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Post by Bryan on Nov 19, 2005 0:09:06 GMT
But somehow...dance of the yi's speed is 196...but if eu push it down a bit....ii sounds better
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Post by carol on Nov 19, 2005 2:46:39 GMT
Well, I guess it's more like David said. Set fingers firm and gather all the strength and energy around the fingers. any way, my translation from Chinese always sound weired.
It's so interesting to hear comments on Yuan Sha's music expression. I've heard mostly criticism on her technical ability, while hearing lots of praise on her emotional music style. She reminds me of the Korean pansori singer. The Korean story telling opera. I think the way Yuan Sha touches and bends the strings, it sounds more like singing.
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Post by gili on Nov 19, 2005 16:32:23 GMT
Depending on the song, it is not always appropriate to play the fastest you can. Some pieces are played like singing. Playing too fast would make it sounds like blabbing. To the minimum, the tune needs to be audibly interpretable given the fast speed. Like Wu Li, her technical skill is very good, but her playing for Dong Ting New Song, Yao Dance and so forth are just too fast for the melodies. As Carol has pointed out, Yuan Sha is known for her interpretation and emotional music style. She is one of the most successful and certainly very unique for her age. She is known for her flow in musical interpretation and performance. Never have I seen her 'miss' a string. Her skill has surpassed the ability to play fast. Yuan Sha may shift her hands away, but her skill pulls them back in the appropriate and calculated time. I doubt Yuan Sha ‘misses a lot of the crucial time’ like Vi An said. On the contrary, playing fast is only the threshold to playing with emotion. No matter if Yuan Sha happy or unhappy, she puts herself to the mood of the song when she performs. In her Colorful Cloud, her tears are obvious. It is far more challenging then if we were to play according to our mood at the moment. Like David said, ‘Often time ornamentation will require a high level of skill and supple technique to execute effectively. Good ornamentation can be fast but also must be done to enhance the music rather than disrupt it.’ While I agree with David’s terminology, I also believe Yuan Sha has surpassed that level. I appreciate Yuan Sha's music and agree with Carol that Yuan Sha's performance sings. Every pluck is no mistake to her.
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Post by sleepy on Nov 20, 2005 20:55:50 GMT
but the fingers need to be strong... Steering away from the subject a little bit, let's talk about the concept of playing or plucking with "strength" I'm intersested to hear everyone's apprehension on this topic--where do you think this "strength" comes from? From keeping the fingers (esp. the joints?) "firm"? Or "tensed" in a certain position or from what else? And how does "strength" affect "dexterity"? Thanks in advance!
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Post by gili on Nov 21, 2005 3:42:29 GMT
Sorry, I meant 'secure', with emphasis on your joints. Palm, wrist, arm and shoulder relaxed. In my vocabulary, tense is never good.
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Post by andyrrgrstevie on Dec 29, 2015 3:02:11 GMT
From my observation, Yuan Sha's and Ji Wei's hands look very tight especially during fast part. Wang Zhongshan's and Fan Ran's hands look more relaxing. Zhao Manqin made a very detail description in his "Fast Fingering" book on all the musicles and bones in playing position. My understanding is that doing "fast fingering" is very different from traditional plcuking. You have to keep your fingers in tension (zhang li) position during the fast part, and don't go back to the resting postion as you would do with single plucking. Because time will be wasted from resting postion to tension postion. You only go back to the resting position after a fast phrase is over. My teacher happens to be a piano majored, so she taught me to keep the hand firm and tight (in tension) during the fast part. I found that really helpful. Any way, I think the guzheng playing today is very different from the traditional way. I guess most of you have seen that a player now will raise her hand up high after plucking and then go down to make another pluck.(Yuan Sha is a good example.) I don't see this with older players. When the first time I saw that, I thought that was very weired and exaggerating. I thought that's excess body movement, and didn't like that. However, then I was taught by Prof. Li Meng that the raising hand movement is actually to help the player to relax after one pluck, so the hand doesn't stay tight all the time. So, they teach kids this way: pluck and raise your hand, pluck and raise your hand. So, I figure that also means when plucking your hand is tight and in tension. Hi, Carol I'm a fan of your website and your tutorials are very helpful. I'm an intermediate guzheng player and I think the only thing blocking me from being a proffesional is my lack of fast fingering. So far I learned guzheng from my observation of yuan sha's peformances so you can say my performance is resembling yuan sha's (I learn from mimicking other player, if I like how they sound, I'll mimic them esp yuan sha). I need your advices of fast fingering. I don't play fast pieces for attracting audiences like you said but somehow I'm attracted to fast pieces for guzheng and pipa. Personally I think slow and relaxing pieces are best for erhu but I know how guzheng can be really seducing with slow pieces As for raising hands after vibrato or plucking, I think they do it for relaxing their hand. I do raise my hands too and I found the little time from raising and back to plucking is enoughh to relax my hand and the stress from the previous plucking is relieved. Plus it makes you look good if you do it right Rgrds, Andy
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