音准既是弦乐演奏最基本的要求,又是最难的课题之一。弦乐器的发音、力度、音色、速度等各类技巧无不涉及音准。独奏的音准已够应付,如果几个人拉重奏,其和谐的程度与表现力常常会因音准差异而大相径庭。一组好的重奏,奏出的和弦响亮、辉煌,胜似几十人的乐队;柔和时切切私语近如人声。有的重奏组个人拉独奏可能还不错,但重奏时却发出一些构不成和声的音响,很难表达乐曲的意图。对于重奏音准的训练,有人认为不必多讲理论,多拉多泡就行了。我们不否认重奏是需要有一段合作过程的,但为了避免合作者之间因概念不同,为音准引起争论而化费过多时间,使他们能尽快进入良好的音准工作状态,有意识地了解一些音准理论以统一音准概念是完全必要的。 Pitch is not only the most basic string playing requirements, but also one of the most difficult issues. Stringent instrument pronunciation, strength, tone, speed and other techniques are all involved in pitch. Solo pitch is enough to deal with, and if several people pull their quartets, their harmony and expressiveness often differ greatly from pitch differences. A good set of trumpets, playing the chord loud, brilliant, wins dozens of people like the band; Some quartet soloists may not be bad at soloing, but when making their concerts, they make some unquiet sounds that make it difficult to express their intention. Someone who thinks that there is no need to talk much about the theory of the sound of the recital, Dorado bubbl. We do not deny that there is a need for a cooperative process for the performance of the quartet. However, in order to avoid too much time for controversies caused by the different concepts among the partners and to enable them to enter a good working pitch as soon as possible and consciously understand some pitch Theory to unify the concept of pitch is absolutely necessary.