小提琴運弓姿勢與持弓要領
為什麼小提琴初學者的聲音聽起來不是那麼“美妙”，而經過長期小提琴學習與練習的演奏者卻能演奏真正的樂音而不是噪音呢？其實就像學習聲樂，演唱最重要的是呼吸，而對應到小提琴學習則是學會如何運弓，這期我們就來看一看，運弓有哪些學問吧。
持弓
右手抬起，自然放鬆，垂放在弓上，小指尖立在弓桿上方的平面上，然後將弓桿的外側放在右手食指的第二關節末端。拇指和其他指保持原狀，自然放鬆。最後把拇指指尖斜放在弓毛箱的頭部和弓桿的交接出，中指與拇指反響對齊，中指和食指與弓的接觸點一般在中間關節部，無名指在第一關節部分，拇指握弓自然彎曲，小指在弓桿的上面也要自然彎曲。整個手指、手掌、手腕始終保持者自然放鬆狀態。
注意，持弓時手指是活動的，而不是僵硬。為了使弓走得均勻，平直和連接自如，各種手指有很小的調節活動。
弓運行在弓尖部位時，食指持弓位置較深，其它手指稍伸直(不是完全伸直)。弓在弓根部位時，食指位置較淺，但不得離開第二關節，其它手指較彎，這種手指的變化活動是在弓的運行中，尤其是在做換弓動作前逐漸完成的，而不是突然的、生硬的動作變化。
右手小指的作用:小指始終自然彎曲地立在弓桿上，不要離開弓桿，運弓在弓根時，弓的重量一部分傳到弦上，另一部分由小指頂住，這樣才能保持弓在每條琴弦上的水平面運行。小指的作用從弓根到弓尖逐漸減少，從弓尖到弓根逐漸增加，初學者特別注意小指不要僵硬伸直，不要離開弓。還有些初學者容易產生手指逐漸往弓桿上方滑動位置的毛病，要隨時注意糾正，還原到原來的持弓位置上。
運弓
運弓的動作是由肩骨開始的，通過大臂帶動小臂、手腕和手指，將臂的力量放在弓上，傳到弦上。弓是手的繼續，應當感覺到是長在手上一樣的運用自如。弓運行時走直線，與弦成十字形不要前後傾斜，只有將弓走直才能充分摩擦，發出好的音響。
下弓時，臂和肘部有下垂的感覺，自然帶動右手往下運弓。臂、肘、腕、指都要注意放鬆，保持靈活的彈性。上弓時，由臂帶動，肘部稍有內在“抬起”的感覺，帶動手腕和手指往上運弓。不論是上弓或者是下弓都應該隨時感覺到右臂本身的自然重量，而且要善於運用這種自然重量，把它傳到弦上發出優美而渾厚的聲音。將右臂的力量傳到手指上，主要是通過食指側壓(中指協助)傳到弓上。注意運弓時弓毛盡量全部貼在弦上，便於臂力的傳導和琴弦的充分震功。只有在弱的力度時可少用弓毛。注意在開始練習運弓時，要保持接觸點不變，不要在弦上滑來滑去
這星期的YouTube 影片教學是香港流行的一首歌：
林家謙—— 在空中的這一秒
音樂就是思想著的聲音。
Music is the sound of thinking.
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Bow posture and bow holding essentials of violin
Why doesn't the violin beginner's voice sound so "beautiful", while the player who has learned and practiced the violin for a long time can play real music instead of noise? In fact, just like learning vocal music, the most important thing in singing is breathing, and corresponding to learning violin, it is learning how to use the bow.
Lift the right hand, relax naturally, and hang on the bow, with the tip of the little finger standing on the plane above the shaft, and then place the outside of the shaft on the end of the second joint of the right index finger. The thumb and other fingers remain in place and relax naturally. Finally, place the tip of the thumb diagonally on the head of the bow hair box and the junction of the bow rod, the middle finger and the thumb are aligned, the contact point between the middle finger and the index finger and the bow is generally in the middle joint, the ring finger is in the first joint part, and the thumb grips The bow bends naturally, and the little finger also bends naturally on the top of the shaft. The entire fingers, palms and wrists are always in a natural relaxed state.
Note that the fingers are mobile when holding the bow, not stiff. In order to make the bow go evenly, straight and articulate freely, the various fingers have little adjustment activity.
When the bow runs at the tip of the bow, the index finger holds the bow deep, and the other fingers are slightly straight (not fully straight). When the bow is at the root of the bow, the index finger is shallow, but it must not leave the second joint, and the other fingers are bent. The movement of the fingers is gradually completed during the movement of the bow, especially before the bow change. Not a sudden, blunt change of motion.
The function of the little finger of the right hand: the little finger always stands on the bow shaft naturally bent, and does not leave the bow shaft. When the bow is carried at the root of the bow, part of the weight of the bow is transferred to the string, and the other part is supported by the little finger, so as to keep the bow in each position. The horizontal plane runs on the strings. The role of the little finger gradually decreases from the root of the bow to the tip of the bow, and gradually increases from the tip of the bow to the root of the bow. There are also some beginners who are prone to the problem that their fingers gradually slide to the top of the bow, and they should be corrected at any time and restored to the original position of holding the bow.
bow
The action of carrying the bow starts from the shoulder bone, drives the forearm, wrist and fingers through the big arm, and puts the power of the arm on the bow and transmits it to the string. The bow is the continuation of the hand, and it should feel as free to use as it grows on the hand. When the bow is running, it should walk in a straight line, and do not lean forward and backward in a cross shape with the string. Only when the bow is straight can it be fully rubbed and made a good sound.
When the bow is lowered, the arms and elbows feel sagging, which naturally drives the right hand to move the bow downward. Arms, elbows, wrists and fingers should be relaxed and flexible. When bowing, it is driven by the arms, and the elbows have a slight internal "lifting" feeling, which drives the wrists and fingers to move the bow upwards. Whether it is an upper bow or a lower bow, the natural weight of the right arm should be felt at any time, and it should be good at using this natural weight to transmit it to the string to make a beautiful and rich sound. The power of the right arm is transmitted to the fingers, mainly through the lateral pressure of the index finger (middle finger assists) to the bow. Pay attention to the bow hair as far as possible sticking to the strings when the bow is carried, so as to facilitate the transmission of arm force and the sufficient vibration power of the strings. Use less bow hair only for weak force. Be careful to keep the contact point the same as you start to practice the bow, don't slide around on the string
This week's YouTube video tutorial is a popular song in Hong Kong:
Jiaqian Lin —– This Second in the Air
音樂就是思想著的聲音。
Music is the sound of thinking.
