The training of basic skills is of great significance and function to the pipa players. The scale training is an important part of the basic skills training content. The Russian pianist Joseph Levin wrote: "For scale learners must be proficient to such an extent that they can intuitively play any part of each scale with the correct fingering, which makes it difficult for many learners to: If you haven't mastered the nine-nine table on scales, you have to try a difficult problem called calculus or trigonometry in music." The nine-nine table of scales is equivalent to a basic technique in instrumental music performance technology. It goes without saying that the training of the pipa scale technique cannot be avoided. The difference is that it requires more coordination and unity of the hands. The proficiency of scale mastery is an important indicator of playing technique.

The traditional music of Pipa is mostly pentatonic, and the tempo is mostly medium or slow. In the process of continuous infiltration and fusion of Eastern and Western cultures, Pipa no longer sticks to its own traditional habits, and has absorbed more of the essence of the European music system. Ability. The modern pipa is set according to the twelve equal temperament, which expands and enriches the performance ability, and also greatly increases the difficulty of teaching and training. In addition to the commonly used pentatonic scales, many kinds of major and minor scale teaching training should be added. , and the speed changes frequently. This shows the importance and foundation of scales, and it is not comprehensive and regrettable without mastering the techniques of scales.

On the multiple phonemes of the pipa (the phoneme and range are different, and different phonemes can produce the same pitch.), it is not very difficult to compose several mode scales. It is a very difficult thing to practice these scales to achieve a skill that does not require the brain to command. Summarizing many years of teaching experience, I would like to share my views on the training of scales:

1. Scales should be familiar with the structure of various scales, find the position of each note on the piano, arrange the fingering reasonably, and remember the phoneme

The tone sequence is the pitch material that constitutes the scale, and practicing the tone sequence is almost the same as practicing the scale. Below, I use the D major scale as an example to illustrate.

Up: from double bass sol to double treble do.

Downstream: from the high-pitched do to the double-bass sol.

2. Finger distance and handle position

Feel and keep finger spacing and grip in mind during training. Part of the sound in the ascending sound column will be explained below.

The first four notes starting from the double bass sol: "sollasido" are in phase. Where "sol" is the fourth string open string, "la" is the first finger, "si" is the second finger, and "do" (bass) is the third finger; the next three notes of the bass "remifa" are in the first position , and also on the four strings, the fingering is the same as the above-mentioned "lasido" three tones, using the first, second, and third fingers (ie, the middle finger, the ring finger), but the finger spacing and the width of the handle are different. "Lasido" is wider than "remifa".

"remifa" (bass), "lasi (bass) do (middle)"; "remifa" (middle) These three groups of tones are all in the first position, but the number of strings is different. "remifa" (bass) is on the fourth string; "lasi (bass) do (alt)" is on the second string; "remifa" (alt) is on the first string. Finger distance is the same.

"remifa" (middle tone); "remifa" (treble) are on the first string and fingering is the same, but the position is different, "remifa" (middle) is in the first position; "remifa" (treble) ; in the third position. Therefore, the sense of finger distance is different. "lasi (double bass) do (bass)" is the widest finger spacing in this line. And "lasi (high-pitched) do (high-pitched)" is the narrowest finger distance in this series. Each group of sounds in the middle has a different sense of finger spacing due to different positions. Feel it carefully every time you practice.

3. The finalization of technical movements such as fingering, number of strings, and positions

Still using the above line as an example. Such as "lasi (double bass) do (bass)"; "remifa" (bass); the fingerings and strings of the two groups are the same.

First of all, after pressing the string with the first finger to play "la (double bass)", when pressing the string with the second finger to play "si", the first finger can be separated from the phase fret, or it can be gently placed in the original position, but Do not shift, i.e. lift your finger vertically, and do not get too far from the product. When playing "do (bass)", the second finger and the first finger require the same one.

Don't change the shape of the hand after playing the group of "lasi (double bass) do (bass)", because the next two groups of sounds "remifa" (bass) and "lasi (double bass) do (bass)" The fingering is the same, and the hand shape is the same as "lasi (double bass) do (bass)", but "remifa" (bass) is in the first position and needs to be changed. Pay attention to the forearm, shoulder and elbow, forearm, wrist and hand of the left arm when changing the handle, and at the same time change from one group of sounds to another group of sounds, and the movement is vertical downward, and the speed should be fast (including the right-hand picking movement, the right-hand and left-hand movements) When touching the strings at the same time, the fingers of the right index finger and the index finger of the right hand move at the same time as the end joint and the arm. When touching the strings, the fingers should be shallow and the speed should be fast. Method for each group of sounds after practice.

The method of playing the descending scale (or series) is the same as that of the ascending scale (or series). When changing the handle, the left arm's forearm, shoulder and elbow, forearm, wrist, and hand are changed from one set of notes to another at the same time, and the movement is vertical upward. .

Fourth, cultivate the ability of "subconscious"

During training, we must pay attention to the feeling that the left and right hands feel the same each time you play (including changing the handle of the left hand; the position and strength of pressing the string; passing the string; the action of the position, angle, and strength of the right hand touching the string), after repeated, many times Practice to acquire the ability to have habitual, controlled technical movements. That is, the gradual transition from "conscious" technical actions to "subconscious" technical actions.