我国大多数音乐作品,特别是民族声乐作品十分讲究“气”“韵”的使用,“气”和“韵”是两个独立存在的个体,它们相互依存、相互渗透,在相互融合中达到了“气贯韵足”的境界。笔者通过多年声乐钢琴伴奏教学与实践经验的积累,从伴奏技巧方面——呼吸、音色、装饰、踏板以及节奏节拍对中国民族声乐作品中钢琴伴奏的“气韵”问题提出了几点思考。 Most of the musical works in our country, especially the works of national vocal music, pay much attention to the use of “Qi” and “Yun”, and “Qi” and “Yun” are two independent entities that are interdependent and mutually Penetration, in the mutual integration reached “perplexed rhythm ” realm. Through years of experience in piano accompaniment teaching and practice, the author puts forward some thoughts on accompaniment skills - breathing, timbre, decoration, pedal and rhythm, on the “charm” of piano accompaniment in Chinese national vocal music.