What should I pay attention to in the summer guzheng test? Here are a few suggestions for preparing for the summer guzheng test sprint month.

01

The most basic is complete and unmistakable

play the whole song

Music is the art of time, and the complete expression of the work is the element of the existence of the musical work, which can be expressed in a narrow sense and can be played without interruption. The uninterrupted and complete performance of a work is a prerequisite for musical performance.

That is to say, the interruption in the performance of the work is the biggest taboo in musical instrument performance. This problem is precisely the confusion that many piano children cannot easily avoid. There are many reasons for this. There are factors that cannot be achieved by finger technique, and there are also reasons for not being able to firmly grasp the common sense of music, such as rhythm, rhythm, fingering design and other aspects.

02

What if I can't get it off?

Recognizing the spectrum is, of course, recognizing the spectrum.

From the beginning of reading notation, first of all, we must conscientiously refine and refine the content of the visual range, that is, the eyes can: see the basic elements such as pitch, length, continuity, fingering and so on. Then it is necessary to reasonably design the linking actions between the phrases according to the time value between the phrases, and use the same method to better solve the coherence of the passages.

03

Note on slow practice

The method that should be paid attention to during the practice of speed, start slowly. Remember that playing speed is not a problem that resolves naturally with the level of proficiency in the piece. Aside from the musical performance, only from the technical point of view, the fast technology basically covers the following keywords: accurate, uniform, clear, easy, and the speed based on these keywords is the real speed requirement.

Accurate, uniform, clear, and easy fast-required keywords also cover many aspects of requirements, such as "accurate", which requires accurate reading of music, accurate key grasping, accurate rhythm, accurate fingering, etc.; "even" It also includes the uniformity of the time value and the uniformity of the tone. "Clearness" and "relaxation" are two aspects of contradiction in themselves. In order to achieve clarity, there must be certain strength requirements, and strength puts forward a test for ease. How to resolve contradictions through reasonable movement coordination requires slow speed. Solved, quick check. It is difficult to meet the requirements of these aspects at the same time, which requires solving one by one in our slow practice over and over again, testing the deficiencies in the fast practice over and over, and then using the slow practice. Practice to meet the fast requirements.

Between any two different speeds, several different speeds can be decomposed. Try one by one, everyone will find the speed that suits them, and then gradually increase the speed level that suits them. There is often an inverse relationship between slow practice and fast playing, that is, the slower the practice, the faster the speed may be played in the future. It can be understood that the improvement of speed technology is not gradual, and the process from slow to fast should be an "amplitude" type of progress.

04

Difficult exercises to pay attention to

The solution to the difficulty is to do: practice one in one, practice one practice in one, no matter how large a piece of work is, it must have its relative difficulties. Difficulties can not be well resolved, it will bring a great psychological burden to the players.

As the saying goes: Falling is not terrible, the stupidest thing is falling in the same place twice. Difficulties in guzheng works may not only make us fall down twice, but even N times. Even if the difficulties are not overturned, the psychological burden will cause the score and the score that comes at the difficult points during the performance. I'm secretly glad that there was no mistake in the later score, which means that the difficulty directly affects the complete performance of the whole work. If there are more than two such difficulties in a grade-testing work, it may make our performance process like crossing a single-plank bridge tremblingly. Our attitude towards difficulties should be the same as that of elementary school students practicing new words. We should analyze the position of difficulty. For example, which hand is the problem? Which part is the difficulty or the difficulty of cooperating with both hands? More specifically, is it the fingering or the rhythm? Problems? Then take it out separately for accurate reinforcement training to slowly dissolve the difficulty until you can play it calmly and then try to improve the playing speed of the difficult point.

Of course, it is also an important process that the difficulties after melting need to be continuously integrated into the practice of the before and after measures, phrases, and passages of the difficult points. Difficulties fused together will definitely affect the overall tempo of the entire section at first, and the tempo of the preceding and following bars, phrases, and sections should be subject to the tempo of the difficulty, and then increase as a whole. After regular intensive practice, the difficulty of melting the difficult points makes it free from technical and psychological burdens, and calmly participates in the musical performance of the whole work.

05

Break out of tension

All performers can truly avoid stressful psychological factors during competitions, exams, grading tests and even performances. If they want to achieve ideal performances, it is particularly important to choose repertoires.

After all, guzheng performance is different from the thrilling and exciting pursuit of acting skills like some acrobatic performances. On the contrary, the performer should give people the enjoyment of beauty and easily interpret the connotation of music works. The statistical results of modern technology tell us: "If the third-class performers in the world can play 70% of their level in performance, then their performance can reach the level of first-class performers."

The resulting association is that the world's top performers also haven't played 70% of their own playing skills.

So, what are you still worried about? Don't think that you must perform exceptionally, be normal, be normal!