For a pipa player, it is very important to master and use the playing technique, technique and timbre of the left and right hands, but it is far from enough to concentrate on or stay on this level. Because music is an advanced state of human language, like language, it has long and short clauses of sentences, changes in cadence, and the structure and integrity of expressing a central idea. Without breath, there is no phrase, no ups and downs, no intonation, and without structure there is no life. As a performer, the ultimate goal of playing the pipa is to let the listeners hear the beautiful sound, and the process of making the pipa sound is the process of our playing. The sounds conveyed to the audience can be roughly divided into two types; one is rigid and mechanical, and the other is changing and endowed with singing. Of course, what we want to pursue is the latter. Because this kind of singing voice can make the audience feel or experience in the heart after being conveyed to the audience.

How to make the breath closely match the music performance?

The first is to focus on the score, analyze the music, and the phrases in the music, where to go legato, where to staccato, where to pause, where to change the tempo, and so on. Another issue to pay attention to is the timing of the "breathing mouth". Music is an art of time. Of course, the breathing time of the "breathing mouth" is also more important. I think this timing should be related to the rhythm of the music itself. The performer must be good at comprehending the musical feeling that contains the connotation, and it is possible to grasp the time of this "qi feeling" only with the feeling and experience of this connotation. When playing a melody with dozens of bars and ups and downs, it must be based on a slow and long breath. Similarly, when you need to play a high-spirited and exciting. Or in a piece of music with a faster speed, the breathing and the sense of breath are correspondingly accelerated, and the breath before the climax may also be a little deeper. But in any case, these "feelings" must be consistent with the music; it is with the music section. The decomposition of the phrases is consistent. Then for the mastery of "sense". In my teaching, I still ask students to sing the melody of the music, so as to find and feel the breath and breath of the music when the students have performed the music in a relatively complete manner. into the actual performance. It is about integrating one's own breathing with the breathing of music, turning the keyboard into an extension of one's fingers, and then striving to achieve "the unity of the human and the piano" and the "unity of the human voice". That is to achieve the integration of "people", "qin" and "music". Only in this way can the purpose of expressing the connotation of music be achieved. "Music feeling, hand feeling and air feeling" are all issues that players need to pay attention to. I think these are also several aspects that a teacher should fully reflect in the teaching process.

The second is to pay attention to the artistic rhythm of music. Artistic rhythm is the way the performer controls the density and density of notes in the second creation process. The artistic rhythm is completely dominated by the performer's personal ability to perceive music, to control expressive skills and to utilize the expressive space provided by the work. Under the same conditions, it depends on the performer's perception of the internal law of rhythm, understanding of the interaction between rhythm and tempo, and the rational use of rhythm in music's modal function, language function and mood function. The understanding and application of artistic rhythm is a matter of opinion. Different clauses, different breath sensations, different technical skills, different professional perception levels and different local advantages, etc., will be reflected in the artistic rhythm to varying degrees, which requires us to learn the piano in the usual process. In the middle, not only should pay attention to the training of basic skills, but also constantly improve their artistic accomplishment.

Music is actually the same as singing. When playing, we can make a sound we want through the combination of left-hand pressing and right-hand techniques. This sound is soft, intense, lyrical, joyful, or sad, all of which are conveying a kind of sound to the audience. The feeling of beauty, people will have an aesthetic feeling when listening to this kind of music, this kind of music is endowed with singing. However, the importance of "singing" is often overlooked in many Pipa education. We need to let children know what "singing" is and how to "sing" when they first learn the pipa. We must strengthen the singing ability, and strengthen the technique to obey the concept of music. In many pipa works, if you study carefully, it is not difficult to find that the composer has already carefully constructed a path for us to give singing performance. Even in some etudes that some people think are relatively boring, we can also find that There is no piece of work that is purely technical for the sake of the singing segment. Skills should serve music.

The actual connotation of pipa music is to make the pipa emit a singing voice. Singing is particularly important in pipa performance. It will be combined through the three points of our fingers, heart and feeling, and will be expressed together in the performance. This comprehensive performance is musical and singing. However, it is often difficult for us to achieve singing in performance, because after all, the pipa is not like the violin. The pipa is a "point" instrument, and it is necessary to produce point-like particles through the cooperation of the fingers, so this requires reasonable finger and wrist. Action collocation, to construct a reasonable phrase. After fulfilling the above requirements and focusing on the phrase interpretation process of "starting point - development - high point - starting point", the singing quality will be better reflected.