The most basic fingering of the pipa is nothing more than pressing the strings, picking the pick and the wheel. Most of the other fingerings are evolved from these basic fingerings. The development of basic skills requires not only the professional guidance of teachers, but also the perseverance of students outside of class. Keep practicing, let's talk about some playing skills and techniques that need to be practiced and mastered in the beginner stage of pipa and their key points.

1. Bounce: The fingering method that beginners first come into contact with is "bounce and pick". In order for students to practice "bounce and pick" well at the introductory stage, teachers should use correct methods to make students form a good "habit". The most common mistakes in the first practice of picking up are: the forearm moves downwards when popping out, and moves upwards when picking up the forearm. The movement of the forearm is like chopping vegetables, which is ugly and difficult to play. Derivative fingerings to pick will have interlocking reactions, with endless troubles.

So pay attention to the hand posture: the back of the wrist is slightly protruding, the back of the hand and the panel are oblique, that is, the wrist joint on the side of the little finger is slightly lifted outwards and forward; the nail tips of the thumb and index finger should be generally aligned; do not Put the index finger on the bottom to play the bottom left, the thumb on the top to pick the top right, and pinch the ends of the thumb and forefinger into a "phoenix eye", because when playing the pick with the phoenix eye, it is easy to make the thumb and forefinger move. The fingernail end touches the same point on the string body, and the sound volume and timbre are easy to be consistent. In the initial practice, do not use the forearm and wrist to exercise, only rely on the knuckles of the thumb and forefinger to move, so when picking, you must first practice the knuckles of the thumb and forefinger.

2. Swipe: When using the technique of "Flick", start with double picks, then turn into three strings and then four strings. When you reach four strings, your right hand must reach a certain strength and speed, and when you blow back, Just like the "iron needle piercing the hand", the hand is naturally retracted, and the sound will be neat, strong and powerful. It should be noted that when practicing and using this technique, do not send the right forearm forward, which will cause the sweeping to be uneven and lose the strong sound effect of the sweeping technique.

3. Wheel fingering: It is one of the most difficult fingerings to practice in pipa, and it is also a characteristic technique of pipa. It is often difficult for beginners to achieve the average strength and speed of 5 fingers. During the exercise, the palm is kept loose. After each finger pops out, it should point to the left panel. The first two joints of the fingers are straightened. When the ring finger and the little finger are bounced, the fingers should not be stretched out, but should be retracted. It is made into a "fan shape", which seems to be supported by a stick-shaped object in the palm of the hand, showing an umbrella-like shape. The sound of playing is clean and powerful, and it can better reflect the granularity of "big beads and small beads falling on a jade plate" and the timbre of beads that are round and jade-like.

4. Finger shaking: Press one-third of the forearm on the rounded corner on the lower right side of the piano for support and fixation. Stand up with the wrist, the right hand sags naturally, the right shoulder is adjusted slightly outward, and the index finger is slightly inclined. Push up hard, rely on the flexible rotation of the wrist to generate speed, and the focus is also on the fingers. When practicing, start with the index finger and proceed slowly, and then accelerate the practice after the playing of the lower and upper fingers reaches a certain strength, and each finger should be practiced.

5. Rolling: that is to play quickly, first of all, the wrist should not be flat, it should stand up slightly, and the turning action should not be too large; secondly, the fingers need to "stand" to play, the area of the fingernail touching the string should not be too large, and the nail tip should touch string. The speed and strength are in the fingers, not the wrist, so the wrist needs to be relaxed and the fingers feel friction, so that the sound of playing has both strength and speed.