Pipa playing skills are quite rich, but the most basic fingerings are nothing more than pressing the strings (for the left hand), playing the pick and wheel (for the right hand). Most other fingerings are derived from these basic fingerings.

It is suggested that when playing the pipa, it is best to practice in front of a mirror. In this way, we can clearly see the posture of our own performance and whether the fingering is wrong, which is easy to correct, which can make us avoid detours, and in the same time, it is more conducive to the improvement of the performance level.

Pressing the strings is the most basic and most important fingering of the left hand. In pressing the strings, it is most likely to appear inaccurate and inaccurate in pressing the strings. Especially for beginners, this is more likely to happen due to weakness in the fingers.

When pressing the strings, the four finger joints of the left hand should be naturally bent in a solitary shape, and should not be in a straight posture. In particular, the three knuckles of the middle finger and the index finger must protrude outwards when pressing the strings, and cannot be pressed flat and concave. When pressing the string, the position where the finger end touches the string should also be strictly required: the pressing contact of the index finger is on the lower side of the middle of the finger end, the middle, name and little fingers are on the upper side of the middle of the finger end, and the thumb pressing contact is on the lower side of the middle right side of the nail. In this way, when pressing the strings, the side will not touch the adjacent strings and make noises.

The preparation for pressing the strings is "finger lift". Finger-lifting is based on the base of the finger joints, the finger is quickly raised to a certain height, and then hits the string with a certain vertical elastic impulse towards the sound point. The position of the finger drop, that is, the point of touching the string, must be accurate. The correct position should be close to the phase and above the fret. If it is far away, the string will not be pressed firmly and the intonation will be difficult to grasp. If you press it directly on the upper or lower end of the phase or product, it will emit a dull and "woody" timbre, which is not a musical sound. The strength (pressing force) used by the left finger when dropping the finger should not be too heavy or too light, nor should the string be pulled to the left or pushed to the right. When the pressing force is too light, the string is not easy to be pressed firmly, and noise will be generated because the string is not in close contact with the phase; The inner "vertical rise", or the string body has left the original vertical string position, the string body has increased a certain degree of tension, and the sound of the &127; string will increase accordingly, and the musical sound will be inaccurate.

The thickness of the four strings of the son, the middle, the old and the winding are not the same, and their tension is also different. The substring is the thinnest and the tension is the least; the winding is the thickest and the tension is the largest. Therefore, the pressing force is different on each string, and the tension from the substring to the winding string should increase accordingly.

In the action of pressing and releasing, attention should be paid to the cooperative relationship between the left and right hands. Generally, the left finger should press the string well before the right hand plays the string; and the left finger can only leave the string immediately before the right hand of the next note. After pressing the strings, you should decide when to leave and release according to the length of the pressed tone. If the length of the pressed tone is longer, the time of pressing the finger on the string must also be longer; otherwise, it will be shorter. Because after pressing the sound, the pressing finger still presses the weak on the fret or the phase advances, there will be residual sound flowing out. If no matter what the length of the uniform tone is, it will be released after pressing, and the pressed tone will become staccato, and it will also bring out a slight empty string tone.

The finger joints of the left hand are required to be very flexible and powerful. When there is no piano, simulation exercises can be done: that is, first fix the left wrist on the table or thigh, and then press down and lift the fingers of the left hand in sequence, and the movements must be slow. Force must be strong. In addition, when changing and jumping, it is easy to produce the phenomenon of inaccurate sound. In ordinary practice, you should do more practice of changing and jumping.

Strictly pressing the strings requires serious training in the aspects of raising and dropping the fingers, the point where the finger touches the string, the point where the string is in phase, and the correct position of the frets. However, the key to getting a good plucking sound quality during the performance is whether the left-hand plucking and the right-hand plucking can be synchronized in time. That is, whether the preparation for pressing the strings of the left hand and the preparation for picking the strings of the right hand can be completed at the same moment. The mutual cooperation of the left and right hands can only play an important role in the condition of synchronizing progress, and the strict and correct pressing of the strings.

In the initial practice of playing and picking, the performance of the skills is often affected by the incorrect hand posture and the wrong joints.