The violin rubs the strings. . Help! ! !

Three methods of kneading strings

There are basically three ways to knead strings: fingers, hands and arms. These three kinds of kneading strings have their own characteristics and timbre. Therefore, as an excellent performer, it is absolutely necessary to master all this. Because of the combination of these three kinds of strings, the player has a wider possibility of playing, and also has a more personalized voice in timbre and expression. It is worth reminding that although these three kinds of kneading strings can be practiced separately, they are rarely used purely in practical application. Because a good kneading string may be dominated by arms, hands and fingers, a certain component is more prominent, but if it is not stiff, each kind of kneading string will affect its adjacent muscles, and the other two kinds of kneading string components will be added. Before learning to knead the strings, it must also be emphasized that under any circumstances, we should pay attention to the tightness of our hands on the neck of the piano, and we must avoid any way of squeezing the neck of the piano. Because, if you hold the instrument tightly before you knead the string, it will inevitably cause great tension and paralyze the action of your left hand. Almost all people in this situation will subconsciously grab their necks when they first learn to pinch strings, which is a normal psychological reaction, just like when we just learn to hold the piano and bow. As an experienced teacher, we must emphasize that students' left hand must naturally touch the neck of the violin, and then insist and constantly remind them whether they have been in a relaxed state, which has a direct impact on their future development in violin playing.

1. Knead your arm:

The strength of the arm to knead the strings directly comes from the whole left forearm, which drives the fingers. If beginners have developed a good habit of touching strings, it is required to press the strings with enough force to keep the position of fingers on the strings unchanged and elastic enough. In this case, the movement produced by the arm is the most ideal and scientific. At the beginning, your fingers should be straight and bent with the back and forth swing of the string. Note that the first step of the movement should start from the direction of the piano head and move back and forth along the fingerboard and strings, rather than swinging from side to side.

Move it. When doing the above actions, first fix the piano slightly, then move back and forth from the first position to the fifth position at a constant speed, and gradually narrow the range of moving to the fingers around the third position. Finally, the arm constantly changes the handle, while the fingertip and thumb stay on the finger in the third handle position. At this time, the muscle state of the hand should be relaxed, the touch of the fingertips should be elastic, and continue to knead gently. When practicing this kind of string kneading above the third position, put two fingers on the string, and every time you wave your hand forward, you will touch the side plate of the violin, just like doing the finger drop on the edge of the violin with your palm. This is very helpful for the purpose of practice. It can also make the movements even and rhythmic.

2. Knead the strings by hand:

Hand rubbing is also called "wrist rubbing". When playing this kind of kneading string, the action of the hand comes from some fixed arms. At the beginning, it is suggested to do some simple and effective basic movements without musical instruments. Let your body relax first, reach out your left hand to touch your thumb and forefinger, and do some vertical and horizontal movements up, down, left and right respectively. This kind of exercise can make beginners' muscle movements first establish themselves in a state of natural relaxation. After continuing this action on the piano, when the hand swings in the direction of the piano head, the fingers lengthen; When the hand returns to the original starting point,

When the finger bends again. In order to practice this kind of hand rubbing, it is most convenient to put it in the third position first. At this time, the lower part of the hand is close to the piano body, which has a supporting effect on the wrist. Put your finger on the e sound of a string and move your hand horizontally from your wrist to the head of the piano. At this time, the small joints of the fingers are straight; When the hand returns to its original shape, pay attention to its position on the string. The hand swings on the string, and its contact point with the string changes from the place near the nail to the place far away from the nail. When using this action, the sound is often slightly lower than the original e pitch. When the hand returns to the starting place, the hand returns to its original shape and touches the e sound on the string, thus completing a cycle of kneading the string. In the learning process, the lower part of the palm should be kept in contact with the piano body to ensure that the arm is in a fixed state. It is best to keep the side of your index finger away from your neck. At the beginning, it is best to have a strict number of beats per beat: two beats per beat, then three beats, four beats, six beats, and then gradually increase until you can't count them. After mastering the string kneading in the third position and having a good effect, you can practice the next position. At first, I might feel a little sleepy because my hand lost the support of my instrument.

Difficult, pay special attention to the supporting role of the wrist at this time. With the habit of relatively independent wrist gradually established, when practicing in the first place, we should pay attention to the fact that the index finger should not feel the pinch of the neck.

3. refers to the string:

Good fingerplay string rubbing is much more difficult than the other two kinds of string rubbing training. Therefore, it is best not to learn to pinch strings with your fingers until your arms and hands are completely in control. The strength of finger kneading string comes from the finger itself, swinging from the finger root joint, while the hand passively and flexibly follows the finger slightly. The amplitude of this string rubbing is smaller than the other two. When you start learning, you must be careful not to rush for success. It is best to take off the instrument first and hold the left hand with the thumb and fingers of the right hand, so that the palm will not move and the fingers will swing. Then hold the piano with your right arm, repeat the above actions with the posture of holding the piano body, and finally do horizontal actions on the piano. Finger kneading is a very sensitive fingertip movement, especially those phrases that are too fast to be kneaded normally and need expressiveness. This kind of string-kneading requires the player to be sensitive to music emotion and coordinate his functions. When using, put your fingers flat, and when the sound comes out, it sinks slightly from the small joints of your fingers to create an effect. Pay attention to the elbow to the left, so that the finger is completely placed on the string; Make the action look lazy, raise your fingers low and slowly, and fall slowly. When fingers touch strings, knuckles become soft.

The relaxation of finger joints is very important in all string kneading actions. When it is necessary to improve their flexibility, they can adjust with their left hand through some silent exercises. If we put our left hand on any finger or note after holding the piano and gently press the small joints of our fingers with our fingers, we can fully appreciate the natural flexibility of the joints. If necessary, you can also use the bow to pull out the original sound of the effect produced by this natural but passive action. In addition, you can put your finger on the string and let it swing back and forth, so that the joint closest to the nail alternately bends and straightens. Another is that the hand and wrist remain motionless, and only the movements of the fingers are used, and the lower fingers are used instead of the higher fingers on the same sound.

Second, the style of kneading strings and the personality of the player.

1. String kneading style

After learning the above three different methods of kneading strings, it is the ultimate goal to apply what you have learned, which forces us to pay attention to the effect after use. Some works have relatively uniform regulations on the strings used by the players, which may lead to failure if they are ignored or divorced from the musical style of the works. This is related to the creation era, regional background and the author's personal music style, and has its specific expression techniques.

A. Bach's works: Bach's works inherited the tradition of chorus and organ music of predecessors, absorbed and applied polyphony technology, and formed its own unique style, with strong logic, tight structure and profound internal philosophy. When we play his unaccompanied works, in order to highlight the ethereal and silent pronunciation effect and the harmony effect when playing two chords, we should pay attention to avoid too much, too dense and that way of making the sound unstable. At this time, the method of pinching strings by hand should be adopted. In slow music, due to the rigorous rhythm, we should pay more attention to solving the difficulty of kneading strings between notes. When playing small notes continuously with a fast bow, I suggest that it is best not to knead the strings. When playing some medium-speed notes, we should pay attention to rubbing the strings with very few fingers, and try to control the amplitude and frequency of rubbing the strings without affecting the pronunciation and intonation.

B. Mozart's works: Mozart's music style is elegant, his feelings are sincere, and there is no trace of hard work; His energetic, brilliant and lively beat and beautiful and crystal-clear melody make his music image outstanding and lifelike. When we play Mozart's works, we should emphasize the bright, cheerful and restrained side of kneading strings. At this time, in order not to exert any heavy pressure on the strings, we should pay special attention to the tightness of the finger contacts, and also pay attention to the influence on the sound after kneading the strings. In order to make the sound bright and thorough, we should choose narrower contacts and faster frequencies to knead the strings. In addition, special attention should be paid to the combination of string kneading and bow speed.

Its outstanding expressive force can not be ignored in Mozart's music. In any case, we should grasp an appropriate and appropriate way to play Mozart's music.

C. Brahms' works: Brahms' music style is serious, steady, simple and restrained, and its romantic characteristics are reflected in his creation of expressive force of music itself and his love for folk music. His music never simply pursues gorgeous and brilliant sounds, but produces a heavy, steady and contrasting effect from the flow of rich sounds. When we understand the characteristics of Brahms' music, I think it is not difficult for us to make a choice-rolling the strings wide and thick. When playing, it is necessary to widen the contact surface of fingers on the strings as much as possible, and at the same time, it is necessary to use the large-scale expression method of kneading strings with arms and hands to make the sound appear broad and dense. At this time, the pressure of the left finger on the strings should match the strength of lifting the bow, and the amplitude of kneading the strings should be large and powerful when the strength is large. At the same time, according to the needs of the work, adjust and replace the kneading string appropriately.

These are just a few typical works. For every writer, every work, as a performer, the use of kneading strings should be adjusted as much as possible to suit its specific style.

2. Personality of kneading strings

We say that kneading strings is a powerful means for players to express their feelings and emotions, and it is also a broad field for players to express their understanding of music and personality. In the timbre produced by kneading strings, it is simply a personal hobby. Usually we use the strings of our arms to express powerful phrases; Knead the strings with your fingers to show the soft and delicate side. In other words, when you rub the strings with your arms, soft phrases are easily limited to rubbing the strings with your hands and fingers. But there are exceptions: some seemingly gentle phrases need to be rubbed very strongly and quickly, and the music at this time is often a strong and very internal emotion; And some of the most powerful phrases have to be rubbed by small hands. In addition, although wide strings are usually slower and narrow strings are faster, you should be able to play both wide and fast strings and narrow and slow strings at the same time. Because in the performance of some music works, this different color change is sometimes needed. In short, an excellent player must have the ability to control the speed, amplitude and strength of each kind of string kneading; Have the ability to slow down and speed up according to the requirements of music art, or stop kneading strings completely; It is also necessary to be able to widen and narrow the movements, and even change the pressure of fingers and the angle between fingers and strings; Most importantly, he can seamlessly switch from one kind of string kneading to another, and they must be mixed. A player with such a string-kneading skill can accurately express his feelings about timbre in his music. Only by knowing how to use all kinds of string-kneading combinations, coupled with all kinds of dynamic changes made by carrying bows, can we create the possibility of infinite expressive force, thus giving the performer life, color and change in his performance.

Third, the special function of kneading strings.

In addition to the above forms and functions, there are some unique and subtle special functions of kneading strings.

A. play the role of fine-tuning pitch in performance.

In the process of playing on the stage, there are many situations that we need to grasp temporarily, such as a dissonance caused by technical reasons, a long sound that conflicts with the piano and the band temporarily, or the sound of the strings is out of tune, which urgently needs our decisive adjustment. There is nothing more natural and effective than fine-tuning the strings. This flexible and subtle technique solves the embarrassment in time and hides it unconsciously. To have this ability, you need keen ears and quick response, and of course you need practical experience accumulated on the stage. In addition, it must be noted that this method should never be used in ordinary piano practice. When practicing the piano, we should treat the disadvantages of playing strictly, and we should not rub the strings to cover up because a certain sound is not played correctly.

B. it is a micro-element that regulates timbre. An excellent performer is not only full of desire to express music, but also better at conveying feelings through his own hands and adding the charm of timbre. This fingertip movement, born of emotion, connects the strings with the soul when the player devotes himself to the music. When this artistic conception appears, the performer often depicts the wonderful artistic conception of kneading strings in timbre to the fullest through the needs of the soul!

C. It plays an excellent role in improving the strength when expressing some notes with great changes. In some works of romanticism and impressionism in the late period, the intensity of performance is relatively large and exaggerated, which makes the violin greatly enhance its expressive force. When all the playing skills related to strength are insufficient, some keen players will definitely knead the strings with their left hands, that is, by increasing the amplitude and strength of kneading the strings and speeding up the frequency, to achieve the required effect of the works. To produce this ideal dynamic change, it is very important and crucial to coordinate the speed of right-handed bow drawing.

Fourth, some common problems of kneading strings

A. intonation is a common problem for beginners to knead strings. There is a problem that often appears in teaching. When people are asked how the direction of hand movement is shown at the beginning of string rolling, the answer is often extremely unclear. At this time, there are basically two kinds of string rubbing phenomena. First of all, the pitch will generally increase when the strings rub; Second, the kneading of strings lacks the due effect. In fact, as long as we understand it carefully, we will find the answer. When the finger accurately falls on the pitch position, the action of kneading the strings is to make the sound slightly lower by swinging in the direction of the piano head, and then swing in the direction of the piano body to return it to the original pitch position. When the pitch of a string generally rises, it may be that the direction of the string is wrong, or the pitch position of the string rubbing action has changed. Therefore, the movement direction of kneading strings can not be ignored.

B. In the kneading of two-tone chords, it is generally easy to get stuck, which is usually caused by too tight fingers. At this time, first of all, you should practice alone with a single tone. When all joints feel relaxed and coordinated, practice double tones at the same time. In the practice of chords, we should pay attention to the way the arm rubs the strings.

C. The skill of kneading strings with high handles usually appears in concertos and solos, and almost all of these works show difficult skills. At the same time, its musical expression is equally important. Some people worry that they can't find good results on E strings and G strings. In this regard, in addition to more practice, groping to adapt to their own situation, but also pay attention to choose the appropriate and effective way of kneading strings. I think the best way is to knead the strings with the most powerful arm.

D. the speed of kneading strings is also a problem. Generally speaking, it is an effective method to adjust the speed of kneading strings by reducing or increasing the amplitude of kneading strings. It is important that training can adapt to all kinds of changes in kneading strings at any time. It is often faster to knead strings on stage than off stage, which is caused by psychological factors. As long as you exercise more, you will improve over time.

E. mechanical kneading is generally easy to appear in the beginner stage. But if this phenomenon appears in a mature performance, the problem must be paid attention to. Someone once tried to measure the frequency of kneading strings in one second with an instrument. There is no doubt that such efforts are in vain. The action of kneading strings can never be purely mechanical. On the contrary, it is extremely important to knead the strings. It is the performer who inspires his imagination, passion and emotion with music, and touches and influences others through this trembling music.

Yue weiqiang

Violin's string kneading and pronunciation

Based on the author's playing experience of more than two years, this paper expounds the application of "comprehensive string kneading method" in violin playing and some problems related to the pronunciation of bow. It is believed that various types of string-kneading combinations and the changes of various forces when the bow is stopped can give infinite possibilities to artistic creation.

As a qualified band violinist, you must master a variety of string kneading methods and pronunciation skills in order to play works with different emotions and styles with ease. Below, I will talk about my feelings about some experiences accumulated by the author in his violin playing career for more than two years.

First, the application of string kneading in violin performance

The quality of string kneading technology directly affects the appeal of violin playing. Without good cross-kneading, it is impossible to achieve a high level of performance. Therefore, I think every violinist should learn and learn how to knead strings.

String. Violin string rubbing can be divided into finger wrist rubbing.

Knead the strings Knead the strings with your arms. When I first learned piano in the 1990s, I mentioned it at that time.

Piano circle thinks that fingering is the representative of European court music school and an asset.

Class decadent and outdated goods. Among the teachers, the work of rubbing strings with your wrists.

A lot, I learned to knead strings with my wrist. Wrist kneading is characterized by wrist.

The bending and straightening of the joint has little performance.

Rhythmic exercise. This kind of string kneading is good at playing narrative and lyrical.

Sex music has the characteristics of femininity. Later, the violin world realized

Pincing strings for arms is an advanced school, and I learned to pinch strings for arms again.

The characteristic of arm rolling is the bending and straightening of elbow joint, which is more.

A big movement. With the active action of elbow joint, shoulder joint also

Make little moves. It is good at expressing fortitude, passion and rough feelings.

Xu. In my study and work practice, I feel these two methods of kneading strings.

Each method has its own advantages, but if you only emphasize one of them unilaterally.

Methods to play different styles of music, then it will be produced.

An inappropriate explanation. After learning these two methods of kneading strings, I gradually

I found another method of kneading strings, which I call "comprehensive method of kneading strings"

This method of kneading strings is between the first two, elbow joint and wrist joint.

At the same time of vibration, according to the needs of musical works, elbows are still the main ones.

Move your wrist or take the initiative to drive your elbow with your wrist. Practice playing

He also borrowed and transplanted the method of kneading strings with his fingers, and gradually formed his own characteristics.

Point. The _ _ _ _ characteristics of "comprehensive kneading method" are speed, amplitude and strength.

Great changes may take place in the world, which can be slowed down or accelerated as needed, or

Stop the friction, and you can seamlessly switch from one friction to another.

Kindness If you can master this skill skillfully, the player can put him

The feeling of timbre is accurately reflected in his piano sound.

I am lucky in violin Ruanchang and opera Sakura.

Some attempts have been made with the "comprehensive method of kneading strings" Such as the protagonist in the play.

The violin solo triggered a touching piece of music. sequence

One is the heroine, Japanese woman KINOMOTO SAKURA, and her husband, Qin, a foreign student in China.

Scenes of people talking to each other. KINOMOTO SAKURA is pregnant and wants her husband to stay.

Around, but at that time when Japan invaded China, she had to support Zhang.

Husband returned to China to resist Japan. Qin Tao really wants to see the unborn child, but it is a national disaster.

Take the lead, but don't be immersed in love. In the first two sentences of this song, I took the initiative to use my wrist strap to start my knuckles, which was small and continuous.

Constantly plucking the strings to show the depressed and sad mood of the hero and heroine.

In the next phrase, the music has obvious ups and downs.

In the first sentence of this sentence, I use my wrist to drive my arm to rub.

Strings, coupled with continuous bowing, pushed this sentence to a small climax. sequence

There are similarities between the two sentences and the first sentence, but there are obvious differences in the handling of kneading strings.

It's different. At first, music lurked restless emotions in lyricism.

I first use a smaller wrist strap to knead the string, and use

The ups and downs of music will increase the amplitude of kneading strings. Hit the last sentence

I didn't stick to the rules and changed the bow with accent head into a belt.

One bow and two tones in the head. I used a special technique in the bow-linking performance.

"Tension-type intermittent wrist pinching" action, and strive to play a rich connotation.

Rich, soft and rigid emotions make music the same as the plot and performance on the stage.

The performers' performances are closely coordinated. The second creation of this piece of music.

Family recognition and command recognition.

In the second violin, I divided it into two types: front and back.

Emotions are expressed. KINOMOTO SAKURA visited China because her son was injured in China.

Son, in the hospital, she accidentally saw the cherry blossom pin on the nurse, which

It also rekindled her desire to find a husband who has been away for many years. Surprise, loss

State and excitement are the main emotions in the last paragraph. I put the first two clauses

Each tone is treated as a burst with a prefix, and a special "temporal discontinuity" is used.

To express the atmosphere of tension and surprise, of course, this special

The special method of kneading strings is limited to the application of these sounds and in the following music.

In the process, I immediately switched to "arm and wrist kneading", in which

Cleverly link the atmosphere of the plot with the emotions of the characters, so that after the transfer,

A piece of music paved the way.

In the second half of the music, I used the method of "wrist strap arm" to knead the strings.

Play this piece of music in a lyrical and soft tone to set off the hostess.

Xiongying learned that the owner's name of the cherry blossom pin was not her husband's real name.

When I became famous, I showed disappointment, doubt and memories.

Third, violin intestines, music and plot are very emotional.

People. Although the actors don't sing, they rely on lines and performances, but the men in the play

The heroine's lofty understanding of love, persistent pursuit and twists and turns.

Calendar, but let the audience and our cast deeply moved. The composer wrote

This piece of music is beautiful and moving, putting the inner world of the hero and heroine in it properly.

The inner world is showing. Every time I pick up the piano and prepare to play this piece.

When I am happy, I will always be moved by this song first, and I will be attracted more.

Play this music well.

In the first two bars, I show it by stopping kneading the strings.

Quiet and pure artistic conception. Starting from the bar, the continuous hand was added.

Wrist band fingers "knead strings. With the development of the plot and the progress of music, from

In the first quarter, it began to slowly change to "wrist strap arm" to pinch the string. soon

There was an exciting downward arpeggio, and I gradually increased the amplitude of kneading the strings.

The strength of the bow matches the left hand to knead the string, which shows that the protagonist is the sea at the moment.

Ups and downs, restless. Make two small places first.

For the preparation of the festival, I have used a continuous "wrist" since the first section.

The "arm" kneading string adds stress to the head of each beat and enhances the rhyme.

Taste. Stop kneading the strings when changing the handle in the case of sliding, and then take a forehand beat after sliding.

Add kneading strings. By applying these changes of kneading strings, this

This piece of music is more meaningful and passionate.

Galamian, a famous violin educator, once said, "All kinds.

The combination of kneading sounds, combined with various dynamics changes from the bow, can

Create infinite possibilities and give life and color to the violinist's performance.

And change. "This passage can be used as the end of my" comprehensive kneading method ".

Describe and summarize.

Second, the pronunciation of the violin

Good pronunciation consists of two basic actions. One is a bow.

The second elastic effect that sticks to the arm is bow and chord.

Right angle operation. Besides, there are at least the following questions and pronunciations.

Related.

contact point

The contact point means that the bow touches the strings and can make the best sound.

The place of sound. The thinner the string, the higher the handle and the closer the pronunciation point is to the code.

That is to say, if the bow speed and pressure are constant, then every change

Change the pronunciation point every time you change the handle. Despite the changes

It's very small, but it must be changed, otherwise it is impossible to have a good pronunciation.

Performers can adjust the bowstring at any time according to the specific situation during the performance.

Contact point.

Bow transport speed

Bow speed is closely related to pressure. The same pressure changed the bow.

Speed also changes strength. To speed up the bow is to increase the volume and play.

Slow bow speed will also reduce the volume. So play a few pictures or a series of pictures.

With sound, the best way is to use uniform bow speed, of course, also.

Use uniform pressure and constant pronunciation points. Good control

The logical distribution of the bow length is the most important. This side of the Atlantic

Face, the most common problem that performers encounter is that they waste a lot of money at first.

Bow, bow is not enough. The sound that comes out like this

The sound is often broken at the beginning, and the remaining bow is pulled out.

The sound was crushed again, and the performance was very uneven. When _ _ _ _ _

Where the strength does not need to be averaged, is it obvious stress?

It is necessary to use the change of bow speed to gradually strengthen or carefully change between clauses.

Change. In clauses, the fulcrum sound should use bow segments and tail phrases.

The sound should gradually disappear and the bow should be used less, so as to obtain more detailed changes. Strictly operating the bow conveying speed is the best way to realize these changes.

Bow transportation pressure

The pressure on the back bow comes from the weight of the bow itself, hands and arms.

Weight can also come from the action of the arm to control the muscles, or more.

A combination of many factors. As a lever, the bow is influenced by the general lever.

Acceptable domination. Its weight feels that the tip of the bow is the lightest and the root of the bow is the heaviest.

This function is very inconvenient from the perspective of playing the violin.

Yes, because when you pull from the root of the bow to the tip of the bow, its pressure on the string is

It is uneven. Therefore, when you need a unified voice, please reach out to the bow.

The pressure must be uneven. In order to obtain uniform bending force

Degree, increase the pressure when removing the bow tip, remove the bow root and reduce it.

Less pressure. In pronunciation, we don't just rely on the weight of pressure, but

It is more necessary to adjust the natural pressure at any time.

Timbre characteristics

A certain pressure and bow speed determine a certain pronunciation point, a certain.

The contact point and a certain bow speed determine the necessary pressure, but in many cases.

There are several possibilities for the next player to choose, different choices.

Formed a different pronunciation style.

The first one is mainly to make music with bow speed.

We need all kinds of strength, so we use more bows and more pressure.

Less. Its contact point is generally far from the code.

The second one mainly depends on the pressure and the bow speed used.

Slow down, its contact point is near the code.

The characteristics of these two sounds are different.

Using more bows and less pressure produces a purer sound.

Loose, using more pressure and slow bow speed will make a strong sound.

Focus. And changing the pronunciation point will also change the timbre, and the closer it is to the code.

The brighter and sharper the sub-timbre is, the lighter and thinner the timbre is when it is close to the fingerboard.

Yes, I like watercolor painting.

Each of us should not only learn these two basic pronunciations.

Types, but also learn their various mixed use, so as to get more.

There are many changes in timbre. If we use the various timbre changes mentioned above,

And use all kinds of kneading sounds, and have all kinds of changing power, no.

Doubt will greatly enrich their artistic expression.

I hope it will help you, and I hope it will be adopted. Thank you ~