The ancients used vivid verses such as "playing the zheng with great enthusiasm, the new sound is wonderful" and "sitting at the banquet without saying a word, a line of mourning geese thirteen sounds" to describe the fascinating realm achieved by the guzheng art. Its superb artistic charm and strong national characteristics are deeply loved by the people.

During the Han and Wei Dynasties, the art of guzheng achieved great development. Guzheng has become one of the important accompaniment instruments in Xianghe Song. People play the zither and slap their legs, humming "woo woo song", which has become a popular form of people. Many literary craftsmen did not hesitate to write and ink, and left many famous chapters for the zheng. Ruan Yu and Fu Xuan in the Wei and Jin Dynasties all kept "Zheng Fu". This has become an important reference for people to study the history of zheng, its structure, and playing techniques. Ruan Yu's "Zheng Fu" mentioned some initial playing techniques of the guzheng, such as the so-called "Daxing Xiaofu, heavy hair and light follow" hooking techniques and so on. This brief summary still has important enlightening significance for modern zheng players. What I want to talk about here is the strength of playing the piano and the performance of the resulting strength and weakness.

In the process of music, the performance of music is mainly reflected in several aspects, such as weight (change in strength), urgency (adjustment of speed) and timbre contrast. These factors complement each other. For example, under fast playing, the joint movement range is small, the force is light, the force is generally light, and the tone is brisk and neat. If these do not pay attention to changes, or even isolate any one factor, there will inevitably be various problems in the performance of music.

Playing the piano requires finger strength. Strength determines the quality of pronunciation.

If the force is too large, the sound will be too noisy, the beauty of the sound will be reduced, and it will be easily broken; if the force is too small, the sound will be hollow, and the feeling of lightness will not be solid. In fact, for the strength of guzheng playing, in addition to ensuring the strength in the general sense, the most important thing is to pay attention to changes. Here, the intensity is "insufficient, and the sound is lost, and too much, the sound is fragmented". The meaning is very clear. Insufficient strength will lead to a lack of sound, the sound quality will not be strong, and the sound will not have penetrating power; and if the strength is too large, the sound will be too noisy, and even a dull, sluggish, and rigid feeling will appear. Rounded feel. So the intensity should be moderate. Without strength at a general level as a basis, changes in strength will also be affected. Whether or not the change of dynamics determines the presence or absence of musical tension.

The intensity changes are obvious, the music has a strong sense of hierarchy, and the primary and secondary are clear.

Music without obvious dynamics is often dull, vocal, and lacking in life. In addition, the change of the strength also determines the change of the timbre. Therefore, we can't just play the sound when it comes to the strength of the strings. But also to make it have a real beauty and really serve the performance of the music. The three levels of "strings and fingers", "fingers and sounds", and "sounds and meanings" are the realms or states that every piano player hopes to achieve. Among them, "string and finger fit" refers to the fit between the strings and the fingers. "The strings have nature. If you want to go along, you should avoid going against them. If you want to be honest, you should avoid being empty." This sentence means that the strings have certain characteristics. Finger-strumming should be firm and powerful, but not frivolous. The piano player needs to "raise their fingers", which means that they need to train their fingers, including the arrangement of the fingers, touching the strings, speed and strength, etc.; Different timbres, timbres, and sound effects can be obtained under the conditions of different string segments and different string depths. Only by "cultivating the fingers" and "practicing the sound" can people perform "appropriately" (correctly express the connotation of the music and describe the artistic conception) in future performances. So, what does "heavy hair and light follow" refer to? In short, it is the change of weight in playing.

Let's take the common octave hooking technique as an example. The octave hooking exercise is a commonly used fingering combination in the guzheng. When playing, use the octave string position to fix the finger shape of the big and middle fingers, that is, keep a good octave distance. The combination of the hooks should pay attention to the size of the force. In general, heavy hooks correspond to light hooks, heavy hooks correspond to light hooks, and try to avoid using the same force. From the beginning of contact with the guzheng, a relatively high requirement should be established. From the practice music, you should practice the control of the fingers on the strength, so as to lay the foundation for the processing and pinch of the music in the future. Of course, the big finger, the middle finger and the two fingers still need to maintain a certain strength. For example, when we have strength, we can find weakness. If the strength of playing is weak at the beginning, then it is not easy for us to grasp the second weaker strength. To the question of "force",

There are two key issues here. First, where does the force come from, or how to get the "force". Second, how to correctly "use force". First let's look at the first question. The acquisition of force is inseparable from the expansion and contraction of muscles, and the expansion and contraction of muscles depends on the coordination and instructions of the nervous system. That is to say, under the action of the nervous system, the muscles of the human body receive signals and exert force. Or force is generated and transmitted through the natural weight of parts such as a person's arm. So, how to use force? When we play the guzheng, we can't use brute force, we must pay attention to the coordination between the fingers and the instant release of the force. Rather, the style and mood of the music should be considered. Don't be afraid to use force because you are worried that the string will break. The force needs to be transmitted naturally and unimpeded, so that the various parts of the arm cannot be deadlocked or overly restrained. Playing is turning rest into energy. The norm that should be maintained when playing the piano is to be on call, ready to act at any time. The player transfers energy to the strings through the movement of the finger joints. Before and after strumming, the finger joints have a period of rest and recovery. The energy is activated from the static state, and the piano should be prepared in advance to play the piano.