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軟吐的演奏則要求保持原音符的時(shí)值，做到音斷意延，舌頭的動(dòng)作點(diǎn)到為止，不可用太大的力。","nodeType":"3","display":"inline","nodeAttrs":[],"childNodes":[]},{"nodeName":"br","nodeValue":null,"nodeType":"1","display":"inline","nodeAttrs":[],"childNodes":[]}]}]}]},{"nodeName":"p","nodeValue":null,"nodeType":"1","display":"block","nodeAttrs":[],"childNodes":[{"nodeName":"span","nodeValue":null,"nodeType":"1","display":"inline","nodeAttrs":[{"attrName":"style","attrValue":""}],"childNodes":[{"nodeName":"span","nodeValue":null,"nodeType":"1","display":"inline","nodeAttrs":[{"attrName":"style","attrValue":";"}],"childNodes":[{"nodeName":"text","nodeValue":"????雙吐是在單吐的基礎(chǔ)上在加上一個(gè)“苦”字即“吐苦”，利用舌尖和舌根的連續(xù)動(dòng)作使音快速斷開，雙吐一般用“TK”來標(biāo)記。","nodeType":"3","display":"inline","nodeAttrs":[],"childNodes":[]},{"nodeName":"br","nodeValue":null,"nodeType":"1","display":"inline","nodeAttrs":[],"childNodes":[]}]}]}]},{"nodeName":"p","nodeValue":null,"nodeType":"1","display":"block","nodeAttrs":[],"childNodes":[{"nodeName":"span","nodeValue":null,"nodeType":"1","display":"inline","nodeAttrs":[{"attrName":"style","attrValue":""}],"childNodes":[{"nodeName":"span","nodeValue":null,"nodeType":"1","display":"inline","nodeAttrs":[{"attrName":"style","attrValue":";"}],"childNodes":[{"nodeName":"text","nodeValue":"????雙吐是用來完成連續(xù)快速分奏的技巧，雙吐的訓(xùn)練有一定的難度，需要一段時(shí)間的練習(xí)才能到位，開始可單獨(dú)練習(xí)舌頭，把T和K的發(fā)音連起來練習(xí)。在樂器上練習(xí)時(shí)先慢練，舌頭和手指配合好，初學(xué)者主要問題是吐輕苦重，當(dāng)發(fā)到苦時(shí)會(huì)軟下來，苦的發(fā)音含糊不清，練習(xí)時(shí)應(yīng)加強(qiáng)苦的練。在雙吐的演奏中，手指和舌頭的配合很關(guān)鍵，要求手指要比舌頭先到位，不能同步更不能晚于舌頭，否則舌頭吐出的音不實(shí)在，不實(shí)在，不準(zhǔn)確，特別是在快速雙吐演奏中，如果手指和舌頭同步或晚于舌頭，那整個(gè)雙吐就亂了，所以無論練習(xí)或演奏雙吐時(shí)我建議大家多分一點(diǎn)注意力在手指上。","nodeType":"3","display":"inline","nodeAttrs":[],"childNodes":[]},{"nodeName":"br","nodeValue":null,"nodeType":"1","display":"inline","nodeAttrs":[],"childNodes":[]}]}]}]},{"nodeName":"p","nodeValue":null,"nodeType":"1","display":"block","nodeAttrs":[],"childNodes":[{"nodeName":"span","nodeValue":null,"nodeType":"1","display":"inline","nodeAttrs":[{"attrName":"style","attrValue":""}],"childNodes":[{"nodeName":"span","nodeValue":null,"nodeType":"1","display":"inline","nodeAttrs":[{"attrName":"style","attrValue":";"}],"childNodes":[{"nodeName":"text","nodeValue":"????三吐吹奏方法與雙吐相似，只是在雙吐的后面或前面在加上一個(gè)單吐，就形成三吐的演奏技巧。三吐一般用于前八分音符后十六音符，或者用在前十六音符，后八分音符。三吐的練習(xí)。只要大家掌握好雙吐這一技巧，那三吐更可信手拈來，在三吐中也請(qǐng)大家注意手指的配合，同時(shí)要注意強(qiáng)弱的處理。","nodeType":"3","display":"inline","nodeAttrs":[],"childNodes":[]},{"nodeName":"br","nodeValue":null,"nodeType":"1","display":"inline","nodeAttrs":[],"childNodes":[]}]}]}]},{"nodeName":"p","nodeValue":null,"nodeType":"1","display":"block","nodeAttrs":[],"childNodes":[{"nodeName":"span","nodeValue":null,"nodeType":"1","display":"inline","nodeAttrs":[{"attrName":"style","attrValue":""}],"childNodes":[{"nodeName":"span","nodeValue":null,"nodeType":"1","display":"inline","nodeAttrs":[{"attrName":"style","attrValue":";"}],"childNodes":[{"nodeName":"text","nodeValue":"????雙吐和三吐的演奏技巧，一般的獨(dú)奏曲都有，所以只有把雙吐、三吐練會(huì)練好，我們的天地才會(huì)更加廣闊。","nodeType":"3","display":"inline","nodeAttrs":[],"childNodes":[]},{"nodeName":"br","nodeValue":null,"nodeType":"1","display":"inline","nodeAttrs":[],"childNodes":[]}]}]}]},{"nodeName":"h2","nodeValue":null,"nodeType":"1","display":"block","nodeAttrs":[],"childNodes":[{"nodeName":"span","nodeValue":null,"nodeType":"1","display":"inline","nodeAttrs":[{"attrName":"style","attrValue":""}],"childNodes":[{"nodeName":"span","nodeValue":null,"nodeType":"1","display":"inline","nodeAttrs":[{"attrName":"style","attrValue":";"}],"childNodes":[{"nodeName":"span","nodeValue":null,"nodeType":"1","display":"inline","nodeAttrs":[{"attrName":"style","attrValue":""}],"childNodes":[{"nodeName":"span","nodeValue":null,"nodeType":"1","display":"inline","nodeAttrs":[{"attrName":"style","attrValue":";"}],"childNodes":[]},{"nodeName":"text","nodeValue":"十一、循環(huán)換氣的練習(xí)及運(yùn)用","nodeType":"3","display":"inline","nodeAttrs":[],"childNodes":[]}]}]}]}]},{"nodeName":"p","nodeValue":null,"nodeType":"1","display":"block","nodeAttrs":[],"childNodes":[{"nodeName":"span","nodeValue":null,"nodeType":"1","display":"inline","nodeAttrs":[{"attrName":"style","attrValue":""}],"childNodes":[{"nodeName":"span","nodeValue":null,"nodeType":"1","display":"inline","nodeAttrs":[{"attrName":"style","attrValue":";"}],"childNodes":[{"nodeName":"text","nodeValue":"?? 我國(guó)的嗩吶、笛子等吹奏樂器都能連續(xù)不斷的吹奏一個(gè)很長(zhǎng)的樂音或一個(gè)完整的樂句，甚至一首樂曲，所運(yùn)用的技巧就是循環(huán)換氣，也稱內(nèi)換氣，葫蘆絲、巴烏的演奏，也采用循環(huán)換氣這一技巧，特別是《古歌》的演奏全曲均采用循環(huán)換氣，一氣呵成，形成獨(dú)特的風(fēng)格和魅力。下面講一下循環(huán)換氣的原理及方法，大家知道要使樂音連綿不斷地輸?shù)綐菲鲀?nèi)，但由于人的肺活量是有限的，必須換氣才能樂音保持很長(zhǎng)，但呼和吸是對(duì)立的，不能同時(shí)進(jìn)行，在吸氣時(shí)音就會(huì)斷掉，而音是不能斷的，為了解決這一矛盾，我們只有從口腔中想辦法。人的口腔能儲(chǔ)存一定的氣量，可用口腔中這部分氣繼續(xù)推動(dòng)音樂進(jìn)行的同時(shí)迅速?gòu)谋强孜鼩馊敕?，然后在把吸入的氣繼續(xù)吹出，非一日之功，要通過艱苦的練習(xí)，才能很好的掌握這一技巧。循環(huán)換氣最關(guān)鍵的是大腦對(duì)機(jī)體各部位的支配，要做到動(dòng)作協(xié)調(diào)，主要是口腔和肺的有機(jī)交換和配合。","nodeType":"3","display":"inline","nodeAttrs":[],"childNodes":[]}]}]}]}]}]}]}]}]}]}]}]},{"nodeName":"table","nodeValue":null,"nodeType":"1","display":"block","nodeAttrs":[{"attrName":"style","attrValue":";text-align:center"}],"childNodes":[{"nodeName":"tbody","nodeValue":null,"nodeType":"1","display":"block","nodeAttrs":[],"childNodes":[{"nodeName":"tr","nodeValue":null,"nodeType":"1","display":"block","nodeAttrs":[],"childNodes":[{"nodeName":"td","nodeValue":null,"nodeType":"1","display":"block","nodeAttrs":[],"childNodes":[{"nodeName":"img","nodeValue":null,"nodeType":"1","display":"inline","nodeAttrs":[{"attrName":"src","attrValue":"http://www.52hulusi.com/news/spacer.gif"}],"childNodes":[]}]},{"nodeName":"td","nodeValue":null,"nodeType":"1","display":"block","nodeAttrs":[],"childNodes":[{"nodeName":"img","nodeValue":null,"nodeType":"1","display":"inline","nodeAttrs":[{"attrName":"src","attrValue":"http://www.52hulusi.com/news/spacer.gif"}],"childNodes":[]}]},{"nodeName":"td","nodeValue":null,"nodeType":"1","display":"block","nodeAttrs":[],"childNodes":[{"nodeName":"img","nodeValue":null,"nodeType":"1","display":"inline","nodeAttrs":[{"attrName":"src","attrValue":"http://www.52hulusi.com/news/spacer.gif"}],"childNodes":[]}]},{"nodeName":"td","nodeValue":null,"nodeType":"1","display":"block","nodeAttrs":[],"childNodes":[{"nodeName":"img","nodeValue":null,"nodeType":"1","display":"inline","nodeAttrs":[{"attrName":"src","attrValue":"http://www.52hulusi.com/news/spacer.gif"}],"childNodes":[]}]}]},{"nodeName":"tr","nodeValue":null,"nodeType":"1","display":"block","nodeAttrs":[],"childNodes":[{"nodeName":"td","nodeValue":null,"nodeType":"1","display":"block","nodeAttrs":[],"childNodes":[{"nodeName":"text","nodeValue":"　","nodeType":"3","display":"inline","nodeAttrs":[],"childNodes":[]}]},{"nodeName":"td","nodeValue":null,"nodeType":"1","display":"block","nodeAttrs":[],"childNodes":[{"nodeName":"img","nodeValue":null,"nodeType":"1","display":"inline","nodeAttrs":[{"attrName":"src","attrValue":"http://www.52hulusi.com/news/spacer.gif"}],"childNodes":[]}]}]},{"nodeName":"tr","nodeValue":null,"nodeType":"1","display":"block","nodeAttrs":[],"childNodes":[{"nodeName":"td","nodeValue":null,"nodeType":"1","display":"block","nodeAttrs":[{"attrName":"style","attrValue":"word-break: break-all;;"}],"childNodes":[{"nodeName":"text","nodeValue":"　","nodeType":"3","display":"inline","nodeAttrs":[],"childNodes":[]}]},{"nodeName":"td","nodeValue":null,"nodeType":"1","display":"block","nodeAttrs":[],"childNodes":[{"nodeName":"img","nodeValue":null,"nodeType":"1","display":"inline","nodeAttrs":[{"attrName":"src","attrValue":"http://www.52hulusi.com/news/spacer.gif"}],"childNodes":[]}]}]},{"nodeName":"tr","nodeValue":null,"nodeType":"1","display":"block","nodeAttrs":[],"childNodes":[{"nodeName":"td","nodeValue":null,"nodeType":"1","display":"block","nodeAttrs":[],"childNodes":[{"nodeName":"text","nodeValue":"?","nodeType":"3","display":"inline","nodeAttrs":[],"childNodes":[]}]},{"nodeName":"td","nodeValue":null,"nodeType":"1","display":"block","nodeAttrs":[{"attrName":"style","attrValue":"word-break: break-all;;"}],"childNodes":[{"nodeName":"div","nodeValue":null,"nodeType":"1","display":"block","nodeAttrs":[{"attrName":"style","attrValue":"text-align: left;;"}],"childNodes":[{"nodeName":"br","nodeValue":null,"nodeType":"1","display":"inline","nodeAttrs":[],"childNodes":[]}]}]},{"nodeName":"td","nodeValue":null,"nodeType":"1","display":"block","nodeAttrs":[],"childNodes":[{"nodeName":"br","nodeValue":null,"nodeType":"1","display":"inline","nodeAttrs":[],"childNodes":[]}]},{"nodeName":"td","nodeValue":null,"nodeType":"1","display":"block","nodeAttrs":[],"childNodes":[{"nodeName":"br","nodeValue":null,"nodeType":"1","display":"inline","nodeAttrs":[],"childNodes":[]}]}]}]}]}]}]}]}]}]},"imageUrls":["https://www.52hulusi.com/news/spacer.gif","https://www.52hulusi.com/news/spacer.gif","https://www.52hulusi.com/news/spacer.gif","https://www.52hulusi.com/news/spacer.gif","https://www.52hulusi.com/news/spacer.gif","https://www.52hulusi.com/news/spacer.gif"],"text":"葫蘆絲基礎(chǔ)理論講解發(fā)布時(shí)間：2005-4-16 13:10:06???基礎(chǔ)理論講解一、葫蘆絲、巴烏的構(gòu)造、音域及分類1、?? 構(gòu)造：首先介紹葫蘆絲，葫蘆起漏斗作用。氣流通過葫蘆的傳送到主管和附管。主管是主要的發(fā)音管，主管上開有起七個(gè)按音孔，一個(gè)出音孔，兩個(gè)穿繩孔。附管分高音附管和低音附管，均持續(xù)發(fā)一個(gè)音，普通的葫蘆絲只有一根附管會(huì) 響，另一根只作裝飾。附管塞，需要附管時(shí)打開，不需要時(shí)關(guān)閉，附管和主管有機(jī)的配合可使音樂豐富多彩，更具活力。捆線主要是把主管和附管捆在一起，增強(qiáng)樂器構(gòu)造上的穩(wěn)定。???? 主管尾塞，起到的作用是使低音區(qū)的發(fā)音圓潤(rùn)，注意不要往里推。???? 巴烏的構(gòu)造比葫蘆絲簡(jiǎn)單，構(gòu)造上和竹笛相似，制作原理，演奏方法和葫蘆絲基本相同。2、??音域：葫蘆絲、巴烏發(fā)音管均開有七個(gè)按音孔以筒音作5為例，其音域?yàn)榈鸵?到中音6，（示范），音域雖窄但表現(xiàn)力極強(qiáng)。3、??分類：常用的葫蘆絲有小F調(diào)，小D調(diào)，小C調(diào)，bB調(diào)、A調(diào)、大F調(diào)、大bE調(diào)，巴烏常用調(diào)和F調(diào)。二、按孔部位及手形 1、按孔部位要吹出一個(gè)正常的音，有一點(diǎn)是必須做到的，凡要求關(guān)閉的音孔是不漏氣的，一絲都不能漏，否則，發(fā)出的音不準(zhǔn)確，讓人覺得刺耳不實(shí)在。為了保證所按音孔不漏氣，我們采用指肚按孔，避免指尖和指腰按孔，因?yàn)橹付敲娣e相對(duì)指尖和指腰要寬一些，其次指肚按孔手形較美觀，并便于演奏，故我們?cè)诎纯讜r(shí)采用指肚按孔。2、??手形為保證手形美觀便于演奏，對(duì)手形的要求尤為重要，應(yīng)避免的這幾種姿勢(shì)。（1）倒腕式（所謂倒腕式即手掌和手腕形成角度使手腕塌陷，這會(huì)使手指按孔的動(dòng)作變的笨拙，其次從外觀上看讓人感到不舒服，正確的手腕角度應(yīng)接近180度，這樣手指的煽動(dòng)既美觀又靈活）；（2）機(jī)翼（所謂機(jī)翼式即雙手按孔的姿勢(shì)好似飛機(jī)的雙翼，也就是手指和主關(guān)節(jié)過平，手指沒有正常彎曲，這樣演奏起來，手指動(dòng)作會(huì)顯得僵硬）；（3）孔雀開屏式。（孔雀開屏式主要形成與打開以后的手指造型，手指離開音孔后遠(yuǎn)離音孔，這樣會(huì)造成樂器不穩(wěn)定，沒有實(shí)在感。其次，由于手指離開太高，當(dāng)關(guān)閉音孔手指不能準(zhǔn)確地落到所對(duì)應(yīng)的孔上。希望大家避免以上三種及其他不正常的姿勢(shì)）。?? 首先注意兩個(gè)食指不要依附在附管上，這樣會(huì)影響美觀和今后的演奏，整個(gè)手形做到“通”“松”“空”。其次是雙手的小指應(yīng)用是決定手形的重要因素，兩個(gè)小指所起作用有三個(gè)：(1) 起到固定作用，初學(xué)者大多依靠食指來固定葫蘆絲，便形成了以上講到的孔雀開屏式。有機(jī)地采用小指來固定，可使兩個(gè)食指解放，手形美觀。(2) 起到定位作用，有的同學(xué)吹完下三音孔時(shí)，下手指會(huì)抬起后，會(huì)移位，待演奏到下三音孔時(shí)會(huì)找不到對(duì)應(yīng)音孔的位置，當(dāng)采用小指固定后避免手指與音孔的錯(cuò)位。(3) 是保證手形美觀，小指的采用避免了孔雀開屏式，由于采用了小指便限制了其他手指的高度，也就比了孔雀開屏式，在造型上達(dá)到美觀。初學(xué)者小指的應(yīng)用不可忽視，其應(yīng)用規(guī)律為：當(dāng)用到下三指時(shí)下手小指應(yīng)自然抬起，否則會(huì)使下三指的演奏不太靈活，當(dāng)不用下三指時(shí)小指應(yīng)放到主管適當(dāng)?shù)奈恢蒙?，上手指也同樣如此，待熟練后，?xí)慣成自然，小指的應(yīng)用就不必太注重，特別是在家較快的樂曲演奏中，小指的應(yīng)用更自由了，可不受此限制，否則會(huì)顧此失彼，影響手指的速度和旋律的流暢。三“咕”音的避免葫蘆絲、巴烏的發(fā)音非常特別，如氣息較弱發(fā)出的音從頭到尾只有一個(gè)“咕”音，初學(xué)者一般都會(huì)出現(xiàn)這樣的現(xiàn)象，我們可以試著慢慢的加力音即變?yōu)檎?，也就是說葫蘆絲、巴烏的演奏氣息需要一定的強(qiáng)度特別是低音區(qū)的演奏力度要更強(qiáng)一些，發(fā)出的音才正常。?? 大多初學(xué)者當(dāng)能吹出正常的音后都會(huì)遇到這樣兩個(gè)問題，一是音頭總是“咕”音先發(fā)出接著才發(fā)出正常音，二是當(dāng)吹一個(gè)音后，音尾總是會(huì)帶出一個(gè)“咕”聲，嚴(yán)重的影響吹奏效果，怎樣避免音頭和音尾的“咕”聲。首先解決音頭的“咕”聲，大多初學(xué)者均用“呼”來吹奏音頭，我們可以體會(huì)一下，一口氣“呼”出來，氣頭是軟的，力度很弱，發(fā)出的音便是“咕”聲，爾后隨著氣流力度的增強(qiáng)，發(fā)音才正常。其實(shí)解決的發(fā)方法很簡(jiǎn)單，只要大家用“吐”音開頭即可避免“咕”音出現(xiàn)，為什么“吐”音可以避免呢。因?yàn)槲覀儼l(fā)“吐”音時(shí)其實(shí)是一個(gè)爆發(fā)性動(dòng)作，大家可以體會(huì)一下，我們知道，爆發(fā)音肯定帶有一定的力度和強(qiáng)度，使氣流一出來就達(dá)到了發(fā)正常音所需的力度音頭便清爽干凈。??其次解決的是音尾的“咕”聲，當(dāng)吹完一個(gè)音后，特別是低音5.6.7.三個(gè)音較為嚴(yán)重，隨之便會(huì)出現(xiàn)“咕”聲，聽起來特別不舒服，為什么會(huì)出現(xiàn)這個(gè)“咕”聲呢，因?yàn)楫?dāng)你吹完一個(gè)音后，其實(shí)口腔里還有余氣，這部分余氣釋放時(shí)，幾乎沒有力度和強(qiáng)度,故這部分氣發(fā)出的音便是“咕”聲，我們要避免它，只有吹完后，快速的把嘴唇打開，把氣流斷掉，余氣依然保留在口腔里，便可避免余音“咕”聲的出現(xiàn)?！￡P(guān)于音頭和音尾“咕”聲的解決我在《葫蘆絲、巴烏實(shí)用教程》的第４頁(yè)練習(xí)一和練習(xí)二下面的演奏提示作了詳細(xì)講解，大家可以參照練習(xí)一、練習(xí)二進(jìn)行練習(xí)。續(xù)一：四、氣息的運(yùn)用氣息的運(yùn)用，在所有吹奏中都顯得尤為重要，特別是在葫蘆絲，巴烏中氣息的控制，力度的分配，是演奏好巴烏、葫蘆絲的這重要環(huán)節(jié)，主要講一講吹奏音階時(shí)的氣息運(yùn)用，葫蘆絲、巴烏的運(yùn)氣和其他的吹奏樂器有明顯的差別，一般的吹奏樂器當(dāng)演奏到高音部分都需要一定的力度和強(qiáng)度，相對(duì)于低音的演奏要更用力，而葫蘆絲、巴烏恰恰相反，越是高音氣流就越弱，特別是高音５和６的吹奏。只需較短的氣流即可。反之則會(huì)導(dǎo)致高音損壞，夾有氣流聲或根本沒有樂音，故初學(xué)者演奏高音時(shí)要特別注意氣流一定輕緩。????為什么葫蘆絲、巴烏的氣息運(yùn)用會(huì)如此特殊，從簧片的聒噪上來講大家可能會(huì)更容易理解，請(qǐng)同學(xué)們看下圖。??????? 注： 框內(nèi)部分的線為簧舌切開口這是放大后的葫蘆絲、巴烏的心臟部件模形--------簧片，它是靠中間象鳥的舌頭這一片上下振動(dòng)和竹管的共振而產(chǎn)生音響，它的特點(diǎn)是：頭部到根部由窄逐漸變寬，頭部較尖，根部較寬，我們可以這樣理解：根部的震動(dòng)是決定低音的發(fā)音，因?yàn)楦枯^寬故在振動(dòng)時(shí)氣流需要加強(qiáng)一些；尖部的振動(dòng)是決定高音的發(fā)音，因?yàn)轭^部較尖細(xì)故在振動(dòng)時(shí)無須太強(qiáng)的氣流，其次葫蘆絲、巴烏的每一個(gè)音所需的力度都不一樣，也就是說我們演奏時(shí)必須找到這個(gè)音所須的最佳力度點(diǎn)，不能強(qiáng)也不能弱，我們通常說的“到位”在此體現(xiàn)的很恰當(dāng)， 為什么初學(xué)者吹出的音樂不好聽，主要原因就是氣息的最佳力度點(diǎn)沒有找到，通常會(huì)出現(xiàn)高音區(qū)失聲，低音區(qū)失真，筒音偏高，或中高區(qū)發(fā)抖發(fā)沙等等所出現(xiàn)這些現(xiàn)象，排除樂器上的原因，主要原因就是力度上的問題，請(qǐng)大家參照下圖坐標(biāo)來掌握每個(gè)音氣息力度的分配：五、低音3.的練習(xí)??有一首歌曲也許大家都非常熟悉，那就是《有一個(gè)美麗的地方》此曲 用葫蘆絲演奏傣味十足，效果極佳，但最令人煩惱的是歌曲中低音3.的演奏，有的同學(xué)不知道怎樣演奏或樂器本身這個(gè)音不準(zhǔn)，故只能避開不奏或翻高8度演奏，可這樣一來這首優(yōu)美動(dòng)聽的曲子就有遺憾了。如果低音3.能演奏出來，并演奏好，我們演奏范圍就又寬了許多，諸如《有一個(gè)美麗的地方》這樣帶低音3.的曲子就能完整的演奏下來。?? 低音3.是葫蘆絲、巴烏上特有的音，其指法和低音5.一樣，即關(guān)閉所有的音孔用最緩的氣流發(fā)出的音就是低音3.，低音3.不如其他音豐滿，練習(xí)時(shí)氣流一定要緩，感覺上不用力，只是輕緩的把氣送出，低音3.作音頭時(shí)可以不能吐奏，用呼演奏。低音3.單獨(dú)演奏很容易，但如果練習(xí)低音3.和其他音的轉(zhuǎn)換，要做到非常熟練，得花一定的功夫和時(shí)間來練習(xí)，如果同學(xué)們能完成《葫蘆絲、巴烏實(shí)用教程》第27頁(yè)的練習(xí)三，那么低音3.到其它音的轉(zhuǎn)換可基本過關(guān)。特別是倒數(shù)1、2、3小節(jié)的練習(xí)，注：以上所講低音3.全按作低音5.的指法，當(dāng)全按作1時(shí)這里所講的低音3.就是低音6.，大家記住這個(gè)低音和筒音的關(guān)系的是一個(gè)小三度關(guān)系，可依次類推。六、滑音的練習(xí)及運(yùn)用?? 在葫蘆絲、巴烏的演奏中滑音起到的作用主要是音與音的過度，做到圓潤(rùn)、優(yōu)美、流暢并富有濃郁的民族風(fēng)格，特別是傣族風(fēng)格樂曲的演奏滑音的運(yùn)用是不可缺少的。?? 滑音可分為上滑音和下滑音。首先講解上滑音的演奏，上滑音用反拋物線標(biāo)識(shí)上滑音由低音滑向高音，其演奏方法是手指由低音向高音抹動(dòng)抬起，上滑音的演奏我們只要一句話，手指由直接抬起變?yōu)槟▌?dòng)抬起，上滑音的的效果自然出現(xiàn)。????下滑音和上滑音相反從標(biāo)識(shí)符號(hào)來看它用正拋物線來標(biāo)識(shí)，從演奏上來看它是由高音滑向低音，其演奏方法是，手指由高音孔向低音孔逐漸關(guān)閉，也就是由直接關(guān)閉變?yōu)橹饾u 關(guān)閉，下滑音就自然出現(xiàn)。????葫蘆絲、巴烏的演奏中有了上、下滑音的點(diǎn)綴，使音樂的表現(xiàn)更具魅力和特色。從微觀上來看在慢板的演奏中，幾乎每個(gè)音都采用了滑音這一技巧，區(qū)別在于所占時(shí)間的長(zhǎng)短，在教學(xué)中我經(jīng)長(zhǎng)強(qiáng)調(diào)手指接觸音孔時(shí)的感覺，特別重要，這是決定音樂優(yōu)美與否的重要因素。????在滑音中比較困難的是超出四度音域的滑音，這對(duì)手指的密切配合，統(tǒng)一協(xié)調(diào)要求較高，要多加以練習(xí)才能到位。七、打音、疊音的練習(xí)及運(yùn)用 （待續(xù)）續(xù)二： 打音在葫蘆絲、巴烏的演奏中應(yīng)用及為廣泛，打音符號(hào)類似提手旁，打音一般在旋律平行時(shí)采用，它可代替舌吐將同度音分開，其演奏方法是在相同音之間加奏一個(gè)時(shí)值及短的低二度，如一到一的進(jìn)行，我們?cè)趦蓚€(gè)音之間加奏一個(gè)時(shí)值及短的低音7.，在聽的時(shí)候感覺不出來低音7的存在。初學(xué)者往往低音7.的速度不夠，打音的效果出不來，顯得笨拙、遲鈍，所以打音的速度要快，手指要有力而富有彈性。打音可以在不斷氣的情況下，使同度音斷開，而吐音斷音時(shí)氣也斷了，所以，打音的斷音效果相比吐音的斷音效果打音可使音樂有延綿之感可以做到似斷非斷，音斷意綿，而吐音斷音可以干凈有力，特別是硬吐，當(dāng)軟吐時(shí)斷音效果與打音斷音效果差不多，故二者斷音方法大家可在適當(dāng)?shù)囊魳翻h(huán)境中酌情采用。?? 下面講一下疊音，疊音符號(hào)類似又字疊音的演奏的打音相反。打音是加奏下方二度音，而疊音是加奏上方二度音或三度音如演奏1到2，我們?cè)谥虚g加奏一個(gè)時(shí)值極短的3音，如演奏1到3，我們?cè)谥虚g加奏一個(gè)時(shí)值極短的5，疊音也可將同度音斷開。疊音主要是為旋律加花，使音樂更具特色，更具動(dòng)感，有錦上添花之感。疊音的采用非常靈活，可根據(jù)樂曲風(fēng)格或自生對(duì)音樂的感覺酌情采用。八、顫音的練習(xí)及運(yùn)用??????在葫蘆絲、巴烏的演奏中顫音是常用的技巧，樂曲中有了顫音，音樂的表現(xiàn)力更為豐富。特別是高潮部分的快速顫音會(huì)讓人激動(dòng)不已。如《金色的孔雀》，《多情的巴烏》這兩首大家都喜愛的樂曲，除了本身的旋律優(yōu)美外，重要的一點(diǎn)是采用了顫音的演奏，使樂曲顯得更加歡快，神韻十足，令人為之而陶醉。?????? 顫音能使吹出來的音有波浪形感覺，在樂譜里用tr表示，演奏的方法非常簡(jiǎn)單就是在本音和上方二度音之間不斷反復(fù)，如果需要和上方幾度音反復(fù)，一般會(huì)在tr上加一個(gè)阿拉伯?dāng)?shù)字，如在tr上方標(biāo)記的是3則表示本音和上方三度音反復(fù)。如果tr上方?jīng)]有標(biāo)識(shí)任何數(shù)字，則表示本音和上方二度音反復(fù)演奏，大家要注意一點(diǎn)，在葫蘆死、巴烏上3的顫音一般演奏是演奏成3535353，而不演奏成3434343，因?yàn)檫@樣演奏首先從聽覺上不舒服，因?yàn)?這個(gè)音在葫蘆絲、巴烏里，它顯的很不實(shí)在，其次4的指法有點(diǎn)復(fù)雜，3很 快速轉(zhuǎn)換，顯得很別扭難度高。故3的顫音無特殊要求外通常演奏成35353。顫音的練習(xí)是一個(gè)長(zhǎng)期性的練習(xí)，方法雖簡(jiǎn)單，但要熟練快速，那得花一定的時(shí)間，練習(xí)時(shí)要從慢練開始，待熟練后，逐漸加快。練習(xí)時(shí)，無論快或者是慢，速度要保持一致，不要或快或慢，注意加強(qiáng)雙手無名指的訓(xùn)練。九、指震音和氣震音的練習(xí)及運(yùn)用????指震音也叫虛指顫音，還叫隔孔打音，一般用符號(hào)~~~標(biāo)識(shí)，指震音是葫蘆絲、巴烏演奏中重要的技巧，在傣族風(fēng)格的樂曲中用的最多。其方法很簡(jiǎn)單，顧名思義，隔孔打音，即在本音位置的下二孔，手指平穩(wěn)扇動(dòng)，產(chǎn)生類似弦樂揉弦的效果。以全按作5.為例，當(dāng)吹奏3時(shí)用無名指扇動(dòng)1音孔，吹奏2時(shí)扇動(dòng)7.音孔其他的依次類推。??指震音的練習(xí)雖然動(dòng)作簡(jiǎn)單，但要練好還要花一番功夫，主要是手指的練習(xí)，要做到外形的美觀、速度均勻、能快能慢、控制自如，發(fā)出的音要圓潤(rùn)，不要有痕跡，這樣做到虛指顫音的最佳效果。大多演奏者喜歡把虛指顫音每一次顫動(dòng)都把音孔關(guān)閉的很實(shí)在，這樣出來的效果我認(rèn)為不是最佳，這會(huì)使音顫動(dòng)的幅度很大，沒有優(yōu)美之感反而覺得是一種噪音，大家可以試一試手指扇動(dòng)時(shí)不要把整個(gè)音孔關(guān)閉，而只關(guān)閉音孔的三分之一的位置，會(huì)出現(xiàn)什么的效果。?? 氣震音，也稱腹顫音，一般用符號(hào)~ ~ ~標(biāo)識(shí)，它是靠氣息有規(guī)律地強(qiáng)弱交替而形成的水紋般的音波，是是依靠腹肌和橫隔膜有彈性的顫動(dòng)而獲得的。其效果也類似弦樂揉弦，但它和指震音相比較在風(fēng)格上不如指震音濃郁。氣震音給人的感覺是清新，淡雅的感覺在中速，慢板的抒情曲中用的特別多，二點(diǎn)的共同點(diǎn)都是起到美化的作用。二者的有機(jī)結(jié)合可使葫蘆絲、巴烏的演奏達(dá)到最佳的藝術(shù)效果，氣震音的練習(xí)要經(jīng)過一個(gè)漫長(zhǎng)的過程、功夫才到位，才能做到控制自如。??續(xù)三：十、單吐、雙吐、三吐的練習(xí)及運(yùn)用?? 在葫蘆絲、巴烏的演奏中舌頭起著關(guān)鍵的作用，我們吹奏樂曲時(shí)采用的方法不外乎兩種，那就是連音和斷音，吐音就是解決斷音的主要方法，吐音分為單吐、雙吐和三吐，我首先講一下單吐。單吐的練習(xí)極為簡(jiǎn)單，我在前面講過，音頭需用吐音吹奏，而單吐是連續(xù)吐奏，每個(gè)音都像唱吐那樣去演奏。???? 單吐可分為短吐和連吐，短吐一般用頓音符號(hào)標(biāo)記或用T標(biāo)記，其特點(diǎn)是發(fā)音短促而有力，舌頭動(dòng)作輕快。慢短吐時(shí)嘴唇的配合很關(guān)鍵，否則會(huì)咕聲不斷，嚴(yán)重影響吹奏效果。???? 軟吐的演奏則要求保持原音符的時(shí)值，做到音斷意延，舌頭的動(dòng)作點(diǎn)到為止，不可用太大的力。????雙吐是在單吐的基礎(chǔ)上在加上一個(gè)“苦”字即“吐苦”，利用舌尖和舌根的連續(xù)動(dòng)作使音快速斷開，雙吐一般用“TK”來標(biāo)記。????雙吐是用來完成連續(xù)快速分奏的技巧，雙吐的訓(xùn)練有一定的難度，需要一段時(shí)間的練習(xí)才能到位，開始可單獨(dú)練習(xí)舌頭，把T和K的發(fā)音連起來練習(xí)。在樂器上練習(xí)時(shí)先慢練，舌頭和手指配合好，初學(xué)者主要問題是吐輕苦重，當(dāng)發(fā)到苦時(shí)會(huì)軟下來，苦的發(fā)音含糊不清，練習(xí)時(shí)應(yīng)加強(qiáng)苦的練。在雙吐的演奏中，手指和舌頭的配合很關(guān)鍵，要求手指要比舌頭先到位，不能同步更不能晚于舌頭，否則舌頭吐出的音不實(shí)在，不實(shí)在，不準(zhǔn)確，特別是在快速雙吐演奏中，如果手指和舌頭同步或晚于舌頭，那整個(gè)雙吐就亂了，所以無論練習(xí)或演奏雙吐時(shí)我建議大家多分一點(diǎn)注意力在手指上。????三吐吹奏方法與雙吐相似，只是在雙吐的后面或前面在加上一個(gè)單吐，就形成三吐的演奏技巧。三吐一般用于前八分音符后十六音符，或者用在前十六音符，后八分音符。三吐的練習(xí)。只要大家掌握好雙吐這一技巧，那三吐更可信手拈來，在三吐中也請(qǐng)大家注意手指的配合，同時(shí)要注意強(qiáng)弱的處理。????雙吐和三吐的演奏技巧，一般的獨(dú)奏曲都有，所以只有把雙吐、三吐練會(huì)練好，我們的天地才會(huì)更加廣闊。十一、循環(huán)換氣的練習(xí)及運(yùn)用?? 我國(guó)的嗩吶、笛子等吹奏樂器都能連續(xù)不斷的吹奏一個(gè)很長(zhǎng)的樂音或一個(gè)完整的樂句，甚至一首樂曲，所運(yùn)用的技巧就是循環(huán)換氣，也稱內(nèi)換氣，葫蘆絲、巴烏的演奏，也采用循環(huán)換氣這一技巧，特別是《古歌》的演奏全曲均采用循環(huán)換氣，一氣呵成，形成獨(dú)特的風(fēng)格和魅力。下面講一下循環(huán)換氣的原理及方法，大家知道要使樂音連綿不斷地輸?shù)綐菲鲀?nèi)，但由于人的肺活量是有限的，必須換氣才能樂音保持很長(zhǎng)，但呼和吸是對(duì)立的，不能同時(shí)進(jìn)行，在吸氣時(shí)音就會(huì)斷掉，而音是不能斷的，為了解決這一矛盾，我們只有從口腔中想辦法。人的口腔能儲(chǔ)存一定的氣量，可用口腔中這部分氣繼續(xù)推動(dòng)音樂進(jìn)行的同時(shí)迅速?gòu)谋强孜鼩馊敕?，然后在把吸入的氣繼續(xù)吹出，非一日之功，要通過艱苦的練習(xí)，才能很好的掌握這一技巧。循環(huán)換氣最關(guān)鍵的是大腦對(duì)機(jī)體各部位的支配，要做到動(dòng)作協(xié)調(diào)，主要是口腔和肺的有機(jī)交換和配合?！　?"}