The pros and cons of the quick-playing technique in performance determines the player's ability to control and grasp the priority of the playing-playing technique, and the quick-playing technique often directly affects the musical expressiveness and stage effect of the pipa performance. Many important fast and passionate passages are usually accomplished by quick picking techniques. Therefore, the pipa quick picking technique is not only the most important technique in pipa performance, but also one of the most difficult to master in pipa performance.

So. How can performers master and improve the skills and ability to quickly play the pipa? Practice has proved that to achieve such a goal, there is no shortcut for pipa learners, let alone help them grow by taking a detour. It is necessary to master the correct training methods under the guidance of professional teachers. After long-term and step-by-step hard practice, the pipa's quick picking skills can be handy and easy to use.

The author believes that in order to master the skills of pipa fast picking, it is necessary to overcome the following five difficulties for pipa learners and teachers to discuss together.

1, hand type off. According to the author's years of pipa teaching practice, the correct hand shape plays a decisive role in the quality of pipa performance. Generally speaking, if you have the right hand shape, you are halfway through learning the pipa. So how should the correct hand shape be mastered? The left and right hands should be in the shape of a half-clenched fist, the palms should be empty, and the angle of the back of the right hand should form a plane with the pipa panel. The middle and small joints of both hands are curved. The big and index fingers of the right hand should be bent into a semicircle, and the tips of the two fingers should be pinched together like a soybean in the middle. Why do you want to use longan fingering? Because the distance between the two finger tips is short, the movement stroke is small, the picking action is fast, and the transition time is short, which can form favorable conditions for fast picking, and the right arm is kept in a stable state of tension and relaxation. In this way, as long as the big finger and the index finger move actively and work closely together, the speed of picking will be naturally accelerated. Why can’t we use corn and phoenix fingering for fast picking? Because the distance between the big finger and the index finger of these two fingerings is wide, the movement stroke is large, and the transition of the picking action is slow, which obviously affects the speed of fast picking. Quality and speed, so it is not suitable for the technical needs of fast picking.

2. Power off. The so-called strength, from a mechanical point of view, is the gravity used to attack the opponent. Objectively speaking, human fingers are in the nerve endings formed by the human body, which determines the powerlessness of the tips of the two fingers. In addition, the pipa is played in the direction of rebound, instead of grasping the strings inwards, but playing the strings outwards, so the strength of the fingers even more weak. Therefore, the fingers are weak, and the speed is impossible to talk about. So how to enhance the potential strength of the two fingers? The author believes that generally starting from slow-paced music practice. Because of slowing down and practicing picking, the fingers have sufficient time to prepare, the hands are full of strength, the relaxation of the fingers and the transformation of tension are organically coordinated, the strength of the fingertips can be effectively charged, and the potential and vitality of the two fingers can be fundamentally Get exercise and improve. The second is to insist on regular practice. As the saying goes, practice the piano and practice the piano. As the name suggests, qin is learned by practice, not by clever tricks. Experience shows that the teacher's guidance only accounts for 30% of the success rate of learning the art of pipa performance, while the diligent study and hard practice of one's own account for 70% of the success rate. The great scientist Marie Curie said with deep feelings: On the road to fame, blood is not what sheds sweat; Peking Opera master Mei Lanfang said it well: success lies in repetition. Therefore, learning to play the pipa quickly is more inseparable from hard work and repetition. Generally speaking, students in the primary stage should practice piano for no less than 2 hours a day, students in the intermediate stage should practice piano for 3 hours a day, and students in the advanced stage should practice piano for no less than 4 hours a day. As long as you persevere under the guidance of the teacher, make unremitting efforts, listen diligently, watch diligently, think diligently, practice diligently, and sacrifice sweat and effort, the strength and speed of playing will increase day by day. The third is to make good use of the dialectical relationship between speed and strength. Speed and strength are two inseparable unity, without strength there is no speed. This is because the length of time the fingernails stay on the strings is determined. The longer the stay, the smaller the impact force and the slower the speed; the shorter the time the fingernails stay on the strings, the greater the impact force and the faster the speed. quick. The actual operation mode of exertion and relaxation during our performance is: the alternating process of exertion-relaxation-re-strength-re-relaxation. However, exertion and relaxation are relative. Only stress relaxation, the fingers will be loose and weak; only strong force, the fingers will be stiff and tense. Therefore, the fingers must hit the strings hard at the moment they touch the strings to generate continuous explosive force, so as to concentrate the potential strength and speed of the fingers. Therefore, it is impossible to produce strong and fast picking quality and effect without fingers with due strength.

3. Pass the string. Over-stringing is a difficult technical performance problem. It is a challenge to the ability of the left and right hands to change the number of strings. The standard is that picking multiple strings with the right hand is as fast as picking a single string. So how to solve this problem? I think the first is that the right hand should keep the normal shape of the dragon's eye, form a preparatory action to control the four strings, and create sufficient alternate transition conditions for quickly passing the strings and picking. The second is to distinguish the relationship between forward and reverse transitions. The so-called forward conversion is the running arrangement from the first chord to the fourth line; the reverse conversion is the running arrangement from the fourth chord to the first chord; there is also a cross-chord cyclic conversion, that is, the horizontal jump from the first chord to the third chord , or jumping from the fourth string to the second string, etc. Therefore, switching fingerings across the strings is a difficult skill to cross strings, and requires the rapid response and adaptability of brain conductors. The third is the extension and contraction of fingers and arms. What I'm emphasizing is that the movement of the strum and pick-up board should be adapted to the needs of fast stringing. However, in general fast over-string playing, the string is played first and the string is picked at the back. Whether it is forward string, reverse string or cross string, this rule must be followed. The string picking board is only suitable for individual tone. Fourth, the movement of the left finger should have a strong independence. In particular, the third finger (ring finger) and the little finger should have enough support when pressing the strings. The upper and lower pressing fingers of changing fingers should be alternated organically. In the same position, the lower sound pressing finger should be actively pressed on the next phoneme before the upper sound pressing finger is lifted, and the lower sound pressing finger should not be pressed on the upper sound. Lift your finger before pressing it, otherwise the time and speed of pressing will be delayed. Fifth, the nails should not eat too deep. The standard depth of the nails accounts for one-half of the nails. If the nails are deep, the resistance of picking will increase, and the resistance will inevitably slow down the speed of picking. Sixth, the tape binding of the index finger and nails should be scientific. When wrapping the nails, the first loop of tape should press the edge of the back end of the nail under the bottom, so that the tape and the edge of the nail form a plane, so as to prevent the string scraping failure during performance and affect the rhythm and quality of fast picking.

4. Change the gate. The changing of the handle is determined by the arrangement of the pipa's sound position according to the twelve equal temperament settings, and it is also a connecting action with a large change in the performance of the pipa. The fingering change is the movement of the left finger, wrist and arm vertically changing between the phase position and the four frets, and its range is generally as wide as that of a cello. It is a lever-changing technique completed by the coordination of the left and right hands. How to master the method of changing the handle? First, the left arm should be agile and quick, neat, and retractable, regardless of whether it is an upward or downward change. The wrist should be lifted up when going up to change the handle, and the wrist should be dented when going down, which adds to the inertia of the changing handle. The second is that the left finger should be moved quickly and the positioning should be accurate. It is necessary to learn and use fingerings such as flexible handle positions, shifts instead of handlebars, jumps and contractions and alternative stretches. Third, the finger sequence design should be scientific and orderly, give full play to the fingering methods such as reserved fingers, flat fingers, interdigitated fingers, and retractable fingers, and try to reduce repeated finger movements and time. The arm movement should adapt to the needs of changing the handle up and down, and pay attention to speed up the speed of the up and down. The fourth is to practice the basic skills of jumping and jumping, and the left finger should be competent to connect the last note of the upper position and the first note of the lower position. To have the ability to master the sound order and the quick response of the brain. Take D as an example: the first note of jumping from the phase position to the third position is 3, then press the note with the third finger of the left hand; if it jumps from the phase position to the fourth position The first note is 5, then press the note with the first finger of the left hand, and so on. It is advisable to change the ability to press the sound to the level of proficiency without thinking and seeing.

5. Endurance level. The size of endurance is the key factor to be able to play the pipa quickly. This is because some pipa solos and etudes are relatively long, especially when playing those fast-paced and long-paragraph music segments, it is difficult to adapt to the lack of sufficient stamina and potential ability of two fingers. Therefore, having lasting tenacity and stamina is the foundation of being able to play the pipa. How to enhance lasting endurance? One is to subconsciously exercise the potential ability of two fingers to bounce quickly. In practicing the Etude of the Pipa, we must adhere to the principle of slowing down first and then fast. Only by slowing down can the piano practice technique be fundamentally enhanced and improved, and the strength of the fingers can be consolidated and developed. When the wrist feels sore and weak in the practice music, don't stop at this time, keep the strength, and keep playing until the soreness disappears. You can rest for five minutes before continuing to practice, which is conducive to exercising and accumulating fingers. Potential. The second is to insist on the preparation of hand exercises before practicing the piano. That is, raise both hands to face height, straighten your fingers—make a fist, then straighten—make a fist again, exercise 100 times in a row, and then start practicing the piano to promote the flexibility of both hands. The third is to earnestly practice the pipa etudes of the fast picking and picking class at about 130 beats per minute. Such as scale etudes, over-string etudes, changing handles and jumping handles, chromatic intensive studies, finger shifting and changing handle etc. It is necessary to focus on practicing excellent pipa exercises such as "Little Finger Exercise", "Concert Etude", "Endless Movement Etude", "Syllable Arpeggio Exercise", "Wandering Song", "Smooth Exercise", "Jumping Exercise" and other excellent pipa exercises (The above etudes can be found in the Pipa etudes compiled by Ye Xuran). The time to play the etude should account for 50% of the daily practice content. It is necessary to jump out of the misunderstanding that practicing Pipa Solo can replace the efficacy of Pipa Etude. It is difficult to improve the inner ability of fast playing and picking only by playing Solo. Therefore, it is necessary to repeatedly practice these difficult and fast Pipa etudes until the tip of the left finger grinds calluses, deep grooves are formed on the Pipa, and the right finger produces a greater sense of resistance and resistance when quickly picking it up. Until the sense of rebound is reached, this can be regarded as truly achieving the goal and ability of the pipa's fast picking technique.