在上一篇文中,我曾借用了俄国钢琴教育家溲高兹的一段论述,说明了声音与音乐的内在联系。现在我还是想用他一句话来作为这篇文章的开始。溲高兹提出‘使声音悦耳动听,就能把音乐大大提高。’我们演奏者的目的就是要将作曲家的音乐曲意尽可能完美地表达出来。这样,我们除了练习或上台演奏时,要理解乐曲的表现意图之外,作为演奏技术的重要环节——发声方法,就成了举足轻重的一项课题了。通过触键击弦,是钢琴弹奏最简单的发声原理,而这一触一击就非常容易产生碰撞的后果,美声法的钢琴弹奏,就是在运动过程中,尽量去抵消发声上的碰撞现象。就要通过手臂、手腕、手指关节甚至全身的协调动 In the previous article, I borrowed a passage from the Russian piano educator Kozs, illustrating the internal connection between sound and music. Now I still want to use his sentence as the beginning of this article.溲 Gats hereby put forward: ’make the sound pleasant, you can greatly enhance the music. ’The purpose of our players is to express the composer’s musical composition as perfectly as possible. In this way, apart from practicing or performing on stage, in order to understand the intent of the performance of music, we have become a pivotal task as an important part of the technique of playing - vocalization. Strike through the touch keys, the piano is playing the simplest sound principle, and this one-touch is very easy to have the consequences of collisions, the acoustics of the piano playing, that is, during the exercise, try to counteract the sound of the collision phenomenon. We must move through the arms, wrists, finger joints and even the whole body to move