1, get your hands off me.
Whether the genre is correct or not plays a decisive role in the quality of pipa performance. Generally speaking, with the right hand shape, learning pipa is half the battle.
The left and right hands should be half clenched, the palms are empty, and the angle of the back of the right hand and the pipa panel form a plane, so it is advisable not to look at the palms when playing. Small joints in both hands are bent. The thumb and forefinger of the right hand should be bent into a semicircle, and the two fingertips should be pinched together, just like a soybean in the middle. The palm is round, which is the shape of longan fingering.
2, the intensity is off.
The so-called strength, mechanically speaking, is used to attack each other's gravity. Objectively speaking, human fingers are located in nerve endings formed by the human body, which determines the weakness of the fingertips of both hands. In addition, the pipa plays in the rebound direction, not grasping the strings inward, but playing the strings outward, so the power of the fingers is even weaker.
3. Pass the rope.
String transmission is a technical problem and a challenge to the ability of left and right hands to change the number of strings. The standard is that the right hand can dial multiple strings as fast as one string.
4. cash a check.
Changing the handle is determined by the arrangement of pipa phonemes according to the law of twelve averages, and it is also a cohesive action with great changes in pipa performance. Finger-changing is the vertical transformation of fingers, wrists and arms of the left hand between relative positions and four flavors, and its range is as wide as that of the cello.
5. endurance.
Endurance is the key factor of pipa playing fast. This is because some pipa solos and etudes are long, especially those with fast speed and long paragraphs, and they do not have enough endurance and potential ability, so it is difficult for two fingers to adapt.