One of the ancient plucked musical instruments in my country, countless cultural treasures have been passed down, saving a strong spiritual force for the long-term prosperity of the Chinese nation. Ruan Xian, once known as "Han Pipa" and one of the "Seven Sages of Bamboo Forest" in Bing Jin Dynasty, is famous for playing Han Pipa. It has become a treasure among the treasures with its rich playing skills, techniques, wide range, and crisp and bright timbre. In the history of Zhongruan's development, Zhongruan performers, composers and production workers of all dynasties have continuously improved it in practice, making its sound rich in gold and stone, sonorous and beautiful; its playing fingering is expressive and rich. Since 1978, Ruan has formed his own series, with more and more rich playing techniques and more and more extensive themes, especially its elegant and atmospheric side, which can resonate and feel more intimate.

1. Left-hand press tones

The left hand generally uses the index finger, middle finger, ring finger and little finger to press the sound. The thumb is sometimes switched from the side of the stem to the strings to play the role of percussion, such as percussion or high tone, but this method is not used much in music. The learning of the left hand goes through five stages: standing, walking, running, jumping, and flying. The origin of pressing sound originates from the shoulder, and it reaches the fingertip through the elbow and wrist, and the force point is the first joint of the fingertip.

The main points of the left-hand pressing action are as follows:

1. Flat fingers are independent and shoulders are relaxed.

2. The joints of the elbow, wrist and fingers are naturally bent into an arch.

3. Human fingers and palms are strongly supported.

4. The base of the finger joint drives the ups and downs of the fingers, and cannot rely on the power of the wrist.

5. The fingers should fall vertically with the strings, press the strings, and do not push the strings.

6. Press the sound position in the upper position of the fret.

7. The finger joints should grasp the strength, and do not deflate the fingers.

8. The fingers stand firm and strong, the landing point is accurate, flexible and relaxed.

2. The left hand piano method

Mr. Liu Xing's method of holding the qin is the tiger's mouth to hold the qin. The advantage of this method of holding the qin is that it can hold the qin steadily and press the sound firmly. The disadvantage is that it is not flexible enough. It is also a key point for changing strings. Some people say that holding the qin with the tiger's mouth is a folk way of holding the qin, not a modernist posture. Zhongruan is a Chinese national musical instrument, and the national musical instrument comes from the folk, and the more folk flavor, the more traditional Chinese. The left hand uses the Hukou Tuoqin fingers to press the strings with the fingertips along the direction of the strings, and the sound is round and full. There is a big difference in sound quality between pressing the strings with the fingertips and pressing the strings with the belly of the fingers, along the strings and against the strings. There are pros and cons to each method of holding the piano. The Hukou Tuoqin can be called the traditional style, which is more natural and easy to use, and the thumb Tuojin can be called the modern style. . If you combine the methods of holding the piano with your left hand, you can play a specific piece of music, such as "stop the sound", "receive the sound of killing"---there are many skills, there is no specific playing method and variation of holding the piano Can I complete a specific solo piece? Now Zhongruan is developing, researching performance techniques, techniques and methods, and is constantly improving.

3. Left-hand Glide

Portamento seems to belong to the "patent" of stringed instruments. For stringed instruments without frets, such as the euphemistic high-pitched singing of the violin and the low-pitched chant of the human violin, it is difficult to imagine what effect it would have without portamento. The instrument is so obvious. Portamento is a key skill that reflects the style and charm of singing. When portamento is processed, the body of the thumb rest moves with the portamento position, and the finger that presses the sound consciously slides up and down on the strings to obtain the sound, which is the effect of portamento. .

The left-hand glissando technique is one of Ruan's important skills in playing, which is a relative, non-jumping movement that facilitates pitch. Ruan's glissando can be divided into two categories: one is push-pull string glissando, and the other is gradation glissando. Push-pull glissando refers to the horizontal sliding of the finger on the string, which must be completed on one fret, while the fret glissando refers to the finger-pressing string sliding up and down on one string, which can be completed on multiple frets. Graded portamento is divided into three types: small slide up and down in grade, big slide up and down in grade, and fast slide up and down in grade. The difference is that the small slide up and down the grade is used for the interval within the third; the big slide up and down is used for the interval outside the third; the fast slide up and down is used for the interval of the second degree.

There are several issues to pay special attention to in the portamento along the grade. The speed of the left and right portamento should be uniform, there should be no pauses during the portamento process, and the fingers should glide at a constant speed until the portamento is completed. The beginning and end of the upper and lower glides should not be too prominent, otherwise it will sound dull and not match the melody. When playing portamento, the right hand precedes the left hand. Play the strings with the right hand first, then do the portamento movement left and right.

Left-hand pronunciation skills play an important role in Ruan music. Its use plays a very important role in beautifying the melody sound, it can make the music more colorful and the music layer more distinct. The left-hand pronunciation skills mainly include: playing, banding, and stringing skills. The techniques of playing and banding are used in the performance of decorative tones, which can make the disguise of the music more colorful: the skills of playing and banding are just followed by the upbeat of the single-playing skills, which can strengthen the beauty of the virtual and real music. When playing and tapering are attractive performance skills combined with other performance skills in large phrases, the beauty of masculinity and the difference between hardness and softness of music are more vividly reflected.

The fingers of the left hand change the strings and press the sound as a lateral movement. Requirements when changing strings:

1. Keep the wrist supported in an arc.

2. The palm of the hand is in the shape of a ball.

3. The fingers are independent and flexible.

4. The wrist is different in each string arc.

5. Press the big finger on the left side of the piano bar, and do not move left and right due to the finger changing the strings and pressing the sound.

6. The tiger's mouth is open to support the fingers.

When changing strings, attention should be paid to the mutual cooperation of wrist strength and finger strength, and the timing of the notes should be deducted so that the transition is natural. For music with dense tone shape, compact rhythm and fast melody, it is usually completed in the form of one note and one string. When changing the strings with the same finger of the left hand continuously, keep the fingertips pressing the strings, and do not deflate the fingers.

Swapping refers to the action of pressing the tone to switch from one eight-position to another. The changing handle is the pillar for the longitudinal movement of the left hand, which is divided into upper changing handle and lower changing handle. The upper switch refers to changing from the treble position to the bass position; the lower switch refers to changing from the bass position to the treble position. It should be noted that: when changing the handle, the big finger goes along the piano bar and the wrist is upward to bring the hand to the lower handle position, and press it accurately on the desired tone. When changing the handle, the big finger slides down along the piano rod and the wrist drives the finger down to the high handle position, and accurately presses on the desired tone.