关于古筝左手摇指技巧探究.pdfVIP

中英文摘要 摘要: 本文依据赵毅先生对现代摇指中单指摇、二指摇、三指摇、四指摇、扫摇、 弹摇、双手摇的分类与与研究，并在目前左手摇指发展状况基础上，分别从技术 构成和音色构成两个方面研究了左手摇指和右手摇指的区别。在左手摇指的技巧 方面，本文较详细地论述了左手摇指的形成过程，研究了指甲的着弦点与角度、 手臂与手腕幅度及速度、及摇指过程中力与气的运用。同时提出支点问题的解决 方法：即在前三个过程基础上，把整条手臂的重力支撑住，并在摇的过程中保持 住力量、速度、摇动幅度以及肘部的平端高度。探讨了可待挖掘的传统与现代左 手摇指技巧：例山东筝派的摇指（大指小关节摇）、实用的二指摇、实用的三指 摇等。并以《双江舞曲》为例说明了左手摇指技巧在古筝音乐表现中的运用。 关键词：古筝；左手摇指；右手摇指；技巧 III 中英文摘要 Abstract： The common techniques of shaking Zheng by two fingers and three fingers were explained in my study based on Mr. Zhao Yi’s classified system. The classified system are: shake Zheng by one finger, shake Zheng by two fingers, shake Zheng by three fingers, shake Zheng by four fingers, shake Zheng by sweeping, shake Zheng with draw and shake Zheng by both hands. The difference of shaking Zheng by left hand and by right hand in skill and timbre techniques was analyzed based on finger shake development. The forming process was explained. Touch point of nail, touch angle of nail, shake range and rate of wrist and arm and how to control force and breath during playing were studied in my article. Based on these, the settle method for fulcrum problem was concluded ：proping up the gravity of arm ，keeping physical strength ,speed and shake range, keeping the level of elbow. In the end of my study, the potential playing technique of shake Zheng by left hand in traditional and modern area, and how to use it in music expression of Chinese Zheng was showed by using example of “dance music in Shuang Jiang”. Key words ：Guzheng ，shaking Zheng by left hand，shaking Zheng by right hand， technique IV 引 言 引言 选题的意义 古筝论文纷繁复杂，其中不乏技法类的文章。本人在细读众多技法类的论文中， 发现左手摇指技巧更有可探讨之处。而在现代创作筝曲中左手摇指已成较常见的技 术，如缺乏科学方法的指引