In the more than ten years of teaching career, the author found that many students feel that the wheel tone is difficult to master, and they often enter such and such misunderstandings in their learning, mainly in the following aspects:

First, the wrists and arms are tense and the body is stiff.

Some students are eager to learn and eager to achieve success. When they see the teacher playing the wheel sound quickly, they think that as long as it is fast, it will be good to hear. When they are in a hurry, they do not care about the teacher's instructions to relax their wrists and cooperate with their fingers, so they use their elbows as fulcrums. , raise your arm and tap it straight down, so that although you can get a momentary speed, the sound of the wheel is uneven, the tone and volume are not uniform, or virtual or noisy, and because of the stiffness of the arm, the body movements are also tense. Be relaxed and feel very tired when you play.

Second, the wrist and fingers do not work well together.

Some students blindly imitate due to the deviation of cognition and understanding, and see the teacher's middle finger, ring finger and little finger shaking quickly when playing the wheel, and mistakenly think that as long as these three fingers cooperate well, they ignore the axis of the wrist. This results in the uneven sound of the wheel and the inability to raise the speed. In addition, some students only noticed the left and right vibrations of the teacher's wrist during the rapid rotation. When their wrists were not flexible and relaxed enough, they simply imitated this movement. If it is too high, the movement appears stiff, or the sound is "floating", or the length of the wheel sound is not enough, etc., resulting in the phenomenon that the intensity and timing of the wheel sound cannot be controlled.

Third, the left and right hands are not balanced, and the left is low and the right is high.

In the round tone performance of the dulcimer, it is strictly required that the height, flexibility and strength of the left and right bamboos should be consistent, so that the knocked round tone can be even and beautiful. However, some students' left hand is far less flexible than the right hand. Usually, they don't pay enough attention to the practice of the left hand, and they do not practice much. Therefore, the phenomenon of "low left and high right" when playing the wheel is caused, that is, the left wrist is lifted when hitting the string. It is low and the right wrist is raised high, so that the wheel sound that pops up is correspondingly "light on the left and heavy on the right", stumbling, and the aesthetic feeling is lost.

Fourth, the hit points are not uniform.

The hit points of the high, middle and bass areas of the dulcimer are slightly different: the correct hit point in the treble area is about 1cm away from the piano yard, the middle area is 1.5cm, and the bass area is about 2cm. Here, the timbre of the dulcimer can basically achieve clear treble, full midrange and strong bass. If the strings are struck too close to the bridge, the sound of the piano will be dry; on the contrary, if it is too far away from the bridge, the treble will be scattered, and the mid-bass will be prone to noise. It can be seen that the sounds produced by different hitting points are different. When some students play, the wrists, arms, and fingers are all in good condition, and they feel harmonious when they play together, but the sound is not harmonious. Why is this? It turns out that the strike points are not at the same point, usually the right hand is on the right and the left hand is on the left, so the sound of the percussion is harsher, which is undoubtedly a good way of expressing the connotation and artistic conception of the music. big obstacle.

Through years of exploration and practice, the author has found several training methods for students who often make mistakes.

1. Flexible wrist training.

Whether the wrist is relaxed and flexible is the basis for playing the wheel tone. If the wrist is tense and stiff, it will be impossible to play the wheel tone, so the author's first step is to solve the tense wrist. The specific method is: first apply to the school for several pairs of iron drumsticks (note: drumsticks made of iron used by jazz drummers for practice), then let the students make several large sandbags by themselves, and use iron drumsticks in the sandbags Alternate back and forth with both hands up and down. Due to the weight of the hammer, students can easily feel the up and down rotation of the wrist. At the beginning of training, each time is five minutes, and the rhythm is usually a quarter note as a beat, and then gradually increases to fifteen minutes to twenty or thirty minutes; in order to keep the practice from being boring, add more rhythms to the rhythm. It has rhythmic patterns such as dotted, syncopated, and triplet. After various trainings, the students' wrists become flexible and durable, and they feel relaxed and comfortable when they return to practice on the piano. And because the hammer is used as a training tool, the movement of the forearm is strengthened under the drive of the wrist, thereby enhancing the arm strength, laying the foundation for the future performance of the magnificent, majestic and enthusiastic round sound passages. .

Second, the training of finger flexibility and finger-wrist coordination.

In the round tone performance, whether the fingers and wrists can cooperate flexibly and harmoniously plays a vital role in increasing the density of the round tone, especially in the round tone passages with delicate, euphemistic and strong singing. Therefore, after the flexibility of the wrist is guaranteed, the author starts to train the students' finger strength. The specific method is: use a big mallet as a training tool. First, use the big finger and the index finger as the fulcrum to hold the mallet about 8-9 cm from the end of the mallet. At the beginning of the exercise, the wrist, big finger, and index finger do not move, and the middle finger, ring finger, and little finger are the main movements, and the mallet is slapped on the table (the effect is better if the drum surface is used for practice), and then Gradually increase the speed and change the rhythm pattern. Secondly, after the flexibility of the middle finger, ring finger and little finger is strengthened, then practice with the wrist. The specific method is from slow to fast, similar to the above. If the wrist or finger is tense in the middle, then start from slow training and then start again. Find a sense of relaxation until your wrists and fingers work together harmoniously. Finally, when you go back to the piano to practice, you will find that the density of the round tone has been strengthened, the focus point and the phoneme can be struck more accurately, and the sound is elastic, full, and mellow. At this time, the teacher can arrange some singing more. Strong small-scale music allows students to practice. In the process, we also pay attention to the cultivation of students' sense of music, try their best to be rich in voice and emotion, and better express the connotation of the song.

3. The highly unified training of Qin and Bamboo.

The sound of "light on the left and heavy on the right" caused by the inconsistency of the height of the piano and bamboo has no doubt that it has a destructive effect on the wheel sound.

In response to the phenomenon of "left low and right high" appearing in individual students, the training method adopted by the author is:

1. Pull a rope between the two sticks, or tie a rope to the brackets on both sides of the student's bed. When tapping, the two arms are relaxed, taking the wrist as the axis, and the piano and bamboo are subject to touching the rope (note the left and right sides). The height of the wrist should be on the same horizontal line, and focus on the feeling of the left wrist, the height of the rope can be adjusted slowly from low to high);

2. Use the left bamboo method for training. The teacher gave a variety of changing rhythms, and these rhythms were practiced from Zuo Zhu, thus enhancing the active awareness of the left wrist and improving the flexibility and strength of the wrist. Then enter the practice of triplets, the purpose is to train the balance of the left and right hands, and avoid the phenomenon of "heavy left and light on the right" when the left hand is overexerted;

3. Two-tone practice. Practice at the interval of fifths in the middle and high-pitched areas, and pay attention to the unity of the height and strength of the two wrists. In terms of strength, the training can be carried out from weak to strong, and the wrist can also be trained from low to high; in terms of rhythm, the transition from simple rhythm patterns to complex rhythm patterns can be adopted, and various exercises can be adopted. In this way, after a period of study, the students' "left low and right high" phenomenon is generally improved, and then enter the practice of wheel tones, the phenomenon of "stumbling and stumbling" will naturally be eliminated, and the ensuing It is a beautiful, pleasant and harmonious sound.

Fourth, the unified training of hitting points.

First, start with the holding 楗, which is the key to the unity of the strike points. Ask the students to make the bamboo heads face each other and place them on the same point (but the palms cannot be everted) to do the movements of "lift - put down - lift - put down", and the bamboo must be on the same point when putting down . Such repeated training forms a fixed pattern. Second, use the "point" training method. The author prepared several sheets of white paper, drew a circle on each piece of white paper, painted a thick layer of color with crayons inside the circle, and asked the students to alternately hit the bamboo on the left and right. It is required not to go beyond the circle. In addition, the color of the holster covered with crayons can be easily displayed on the white paper, so that the students will know whether they are playing correctly. The size of this circle can be determined according to the training level of the students, and it can gradually transition from a large circle to a small circle, and then to a point. Then there is the practice of eyesight. There are more than 150 strings on the surface of the dulcimer, which is less than one square meter. The eyes are almost not to mention the round tone, and even the basic "alternating bamboo" is not easy to hit. Therefore, in addition to letting students often look at the green plants outside the window and take good care of their eyes, the author also often gives students "snapshot" training. The so-called "instant hit", in popular terms, means "hit where you want to hit". The teacher gives a password and asks which point to aim for and the students immediately start to fall. They are required to be fast and accurate. This point can be a certain word on the book, a certain bridge on the piano, a certain point on the wall, etc. These trainings virtually improve the sensitivity and accuracy of students' percussion.