The combination of notes and rhythms can not only produce beautiful tones and melody, but also reflect different and real emotions. Things.” Indeed, the emotion expressed by music is sometimes far better than the expression of language. The fluctuation of speed and the change of rhythm replace our emotions. The heart follows the melody’s stability and stability, excitement and excitement; emotions follow the melody’s sadness and sadness , cheerful and joyful; "Le Ji" combines the relationship between "heart" and "sound" to make an in-depth exposition of the emotions in music, such as "music is, and emotion is immutable"; Also, the immutability of human feelings"; "Fu music is also music, human feelings are inevitable", all emphasize the true feelings of people expressed by music, and have an irresistible appeal to people's hearts.

The pipa, an ancient and traditional musical instrument that appeared in the Qin and Han Dynasties of my country, is a kind of musical instrument that is difficult to get started, complicated in technique but has a beautiful sound like the sound of nature. It also contains a profound background, and it is necessary to try our best to excavate it in order to show its beauty and emotion. 

The pipa performance techniques are rich and complex, and almost every performance technique occupies an important position in the performance and affects the changes of the timbre and emotion of the music. When we have a deep and solid foundation and can master these complicated techniques, our fingers can "fly" on the strings lightly and freely to play beautiful and beautiful string sounds.

When playing pipa works, our left and right hands are just like the things depicted in the works. They can perform various roles at any time. They can be literary or martial, hard or soft, wild or quiet, unrestrained or unrestrained. Subtle, expressing the complex and diverse emotions in the music. Music is an art with flesh, flesh and soul, but whether its life exists or not depends to a large extent on the performer. "Ghost" requires not only a high degree of spiritual concentration and concentration in the performance of qin music, but also a lot of tempering in the performance of artistic techniques. All the skills and techniques of pipa performance play different important roles in the expression of emotions in the performance. The left and right hands can reproduce different styles of stories and ups and downs emotions through the cooperation of these skills and techniques. The magic of the lute of the "King". On the basis of rich performance skills, the performer needs to introduce more emotions. Emotional input requires an in-depth understanding and understanding of the work. According to the content of the work and the style of the author, it is necessary to properly integrate the content of the work. Only by understanding and exploring can the emotions in the music be more real and moving. The combination of performance skills and emotional input is just like what Fu Cong said: "The movement of the hands depends on the skill, the skill depends on the effect, and the effect depends on the artistic conception, feelings and thoughts of the music. There is no clear concept for the music to be played, no If you have a deep experience, you don’t know what you want to show, you don’t know what effect you want to produce, and you don’t know what techniques to use to achieve it.”

If you want to fully reflect the emotions in music works, you need to achieve the artistic conception of the fusion of imagination, association or other aesthetic emotions and external objects and images required by the aesthetic emotional experience of music. "Qin Jue" has a cloud: "The sound and rhythm are all masters", "the system is made according to the event". That is to say, it advocates that the performer's aspirations should be sustenance, not just "warm sound" and "beautiful sentence" in the form of techniques, but also need to achieve the highest realm of "integration of people and music" in performance, and put oneself in the middle In the artistic conception of the music, in the mental state of ecstasy, so as to express the emotions in the music. In music works, the situation blends, the virtual and the real coexist. In the music, the artistic conception is the subtle changes produced by the collision between the emotions and the imagined pictures in the human brain. The reason why good music is touching is not only its beautiful melody, beautiful melody. And the skillful technique is only a material carrier, only a catalyst for artistic conception. In order to achieve the perfect tone in the performance of the pipa, it is necessary to have solid basic skills. "Increasing Qi", making the aesthetic experience of "the poor and orphans" and "running tears" requires the musicians to have a strong sense of music, rich emotions and excellent musical expression.

Mr. Liu Dehai once said: "Pipa, you can't tell the joys and sorrows of the world, and you can't help expressing the joys, sorrows and joys in your heart. This piece of spiritual wood pours your life's efforts into her, and she will become your most loyal friend. Technical skills hone your will. , melodies and tunes shape your sentiments." It is true that each piece contains the composer's own life experience, social practice and emotional experience, and these feelings are expressed on the score, so on the basis of the original creation of the musical work, the second stage of emotional expression is also required. Creation, each piece of music has a different style, and the content and emotion of the story are also different. Only the performers who are delicate and professional and who can "touch people with emotion" can compose and outline the artistic conception in the work with their inner thoughts. Aesthetic mood, expressing its own authenticity and naturalness in the performance, and can integrate its own imagination according to the content of the work and can be supplemented by physical performance that conforms to the intention of the work. into the context of the work. When talking about performance, Fu Cong once said: "To express a piece of work, it is mainly to convey the author's thoughts and feelings. It must be both faithful and vivid... In order to be vivid, one must pay attention to the way of expression, skills and effects. The most important thing is to be truthful, sincere, and natural, without any reluctance or pretentiousness, scratching one's head and making poses is definitely not art, and self-solving lies is not art."

Music performance, in order to move the audience, you must first move yourself. In the performance, not only through the transmission of sound to the audience to express the "emotion" in the work, but also combined with "performance" and other behaviors to allow the audience to appreciate the work to achieve the highest level of harmony between people and music.

In the following, the author will take several famous pipa songs that I have played personally as examples, and talk about how to use the delicate understanding of the music in the performance, supplemented by the application of performance skills, the exploration of the content of the works, and the fantasy and emotional experience of the scene. In order to achieve the so-called supreme state of music aesthetic experience - that is, the unity of people and music. Let's look at the theme part of the second paragraph of "Dance of the Yi Nationality". Since this part is played in the most glorious mid-range of the pipa, and uses the technique of push and pull, it can more vividly depict the feminine figure. Dancing gracefully. At this time, the stretched fingers of the left hand playing the push-pull sound are like the twisting body of a woman when dancing, so that the push-pull sound more deeply reflects the characteristics of the character's movements. The effect, the bouncing of the right big wrist and the large swinging of the arm truly and vividly reflect the dancing posture of swinging and waving in the dance, and also play a soft tone effect. The ingenious coordination of the left and right hands is most evident in the lyrical long-wheel part of the main melody.

Here, a woman's graceful figure, delicate face and light and soft dancing posture are reflected. At this time, it is necessary to use small and delicate processing methods. It needs the left hand to use the wrist-driven glissando to express "femininity". At this time, the left and right hands in the performance are like several soft and strong Yi women. The light and soft dancing poses each other to reflect the delicacy and gentleness of the Yi women. The regular pace danced and shuttled around the trees in the forest. When the performance of the work reflects different emotions, our aesthetic mood should change accordingly. For example, when the soft scene in "Yi Dance" is transformed into the chaotic battlefield scene in "House of Flying Daggers", the transition between the hardness and softness of the fingers can be changed. Turning ten "women" with slender and weak bodies into sturdy soldiers of the battalion in an instant, the prelude to "House of Flying Daggers" uses a powerful "half-wheel" technique, and the five fingers of the right hand are neatly and powerfully moved. The four strings are played in turn and whisked, which reflects the heroic and strong character of the soldiers on the battlefield. The compact music melody shows the tense atmosphere on the battlefield and the uneasy state of mind of the characters. When playing with the right hand, the strong and powerful performance is like the mighty spirit of a general wearing a shirt and wielding a sword when he is speaking to the soldiers who are about to rush to the battlefield.

The right hand is elastic and double-bounced, and the right arm is waving like a soldier playing a drum on the ancient battlefield. The fingers are like two solid drum sticks, and they strike the first and second strings like a drum face quickly and powerfully. .

At this time, the steady and slow playing of the right wheel fingers makes one seem to see an army marching from afar, striding forward; The neat and steady steps swagger; the right-hand "button tone" performance vividly embodies and represents the commander-in-chief of this army, making Liu Bang's majestic and steady victory in the audience's mind.

The speed and density of the ring fingers of the right finger show that the army is approaching and sees another army with a fast but disorderly pace. At this time, the five fingers reduce the strength of the rotation on the strings under the influence of acceleration, which is very realistic. It shows the scene of a group of soldiers hurriedly rushing to the battlefield regardless of their speed and steady pace.

The fingers of the left hand push and pull quickly and repeatedly on the strings and the right hand sweeps up and down, such as the fighting between horse-riding warriors on the battlefield. The regular and free rhythm reflects the running of the horses. The cooperation of the left and right hands is like the fighting of soldiers in war. The long wheel after the strumming aggravates the scenes of swords and swords, people turning their backs, and blood splashing in the war. In order to more realistically reflect the authenticity of the battlefield, when the notes drawn by the left hand move back, the fingers need to increase the chords and play slowly, so as to more realistically reflect the high front in the battlefield. The image of a warhorse with hooves and heads raised and the tragic situation of the melee fighting between the two armies. The four strings in the hand, the strings are different, the four strings are played together, the sound is mournful and sonorous, and the killing sound is tragic, invading the skin, and the effect is wonderful and infinite. The complete devotion in the performance can make the performer feel immersed in the scene, so that the performer's breath is like the breath of the characters in the song, and the ups and downs of the performer's emotions are like the ups and downs of the characters' emotions in the song. The realm of emotion comes from the heart and not only from the hands. Only by playing with the skilled skills in the hands can the true emotions and feelings of the heart be more vividly displayed. When playing "House of Flying Daggers" fully emotionally, the author personally felt the different changes of the body according to the different situations, such as rapid heartbeat, shortness of breath, holding breath and other states.

Each work embodies different emotions. When performing several different works in succession, the performer needs to make a quick emotional transformation. Different emotions are reflected according to different contents, and the real and rich emotions of the performer are reflected. Bring the audience into scene after scene and story. For example, "Spring in the Tianshan Mountains" is a work that embodies the integration of scenery and characters. It was originally a Rewafu solo piece by Usmanjiang and Yu Lichun. It was adapted into a pipa solo piece by Wang Fandi in 1961. The music depicts the beautiful scenery when spring arrives in the Tianshan Mountains and the happy and lively scene of the Uyghur people playing tambourines, singing and dancing at the foot of the Tianshan Mountains. In the process of playing the music, the performer can enlarge the space for free imagination, and try his best to integrate the scene of natural scenery and the color of the character's mood into his performance, so as to associate the natural scenery with the visual picture. To reflect the free performance of the work in a regular rhythm, based on the fantasy of the scene and the insight into the characteristics of the melody, on the basis of retaining the style and respecting the work, the work is presented to the audience with the characteristics of personal emotions and the style of performance. As Joseph Holman said: "Whatever is expressed to the audience, whether literary or musical language, must be a free and personal expression which can only be governed by general or aesthetic laws. If you want to express art, you have to be free, and to have vitality, you have to have personality.”

At the beginning of the piece, the technique of double-playing was used, and the light and heavy sound effects presented the mysterious color before seeing the Tianshan scenery. Accompanied by the quiet and peaceful rhythm pattern, the ring finger's shaking part gradually entered the theme. Expand your imagination. Taking steady steps, with curiosity and excitement, I gradually approached the Tianshan Mountains. The ring finger's swinging finger played softly, making the music shrouded in a hazy color. On the way to the top of the mountain in the morning, I felt a little silky. Silky coolness, with the progress of the pace, looking for the shadow of Tianshan in a layer of fog, as the melody changes from weak to stronger, you can gradually see the outline of Tianshan in the fog, until the long wheel part. From the beginning of the stroke technique, there is a strong performance, and the beautiful scenery of the Tianshan Mountains is clearly presented from the scattered fog. At this time, the mood is also open, and the tone is stretched and broad, and it is full of strong singing. , and has the characteristics of strong Uyghur folk tones.

The cheerful and jumping melody and rhythm of the second allegro immediately reminded the performers of the scene of Uyghur men and women happily beating tambourines, playing Dongbula and dancing cheerfully at the foot of the Tianshan Mountains. The technique of continuous "pointing" with the right hand vividly reflects the dynamic of the characters. The continuous playing with the index finger of the right hand is like the scene of the girls in beautiful Uyghur costumes dancing cheerfully with their toes and twisting their necks. The fingers of the left hand are The strong rhythm is replaced with different notes, just like Uyghur men playing tambourines to accompany the dancing girls. Under the rich association of the performers, the inner activities are expressed, and the works are combined with themselves to achieve the highest realm of "unity of people and music", and then this high realm and emotional works are delivered to the audience and communicated with them. Resonate, communicate with the audience's aesthetic emotions, and get more inspiration. As Fu Cong said: "Because of the masses, the intangible exchange of feelings warms my heart; also because in front of the masses, all the essence of the works must be discovered, otherwise I will be sorry for the masses and the artworks, so I I'm particularly focused on stage. I personally feel that the recorded records are not as emotional as the ones I play on stage, although the skills are more complete."

A successful performance is to make every audience moved, from the scene that embodies the characters to the scenery of Tianshan with the changing melody, the lyrical melody once again depicts the beautiful scenery of Tianshan, and the Tianshan presented under the sunlight. Even more attractive, the snow and frost on the high mountain seems to have covered this majestic and towering peak with a layer of snow-white silver that can never be taken off. Joyful state of mind. The whole work is constantly changing by Jing Zhiren, and finally ends the music with a sonorous and powerful strumming. In the space of free reverie, we can experience the feeling of tourists ending their Tianshan tour with excitement at the end. In the performance of different works, it is necessary to have mixed modalities and complex moods, and strive to express complex psychological activities according to the different emotions in the works. When Liszt analyzed the artistic characteristics of music expressing emotion, he pointed out: "The feeling of the mind is often caused by many different stimuli, and these stimuli are sometimes similar to each other, and sometimes they are opposite to each other. Causing a mixed state."

The skillful use of skills in performance can make the work more vivid and real. As Joseph Holman mentioned: "We measure the value of an artist not by his skills, but by how to use skills." The embodiment of emotional investment you can bring yourself and the audience into a "virtual" and "real" situation. Youdao is a "thing" in your heart, and "Si Xian" is a feeling.