The problem of intonation is a common problem encountered by players of stringed instruments, and the biggest negative phase of the players often comes from this. Pitch as a technical difficulty. When solving this problem, we should first realize that it needs to rely on a scientific method, coupled with persistent practice, can be solved, not just through desperate practice, that is, the problem can be solved.

We often encounter such situations: through a morning of practice, it seems that we have a certain degree of pitch, but in the afternoon or the next day, when we pick up the piano, we find that the pitch is not accurate again; or. Sometimes it is accurate, but sometimes it is not accurate for some unknown reason; or, the song is accurate through practice, but even though it is the same type of song, it is still not accurate. Or always feel uncertain. I think these problems are caused by not finding the right way.

Any technical training is not just the training of simple finger function. Although the training of finger function is also very important, just as athletes need physical training, the key to mastering a skill lies in whether we are good at controlling our body and our hands. This is the ultimate goal of technical training.

So, how to obtain this ability? How to achieve this goal? First of all, it depends on the relaxation of the body and fingers. Because stiff muscles are impossible to "obedient". therefore. Correct posture and reasonable hand shape are very necessary.

In order to facilitate the mastery of intonation, we divide the playing range into many positions, and the control of the distance of these different positions is the first thing to pay attention to. Usually we talk about intonation. I always thought it was a finger problem. It is precisely the accuracy of the handle position of the tiger's mouth that is a necessary prerequisite to ensure that the fingers are relaxed and accurate, because a reasonable tiger's mouth position can greatly help the fingers to find the feeling of relaxation, and the fingers can only be relaxed when they are in a relaxed state. It is more sensitive and accurate to the distance perception of sound. In addition, the adjustment of the finger distance that the fingers can make is limited. It must be in the premise of accurate positioning, in order to play a more effective role. At the same time, paying attention to the accurate position of the tiger's mouth will also make the hand shape more stable. Therefore, the training of the sense of distance is very important.

In addition to the accuracy of the position, the outermost two fingers of the four fingers we use to fret. That is, the sense of distance between the frame of one finger and four fingers is also very important. This four-degree frame has very different distances in different positions, so obtaining an accurate sense of distance for this frame with very different finger distances in different positions is also a very important part of the practice. Then, with this accurate frame, our second and third fingers can be based on and rely on, so that the finger distance is more accurate.

Hearing has always occupied a most important position in solving the problem of intonation, because in order to obtain intonation, you must first be able to hear whether the pitch is accurate, and then it is possible to adjust, if the ear cannot accurately hear whether the pitch is accurate or not. , the intonation is impossible to wither.

Hearing can be divided into subjective and objective. Subjective hearing refers to inner hearing. A player needs to have very good inner hearing, because our hands are only the practice of inner hearing, without the guidance of good inner hearing, we cannot have good practice. And the richer the inner hearing, the richer our practice. in addition. The more sensitive and careful the inner hearing is to distinguish between various rhythms, the more meticulous the fingers may master different rhythms.

Objective intonation hearing refers to the judgment of the accuracy of each tone in the actual performance. The cultivation of this objective hearing is equally important as the cultivation of subjective hearing, because even practice guided by inner hearing often has small deviations, and such deviations need to rely on keen objective hearing as a bridge Send this information to the brain. The brain can quickly make judgments based on this information. Thereby feedback to the finger, in order to make the finger can be adjusted quickly and accurately.

From this, I think. The high degree of cooperation and automation between the various links formed on the basis of the relaxation of the body and fingers, the sensitivity of hearing, the sensitive "information processing" of the brain and the feedback ability of the fingers is the accuracy and grasp of the pitch. important method. Then, the practice under this premise will enable the performer to acquire the ability to control intonation, and this ability has extensive continuity, reliability and stability. The acquisition of this ability will prevent us from having to start all over again just because we changed a piece of music, or after a day. In this way, it will also provide a strong guarantee for the player to obtain a good psychological state of playing.