If "heavy hair and light follow" refers to a brief summary of the control and change of the intensity when playing the piano, then "playing and following" can be regarded as an important means or the only way to pursue the change of musical tone. The timbre of the zheng music is closely related to the material and wood of the instrument itself, the manufacturing process, and the individual literacy and skill of the performer. In addition to the strength of the right hand, the method of touching the strings, etc., the personal quality and skills of the performer also include the left hand. When playing the guzheng, it is very important to press the strings with the left hand. While the right hand is playing the strings, the left hand must press, tremble, knead, and slide on the left side of the zhengma to control the performance, color and rhythm of the music, and its length.

In the traditional sense of guzheng, the division of labor between left and right hands is quite clear. Generally speaking, the right hand is used to play the bomb, and the left hand is used to press. In layman's terms, the right palm manages the playing of the effective string length, and the left palm manages various string pressing techniques. In traditional zheng music, the requirements for rhyme with the left hand are very particular. The left hand has always been hailed as the soul of guzheng music by zhengists. The left hand is more difficult to grasp than the right hand. The finger movements, techniques, etc. of the right hand can be seen, and can be discovered by the eyes, while the left hand cannot be seen by the eyes, and it must be judged by the ears. With the various pressing techniques of the left hand on the left string of the Zhengma, the eyes do nothing but find that string. You can't use your eyes to judge the specific depth of the left hand's fingers, but use your ear to recognize sounds to control the left hand.

To a certain extent, the characteristic of left-hand rhyme is one of the important starting points to distinguish various guzheng genres. For example, 4 and 7 are the same as the two sounds of change, and in Chaozhou, Hakka, Shaanxi, Henan and other factions, the spelling and rhyme skills are different, which are closely related to the local cultural background and language. In Chaozhou, the left hand mainly presses the strings played by the big finger of the right hand, and sometimes the vibration of the strings played by the index finger is also taken into account, so as to beautify the melody and obtain the functions of "one tone counts rhymes" and "rhyme complements the sound". . This is called "flick tailing". However, "flick and tail" can also be understood from a more nuanced perspective.

The "press" in "playing and following" not only refers to the two types of sound-pressing and fixed-pressing in guzheng performance, but a generalized term. It covers a series of string pressing techniques that control the musical expression, style and characteristics of the music, such as vibrato, rubbing, portamento, and point. Also known as kneading technique. Here, the author considers that the middle-slip, trembling, pressing, etc. of the music score are more complicated in one system, so I only use "shudder" to talk about "flicking and pressing trailing" as the author understands.

Literally speaking, the left hand should follow the strings to be played by the right hand, and certain rhyme skills should be applied to enhance the musical performance and beautify the melody. The trailing of the left hand leads to the distinctive features of "one tone counts rhymes" and "rhymes complement".

The author believes that the "flick and tail" should be reflected in the following aspects:

(1) In time. Consider the word "trailing" again. Before playing with the right hand, the left hand should not be able to shoot quickly, and should wait for the sound of the string to be played with the right hand, and then apply a certain amount of pressure. Generally speaking, the left-hand vibrato is added to the strings played by the index finger and the index finger. The left hand must follow. The author regards the rhyme made by the left hand as a bridge between the two sounds. Pay attention to the timing of the rhythm, and it cannot end early or too late. If the left hand ends early, it will easily lead to the space between the two notes, resulting in a clear separation between the two notes; while the left hand is delayed, it often produces a lot of useless work, for example, the right hand has finished playing the last note, and the vibrato of the previous note still remains. It's not over, it's still going on. These also tend to cause incoordination between the hands. Then our "four points" is also called "Guo Tuo Mo Tuo", both supporting fingers should be added with tremolo skills. After the first finger is played, the left hand should stop on the string to rhyme. It cannot end prematurely. It must wait until the finger is played, and then lift it up or leave the string. In other words, it is the wipe of the index finger and the stop of the hand. This repeated practice, in order to find the feeling of cooperation between the left and right hands.

(2) On the strength. In the author's opinion, it is not the coordination, the coincidence or the response in time, that is "flick and follow". In addition to the corresponding time, the use of strength should also be coordinated. For example, if we play a note with low velocity, there is no need to exert too much force on the trailing vibrato of the left hand, otherwise it will be a big deal. Of course, if there is a clear mark above the note, for example, a note above is a tremolo symbol, then we can't force it at will. For example, the wandering technique in Henan zheng music. The strength of the left-hand trembling technique should be changed according to the change of the strength of the right hand, instead of flicking with the right hand. Unless the note is clearly marked above the note in the sheet music. The force between the left and right hands should pay attention to balance and coordination between the hands.

All zheng players should regard the left hand as the soul of zheng music, and pay attention to the cultivation of the left hand.

So how can we do "flick and follow"? There is a coordination problem that needs to be solved here. The author believes that the coordination in guzheng performance mainly includes the following aspects: 1. The coordination between the left hand and the right hand; 2. The coordination between the fingers of the right hand when playing strings. In playing, the division of labor between the right hand and the left hand is relatively clear, and the left and right hands are independent, but this independence is based on coordination. It can be said that the left and right hands are opposite and unified. The coordination between the left and right hands is divided into two types. One is the "flicking and tailing" in the traditional sense. Come here to accompany the right hand and play the coordination when playing polyphony.

A tense sitting posture is an important reason that affects the coordination between the left and right hands. The tension in the left arm and the right arm has already made the hands busy enough, and it is impossible to achieve the free coordination between the hands, and to "flick and follow" lightly and freely. Because the tension must be resolved first.

Some piano players feel that the requirement to relax is not a problem, that is, when the speed is reached, the left hand cannot keep up, or is at a loss. This is a speed problem we have to solve. If we want the music we play to be rhythmic everywhere, we need a slow-to-fast training. Just like when I was playing the piano, my right hand was always slow and slowed down. In the process of slow playing, remember the movement trajectory of the right hand at a certain time, or feel the state of the right hand swinging in the strumming clock, and then slowly increase the speed. , and finally groped for a quick trick. Slow training is also an important method for the coordination and cooperation of the left and right hands. Without slow accumulation and exploration, there will be no fast birth.

The coordination of the left and right hands also needs to overcome psychological obstacles. People who play the piano usually start by imitating others. This kind of respect for famous artists and their performances, as well as the mentality of not daring to step forward, makes the treatment of the music tend to be similar, but lacks a lot of innovation or individuality. The other is that the spectrum is too restrained or limited. For example, when you play vibrato, you can only play when you see the "﹏" symbol above the note, and you can't play it without this symbol. In fact, this is a misunderstanding in music processing. Be aware that not every note is noted in the score, and even subtle vibrato are omitted. Otherwise, the score will appear too cumbersome or long-winded, and it will also give players more room for innovation or personal style.