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Preface
In recent years, with the improvement of the quality of life, music has become an indispensable and important part of people's daily life.
At the same time, this also means that everyone's interest and pursuit of music is getting deeper and deeper.
Among the many Chinese and Western musical instruments, the piano occupies an important position.
Piano music is not only the most accessible type of music for ordinary people in life, but also one of the most accessible instruments for non-insiders.
Of course, we can't deny that the melody of the piano is extremely beautiful, beautiful and intriguing.
The charm of piano music lies in its rich timbre and expressiveness, which is especially reflected in composer Han Xingyu's "Boke Dance Rhyme".
The variety and depth of the timbre is the key to the perfect and beautiful interpretation of the work.
But what kind of strength and touch method can be used to better interpret the work?
A direct influencer of timbre
As we all know, in piano playing, timbre is the soul of the music.
In order to achieve the timbre that the composer wants to express, it is important to understand the source and transmission of power when playing the piano and the coordination of the various parts of the body, and the way the fingers touch the keys.
In other words, the way the keys are touched directly affects the change of timbre, which is especially evident in Ms. Han Sung-woo's "Boke Dance Rhyme", which we highlight today.
Han Sung-woo's band thinking when composing "Bok Dance Rhyme" makes the whole piece more colorful.
Later, Ms. Han Xingyu also said: When playing, we should also have a kind of band thinking, and we should imagine more, so that the sound is more formal, layered, line and color.
We've already mentioned that different touches produce different sounds, so when playing Bock Dance, players can adjust the touch style to get different sounds.
But everything is easier said than done, and the same is true for music playing.
This part of the example above is the introduction to the work.
We can clearly see that the composer marked "rit" at the end of the introduction, which means "slowing down".
The fourths and fifths of the hands need to be lengthened after the slowdown, so when playing this part of the double note, the player should hold the hand frame in place.
When playing, the player can also put his fingers on the keys corresponding to the intervals in advance, and use his arms to drive the wrists and palms to press down on the keys.
When touching the key, pay attention to the feeling of "grasping" with your fingertips, so that you can ensure the accuracy and force of the key when playing the interval.
Finally, to ensure accuracy, fingers should reach the deepest part of the key when touching the key.
When playing this interval, the player needs to touch the keys to adjust the timbre changes according to the extensions marked on the beatmap.
Therefore, when playing, the touch needs to be deeper, and then it needs to be adjusted with the help of the palm joint.
In addition, the player's fingers should be raised to a certain height when playing, and the fingertips should have a key grasping action, which needs to be active from the inside out.
However, it is not enough to rely on the strength of the fingers alone, but also to use the weight of the arms or even the whole body to play.
When playing the last measure, the player wants to achieve a fuller, thicker, clearer tone by flattening the hand slightly.
This hand shape is more conducive to the action of grasping and sticking the keys, thereby deepening the depth of the touch, and this timbre also makes a good preparation for the appearance of the theme.
In Bock Dance, the composer uses a large number of second intervals, which play a crucial role in the work.
For example, in measure 17 of the score, the composer marks these second intervals in the example as legatos.
When playing this part, the player needs to pay extra attention to the way the keys are touched, making these second intervals sound mysterious and nervous.
And the legato is also known as "Luoti".
This method of playing means that two notes or intervals and chords of different pitches are connected by a line, and the wrist plays a crucial role when playing this part of the legato, so pay special attention to the movement of the wrist.
After playing the first note, the player needs to take the palm and fingers up with the wrist as the axis, the first note falls, and the second note is raised, so that the effect of "falling up" can be played.
In addition, when playing this part of the drop, the relaxation of the arms is still the first priority.
Since the rhythmic pattern at this time is an eighth note and the time value is shorter, the wrist movement can be reduced when touching the keys, so that the contact area between the fingertips and the keys is smaller.
Supplemented by the small movement of the third joint of the fingers to help complete the action of falling and lifting, through this way of touching the keys, you can get the excitement and inner tension of the musical emotion.
In addition to these, in the Bock Dance Rhyme, there is also a parallel fourth-decomposed chord pattern.
The progression of these notes forms an arched melodic line, and the arpeggios in this section are due to the presence of more diacritical marks.
The player should pay attention to the accuracy of the tone when playing, after all, the essence of arpeggio can be said to be the transformation of the chord, strictly speaking, the transformation and decomposition of the chord.
Therefore, when practicing this part of the arpeggio, you should first determine the fingering and fix it, and arrange when to use three fingers and when to change four fingers.
In fact, we can easily see from the music examples that these arpeggios have a relatively large span, and variation exercises can be used when practicing.
First you can play the big finger down and hold it, then use the second finger to play the left and right second or third, fourth, etc.
This method can also be practiced with different fingers, allowing the fingers to be flexible and quickly finding the keys that correspond to the beatmap.
No matter how large the span, try to make each note sound legato and free of gaps.
If you feel that you can't master this method, you can also use your wrist to help you play.
Help the fingers connect by turning the wrist in an arc, taking care not to move too much.
Once this practice has been mastered, the player needs to touch the keys to make this part of the sound sound more coherent and full.
Therefore, in this part, you can use the small-angle fingertip touch method to play the keys.
Place the paddles of your fingers on the keyboard and stick them together in a way that doesn't seem to have much of a strumming action on the surface.
However, this way of playing requires good consolidation and control of the metacarpal joint, and the third joint of the fingers needs to be used as the force point.
If the control is not good or there is no internal strength support, it is easy to make the sound uneven or even leakage, so that the timbre of this part can be played in a full state at all times.
When playing a multi-part work, the player needs to express the theme melody, and the other parts should be weaker while the theme melody is highlighted.
This part is the third part of the work, in which the composer uses a multi-part writing technique, with the theme melody in the first part and the lower part supported by an octave.
And each octave is marked with accent marks, which plays a more emphatic effect.
When the player plays this part, the octave of the left hand needs to relax the arm while playing it, while the palm and knuckles are highly tense.
In this case, you can use the weight-drop strumming technique, which allows the arms to relax and fall while the fingers and palms are supported on the keys.
When practicing this part of the octave, do not relax your fingers and palms too much, but instead maintain a certain amount of tension.
With the shoulder or elbow as the axis, the knuckles are slightly retracted when the keys are dropped, and the keyboard is firmly grasped at the moment of touching.
Remember not to shake or slide up or down, as the octaves in the score are very effective and can play the dynamics that the composer wants to express, making the sound sound very full.
If the player wants to make the octave of the left hand sound louder when playing this part, they can increase the distance between their fingertips and the keyboard while playing.
When you touch the keys, you can touch the keys faster, so that the sound of the sound will be increased and the timbre will be more transparent.
In fact, we can see from the music example that the right hand has two voices.
The first part is the melodic part that the composer wants to express, and the middle part is the interval, and when playing this part, the player needs to control the touch keys of his right hand to highlight the theme melody.
When it is time to play the theme melody, the player's fingers should touch the key quickly, and when the finger does a quick touch, the player should use the metacarpal joint, which is the third joint, as the force point.
This touch allows for a bright, clean, grainy tone that accentuates the melodic part even more.
When playing the middle part, the player can use the shallow touch key technique while playing.
In this part, the composer uses a multi-part writing technique, with the low voice being the force that the composer wants to express and using continuous octaves, and the high part being the melodic part of this part.
Therefore, when playing a multi-part work, it is necessary to distinguish the main and secondary, and the middle part of this part is an eighth note, which is faster and shorter.
When playing the middle part, the player can leave some space between the fingertips and the bottom of the key, and the touch of the key should be shallower, and the less force the key will play, the lighter the sound will be.
When playing this part, it is more necessary to control the hand shape, and the fingers can be slightly bent to hook the keys, which is more conducive to the support of the fingers.
The finger lift is slightly lower to reduce the depth of the touch, resulting in a more elastic, clear, crisp and focused tone.
Dynamics and emotion
Composer Ms. Han Sung-woo once said that when creating "Bok Dance Rhyme", she used the relationship between close and long shots, which required the performer to make the sound sound layered when playing.
Without a clear sense of layering, this work will not be able to be performed well, let alone the artistic conception that the composer wants to express.
However, in "Bock Dance Rhyme", the progression of harmony, the melody and the accompaniment, and the contrast between the parts all represent completely different levels, so it is very important to play the work well.
Dynamics is the degree of strength, lightness, and size of the sound, and is one of the important elements of music.
It is of great significance in forming the logical structure of the work and expressing the emotional ups and downs of the composer.
We sometimes say that music is like "talking", and when speaking, there must be accents, light tones, accentuation, fading, etc., which are all related to the dynamics.
Only when we can control the strength freely can we play the change.
In this piece, there are a large number of consecutive second intervals, and we can see from the example above that an "f" is marked in this section.
As we all know, the "f" is an abbreviation of the Italian word "forte", which means "strong", and it can be seen that the composer wanted to express the inner tension of the bock player and the audience outside the venue.
Therefore, when the player plays this part, he can change the force of the touch to achieve a powerful timbre effect.
In addition, the performer can also adjust the position of the power point according to the emotion that the composer wants to express.
Accent marks and legato can be seen in the beatmap, so the player can use the waist as the force point when playing, and use the waist to drive the upper body, and the sound will be louder and richer.
However, when playing, some players will make a phenomenon of striking or smashing the keys in order to obtain a greater sound effect, and the timbre of this play is more direct and inelastic.
Therefore, in order to achieve a grand and loud timbre effect in this part of the performance, it is first necessary to ensure that the body is relaxed, so that the whole body strength will be very smooth.
As we can see from the score example above, the composer marked "crescendo" here.
This part is the second part of the piece, in which the second part contains three parts, and the theme and material of this part and the previous part are changed, forming a sharp contrast and development.
The fourth-chord progression here also plays an emphatic role, and the crescendo and accent marks marked by the composer in the score end with "FFF", which pushes this section to the climax of the whole piece.
When playing this part, you should first determine the beginning and end of the gradient, and step by step when playing the crescendo and crescendo.
For example, in measure 88, you should control the dynamics at the beginning of the crescendo and don't play too strongly, because too strong at the beginning will cause the subsequent crescendo to be not obvious.
In the right-hand dotted rhythm at the beginning of measure 88, the second note of each beat is marked with an accent mark.
This requires the player to not only make a crescendo when playing, but also to ensure that the notes on each accent mark are stronger than the other, so that the sound effect gradually progresses and reaches the climax of this part.
epilogue
With "Bok Dance Rhyme", we clearly see the importance of playing technique and timbre processing in piano playing.
On the other hand, we are also deeply aware that good performance requires not only technical precision and proficiency, but also a deep understanding and emotional investment in the work.
It can be said that every way of touching the keys and every change in dynamics is the inner monologue of the performer.
At this moment, we have been deeply impressed by the charm of piano music, and shocked by Han Xingyu's "Boke Dance Rhyme".