Do you know, these are the common problems encountered in the practice of Guzheng "Four o'clock"~

1. Excessive finger movement will affect the speed of playing the piano

Many zheng players can't get up to speed when they practice "four o'clock fast". The main reason is that the movements of each finger are too large and there are many redundant movements. The finger movement is large, and the fingers are turned over and over, which not only affects the appearance, but also affects the speed of playing. You should pay attention to avoid the above problems. Also, when practicing, be careful to play each note very loosely.

And the fingers are "in place" before playing, that is, each finger must be close to the string you want to play. Don't prepare to play at a far distance, but prepare to exert force at a far distance. The amplitude of the hand should be as small as possible. It is completely attached to the string, and the shoulders, arms, wrists and other joints are relatively relaxed, so that the performance is easy to achieve the control ability when the finger tips are in contact with the strings, which is conducive to the improvement of the speed.

2. The playing is not relaxed, the tone is stiff and not beautiful

Relaxed playing is a basis for enhancing speed, strength, and beautifying timbre. Some zheng players are in a state of tension from beginning to end when they play, with tight arms, stiff wrists, and even rigid body. The sound is also hard to hear. So how can we play loosely during training? The author's experience is: first of all, the arms and wrists should be in a relaxed state (including your facial expressions), and the fingers should relax immediately after playing a note. In this state, play another sound, and transmit the force through the big arm to the fingertips, so that the sound is strong and the sound is pure.

Those who practice the zheng can use the method of slow practice to experience, and then speed up when they are proficient. Secondly, zheng practitioners should cultivate the ears of "music" and learn to distinguish the timbre, in order to produce pure and beautiful sound quality. Thirdly, "Four o'clock fast" generally requires a slightly faster playing speed and a smooth and lively melody. Therefore, the touch strings should be well controlled and not too deep.

3. The playing is incomplete and there is no sense of unity

When some zheng players play "Four o'clock fast", the melody is not smooth, intermittent, and has no sense of unity. "Four o'clock fast" techniques generally appear in the rhythm, lively, smooth melody passages. Usually, in order to express some kind of tense and warm atmosphere, the "fast four o'clock" and the clipping technique with the index finger and the big finger are also used, but when expressing such a piece of music, the frequency of each finger's activity is fast and the intensity is high. Most of them are very particular, and they are required to be strong and weak.

In addition, when you play, you should play it completely, so that you can do it in one go. Slow training is the basic requirement to achieve the above goals. In the process of slow training, each melody, phrase, tone change, etc. should be carefully understood, so as to enhance the understanding of music, enrich the imagination of music, and improve music cultivation; on the other hand To maintain consistency, a piece that can be played in its entirety during slow practice. Of course, when the "slow practice" reaches a certain level, there will be a "quality" leap.

"Four o'clock" generally has a bright and smooth melody, and the playing must have a certain speed. When playing fast, the arm should not swing back and forth, but the power of the arm will be transmitted to the fingertips, and the fingertips are completely active. The zheng learner should pay attention to this point when practicing.