How Pipa players show their stage performance style, performance level and their own style is the concrete embodiment of Pipa players' comprehensive musical quality and performance skills. It is not a pluralistic art that can be accomplished by one-sided knowledge. Even mature pipa players often have a serious impact on the quality of pipa performances on stage because they can't find the feeling of immersion in playing for a while.

To sum up, the main problems are as follows: first, lack of concentration, and not all the attention is devoted to the inner emotions of pipa performance and music; Emotional investment; third, the understanding of the background, theme, and content of the music played is not deep and incomprehensible, and there is no resonance with it. There are still faults and debts in performance techniques and skills, which cannot meet the stage performance and adaptability required by the artistic performance of music, and have not yet reached the consummate proficiency and performance level. So, how can we better demonstrate the ability and level of pipa stage performance? According to the relevant questions raised by students and musicians and the practical difficulties in pipa stage performance, the author will discuss the following aspects for pipa learners and pipa teachers to share. research and discussion.

1. To cultivate in-depth training to explore the characteristics and expression methods of music

The characteristics and expression methods of musical compositions are two fundamentally different aspects. The former is the composer's creative intention, and the latter is the performer's form of expression. One is the artistic conception of the senses, and the other is the artistic image that is heard and seen. Therefore, a pipa player must analyze and grasp the style, characteristics, emotional color and form of expression of a pipa piece, which is the comprehensive ability and cultural quality a pipa player must have. So how to grasp the above elements? The following aspects must be done.

One is to grasp the emotional color of the music. To find out whether the inner emotion of each passage is depression, sadness, joy, or rude, passionate, enthusiastic, deeply analyze, study and understand the expression methods of different musical images and emotional colors of each passage. Then familiarize yourself with the music in the form of repeated auditions to mobilize your emotions and release your energy. Through repeated auditions, the music image of the music is integrated into the emotional world of the music, and I guide myself to enter the artistic world of the music image wholeheartedly. In this way, if you try to play the music with your own musical emotion, it will be easier to immerse yourself in the emotion of the musical artistic image. At this time, scenes and scenes of music stories and music images will appear in my mind. For example, when playing the pipa solo piece "Little Sisters on the Prairie", the brain will follow the extension and development of the music, and the blue sky, grassland, flocks, and white clouds will be dimly displayed in front of you. The moving scenes of the sheep fighting against the blizzard. If you find it, the music you play will be vivid and moving, full of ups and downs, rich in emotion, full of spirituality, and burst out with strong artistic appeal.

The second is to have a good stage performance mentality. How to show a natural, generous and decent stage performance to the audience. It is necessary to have a healthy performance mentality, which is the inherent condition for successful performance. During the whole performance, you must keep your spirits up, be calm, and be handy and have a stable mentality. However, we must also grasp the appropriate proportions. Excited emotions will make the performance out of control, and emotions will be too restrained and the performance will be lost. This involves the feeling of playing on the stage. Due to the nervousness, once I can't find the feeling of playing on the stage, I will try my best to find the performance when I practice the piano to stabilize my emotions. Therefore, the state of the piano practice at ordinary times has a direct impact on the success or failure of the performance on stage. Therefore, when practicing the piano, you should seriously exercise your good attitude and learn the ability to control your emotions. Whether you are practicing the piano or performing, you must be highly focused, carefully handle each passage and the expression method of the phrase, and combine the musical performance with the performance. The organic unity and combination of playing skills have achieved the artistic expression level of "heart and hand" and "sound and emotion". Don't show off your skills and affect the quality of performance.

The third is to grasp the style of Pipa music. Grasping the style of music is an important part of stage performance. It is a comprehensive reflection of many technical factors. The performance style can be divided into two parts: one is the style of the music itself. It is a series of characteristics such as melody and rhythm brought by the music itself. For example, Wang Huiran's "Spring in the Tianshan Mountains" and "Dance of the Yi Nationality" have completely different styles of music. The former is the Xinjiang national style, and the latter is the Yunnan local style. . Second, the scale, mode, and rhythm are different. To play a piece of music well, you must first be familiar with the music's creation background, creation time, composer's personality, etc., and have a comprehensive grasp of the music piece as a whole. The second is the performer's own musical quality and temperament. The level of musical accomplishment of the performer directly affects the thickness, height, and style of the music. First of all, technically, it is necessary to understand the creative technique, melody and rhythm of the music. Personal playing style involves many aspects: some show bright and crisp timbre; some like thick and loud timbre; some are delicate and focus on the small; some are rough and start from the big; some like strength Larger contrast with speed; some like natural and steady rhythm changes and so on. These are all determined by the different temperament of each person. They are things that cannot be learned, and can only be learned from various genres of performance methods, methods, techniques and other techniques. The fourth is to learn the playing styles of various genres. It mainly includes the local style and the player's personal temperament. When it comes to playing style, it is the performer who plays a decisive role. Without considerable musical accomplishment, it is impossible to talk about the performance style. Therefore, there is no problem for beginners to grasp the style of music. Only after reaching a certain level of performance can the style problem be brought up to the training schedule. Therefore, we must continuously expand our musical vision through various channels, enrich our musical knowledge, improve our musical accomplishment and artistic appreciation ability, and continuously improve our comprehensive musical performance ability, so as to become an outstanding pipa player.

2. To strengthen the professional training in the creation of the second part of the music

The so-called two-part creation is to sublimate the silent music score in black and white, through artistic processing and packaging by the performer, to sublime it into a musical and artistic image with rich sound and emotion. So how do you create two pieces of music?

Specifically: One is to learn to segment the music. Before we play the music, we must first figure out the paragraphs of the music, and then carry out simulation practice paragraph by paragraph and sentence by sentence. This kind of artistic processing based on one's own understanding, analysis, and imagination of the music, as well as the subsections and clauses of the music, is called two-step re-creation. So what content of the passages and phrases should be processed, mainly to organically combine the speed, strength, timbre, and emotion of the music with corresponding artistic changes. At the same time, it is necessary to adopt appropriate performance techniques to meet the emotional requirements of the musical works, and modify the static score into a living musical image. The second is to seriously understand the artistic connotation of the music. It is necessary to repeatedly study and analyze, understand and digest, and accurately grasp the comprehensive artistic connotation of the music. The main thing is to figure out the theme, content, style, characteristics, background, age of production, creative intention, etc. of the music. For this problem, we can understand the theme and content of the music through the title of the music. Because the titles of some pipa music are very consistent with the content of the music; we can also use the form of listening to recordings and watching videos to help us master and familiarize ourselves with the music content, theme and style. Only by grasping the connotation of the music played can we play a rich musical image and emotion. The third is to develop a good habit of singing first and then playing. In order to successfully play a pipa piece, you must first master the rhythm of the piece, that is, beat the tempo. First sing the rhythm pattern and dotted notes of each piece of music accurately, and then play it. This is because the accuracy of the rhythm is a key step in playing a good piece of music. If the rhythm of the music is not accurate, no matter how good the playing skills are, it will be futile. Usually I often hear some people rap and sing out of tune, but it is actually because of inaccurate hearing and rhythm. The fourth is to practice the difficult passages in the music individually. A complete piece of music, no matter the level, has one or two difficult phrases and passages. This requires us to take out the difficulties in the music and practice it separately, and then play it coherently with the whole music after we have mastered it; we should insist on slowing down and practicing. Because slow practice is a scientific method of practicing the piano, it is beneficial for the brain to think, adjust and improve the fingering and movements. It is also helpful to check the flexibility and coherence of the playing fingerings, and gradually increase the playing speed after being proficient. Only through this slow-to-fast and meticulously crafted practice method, will you receive a multiplier effect on the pipa stage performance with half the effort. The fifth is to establish the concept of performance of the overall layout. To clarify the position, function and relationship of each piece in the whole piece, it is not enough to just play the fingering well, because many pipa fingerings serve to express the musical image, and different fingerings reveal different musical images. s method. If one ignores the other, the tunes played will be fragmented and lack complete artistic unity.

3. To strengthen special training with high concentration of playing energy

To sum up, a common problem of everyone is that when playing the pipa, it is difficult for the brain to form a systematic development line of music-feeling-image-artistic conception. Always intermittent, fragmented, lacking passion, pale. So, how to solve these problems: Experience shows that the first is to be mentally prepared before playing. Before playing the pipa music, you should force yourself to forget all the trivial matters that have nothing to do with the music, concentrate your brain nerves on the artistic performance image of the music, and enter the profound artistic conception of "the piano person is one, the sound and emotion are connected". Bai Juyi's famous line of the pipa girl, "The shaft plucks the strings three or two times, and there is love before a tune is formed" profoundly illustrates this truth. At the beginning, the performer must forget about himself, enter the role of musical image, and pour out his musical emotions as a character in the music. Of course, artistic wealth can only be obtained by long-term professional training. The second is to cultivate a good habit of practicing the piano. Try to overcome the bad habit of playing the piano while watching TV; or chatting while playing the piano. To practice the piano is to make a formal performance on the stage, and use the conditions of the performance to constrain the practice of the piano. If you stick to it for a long time, good practice habits will become the natural norm. Avoid the embarrassing situation that when you perform on stage due to lack of seriousness in practicing the piano and lack of concentration, facing the audience, your heart is trembling, your hands are shaking, the music is out of tune, and your heart is flustered. The third is to exercise their mature on-the-spot performance ability. Experience has shown that with good stage performance experience, it is not enough to rely on stage performances, because there are fewer opportunities for formal performances. Then you need to create conditions to simulate the number of exercises for stage performances. First of all, it is suggested that in addition to participating in various formal stage performances, students should also actively participate in various performances organized by communities, schools, departments, etc., expand the scope and vision of stage performances, exercise and test themselves in a targeted manner, and further enhance stage performances ability. Secondly, we should take advantage of all the favorable time to take the initiative to give live pipa performances to our classmates, parents, relatives and friends, so that they can be the audience and find faults. Thirdly, I invite my friends and classmates to play in turn, one person plays, everyone listens, and each other is the audience and the judge, and put forward the shortcomings and weaknesses of the other party on the spot. Through the above-mentioned various forms, gradually exercise the artistic feeling of playing the pipa and the good stage performance ability. The fourth is to coordinate the following combinations. That is to say, there is softness in rigidity, weakness in strength, darkness in lightness, stillness in movement, freedom in retraction and release, and integration of spirit and energy. Efforts will be made to create a vivid image of music and a strong artistic spiritual realm to further enhance the level of stage performance and the appeal and vitality of pipa music.

Fourth, pay attention to the standardized training of performance movements

Practice has shown that standard, generous and stretchy pipa performance is an important condition for the success of pipa performance. According to the author's long-term pipa teaching and organizing performances, some performers perform too big, chaotic, and exaggerated movements, appearing disorganized; The pursuit of good looks, putting on airs, and grandstanding, lead to the inconsistency between the performance and the image of the music, with two layers of skin. So how can we have standardized and stretched pipa playing movements and postures?

The author believes that: First, it is necessary to abide by the natural operating laws of various pipa playing fingerings. The fingering of the pipa, such as bouncing, jumping, sweeping, and brushing, has its own movement, so don't pretend to be dangling and make things superfluous. The gesture of the right hand, whether it is inward, outward, upward or downward, must go with the flow and operate in accordance with the laws of human physiological movement to prevent excessively exaggerated contrived movements. Second, the playing shape of both hands should be semi-circular. The wrist of the left hand should be kept parallel, neither drooping nor upturned; the fingers of the right hand should be kept in a half-clenched state, except for the fingerings such as Manchurian with strong pronunciation, which can open the fingers. Although the traditional ring fingering has two types: fan-shaped structure and fist-shaped structure, in terms of being conducive to fast ring fingering and compact concentration, I advocate the use of the fist-shaped structure and the ring-fingered hand type. Can increase wheel finger speed. Third, the fingering of the brush should be small in the wrist movement and large in the forearm movement. After brushing, the back of the hand is downward at a 45-degree angle. The running angle of the sweeping action depends on the passion of the performance and the emotion of the music. No matter what kind of fingering is used, the right hand should not be too far from the strings, especially if the right hand is too exaggerated to fly away with the fast sweeping fingering, it will pull the stroke away. Greatly affects the playing speed. Fourth, facial expressions should change with the mood of the music. For example, a passage that reflects joy needs to show joy and a smile on the face, and a passage that reflects tension and sadness needs a serious facial expression. In addition, the head should be held at a low, high, flat, and oblique angle, which should be changed according to the change of emotions, and a warm and hot melody should be played. Do your best to overcome the rigid posture of bowing your head, fearing that people will look at you, and moving rigidly.

Fifth, to strengthen the basic training of performing arts

Some students reported to the teacher that when playing the pipa, the two hands do not always cooperate tacitly, and the two hands do not always obey. The root cause of this problem lies in the lack of strength, speed and sensitivity of the hands. Playing the pipa is different from other plucked music in that the direction of the finger movement in the pipa is outward, and the counter force is used. The so-called "rebounding the pipa" means this. On the other hand, the direction of finger movement of plucked instruments such as guzheng is inward, and positive energy is used. Because fingers belong to peripheral nerves in the whole body structure, their strength is weak and insensitive, which brings congenital inconvenience to pipa performance and sets up many natural obstacles. So how to solve this congenital deficiency? Experience has shown that the key is to increase the strength and speed of the hands, especially the ring and little fingers. Generally speaking, the stronger the fingers, the faster the speed. But this problem cannot be solved quickly and imaginatively, and only after a hard and long learning process can a satisfactory result be obtained.

Therefore, the first is to adhere to the theoretical study and practical exercise of pipa performance. According to their existing technical level, choose the corresponding level of practice repertoire to strengthen the practice. Don't be too ambitious, pull the seedlings to encourage growth, and skip grades to learn. Causes too many technical debts and outages. It is necessary to insist on starting from slow and easy, and gradually climb step by step. This is the only way to achieve success in pipa performance. The piano practice time should be maintained for 2-3 hours every day, and the practice time should be increased before the performance.

The second is to use the speed and strength of the string. The speed of touching the string is divided into fast, medium and slow speed. In fact, the length of time the fingernails stay on the string is different. Due to the different speed levels, different dynamics level changes are brought about, and then different timbre level changes are produced. The faster the actual fingernail passes through the string, the greater the momentum, the greater the vibration amplitude of the string, and the louder the head tone, and the stronger the timbre. Conversely, the slower the fingernail passes through the string, the smaller the momentum, the slower the change of the string body, the smoother the amplitude of the string, the rounder pitch, and the purer and softer timbre. Therefore, the speed and strength of the nails passing through the strings are different, and the timbre produced is different. Therefore, when the speed is fast, the force is large; when the speed is slow, the force is small. This is because the speed of the nail passing through the string is fast and the force is short, and its timbre is thin; the speed of the nail passing on the string is slow and the force is long, and its timbre just thick. When the pressure of the nails on the strings is large, the pronunciation is deep and thick; when the pressure is small, the pronunciation is thin and soft. The pressure of the nails passing through the strings is small, and the pronunciation is jumpy and short. Due to the change in pressure, the phrases in the music form a sharp timbre contrast, which makes the music more appealing.

The third is to establish the goal of long-term artistic practice. We must be willing to endure hardships, be good at using our brains, pay attention to methods, and be diligent in listening, watching, studying, and practicing, persevering and never breaking. It has been practiced until the tip of each finger of the left hand is ground with calluses, the right finger has greater resistance when it bounces and rotates, and grooves are formed on the related pipa products, which can be regarded as the initial effect. Then continue to the stage of wearing out and replacing 3 pairs of pipa frets, which can truly reach the level of perfect performance. Don't be arrogant and slack at this stage, but continue to work hard. The professional pipa playing style will become wider and wider under your feet, and the enthusiastic applause from the audience will become louder and louder.

In a word, during our piano practice or performance, whether it is the form of expression, the action and the style of performance, it must conform to the musical image and musical mood. To overcome or avoid the frivolous movements that are out of touch with the theme of the music, play with your heart, with a high concentration of energy and skilled performance skills, to vividly portray the image of the music, let your passion burn yourself, and fully, naturally and sincerely reflect your own playing style. . But it should be noted that a person's playing style is the external expression of one's own profound cultural heritage, long-term knowledge accumulation, and profound artistic accomplishment. This style is one's own, and cannot be obtained by imitation. Therefore, students should develop good habits of diligent study, intensive study and hard study, strive to combine theory with practice, and strive to improve their comprehensive cultural and artistic accomplishments. Actively explore the natural, simple, decent, stretch and generous pipa playing style, this is the artistic level and goal of pipa playing that we will always pursue.