Today I will share with you the issues of breath, syntax and timing in dulcimer performance.

When playing the dulcimer, one must first read the score carefully and carefully, and use the imagination of the sound to create a virtual real-time playing state in the heart. At this time, the more important thing is to immediately separate the syntax. When a composer creates a work, he usually conceives the syntax in integer bars, such as 8 and 16 bars, and a large paragraph, such as 16 or 32 bars, expresses a relatively clear expression. emotional or musical image. After the syntax is clarified, it can be clear where there should be some breathing. In the dulcimer performance, the breath sign means some kind of suggestive movement of the arms and body during the performance. This movement is to announce the melody and different sentences of the work. Nowadays, there are too many dulcimer performances, and most of them are deliberately doing them. The breath and syntax arrangement of the works can only be regarded as accidental. The development of Chinese dulcimer music is difficult to improve in depth.

Syntax, like human grammar, pays attention to "break". When a person speaks, the "break" between sentences can affect the final meaning of the whole sentence. Similarly, the "break" in the syntax of dulcimer works is also very important. Small ventilation and large ventilation have very different meanings. In terms of performance, the implied actions should also be different. When the melody is expressed, the body movements are very important. If it is small, the viewer will not know that a new paragraph has begun; on the contrary, if there are some particularly large movements suddenly in the expression of the melody, the viewer will not understand it. Objectively Affects the overall expression of a certain syntax.

At the same time, the atmosphere and the time layout of the work are also very related. The so-called time layout is the speed arrangement of each part of the work. Music is the art of time. Now the dulcimer works are more and more protracted. They are small works, but they have to be interpreted into masterpieces of ten minutes. As everyone knows, dulcimer works are not only performed for the practitioners to watch, but also for the audience. Ordinary music lovers appreciate that the streamlined and in-place time layout can bring exquisite and vivid artistic interest. Generally speaking, the composer first conceives the musical motive or some kind of visual melody, and then starts to construct the whole song.

The introduction is often an early indication of a certain image of the whole song, which itself plays a role in the structure of the structure. Do not make fuss about the layout, and the time must be controlled within the emotional range that the audience is not annoying. Psychological research, people's understanding of The attention time of the same thing is about 15 seconds, which shows that the audience's tolerance for an emotion is very limited. This requires the performer to consider the time layout, that is, the speed of the performance and the strength of the syntax, etc. It is necessary to make the expression clear, and to perform it within the range as far as possible without procrastination.

Most of the existing dulcimer works are created on the basis of a visualized melody by means of variation, repetition, moulding, contrast, expansion, contraction, addition of flowers, and overlapping parts. Generally speaking, they are different emotional aspects of the same image. When preparing for reading a score, you can determine a certain speed in your heart, different paragraphs have different speeds, and most importantly, establish the speed of the entire work. This establishment is necessary. Considering the psychology of the audience, a kind of musicology called Receptive Aesthetics explains this psychology. When playing, you can temporarily adjust the time layout of each segment according to a certain emotional aura. At this point, music masters are usually the most sensitive on stage. Because of the existence of this adjustment, the musicians' musical syntax and expression of musical passages are full of different interests. Of course, it is very important to grasp the basic time layout. It is not necessary to temporarily adjust all performances here. In fact, It is precisely because of the lack of preparations for reading scores that most dulcimer players can't grasp their speed as soon as they come to the stage, which leads to embarrassment between expression and understanding. In the end, the audience can't understand what the musical emotion of the performance is.