slide to another melody with the same finger played in front.

② Slippery sound (symbol ",")

Slippery is to slide from the played melody to another melody. The actual play is:. The actual gameplay is:

③ Slip (symbol "eight")

Slippery is also a common playing method when playing Mongolian music. Generally, it appears in the form of major interval relationship, minor interval relationship and major interval relationship, and it is played in the form of two, three and four fast slides. Don't change places while playing. You usually play with three fingers or four fingers. Practically speaking, this polyphony is usually played with the bow before the first half of the last beat of the beat. In long notes, sometimes according to the mood of music, Sogdish bow method is used before returning to sliding. The performance effect of this bow method is that this kind of treatment is a kind of free color treatment, which is often produced by the temporary mood of the performer and singer.

(6) Harmony

Ma Touqin often plays with double chords. Generally, one string is pressed to form two, three, four, five, six, seven and eight chords with another empty string. The other is to touch the chord with your thumb from the second position on the right side of the inner chord to form a pure fourth or eighth overtone. At present, in addition to these chord modes, Chinese and foreign stringed instruments are also used. Touch the strings with two fingers (one finger and two fingers) at the same time to play the double real harmony on the double strings, so that the real harmony of two, three, four, five, six, seven and eight degrees can be played.

(7) The method of kneading strings is a very powerful way to express various emotional changes in music, and Ma Touqin's method of kneading strings has its particularity. Rubbing strings is a brave sound effect obtained by rolling the top finger up and down with your fingers. The strength of kneading strings mainly comes from the left upper arm, and then the wrist and fingers are driven by the lower tube, which is completed by the organic cooperation of all parts. When exploring the strings, the strength of the fingers of the left hand should be appropriate, and the upper left tube, lower arm, wrist and fingers should be relaxed appropriately, not hard but tough. This way of playing is suitable for moderate or slow music, and can express delicate, thoughtful and sad music. When kneading strings, the range of kneading strings should change according to the content of the music and the changes of feelings. For slow music, the range of kneading strings is larger; For faster music, the range of kneading strings is smaller. In addition, all kinds of emotional and emotional music are closely related to the strength of using the bow, so exploring the strings is related to a certain sound quality and volume. Generally speaking, the amplitude of string kneading is larger in low grip position and smaller in high grip position. The following problems are easy to occur when kneading strings:

① The upper arm, lower arm and wrist are too tense, and all parts are not relaxed. So the strength is concentrated in the upper arm and will not be transmitted to the fingers. It may also be that the upper tube, the lower tube and the wrist are too relaxed to really resist the strings, resulting in a pale and ethereal sound quality. The correct way is: for the former case, the upper and lower pipes and wrists should be properly relaxed, the fingers should be elastic, hold the strings and practice slowly. In the latter case, the strength of the upper and lower arms and wrists should be properly strengthened during practice, and the fingers should be tied tightly before practice.

(2) The fingers and wrists are too stiff when kneading strings, and the upper and lower arms swing too much, resulting in large and uneven kneading strings, inaccurate sound, large and small sound waves, high and low, and uncomfortable sounds. Correction method: relax the wrist, reduce the swing amplitude of the forearm, make the wrist and fingers participate more in the string kneading action, and make the rolling amplitude and speed of the fingers uniform.

(8) Appointment refers to

The reserved fingering is a preparatory fingering action, in which other fingers that are not playing touch the strings at a phoneme lower than the phoneme they are playing. Its characteristic is that fingers who do not participate in the performance lightly press the strings according to phonemes, which not only ensures the accuracy of pronunciation, but also does not affect the speed and hand change, and at the same time reduces the confusion of fingering, thus ensuring the speed of music. One finger is sold out, two fingers press the string, one finger does not need to be lifted, and continue to hold the string gently. When the finger slides to the previous phoneme, it will bend like the previous one. Especially when the speed is fast, there is no chance to break your fingers. If you raise your finger, it will affect the speed and progress of music.

(9) Playing the strings (symbol "+")

Playing the string is to play the string from the inside out with one or two fingers of the left hand (the bow of the right hand pulls the string at the same time). Or tap the strings with a bow while playing the strings to beat the rhythm of the drum. When playing the string, your fingers should be strong. This is the first form of side bomb. This is the method of drawing first and then bowing.

(10) The technique of plucking the strings (the symbol is "piZZ") was transplanted from other musical instruments by Ma Touqin players to express the needs of music. The playing method is: the left hand continues to top the string, the second, third and fourth fingers of the right hand continue to hold the bow, and the first finger of the right hand pulls the string. This method of playing is generally used in cheerful music.

(1 1) overtone playing skills This playing method and skills are inherited from the folk Jiangyan playing method. It is used in combination with monophonic top finger performance. The playing method is the same as the Jiangyin playing method (five-degree fixed chord playing method and anti-four-degree fixed chord playing method) introduced earlier. Mainly with the fingertips of one, three and four fingers, playing from the left side to the right side of the string. Lift the bow hard, and gently touch the string when lifting the top string, in order to get Jiangyin sound. At the same time, touching the strings with your thumb, the same finger together forms a pure fourth harmonic, and the same three fingers together form a pure eighth harmonic. These two kinds of double harmonics are commonly used harmonics. When you need to play treble, you usually don't play it in the treble position, but play it in the original sound or midrange position with river sound. As can be seen from the above spectrum example, the "5" sound did not go up, but returned to the overtone position on the outer string. The notes "3" and "5" do not go up, but play on the overtones of the outer strings. So instead of changing positions, we use overtones instead of real sounds and play real sounds for some real sounds without river sounds. Therefore, the so-called overtone technique is a playing method in which overtone and real tone are used alternately (please refer to the overtone bitmap in the previous chapter).

(12) playing skills of "Chaoer" This playing method can be played on the outer string with the fourth key. For playing methods and techniques, please refer to the section "Chaoer" playing method introduced in traditional folk playing method. I won't repeat it here.

(13) Sliding vibrato refers to a colorful technique. Often used to imitate the neigh of a horse. Generally used in paragraphs with rich colors. It is mainly used for sliding down. The playing method is that one finger touches the string and slides, while the other finger slides down.