小提琴的弓法問題

2007-03-01 8:13 am
有什麼方法可以練好上弓和下弓的連弓頓音(staccato)

回答 (2)

2007-03-02 2:25 pm
✔ 最佳答案
In order to practise and master the up-bow and down bow 'flying staccato' (it doesn't always means fast, just that the notes are played with one bow stroke), one would need to start slow and really think about the bow divisions.
For example, if you want to play 4 up-bow staccatos, then in theory, each note would take 1/4 of the bow. BUT because this is staccato, which only works in the MIDDLE of the bow, then you'll need to divide up the MIDDLE of the bow into 1/4 for each note. Start slow and the speed up gradually when practising. The same can be applied to practising the down bow flying staccatos.
Another thing to keep in mind is that the flying staccato actually starts off with the first note (the heaviest note) and the notes after that will follow due to the force and the momentum generated by the first note. AND of course, you'd also need to remember how to start a staccato - that press down of the bow onto the string and quick release of the bow. So combine the lot you'll have a flying staccato.
Sounds easy but you're right, it's quite a difficult technique to master. I personally found up-bow flying a lot easier than down bow flying (due to gravity and thus, the bow feels heavier, harder to control).
Oh and you need to relaxe your right arm in order to do the staccatos, otherwise it won't work.
I'd still recommand the website www.violinnasterclass.com - a page containing lots of video clips on different techniques for both beginners and advanced students. Check out the guy who really flys his staccatos - oh my god...!
Good luck - hope I made sense up there..
參考: Me
2007-03-04 4:52 pm
人琴自然合一

弓子在弦上的滑動,就像滑冰一樣。不僅體現著身體的韌性和靈活性,而且還是情緒、毅力、意志在「冰面」上滑動。或平緩前行,或急劇旋轉,或作連續的跳躍。小提琴家就是一個冰上舞蹈家。
拉琴還如同練書法,都需要一種靜心運氣的東西。同時這種練習又培養了人內功。
拉琴也如祈禱。必須摒棄一切雜念、顧慮、擔憂和牽掛,必須忘掉自己,把自己全部交給神,真正實現神交的狀態。每天的拉琴時間彷彿是一天的定音鼓,是起步的基點,是生命的主導。拉琴可以代替讀聖經,甚至其他藝術欣賞。
我總覺得人的身體裡有一種東西,需要拉琴這樣的訓練,以使人不急不躁,不木不呆,逐漸形成一種平靜的、健康的、合目的性和規律性的內核。這個內核決定了一個人的秉性、氣質和外表。
我還想到人類歷史的發展,也如一個練琴者,由不諳熟樂器的特性,到技巧的增多,以致掌握規律,從而達到游刃有餘的程度。還有歷史哲學中「在改造客觀環境的同時改造主觀世界」的思想和拉琴的過程也是一樣的。「人化自然」——人到琴的回歸;「自然的人化」——琴到人的提升。二者循環往復的交互作用,逐漸達到天人合一的境界。
參考: piano_proshops


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