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掌握一種樂器，比如學習小提琴演奏，是一個長期的過程，既是知識的積累過程，也是人體器官（主要是雙手）動作適應的過程。在這個過程中會遇到幾個瓶頸問題，即幾個重要的關口是必須經過的。每個學習者有著不同的起點，不同的條件，也有著個性差異，有的人對某些關口很容易就過去了，也有的遇到了瓶頸怎麼也過不去。作為教師，應該針對具體的學生想各種辦法幫助她盡快過關。
上一期我們針對此類問題有所總結，讓我們繼續思考，關於動作平衡，以及如何鍛煉聽覺，以及發展心智能力呢?
第三道關口：找動作平衡
這其中包括右手在弓根弓尖的平衡，掌握常用的基本功法，對四個琴弦換弦平面的平衡，左手四個手指按指的平衡，左手換把動作的平衡等等。
常見的問題有：
01
運弓不直
對弓根和弓尖的兩點無概念，沒有搞清手臂在這兩點的位置以及聯繫這兩點的動作關係。我們人的手臂在運弓時其實和鳥兒展開翅膀是很相像的。想像一下鳥兒在停下時俗氣的樣子和我們在弓根時的狀態是很像的。
當鳥兒展開翅膀飛翔時，打開的是胸骨，我們學習鳥兒展翅就不要因肩鬆垮造成弓子滑落。在每條弦上放在弓、弓尖的位置，做“鳥兒展翅”的練習，會幫助運弓走直。在直線運弓的弓法中找到運弓中心點，在換弦類的弓法中找到以手肘為中心的平衡。
02
手指過分用力或手指無力
手指過分用力的人，往往是加用了手腕或者手掌的力量，而不是只用手指指根以上的動作。可以將手掌放在第三把位，靠在琴勁彎處，使得手指只能做手指根以上動作。練習塞夫契克等人的手指練習。手指無力者一般是手指沒有站起來，尤其是小拇指一定不要變成筆直狀態。
第四道關口：學會聽，發展心智能力
這其中包括聽音準，培養內心節奏，學會讀譜和背譜等。
常見問題有：
01
音不准
培養學生聽音準，要學會更充分利用空弦，在第一把位時建立用3指對八度空弦，1指對四度、2指對三度及各個手指平行五度的習慣，在第二把位是用2指對空弦，第三把位時用1指對空弦等。左手的穩定對音準有著重要的意義。建立良好的手型對音準就有了很好的基礎。
02
節奏越拉越快
大部分小孩都有越拉月快的習慣，從心理學角度，可能想表現自己有本事，同時也有可能控制不住。如果經常有鋼琴伴奏有助於節奏感的培養。跟著節拍器練習也是很重要的。另外練習有參照的節奏練習，也會幫助建立 內心的節奏感。
03
弓法指法記不住
04
背譜老是串譜
只靠感性的記憶是不可靠的，要儘早讓孩子對樂曲有分析能力，要像語文學習中分析段落一樣，經常看看這首樂曲分幾段？有哪些句子看起來相同實際上不同？
用看圖找不同或相同的方法找到這些難點。培養一邊演奏一邊想公交車上的售票員爆出站名那樣在頭腦中提醒自己，有的小孩拉琴不適用頭腦控製手的動作，而只是考手的習慣拉琴，造成手腦分離，這是不好的。
05
看譜慢
每首樂曲不論是練習曲或樂曲，首先要對調號、節拍做出反應。這是一個長期積累的過程。練習曲學的少識譜就慢。最好養成每次學新課時在老師的監督下讀譜的習慣。
常常有這樣的情況：在某個階段，似乎出現了一隻攔路虎，幾乎在一個階段內沒有什麼進步。以至老師會覺得“這個小孩怎麼這麼笨？”小孩也沒了信心，甚至對拉琴失去了興趣。而有時突破解決了某個問題，就此有了突飛猛進的變化，產生了質的飛躍。
這些關口其實就是小提琴的基本功，這些關口有時需要集中突破，也有時需要耐心等待。經過日積月累的努力，產生厚積薄發的效果。一般來說當小孩到十一二歲，心智成熟，習慣養成，基本功的作用就會顯現。如果只顧拉曲目二沒有基本功的積累。那麼壞毛病出現也就不奇怪了。
音樂就是思想著的聲音。
Music is the sound of thinking.
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The third pass: finding the balance of action
This includes the balance of the right hand at the root of the bow and the tip of the bow, mastering the common basic exercises, the balance of the four-string changing planes, the balance of the four fingers of the left hand, the balance of the left hand changing the handle, and so on.
Common problems are:
01
Bow not straight
I have no concept of the two points of the bow root and the bow tip, and I have not figured out the position of the arm at these two points and the relationship between the two points. Our human arms are actually very similar to birds spreading their wings when they wield a bow. Imagine the cheesy look of the bird when it stops and we are at the root of the bow.
When a bird spreads its wings and flies, it is the sternum that is opened. We learn that when the bird spreads its wings, the bow should not slip off due to loose shoulders. Putting the bow and the tip of the bow on each string and doing the exercise of "spreading the bird's wings" will help the bow to move straight. Find the center point of the bow in straight-line bowing, and find the balance centered on the elbow in string-changing bows.
02
Excessive finger force or finger weakness
People who use too much force on their fingers tend to use the strength of their wrists or palms, instead of just using the movements above the base of their fingers. You can put your palm in the third position, leaning against the bend of the piano, so that your fingers can only move above the base of the fingers. Practice the finger exercises of Safechek et al. People with weak fingers are generally because the fingers do not stand up, especially the little finger must not become a straight state.
picture
The fourth pass: learn to listen, developmental ability
This includes listening to intonation, developing inner rhythm, and learning to read and memorize notation.
Frequently asked questions are:
01
inaccurate
To train students to listen to intonation, learn to make more full use of the open strings, and establish the habit of using 3 fingers to the octave open strings, 1 finger to the fourth, 2 fingers to the third, and parallel fifths of each finger in the first position. The second position is to use 2 fingers for the open string, the third position is to use 1 finger for the open string, etc. The stability of the left hand has important implications for intonation. A good foundation is established to establish good hand alignment.
02
The rhythm is getting faster and faster
Most children have the habit of pulling the moon faster and faster. From a psychological point of view, they may want to show their ability, but at the same time, they may not be able to control it. If there is frequent piano accompaniment, it will help to develop a sense of rhythm. It is also important to practice with the metronome. In addition, practicing the rhythm practice with reference will also help to build an inner sense of rhythm.
03
Can't remember bow fingering
Pick out a few characteristic bows or fingerings for changing handles, and practice repeatedly until you memorize them. Peter can forget, these points must not be forgotten, and gradually develop the habit of remembering bowing and fingering at the same time as the main theme.
04
memorization is always a streak
It is not reliable to rely on perceptual memory alone. It is necessary to let children have the ability to analyze music as soon as possible. Just like analyzing paragraphs in language learning, you should often look at how many paragraphs this music is divided into? Which sentences look the same but are actually different?
Find these difficulties by looking at the pictures to find the difference or the same method. Cultivate to remind yourself in your mind that some children play the piano and do not use the mind to control the movements of the hands, but only the habit of the testers to play the piano, which causes the separation of the hands and the brain. not good.
05
slow reading
Each piece of music, whether it is an etude or a piece of music, must first respond to the key signature and the beat. This is a long-term accumulation process. The less you know notation, the slower you learn the etude. It is best to develop the habit of reading music under the supervision of the teacher every time you learn a new lesson.
It is often the case that, at a certain stage, there seems to be a roadblock, and there is little progress in a stage. Even the teacher would think, "Why is this kid so stupid?" The kid lost his confidence and even lost interest in playing the piano. And sometimes a breakthrough solves a problem, and then there is a rapid change, resulting in a qualitative leap.
These thresholds are actually the basic skills of the violin. Sometimes these thresholds need to be broken through, and sometimes they need to patiently wait. After years of hard work, the results have been accumulated. Generally speaking, when the child reaches the age of eleven or twelve, the mind is mature and the habits are formed, the role of the basic skills will appear. If you only focus on the second track, there is no accumulation of basic skills. Then it is not surprising that bad faults appear.
音樂就是思想著的聲音。
Music is the sound of thinking.
