Playing methods of classical guitar

Classical guitar is mainly used to play classical music, with strict requirements and profound skills from playing posture to touching strings with fingers. The following is my arrangement about the playing methods of classical guitar. Welcome to reading.

Playing skills of classical guitar

Playing skills of classical guitar 1. Tap the strings

The blow is that the index finger, middle finger and ring finger of the right hand are slightly bent, and the strings are struck with the fingertips. Note that the index finger, middle finger and ring finger should be close together, so that the fingers will not slide under the strings.

For example, Yu Quan's Rainbow is a very classic song. You can practice.

Playing skills of classical guitar II. Push the strings

The left thumb and forefinger gently hold the neck of the piano, and the wrist moves when pressing the string, and the interval of the string becomes larger because of the tension generated after bending. Used for plucked guitar performance. It is divided into semitone push string and 1/4 push string; Full-tone push string; Push the strings three degrees or more.

Classical guitar playing skills iii. Knead strings

The purpose of kneading strings is to improve the timbre. While plucking the strings, rub the fingers of the left hand and relax the thumb and stick it on the neck of the piano. Four frets and below move left and right along the strings with great amplitude. More than four frets can move up and down along the strings. Add it where necessary to improve the timbre. Note that the fingers of the left hand must be pressed, and the feeling is that the phalanx controls the kneading of the strings.

Classical guitar playing skills 4. glide

Remember that smooth sound? Slippery and decorative notes: the left hand refers to striking and hooking the strings to make them sound. In the six-line spectrum of folk guitar, it is represented by H and P respectively.

Glide is a playing skill of guitar. Slippery refers to the left hand sliding from one level to another on the same string and making piano sound without the right hand. It is divided into upward sliding and downward sliding. It is represented by s in the guitar staff.

Play method:

The left finger of the first note is pressed well, and the right hand is dialed out, and then it slides to the next phoneme without leaving the fingerboard. The falling tone also slides from the first note to the second note without leaving the fingerboard. When playing, pay attention to the left finger pressing the string vertically. When sliding, the fingers should not be loose, the force should be even and moderate, and the sliding should be smooth. At the same time, pay attention to the relaxation of left thumb.

Playing skills of classical guitar 5. Stop the sound.

Silence is also called silence. Musically speaking, sound can be divided into smooth and jumping. To appear jumping notes, you need to stop ringing.

There are two ways:

After the finger of the right hand plucks the string, gently place the plucked finger on the string, which can be the same plucked finger or other fingers. This will stop the sound.

After the right hand plucks the string, the fingers of the left hand are slightly raised, so that the fingers of the left hand can not leave the string, so that we can also stop the sound.

Playing skills of classical guitar. Make sound

Also called muffled voice. There are two kinds of right-handed system and left-handed system, which are used to play Pick.

Left-hand voice control means that the fingers of the left hand are gently attached to the strings and the right hand plays as usual. Right-hand voice control is to gently press the strings near the bridge with the inside of the right palm, so that the strings cannot be completely vibrated and pronounced.

This will make a heavy and depressing sound. Note that the left hand or right hand must not be stuffy, silent or stuffy.

This is the spectrum of the left-handed tone. Note that it is different from syncopation:

Stuffy sounds are often used in folk guitars, and should be more widely used in rock music, which can make rock music more powerful and explosive.

Methods to improve classical guitar skills

One: Key exercises

We should have an overall understanding of the music and see if some difficult fingering can be improved (in line with the physiological structure and musical performance); Analyze and check the causes of difficulties; Summarize the technical characteristics of the whole song. Practice independently according to the characteristics of music, such as fast melody, Legato, arpeggio, wheel finger, etc.

Second: practice in sections.

Divide the music into the smallest paragraphs, and then concentrate on breaking them one by one, so that the skills can be mastered quickly. You can also practice segmentation, scale, arpeggio and so on with independent sound patterns in music.

Three: Combination exercises

Classify the melody and sound patterns in music, and combine similar parts together to make the exercise direct and practical, such as: A, B, a three-part omitting an A, and a gyrator sighing only an A, etc.

Four: Deformation exercises

Properly distort the difficult parts of music to make the skills easier to master, or change the melody and sound form of music to increase or decrease the combination, expansion or compression of notes. For example, shortening the sound shape of long time value and changing it into the sound shape of short time value will inevitably increase and speed up the operation and connection of fingers.

Five: variable speed practice

Change the original speed of music and obtain different practice effects through various speeds, such as: changing the fast speed to slow speed can practice the coordination of hands, clear pronunciation and small mistakes that are not easy to find; From slow to fast, you can practice the convergence of finger movements and the rapid change of fingers, and increase the number of exercises and the proficiency of skills.

Six: Expanding exercises

Expand the technical form of music and make the practice more efficient. For example, enlarge the range of fingering combination, sound group and sound sequence in music to increase the amount of practice, so as to improve and strengthen the original skill level. Or where you need to strengthen your practice, increase the number of sounds and fingering combinations. , or constantly accelerate and increase the ability of finger transformation and alternation.

Seven: Step by step practice.

Practice step by step from easy to difficult. That is, practice step by step after reorganizing according to the difficulty of musical skills.

Eight: Simplify exercises

Simplify the technical difficulty of the music as much as possible, and make the practice easier to master, such as simplifying the combination of sounds and changing the rhythm and sound type.

Nine: Repeated practice

The difficulty of practicing music repeatedly.

Ten: intensive exercises

Often take out the difficult parts of music and practice independently.

Four memory methods of classical guitar performance

First, muscle memory:

Is an instinctive memory, almost completely dependent on the subconscious mind, can not be controlled by consciousness. Personally, I think the word "muscle memory" may be misleading, and it seems more appropriate to call it "subconscious memory" (muscles can't remember themselves).

Although it may be the main way that most people rely on, it is unpredictable and may betray you at a critical moment! Especially stage fright.

People who rely entirely on muscle memory can play a tune from beginning to end, but you can't ask them to play from a middle phrase. Because he only remembered the first fingering with consciousness.

Second, the fingerboard memory:

It can also be called fingering memory. This is the way that most (amateur) people use the "notation" process. What they actually remember is not the notation, but the fingering order on the board.

This memory is only used by players who use the six-pointed star, because the six-pointed star only provides the position information on the fingerboard. But anyone who plays classical guitar knows that reading staff is much faster.

It is undoubtedly a positive and good way to remember some chord fingering and find them in music. This has already reflected the performer's basic skills and accomplishment.

However, this is not a real "score". Because the memory in the mind is just a series of fingerboard memories, which have no logical relationship. You can ask yourself a piece of music that you are most familiar with:

1. What's the key of this song?

2. Major and minor?

3. Have you been transferred? Where do you transfer?

4. What is the function of this fingering of all fingers in the left hand (which may be your important fingering memory point)? Lord, genus and subordinate (general)?

If you can't answer, it means you know better than you don't know. Don't lose heart, I believe many people can't answer the fourth question. After all, more than playing. ("I just like playing this song. I'm not a composer." )

Just like many things in life, it's easier said than done to know that you can do your best, but it's hard to really do it.

Third, the score memory: For this requirement, we started "Kung Fu outside the piano".

Many players are not in a hurry to play before suggesting to start learning a new tune, but pick up the tune and get familiar with it. Ask yourself the above questions first. Also pay attention to the speed of the target, expressions, etc. They suggest that you sing the melody or run it through your mind first, then pay attention to the rhythm and beat it with your hands if necessary.

It seems a little off topic here, but the reason is the same. As the saying goes, "sharpening a knife does not mistake a woodcutter." Note that the memory at this time is logical! There is a "background" to find. This memory is much more reliable. When you know that Sol's Moonlight is in B minor and the first reference is in B minor, you will never press this chord wrong. The Memory of Alhambra is a minor form in major. You understand the position of the A chord, and then you understand why C becomes #C, so you can easily remember it.

However, in order to make the understanding of music score helpful to playing memory, an important key is to be familiar with the phonemes on the fingerboard. It is not enough to just remember it, but to be familiar with it until your brain has established such a reflection: your eyes are reading the score, and your brain has interpreted it as the chord position of the fingerboard. This requirement is not used by players who only rely on fingerboard memory, but is often the "soft rib" of fans who have not received systematic sight-reading training. There may be no other training method to improve this ability, "play more."

But do you really need to know the score well to write a song on the staff from beginning to end? Well, I can't say what the requirements of a professional performer are. But, you see, isn't there a music stand in front of every performer at the concert? That means they didn't memorize it either, just familiar with it. Probably like reading a poet, you still have to hold a book in your hand.

So let's summarize the first three memories.

So far, let's sum up: muscle memory (unconscious, negative) fingerboard memory (conscious, positive) music memory (conscious, positive, but there is a lot of mechanical memory in the left brain)

The first kind, muscle memory, is a subconscious memory process. In any case, it may be of great help to you, but it is beyond your control.

Second and third fingering memory and music score memory. The latter (music score memory) is the most reliable, which makes you get twice the result with half the effort, but it is difficult (perhaps unnecessary) to fully remember all the information on the music score because of the large space for effort. The player's memory is also inseparable from the former (fingering memory).

Although the third kind of music score memory seems to be the most logical, the fundamental problem seems to have not been solved. When performing in a real concert, it seems that our consciousness should not focus on the question of "what is the next fingering", but should show our hearts and enjoy the music content in our hearts.

Although the latter two are controlled by conscious mind, they seem to be meaningful only in the practice stage.

The fourth (ultimate) memory: musical memory

Another friend from Zhihu, woodoo00 1, gave me great inspiration when he mentioned the concept of "musical memory". ......

You are right! When we really play, we have to enter the music performance, which is different from the usual practice. At this time, our attention should not be focused on annotations! In the final analysis, this is a natural thing, and kung fu is at ordinary times. By fingerboard memory and score memory, I mean only conscious and controllable efforts in the preparation (practice) stage.

According to their own experience, some interviewees emphasized the importance of "muscle memory" (subconscious memory), believing that it is fundamental, because the correct playing state should be immersed in music and flying freely. I feel the same way. Subconscious memory may play the most important role in playing (not practicing). The problem is that we rely on it almost desperately, but we don't necessarily know how to control it and how to enhance it most effectively in the preparation process.

We can hum pop songs after listening to them a few times, and it's effortless at all! This is the magical musical memory! My humble opinion is that this belongs to the image memory of the right brain, not the mechanical memory of the left brain.

So I added a music (sound) memory (conscious, positive, perhaps, for those who have no ear training foundation, it is a brand-new right brain image memory on the steps of muscle memory (unconscious, negative) fingerboard memory (conscious, positive) music memory (conscious, positive, but the left brain has a lot of mechanical memory)? )

Maybe this is the top of the musical memory pyramid. Music memory seems to get rid of purely rational mechanical memory and approach to the so-called "forgetting things", which may also explain the mechanism of "muscle memory" a little. Compared with "muscle memory", it can be strengthened consciously and has the direction of hard work. (such as solfeggio and listening to imaginary performances in your mind)

Accordingly, the direction of our efforts is to establish the connection between music (in the brain) and score+fingering. Before you decide to practice a piece of music, you usually say that its music (melody and harmony) is already in your mind (pay attention to the sound, not the symbol). What a waste it is to read the music mechanically and remember the fingering without touching the voice in your head!

One way to connect the two may be to imagine the sound in your mind when reading the music score, then pop it up to confirm the sound, pay attention to the music score, and then pay attention to the fingers on the fingerboard (this is symbolic memory). String together slowly, it doesn't matter if it's slow or not, it's the clear connection in your mind that matters!

Don't even play too much in your hand. If you don't flick, you must listen. Listen, compare and connect actively in your mind. Too many pop-ups on your hands may distract your memory! Sometimes it may be a subconscious behavior of avoiding the heavy and ignoring the light after brain fatigue.

Here, the importance of solfeggio, the usual basic skill, is also reflected. This probably needs no argument.