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四、接触点的选择弓子和琴弦的接触点离码子远近,大家都知道,应该根据以下四个原则来选择:1.当时振动的那一段琴弦的长短。长则靠指板,短则靠琴码。如拉夫的《卡伐蒂那》(Cavatina,小歌)开头(见下例第1-3小节),从一把位滑到五把位,接触点应当随之从靠近指板滑到靠近琴码。2.琴弦的粗细。粗则靠指板,细则靠琴码。如莫扎特的第三协奏曲第一乐章再现部靠近华彩乐段之前的地方(见下例第4小节)前面两拍靠指板,后面两拍靠琴码。
Fourth, the choice of contact point Bow and string contact point away from the code, we all know, should be based on the following four principles to choose: 1. The vibration of that period of the length of the string. Long by the fingerboard, short by the piano code. As Ruff’s Cavatina (Chorus) starts (see sections 1-3 below), sliding from one hand to five, the point of contact should then slide from near the fretboard to near the fret code. 2. The thickness of the string. Rough by fingerboard, fine code by Qin code. For example, Mozart’s Third Concerto No. 1 Movement Reproduction Department is near the front of the Huacai section (see section 4 below).