Analysis of the reasons for the inability to play the guqin

233 views · Organized by 花昼 on 2022-07-02

What should I do if I can't play the guqin music? Guqin charm is difficult to pop out? The following is an analysis of the reasons why the guqin music can't play the charm. You can compare and analyze it.

Analysis of the reasons for the inability to play the guqin

1. Have not learned to sing, or have learned but the amplitude is too small or the chanting method is wrong.

Unlearned Yinyi: Self-learners can learn after they can play the rhythm accurately, and those who have a teacher come according to the teacher's arrangement.

The amplitude of chanting is too small: when practicing, first let go of the amplitude, it is better to be too large, not too small. After training, it will be exaggerated and too large, and then return to normal, so that when you control the amplitude of the chanting, you can retract it freely, not too small. The restraint can't be let go.

The method of yin is wrong: you can watch the introduction about yin in teacher Yang Qing's teaching video.

2. There is no sound head strengthening or the sound head is not obvious.

The sound head is the moment when the sound comes out, the volume will be louder, and it will drop quickly, and then the volume of the middle and tail will decrease slowly, and the sound head will be the moment of the sound. More rhythm is also one of the reasons. For steel strings to have a distinct pitch, the main thing is the speed of the strike. If the pitch is too slow, the pitch is blunt, and the pitch is sharp if it is too fast. However, the faster the string is, the better. You can judge a reasonable speed by listening to it, and this speed is not constant, it is slightly fine-tuned with the emotional changes of the song.

3. If you pick the hook with brute force, the sound head has a popping sound, and in severe cases, there is a popping sound in the sound.

Picking the hook with brute force is because you have not mastered the skillful and correct right hand gestures. To learn from Mr. Li, please watch the instructional video carefully, and realize that when hooking, a finger is plucking the string diagonally inward and dragging it quickly (quick dragging). Movement is one of the keys to a pure sound that is easy to ignore), following Gong’s example, it’s easy to use all the pressure when hooking, while ignoring the dragging action. To sum up, when hooking, Mr. Li presses less and drags more. The old presses more and drags less. As long as the two are mastered well, each has its own advantages, and it is up to each individual to choose.

Beginners always like high volume, and at the same time they are worried that they will not be able to play, so the force is often too large. In terms of volume, the greater the force, the greater the volume, but the greater the speed of the string, the greater the volume. The correct method is to reduce the string hitting force, increase the string hitting speed appropriately, and cooperate with the correct gesture, the volume and timbre can be guaranteed.

4. The sound is not accurate, resulting in short rhyme, especially when it is out of tone.

The mispronunciation is related to the misunderstanding of the word "relaxation".

Relaxation: It is divided into two situations, one is the relaxation when a person is lying down, which requires the muscles of the whole body to be completely relaxed. The other is the relaxation when a person is standing. This relaxation requires "relaxation without perseverance, and tightness without limit" (see Qigong stance for specific requirements). When playing, the left hand is tight, and the left hand is loose. Once it is loose and tight, the fastest hand speed can be achieved. Of course, as for pressing the strings firmly, that is the most basic requirement.

5. The speed of out-of-voice (including choke notes, moving up and down, advancing, retreating, etc.) is monotonous. It is not fast when it should be fast, and it is not slow when it should be slow. I don't know how to master it.

The speed of out-of-tune is fast and slow, and the correct tempo and rhythm must be established, so the first thing to solve is to practice the tempo. The method of practicing the beat: first use the software metronome, then beat the beat with your feet or head after passing the test, and beat the beat with your heart (mind) after passing the test.

In general, as for the speed of pitch loss, when you are a beginner, you should listen to and watch more recordings and videos of famous artists or teachers, learn to hum a song (just like humming a pop song), and hum the melody and rhythm correctly. When playing, you have the melody in your head and then reproduce the melody with your hands, instead of waiting for the sound to pop up and then feel the rhythm and rhythm of the melody.

6. The staccato and eating sounds lead to incoherent sounds, unstable rhythm, and a feeling of panic even though the playing is slow.

For example, there are two consecutive tones (seven strings and nine emblems and six strings and nine emblems), with a total of two beats. Assuming that the two tones are one second each, the correct playing method is to pick seven strings and nine emblems in 0.9 seconds, and pass the strings in 0.1 seconds. , it takes 1 second to pick six strings and nine emblems.

The so-called staccato means that it takes 0.7 seconds to pick the seven strings and nine emblems, 0.3 seconds to pass the strings, and 1 second to pick the six strings and nine emblems. (It is too obvious to use too long staccato when passing the strings. The staccato can be present but not too much, otherwise it will sound too obvious and affect the rhythm of the song)

The so-called eating sound means that it takes 0.7 seconds to pick the seven strings and nine emblems, 0.1 seconds to pass the strings, and 1.3 seconds to pick the six strings and nine emblems. (0.2 seconds was eaten by the first tone).

How not to produce staccato and stuttering, the first problem to be solved is the tempo and rhythm (see point 5). In the correct tempo and rhythm, try to hold the finger pressing the sound until the last moment before lifting or shifting. over the string.

The solution to the slow chord speed: Find a more difficult passage, such as the chord at Guan Shanyue Qihui. The advantage of this method is that when you have practiced the chord, you can see at a glance whether you have done it well, and it is easy to correct yourself. wrong gestures and increase hand speed over strings.

7. Not skilled, there is no melody in the mind first, and the melody in the mind is not used to control the strings by hand.

Novices often don't pay much attention to the correct rhythm when practicing etudes, so that when they finally practice ancient songs, they develop a wrong habit, that is, when they play, they only think about the reduced word notation, but ignore the in mind. The effect of melody on string control.

To use the melody in your head to control the strings, you must have the following conditions:

The skills used in this piece have been practiced to an almost subconscious level, just like riding a self-propelled bicycle to subconsciously steer the direction. When playing, there are many aspects to be paid attention to, but the subconscious is used, which is truly conscious control. It is to listen back with the ear, and adjust various data (such as the strength of the strings, the frequency intensity of the chant, the shift or the hand speed of the tune, etc.) through the subconscious in real time, so that the popped music is as consistent as possible with the melody in the brain.

8. Lack of energy, like not having enough food, misunderstanding the word "relaxation" mentioned by the teacher, resulting in excessive relaxation and lack of flexibility.

Before playing, think more about the background of the music you are playing or the emotions or things you want to express, let yourself integrate into the music, and slowly experience the feeling of the unity of the human and the qin. Connected, and then to the same meaning, as long as you do it, maybe one day, you will really feel it.

Reference materials and contributors

Involving musical instruments

Guqin (pinyin: Gǔ Qín) is a traditional Chinese musical instrument with a history of at least 3,500 years. Guqin is also known as Yaoqin, Yuqin and Seven-stringed Qin. The guqin has 13 emblems that mark the rhythm, and is also a ritual and musical instrument. It belongs to the silk in the octave. Guqin has a wide range, deep timbre and long aftertone.

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