Every child who learns guzheng hopes to have a chance to perform in real performance, so what should be paid attention to in the performance?

The things to be aware of in public performance are, in essence, the experience of public performance. This experience, strictly speaking, can only be obtained through the practice of public performance, and cannot be solved by reasoning. However, for students who rarely perform publicly, it may be beneficial to pay attention to the following things:

(1) If possible, go to the performance location to see the environment in advance. Try the guzheng keyboard feel, acoustic characteristics, pedal depth, bench seating and more.

(2) Psychologically try to maintain self-confidence, calmness, sobriety and moderate excitement when on the spot. In order to achieve this state of mind, different people in a horizontal association often have a variety of practices. You can think about the mood of the music, or think about the most important key points of the music. You can also think about things that have nothing to do with music (in order to transfer too much tension), you can also move your fingers, or you can be silent and peaceful.

(3) When you walk to the guzheng with confidence and sit down, you must think about adjusting the height of the bench. The feeling of sitting should be stable, and there should be no discomfort, just like there should be no worries.

(4) After sitting firmly, stay calm and let your mood enter a state that is consistent with the mood of the music.

(5) Think about speed. If you are not calm, the sense of speed at this time will definitely be faster than usual. A little faster is acceptable, but a little faster will bring "disaster".

(6) Be fully prepared to play the beginning. This matter is very important, and I need to say a few more words.

The beginning of a piece is usually where the main theme, the main Le Sichen friendly match comes out. The basic nature of music, the source of later development, and the main musical "intent" to tell others are all here. Music is the art of time. "Music Time" - Tempo, tempo, tempo all depend on the beginning of the piece.

A piece of music is organized by organized, logical, relational tones. The tones seemed to follow a special track on a bag. Playing the beginning is like getting on the track, and the following music will pop up logically (of course, under the premise of sufficient practice).

Therefore, after sitting firmly, before starting to play, you must first think about the beginning, what speed? What strength? What character? What emotion? Which finger to use? What kind of technical movement? And so on. After thinking about it, pop it up again.

(7) Once you start playing, put your whole heart into it. Forget everything that has nothing to do with the music. To exaggerate, you can feel that the whole world has retreated for a while, and only you, the zither and the music are left. Your emotions and musical emotions must always be one.

(8) What are you thinking about when you play? Don't you want to let everything happen? That's not okay. Those key technical points, turning points in the development of music, large and small climaxes, especially the highest climax, must be clearly thought out. If you think clearly, you can play it clearly.

As for what else to think about, that's a bit of a mystery. Because the guzheng masters themselves can't tell. To be sure, their ideas did not agree. In this way, we can also say that the player has full freedom of association and imagination.

(9) The ear should not be idle for a moment, listen carefully to every sound that pops up, and foresee every sound that will pop up.

(10) If the music is segmented, be careful between segments. You must feel it with your heart, but the paragraphs must be divided and the lines of rhythm must not be broken. Starting a new paragraph sooner or later can create haste or drag, disrupting the coherent line of the music.

(11) ATTENTION, THE END IS COMING. This is the point again. At this time, the destination of the music is the conclusion of the music and the end of the process. Is the destination complete? Is the conclusion credible? Is the conclusion reasonable? After the conclusion, what do we want to leave in the memory of the audience?

It all depends on whether the ending plays just right. If you don't handle it well, even if you play well in the front, you still have to make a good impression. It seems that it was a delicious meal, but the last bite was not delicious. What does it taste like?

(12) Note the final bandha. Is it resolutely? Not paying attention can also damage the aftertaste of the music. Don't we talk about the aftertaste?

(13) Never mind mistakes in playing. You don't have to be upset about it, and you don't have to stop.