Guzheng no matter what kind of music, with scratching, it will always add a more magnificent and spectacular feeling. But it seems that the simplest fingering, but there are always people who can't play it well. Today, I will focus on you!

1. The scratching is not smooth, and the sound is always dull

If you want to play well, you must master the strength, speed and angle of the string.

Fluency is the characteristic of scratching, but in practice, it is often difficult to achieve this. When playing, "wrist always in front of the fingers", use the wrist to drive the fingers, and "pull" more and less "push". People are rigid, how can the sound of the piano be smart? The arms don't move up and down with the rhythm of the scraping, and the elbows are open. The depth of the touch of the right armour should be strictly controlled. Too deep touch is the first enemy of smooth scratching.

Guzheng scratching skills:

• The facet joints should stand up slightly, the hand should not be too slumped, and the tip of the nail should be used to touch the string, not the surface of the nail. At the same time, the fingers need a certain degree of control, and the fingers are required to have independent consciousness, and they cannot be scratched at will;
• When scratching, the wrist should be relaxed, and the arm and wrist should cooperate to drive the playing. The tone should be uniform and smooth, and the connection between the upper and lower lines should be coherent and free, and there should be no feeling of interruption;
• In the actual performance, the body can be slightly tilted forward and backward in line with the upward and downward movements of the scratching, giving a sense of rhythm.

2. Pay attention to the integration of scratch and tonic

Scratch and tonic do not merge, such problems mainly occur in connective scratches and decorative scratches. These two kinds of scratches have very high requirements for the degree of harmony between the scratches and the tonic. In practical application, performers often suffer from the inability to fully integrate the two, and the ways of connecting scratches and tonics can be roughly divided into four categories:

01. Connect the scratch with the big finger (support).

When the scratch is connected to the big finger, the length of the playing should be controlled within 4 to 5 tones, and the frequency of the string should be reasonably arranged according to the set value. On (the support 1 must be scraped to 2, and the support 6 must be stopped at 1), and must not be too far or too far.

02. Scrape and connect with the index finger (wipe).

The requirements here are roughly the same as those of the support. It should be noted that the length and frequency should be arranged reasonably and must be scraped to the previous note of the erasure (erasing 1 to 6, erasing 6 to 5).

03. The scratching is connected with the middle finger (tick).

In the actual performance, we should have such experience. Generally, the last note of scratching and hooking finger is mostly completed with the support (big finger). Therefore, when connecting, it should be noted that scratching must be after the hook is turned up an octave. The upper end of a sound (the hook 1 should be scraped to the 2-stop, and the hook 6 should be scraped to the 1-stop), not too far, so as to make the continuous fingering of the scratching and hooking closely connected.

04. The scraping is connected with the big (small) pinch.

In this case, the scratch must stop on the note after the great finger in the chorus, not on the middle finger (it needs to stop on 2, on 6). Clear the beginning and end of the scratching, arrange the frequency reasonably and practice more, and the scratching and the tonic will gradually become harmonious.

After completing the above points, and with more practice, when you play scratch, you will reap the effect of 1+1 greater than 2, and you can also grasp the artistic conception and emotion of the song.