大提琴拇指把位的应用范畴

• 作 者: 莫里斯·艾森伯格 潘思维
• 机 构: 昆明市翠微南路云南省图书馆 美
• 出 处: 音乐探索.四川音乐学院学报
• 发表日期: 1990年01期
• 关键词: 拇指把位 大提琴家 琴颈 换把 《前奏曲》 应用范畴 半音音阶 琶音 圣一桑 律音

一、拇指把位的基本概念 在低把位,琴颈被视为一个可依靠的支柱,而当拇指放松成半圆形移动,绕过琴颈跨上琴弦位置时,就好像一个探险者向无路的地区进发一样。因此必须克服心理上的恐惧感,使拇指像其它手指一样,一旦获得了解和掌握,演奏者将乐于在拇指把位进行演奏,不久即发现得到了一个全新的乐器想像范围。拇指必须在实际演奏之前作半圆形移动,准备在弦上占领它的位置,拇指触弦的正确位置是用拇指的外侧边,放置在两

First, the basic concept of the thumb to bit in the low position, the neck is considered a dependable pillar, and when the thumb to relax into a semicircular movement, bypassing the neck across the string position, like a explorer Proceed to the area without roads. Therefore, psychological fear must be overcome to make the thumb, like other fingers, once understood and mastered, the performer will be willing to perform his position in the thumb and will soon find a whole new range of musical instruments imagined. The thumb must be semi-circularly moved before it is actually played, ready to occupy its position on the chord. The correct position of the thumb’s chord is with the outer side of the thumb placed in two