钢琴演奏过程中,存在着许多矛盾的关系,其中有“放松”与“紧张”的辩证关系,“放松”并非绝对地放松,并非完全放弃对肌肉控制,不等于懈怠。它涉及立即的反映以保持音乐性和技术连贯性,是合理有序地、有力的体现。即该放松的部位要放松,该紧张的部位要紧张;该放松的时候要放松,该紧张的时候要紧张。处理好正确的放松状态是掌握和提高技术的根本,没有放松就没有手指的灵活运动。反之“紧张”并非机体无目的地过分用力而产生的僵硬状态,而是机体内在力量一种积极兴奋、协调的身体状态。也就是“放松”与“紧张”在演奏中以矛盾统一的形式存在的。下面谈谈各部位的状态: There are many contradictory relations during the piano playing process. Among them, there is a dialectical relationship between “relaxation” and “tension”. “Relaxation” is not absolute relaxation. It does not completely give up the control of muscles and does not mean slackening. It involves an immediate reflection in order to maintain musicality and technical coherence and is a reasonable, orderly and forceful embodiment. That relax the site to be relaxed, the tension of the site to be nervous; to relax when the relaxation, the tension should be tense. To handle the correct state of relaxation is to grasp and improve the fundamental technology, there is no relaxation without finger flexible movement. Conversely, “tension” is not a rigid state of the body that is excessively forceless without purpose, but a positive state of excitement and coordination of the internal forces of the body. In other words, “relaxation” and “tension” exist in the form of contradictory unity in their performances. Here to talk about the status of various parts: