一、月琴的結構
月琴結構和(he)阮近似,不同處是在(zai)琴(qin)身(shen)中膠有音(yin)梁和(he)支(zhi)有音(yin)柱、琴(qin)頸短小(xiao)。月琴(qin)由琴(qin)頭、琴(qin)頸、琴(qin)身(shen)、弦(xian)(xian)軸(zhou)、琴(qin)弦(xian)(xian)和(he)縛弦(xian)(xian)等(deng)部(bu)分組(zu)成。
1、琴(qin)頭(tou)和琴(qin)頸(jing)是(shi)(shi)用一整塊紫檀或其(qi)他硬木(mu)制作(zuo)。琴(qin)頭(tou)頂端(duan)的(de)裝(zhuang)飾,是(shi)(shi)單獨(du)用木(mu)料(liao)雕(diao)塑成龍頭(tou)或其(qi)他圖(tu)案,再(zai)膠粘(zhan)上(shang)(shang)去。琴(qin)頸(jing)上(shang)(shang)部開有弦槽,槽側并有安(an)裝(zhuang)弦軸(zhou)的(de)圓孔。琴(qin)頸(jing)下端(duan)有方形木(mu)桿裝(zhuang)在琴(qin)身上(shang)(shang)。
2、琴(qin)身是呈扁(bian)圓形的共鳴箱,由面(mian)、背(bei)、框(kuang)板(ban)膠粘而成。框(kuang)板(ban)用6快規格一(yi)致的木板(ban)膠接(jie)成一(yi)圓形琴(qin)框(kuang),上下開有(you)裝入琴(qin)頸方(fang)木的孔眼。它的兩(liang)面(mian)粘著面(mian)、背(bei)板(ban)。面(mian)板(ban)和背(bei)板(ban)是月琴(qin)發(fa)音的共鳴板(ban),用紋(wen)理順直均勻、無疤節(jie)和木色(se)一(yi)致的桐木制作。在面(mian)、背(bei)板(ban)中間橫置兩(liang)道音梁,中間支(zhi)有(you)兩(liang)個音柱(zhu)。
3、弦軸用黃楊木,外表刻有斜條瓣紋,擰轉的一端(duan)還嵌有象(xiang)牙(ya)或骨飾。
4、琴弦(xian)(xian)用絲弦(xian)(xian)、尼龍(long)弦(xian)(xian)或尼龍(long)纏鋼絲弦(xian)(xian)。以鋼絲尼龍(long)弦(xian)(xian)的效果最好。
5、縛弦用(yong)紅木或竹子制作,粘(zhan)在面板下部的中間。
優質月琴(qin)的音(yin)階準(zhun)(zhun)確(que)、音(yin)準(zhun)(zhun)偏(pian)差不超過正負15音(yin)分,音(yin)色清脆(cui)柔和,音(yin)響寬(kuan)亮;琴(qin)身(shen)圓度準(zhun)(zhun)確(que),框板寬(kuan)度一致,面(mian)背板平光(guang)潔凈;琴(qin)頭(tou)雕飾(shi)細(xi)致;音(yin)品間隔(ge)準(zhun)(zhun)確(que),排列整齊(qi);琴(qin)頸和面(mian)板在一個平面(mian)上,無前傾或(huo)后(hou)仰現象;弦(xian)軸(zhou)、軸(zhou)孔(kong)配合(he)嚴,齒輪銅軸(zhou)靈(ling)敏。各膠(jiao)合(he)部位拼粘牢固,涂漆勻凈光(guang)亮。
演奏(zou)月琴左(zuo)手持琴按(an)弦,右(you)手拿撥(bo)子彈(dan)奏(zou),其技(ji)巧(qiao)已發展到彈(dan)、撥(bo)、撮、滾、掃滾、按(an)、顫、滑、吟等30多種,其中還包括有獨特效果的(de)“刮品”技(ji)巧(qiao),不但可(ke)用于(yu)伴(ban)奏(zou),同(tong)樣也是一件出色的(de)獨奏(zou)樂器(qi)。
二、月琴怎么演奏
月琴(qin)的演奏技巧很(hen)豐富,但(dan)通常右(you)手(shou)為彈、撥、撮、長輪、掃弦(xian)等方(fang)法(fa),左手(shou)為推、拉、揉、移指等方(fang)法(fa)。
月琴右(you)手(shou)(shou)演奏的(de)(de)基礎是(shi)(shi):彈(dan)(dan)(dan)(dan)、撥、撮、輪稱(cheng)為“基本(ben)功”。其(qi)方法為右(you)手(shou)(shou)食指(zhi)與(yu)(yu)拇指(zhi)緊握彈(dan)(dan)(dan)(dan)片,手(shou)(shou)腕與(yu)(yu)小手(shou)(shou)臂形成45度(du),利(li)用(yong)手(shou)(shou)腕的(de)(de)力量彈(dan)(dan)(dan)(dan)到佛(fo)手(shou)(shou)的(de)(de)上前方琴弦,反復彈(dan)(dan)(dan)(dan)撥,彈(dan)(dan)(dan)(dan)撥力度(du)均(jun)勻,切記不(bu)要彈(dan)(dan)(dan)(dan)強、撥弱。待右(you)手(shou)(shou)基本(ben)熟練(lian)后,配(pei)合左(zuo)手(shou)(shou)。左(zuo)手(shou)(shou)的(de)(de)方法是(shi)(shi)用(yong)拇指(zhi)把住琴頸(jing),其(qi)余(yu)四指(zhi)分(fen)別用(yong)指(zhi)尖彈(dan)(dan)(dan)(dan)在品上,記住要用(yong)指(zhi)尖稍前的(de)(de)部位。手(shou)(shou)指(zhi)抬(tai)起(qi)時不(bu)能過高、太高,影響速度(du)。另外,還有(you)推、拉、移指(zhi)等方法。初學者可以(yi)從(cong)音(yin)階練(lian)習開(kai)始(shi)訓練(lian),從(cong)十六分(fen)音(yin)符、八分(fen)音(yin)符、四分(fen)音(yin)符,由慢到快,反復練(lian)習,要求達到旋(xuan)律流暢(chang),音(yin)符均(jun)勻,每個音(yin)符均(jun)帶有(you)顆粒(li)狀。
音階練(lian)(lian)習熟練(lian)(lian)后,可以進行移指(zhi)練(lian)(lian)習,爬音練(lian)(lian)習,這是演(yan)奏樂(le)曲(qu)(qu)(qu)中不可缺少的(de)(de)(de)基(ji)本功(gong)。另外(wai),演(yan)奏樂(le)曲(qu)(qu)(qu)時要(yao)把握(wo)樂(le)曲(qu)(qu)(qu)中不同的(de)(de)(de)內容,不同的(de)(de)(de)變化(hua)來(lai)進行處理,彈與(yu)撥(bo)的(de)(de)(de)力度與(yu)幅(fu)度如用法(fa)不準確就會(hui)破壞作品(pin)的(de)(de)(de)涵(han)義。例如:月(yue)琴獨(du)奏曲(qu)(qu)(qu)《百萬雄(xiong)師過大江(jiang)》的(de)(de)(de)前奏引(yin)子部分(fen)。這就不能(neng)用簡單的(de)(de)(de)彈、撥(bo)手法(fa)來(lai)處理,而是要(yao)用長輪(lun),并且控(kong)制音量(liang),因這首(shou)樂(le)曲(qu)(qu)(qu)此時的(de)(de)(de)引(yin)子部分(fen)是表現淮海大戰前夕的(de)(de)(de)寧靜。
月琴右手方(fang)法(fa)之一(yi)的(de)掃(sao)(sao)弦,也是演(yan)奏樂曲中常用的(de)方(fang)法(fa)。例(li)如:《百萬雄師(shi)過大江》引子部分結束后(hou)突(tu)然彈出強(qiang)烈的(de)和聲,此時演(yan)奏方(fang)法(fa)為(wei)掃(sao)(sao)弦,樂曲表現為(wei)中國人民解(jie)放(fang)軍勢(shi)如破(po)竹的(de)強(qiang)大攻勢(shi)已開始(shi),要注意掃(sao)(sao)弦不是可以亂用的(de),一(yi)定要和樂曲內容相吻(wen)合。
“撮(cuo)”分(fen)為正撮(cuo),反撮(cuo)。正撮(cuo)為彈(dan)撥三次,反撮(cuo)彈(dan)撥四(si)次,例如舞劇《紅色娘(niang)子(zi)軍》中一段音(yin)樂(le)。這一段音(yin)樂(le)的演奏(zou),右手腕要果斷,不能拖泥帶水,否則彈(dan)出(chu)的樂(le)曲沒有沖擊力(li),也談不上音(yin)色顆粒狀(zhuang)。
反(fan)撮的(de)方法用(yong)(yong)得就普遍了。例如(ru):現代京(jing)劇《杜鵑山》中(zhong)柯湘(xiang)的(de)一(yi)段唱(chang)“亂云飛(fei)”,唱(chang)到心情沉(chen)重(zhong)的(de)時候就用(yong)(yong)反(fan)撮。正(zheng)(zheng)、反(fan)撮在京(jing)劇音樂伴奏中(zhong)經常使用(yong)(yong)。需要強調(diao)的(de)是無論正(zheng)(zheng)、反(fan)撮,左、右手(shou)一(yi)定(ding)放松,隨著樂曲的(de)變(bian)化會(hui)碰到高(gao)難(nan)度的(de)跳把位,如(ru)按品(pin)的(de)位置太緊,是會(hui)影(ying)響音色與速度的(de)。
演奏月琴時(shi),將(jiang)琴(qin)(qin)斜(xie)抱于胸前,左(zuo)手(shou)持(chi)琴(qin)(qin)按弦(xian)(xian)(xian)(xian)(xian)(xian)(xian),右(you)手(shou)用食指或(huo)(huo)執撥(bo)片彈(dan)(dan)撥(bo)琴(qin)(qin)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)發音(yin)(yin)。撥(bo)片用竹片、牛角片或(huo)(huo)骨(gu)片制成。月(yue)琴(qin)(qin)常以五度(du)(du)或(huo)(huo)四(si)度(du)(du)關系(xi)定(ding)(ding)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian),四(si)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)月(yue)琴(qin)(qin)即可(ke)兩(liang)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)定(ding)(ding)同音(yin)(yin),又可(ke)每弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)各定(ding)(ding)一音(yin)(yin)。一般定(ding)(ding)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)如下:二弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)月(yue)琴(qin)(qin)定(ding)(ding)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)為(wei)(wei)(wei)(wei)(wei):d1、a1;e1、a1;g1、d2。三(san)(san)(san)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)月(yue)琴(qin)(qin)定(ding)(ding)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)為(wei)(wei)(wei)(wei)(wei):g、d1、g1;g、c1、g1。四(si)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)月(yue)琴(qin)(qin)定(ding)(ding)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)為(wei)(wei)(wei)(wei)(wei):d1、d1、a1、a1;a、d1、g1、c2。長桿月(yue)琴(qin)(qin)定(ding)(ding)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)為(wei)(wei)(wei)(wei)(wei):g、c1、g1、c2。在(zai)四(si)川涼山,三(san)(san)(san)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)月(yue)琴(qin)(qin)定(ding)(ding)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)有(you)(you)兩(liang)種(zhong),用撥(bo)子彈(dan)(dan)奏(zou)的(de)(de)月(yue)琴(qin)(qin)定(ding)(ding)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)為(wei)(wei)(wei)(wei)(wei):e1、a1、e2;用手(shou)指彈(dan)(dan)奏(zou)的(de)(de)月(yue)琴(qin)(qin)定(ding)(ding)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)為(wei)(wei)(wei)(wei)(wei):d1、a1、d2。在(zai)云南墨(mo)江,彝族聶蘇支(zhi)系(xi)的(de)(de)月(yue)琴(qin)(qin)定(ding)(ding)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)為(wei)(wei)(wei)(wei)(wei):f1、f1、c2、c2。在(zai)廣(guang)西(xi)隆林,苗族月(yue)琴(qin)(qin)定(ding)(ding)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)為(wei)(wei)(wei)(wei)(wei):d1、a1、a1。月(yue)琴(qin)(qin)的(de)(de)音(yin)(yin)色(se)悅耳、動聽,高音(yin)(yin)清(qing)脆、中音(yin)(yin)明亮、低音(yin)(yin)豐滿。用撥(bo)片彈(dan)(dan)奏(zou)的(de)(de)月(yue)琴(qin)(qin),右(you)手(shou)奏(zou)法以彈(dan)(dan)、挑、滾(gun)為(wei)(wei)(wei)(wei)(wei)主,有(you)(you)時(shi)也用撮、掃(sao)(sao)滾(gun)等,并有(you)(you)獨(du)特效(xiao)果的(de)(de)“刮品”技(ji)巧(qiao)(qiao)。左(zuo)手(shou)則有(you)(you)按、顫、滑、吟等技(ji)法。用手(shou)指彈(dan)(dan)奏(zou)的(de)(de)月(yue)琴(qin)(qin),還(huan)吸(xi)收(shou)了(le)柳琴(qin)(qin)、琵琶等彈(dan)(dan)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)樂器的(de)(de)技(ji)巧(qiao)(qiao)。四(si)川涼山的(de)(de)月(yue)琴(qin)(qin),由原來兩(liang)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)一個(ge)八(ba)度(du)(du)發展(zhan)為(wei)(wei)(wei)(wei)(wei)三(san)(san)(san)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)三(san)(san)(san)個(ge)八(ba)度(du)(du)音(yin)(yin)域后,演奏(zou)上既保持(chi)了(le)本民族的(de)(de)風格特點,又突破(po)了(le)舊的(de)(de)傳統,還(huan)吸(xi)取三(san)(san)(san)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)和(he)琵琶的(de)(de)技(ji)法,彈(dan)(dan)、撥(bo)、挑、掃(sao)(sao)并用,還(huan)不(bu)時(shi)加上雙弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)、和(he)弦(xian)(xian)(xian)(xian)(xian)(xian)(xian)和(he)持(chi)續音(yin)(yin)等種(zhong)種(zhong)變化(hua),擴大和(he)豐富了(le)表(biao)現力。彈(dan)(dan)奏(zou)舞曲時(shi),還(huan)常用手(shou)指敲擊(ji)面板,以增強熱(re)烈氣氛。