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高、中师的键盘课程(主要指钢琴、风琴,也包括手风琴),有一个普遍存在的问题:课堂内容几乎全被弹奏技巧、乐曲处理等所占据着,关于指法方面的学习内容尚未得到一席之地。我们常常会见到此类情况:对乐谱上的指法,学生比较缺乏应有的认识能力,对无指法的曲谱,则缺乏一定的制订能力。一些学生在弹奏某著名作品时,本应慎重按原指法(这是对作者风格和特性的体现)去弹,但他们却自觉或不自觉地进行了盲目的指法更动。有时对于(某作品或某片断)无损于作者风格特性,而又不适于自己弹奏的指法,却在盲目地照搬;遇到需自己制订指法的乐谱,一些学生不甚了解如何按指法规律去做,常出现别手的指法和不应有的跳指等问题。
There is a common problem with high and mid-school keyboard courses (mainly piano, organ, and accordion): almost all of the class content is occupied by playing skills, music processing, etc., and the learning content about fingering has not been obtained yet A place. We often see such cases: the fingering of the fingerings, students lack the due recognition of the ability to fingerless, the lack of a certain ability to formulate. While playing some famous works, some students should have carefully scrutinized the original fingering (which is a reflection of the style and characteristics of the authors), but they consciously or unconsciously made a blind fingering move. Sometimes for (a work or a fragment) does not detract from the style characteristics of the author, but not suitable for their own fingering, but blindly copy; encountered need to develop their own fingering score, some students do not know how to fingerprinting go To do, there often appear fingering and fingering and other issues that should not have.