香港vps cn2gia 10mbps,CN2香港专线服务器究竟快不快?
对于从事于IDC市场的朋友应该很清楚CN2线路是什么意思,不过对于新手站长来说估计是有点陌生,简单来说,CN2全称为中国电信下一代承载网,英文是Chinatelecom Next Carrier Network,缩写为CNCN,进一步缩写为CN2。
提到CN2,我们还不得不提到老一代的163骨干网,而CN2本身又分为两种类型,所以,我们在这里把这三者逐一对比一下:
普通163: 就是电信用户最经常遇到的电信线路,等级最低,省级/出国/国际骨干节点都以202.97开头,全程没有59.43开头的CN2节点。在出国线路上表现为拥堵,丢包率高。
CN2 GT: CN2里属于Global Transit的产品(又名GIS-Global Internet Service),在CN2里等级低,省级/出国节点为202.97开头,国际骨干节点有2~4个59.43开头的CN2节点。在出国线路上拥堵程度一般,相对于163骨干网的稍强,相比CN2 GIA,性价比也较高。
CN2 GIA: CN2里属于Global Internet Access的产品,等级最高,省级/出国/国际骨干节点都以59.43开头,全程没有202.97开头的节点。在出国线路上表现最好,很少拥堵,理论上速度最快最稳定,当然,价格也相对CN2 GT偏高。
CN2线路最大的优势就是可以给主机服务器提高一定的加快速度,拥有CN2线路的服务器就可以绕过多个节点,可以直接与国内的电信网进行连接,可以直接提高服务器访问速度。
CN2香港专线服务器CN2香港专线服务器顾名思义就是采用的是CN2线路的香港服务器,需要香港CN2服务器可以考虑下BlueHost,BlueHost香港CN2服务器位于HKColo.NET数据中心最顶级的Telehouse机房,距离大陆非常近,均采用CN2直连线路,ping值在50ms以下,国内访问速度非常快,用户的体验度很高。
与此同时,现在BlueHost中文站提供有四款香港CN2服务器,使用专属优惠码还可以享受优惠折扣,可以根据自己需求选择方案,整体性价比高。总的来说,搭建网站采用CN2线路的服务器对网站只会起到有利无一害的,无论是在访问速度上还是传输质量上都相对较好。
行书练习技巧?
行书,又称“行押书”,也称“藁书”,是介于楷书和草书之间的一种书体。楷书稍加连贯,点画略带呼应,就是行书。行书写起来比楷书快,又比草书容易识认,所以是应用最广的书体。它既实用,又美观,写起来便捷。
行书分类
行书大致以其作品所具有的楷书和草书成分,划分为两类:作品中楷书成分较多的称之为行楷或楷行、真行:作品中草书成分较多的则称之为行草或草行。
硬笔行书
书写姿势
正确的书写姿势不只是为了好看,还可以使书写技能得到充分、有效地发挥,有助于书写者的身心健康。书写姿势同时也反映出书写者的修养,只有身正才会字正。正确的姿势应是头正、身直、肩平、胸舒、臂开、足安。(如下图)
1、头部端正:头要居中,稍向前下方俯视,眼睛与纸面一尺距离,不可俯得太低,也不可左偏、右斜。
2、身直肩平:臀部平坐于椅子中间大部,不能扭向一边,两肩平齐,上身不弯曲,使上身重心安稳。
3、臂开胸舒:两臂自然开张,两肘平放桌面,保持一线,腹背挺直,胸口与桌沿保持一拳距离,使呼吸顺畅。
4、腿开足安:两腿分开,与肩同宽,自然下垂,内侧保持平行,两脚平放地上,使全身平衡。正确的书写姿势,才能使字写得端正,重心平衡。同时,正确的姿势也会给人的身体带来益处。
执笔方法
执笔方法不正确,不但妨碍书写姿势,影响书写质量,还会给书写者身心健康带来危害,不可忽视。根据笔的自身特点,硬笔是三指执笔法,斜拿。
正确的执笔方法:
①用拇指、食指、中指三个指头捏住笔杆(三指处于同一平面);
②指尖距笔尖约2.5cm~3cm(两指左右);
③所有指关节都向外弯;
④笔杆位于食指的根部(如下图)。
同时,还要做到:
①指实:拇指、食指、中指来自三方的力量,处在与笔杆垂直的同一圆角上,将笔杆夹牢,松紧适度。
②掌虚:无名指和小指紧随中指下部依次靠拢,并向掌心弯曲、虛握。小指的整个底部形成一个环形底座,虚贴桌面。
③杆斜:笔杆向右后方倾斜,紧靠在食指第三关节与虎口方向,与桌面呈45°角。如果写较大的字,手指向前伸直,笔杆与纸面角度减小;书写较小的字手指向掌心收缩,笔杆与纸面角度大,宜于精離细琢。
练习方法
选笔
钢笔
具备一支书写流畅的钢笔,是开始练习行书的基础条件。众所周知,随着技术的发展进步,签字笔已经深入到社会生活的各个方面,我们在绝大部分时候都是使用签字笔来写字,使用钢笔的时候比较少。但是想要练习好行书,则必须要有一支书写流畅的钢笔。钢笔不同于签字笔,它可以更好地适应行书的书写顺序,保证书写出来的行书更加漂亮。明尖笔,弹性略大一点,笔画变化稍大,更适合书法。
推荐钢笔
适合练字的钢笔,日笔应该比欧笔更适合一些。推荐白金3776,百乐78G,写乐21K等。
选字帖临摹
买一本包含常用字在内的行书字体进行模仿练习是练习行书的基本方法。我们常说先学会走路再学会跑,如果还没有学会走路是不可能学会跑的。练习行书也是如此,首先是要学会名家的习作,学会他们的书写方式,照着样子先临摹、描红,然后再过渡到自己来练习书写。在具体选择的时候,一定要选用包括常用字在内的字帖,这样更加有利于今后的具体实践使用。
适合练习的字帖推荐以下启功《论书绝句百首》、梁鼎光的《钢笔临帖》、田英章老师的字帖、顾仲安的字帖。
坚持练习
写好行书并非一朝一夕之功,需要长时间的练习才能成功。对于初学者来说,如果有一定的书法基础,可以很快上手练习行书。如果还没有练习其他字体的书法基础,最好是先练习正楷字、钢笔字然后再过渡到行书的书写,这是学习的一个循序渐进的过程。因此,练习行书没有捷径可以走,有的就是每天坚持练习,持之以恒地坚持下去。一般来说,有一年左右的时间就可以书写出一手漂亮的行书。
连笔意识训练
通过笔画练习
要写好硬笔行书,首先要了解行书的运笔特点,即行书是流动的楷书,它的基本笔画就反映了这一特征。因此,我们通过基本笔画训练,逐渐掌握行书运笔要领,为写好行书奠定基础。
1、点画:行书点虽小,但很重要,起着笔画的起止、过渡、装饰、承上启下、画龙点睛的作用。点有独立点、组合点两种。
独立点,写法如楷书笔画中撇点,右下顿笔由轻到重转向左下,方向视下一笔画起笔位置而定。
组合点,横式排列、竖式排列,重点体现出点与点之间的呼应关系。
2、横画:行书横画在字中起平衡作用,随意性大,起、收笔变化多端,短横有时处理成点,数横并存忌平行划一,要姿态各异。
短横:起笔轻,收笔重,末端收笔可向左下勾出,以呼应下一笔。
长横:起笔向左下轻落笔,快而有力向右运笔,驻笔后左下方出锋运笔中间轻、两头重。
3、竖画:竖画有左竖、右竖、短竖、悬针、垂露之分。左竖向右上回锋与下笔呼应;右竖向左下出锋引带下画。
悬针竖:垂直书写,出锋不可随意甩出,以免轻浮。
垂露竖:收尾呈露珠状,但不一定垂直,往往左侧向左凸,右侧向右凸。
4、撇画:撇在字中是支撑重心作用,具有较强的运动感,其特点飘逸劲健,灵动活泼。
小撇:乃字之精神,写法与楷书同。要注意长短、粗细及笔的走向,出锋锐利。
长撇:中间部分要粗些,但勿过分,笔法与楷书同。
回带撇:起笔、中间部分与楷同,只是收笔处回锋出钩,以连带下面笔画。
5、捺画:在字中支撑字的重心,姿态飘逸,一波三折,给人以流动的美。
斜捺:由轻到重再轻收笔出锋,与左撇呼应,行书中亦可写成反捺或捺点:
平捺:写法同捺,关键把握好它的角度和长短。
6、钩画:钩画种类繁多(竖钩、横钩、卧钩、斜钩、弯钩、竖弯钩、横折钩、横折弯钩等),要做到稳重而有气势,体现出内在力量。
橫钩:逆势起笔与上笔遥相呼应,转角处不必像楷书那样严格,但要有力;
竖钩:竖垂直钩处多变,可向左上勾出,亦可作左下方出锋。
7、折画:折画一般在字的外围,对字包围之势,书写要有力度,笔势内聚,使字不散。
竖折:由上至左下快速落笔,蓄势向右上方徐徐运笔,中间微上凸;
横折:起笔重落,徐向右运笔,拐弯处快速向下弯去,至收笔处稍驻。
8、提画:提画尖锐挺拔,劲健有力,能增加字的力度和速度,美观。可分为短提、长提、撇提。
提:行书提起笔由上而左下迅速落笔,稍驻回笔向右上方迅速挑出,出锋尖利。
通过偏旁部练习
偏旁部首是笔画的初步组合,虽然行书没有一定书写规则,但笔画走向却有相对固定写法。因此,我们依照人们的书写习惯,约定俗成的写法来领会,并举一反三。
一、偏旁部首的练习
二、偏旁部首在字中不同位置的变化写法训练
偏旁部首出现于字的上、下、左、右、里、外不同位置时,写法也不尽相同,使得汉字书写千变万化。我们了解了这些变化要领,就可以触类旁通,掌握书写规则,熟习它们的变化规律,举一反三,就可收到事半功倍的效果。
1、土部在左时竖画偏右,下横改提以让右;在字右部时,两横间距拉开:在字上、下时,两横间距紧凑,避免结构松散。
2、火部在字左侧斜撇改为竖撇,捺变点收缩;居字上部笔画收缩,改捺为点;如在字右部或下部撇捺向两边伸展。
3、木部在左时横短竖长且偏右,捺改点;在右时横短竖长,撇捺伸展;在字上竖较短,撇捺张开;在字下横画长,竖带钩,撇捺改点。
4、日部竖画柔和自然,横折与竖画协调,中横居中不要太满,底横不可超出右竖。作左偏旁时较窄;在字右部地位适中。
5、月部竖撇较长,里面两横偏上不写满。月旁在左写得瘦窄些;在右侧写得丰满些。
6、方部点斜取势,横与点保持间距,弯钩重心。方在左横画右边不能长;在字下部点与横相交。
7、石部在左位置偏上,字形略小,以让右;在字下部要横长撇短;品字结构要上正左小右大。
8、耳部笔顺先横后竖再三横,在字左悬针改垂露,下横变提在右侧稍丰满些;居字上部悬针短。
9、米部在字左侧时横短竖长,捺变点;在字右边撇捺伸展;居字上部竖画的下部短;在字下部,竖画的上部短。
10、禾部用作左旁,撇橫间距拉开,竖偏右,捺改点;在右时,左撒收缩以让左;禾部在字上写法有两种:①下部伸展,禾部收缩;②下部收缩,则禾部散捺伸展。
总之,笔画之间要遵循上、下、左、右伸缩,高、低、顾、盼照应的规律。 三、相似偏旁部首的区别训练 行书写法简省笔画,再加之勾挑、牵丝相连,从而出现一些相似部首容易混淆。
因此,我们有必要对其分析,找出规律、异同,掌握正确的书写方法。 1、言字旁和三点水二者主要区别在第二笔。言字旁横折提的横折处实、重;三点水第二笔为右点收笔与第三笔虚连、轻。
2、提手旁和牛字旁都是一笔完成。区别是提手旁第一笔为横,牛字旁是撇折,因此,提手旁第一笔逆势过大很容易写成牛字旁。
3、木字旁与反犬旁区别:
①第一笔笔画和笔势不同,木旁为短横,由左至右上挑,反犬旁为撇,由右上至左下再上覆连弯钩。②第二笔木旁为竖,笔势直;反犬为弯钩,笔势弧形。
4、奉字头与卷字头区别在首笔,奉字头是横,卷字头为合两点,如将合两点写得过近,连丝过粗,近似短横,则二者就相像了。
5、四字头和血字底笔画、笔势相同,区别在最后一横。四字头横画缩在左竖与右折钩内,而血字横将二者托起。
6、立字旁和足字旁下部完全一样,不同点在上部:立旁是右点加斜横,足字旁是口为首,只要笔画与牵丝交待清晰,二者不难分辨。
7、示字旁与禾字旁区别在于起笔不同:示旁右点带钩呼出横画,禾旁为小撇,呼出横画;横竖画转接处不同,示旁在下部,禾旁在上部。
8、贝字旁与欠字旁运笔方法基本相同。要区分二者,第一、欠旁起笔为撇而且较长,撇出后回笔短;贝旁起笔竖且短,回锋长。第二、欠旁是撇折钩,弯头小;贝旁是竖弯折,弯头大。
9、左耳旁和右耳旁笔画、笔势完全相同,区分在于左耳旁不封口,竖为垂露且短些;右耳旁封口,竖为悬针且稍长。
10、绞丝旁与双人旁二者最大区别是双人旁第二笔为撇,之后笔不离纸由撇原路返至中间作竖向右上回锋,意连下一笔;绞丝旁折笔处是两弧形,无撇画、竖画,收笔回锋斜上作提。
通过具体字训练
笔画与偏旁是结字的基础,最终要结合成端庄、美观、令人赏心悦目的汉字。我们从思想上要有笔画之间是流动的,不是僵死的;笔画之间是呼应的,而不是孤立的这种连带或笔断意连意识。
1、连横训练
2、连竖训练
3、竖连横训练
4、连横连竖训练
5、横竖横相连训练
6、其它笔画相连的训练
毛笔行书
基本技法
笔法
笔法指执笔和用笔,写行书的人一般都练习过楷书,所以执笔和用笔都有了基础。但是,行书的笔法比楷书要丰富得多。要做到中锋用笔,方圆兼备,中、侧锋并用,点画之间以牵丝映带、似连非连、笔断势连的形式贯通气脉。
点画写法
行书点画要注意呼应,同时应在平整中取攲侧之势,在匀称之中得疏密之形,使之变化多姿,特别要注意的是,牵丝往来要有笔断意连之妙,运笔快慢要得疾涩相生之意。圆转处要劲气內敛,方折处要如削金断玉,明快洁净。
结构
行书结构千变万化,但基本原则是要重心平稳,变化自然,顾盼呼应。行书多用奔放之笔取攲侧之势,但无论如何奔放也要重心平稳,特别是攲侧中站稳重心,这种奇正相成的结构是行书的特点。行书多变化,变化要顺乎自然。字行大小、疏密、长短、伸缩、开合、俯仰、向背等自然之行,初写时要尽各字真态、本色,切忌故意造作,制奇弄险,走入流俗,能得自然之美方是真本领。至于点画之间顾盼生情,相互呼应要如闻其声,则字字都活泼而有生气了。
章法
行书章法多用纵有行、横无列,或纵无行,横无列两种。字与字之间要有內在联系,行与行之间要有意态呼应。不必故意笔笔相连,贵在气息贯注,笔断意连。通篇字的大小变化、疏密对比、伸缩之宜都要合乎自然,章法要如音乐之旋律,如诗词之有声律。诗词的“平平仄仄平平仄”抑扬顿挫,一如行书的疏密奇正伸缩,对比中求和谐,对立中求统一。虽是“疏可跑马,密不容针”,仍要密不迫塞,疏不散漫,总之要浑然一体,一气呵成,无意之佳为最妙。
练习方法
选笔
初学者在书写行书时,不论是行草还是行楷,因对毛笔的使用以及落笔的轻重缓急尚未把握,可以选择兼毫来使用,兼毫兼具了硬毫和软毫的优点,较为容易上手,而且使用兼毫吸墨量适宜,不会导致初学者在书写行书时停顿出现墨水团影响纸面。
挑选毛笔是挑毛尖。笔头要尖、齐、圆、键,即:笔头的锋颖既尖锐似锥又要圆润,笔头既要修削整齐,笔尖又要丰满,富有弹性。一般笔杆多用凤尾竹、湘妃竹、花竹、紫竹制成。挑选笔杆时要看笔管是否圆正光滑,不瘪、不裂、不弯、不斜,长短适度。笔杆上有篆刻的,要看它是否镌秀清晰;有镶嵌的,要看是否曲雅古朴。最后,要看笔头与笔杆是否粘牢,笔头有无发霉、虫蛀现象。先用手轻轻晃动笔头,不能出现松动现象,再轻轻弹笔杆,看是否有掉毛,有毛掉睛,不是虫蛀,便是发霉。检查毛笔笔头是否发霉,还可以闻闻有无霉味。
选字帖临摹
(1)挑选字帖。挑选一本孩子比较喜爱的、点画比较工整的、结体比较匀称的字帖来临摹。毛笔字帖,应挑选字体小一点的字帖,这样可省去缩小的工夫。
(2)先摹后临、临摹结合在习字时,要先摹后临、临摹结合。毛笔照着字帖上的字一点一画地描红。要求写的笔迹不要越出字帖字外,都写在字帖上字的点画中间。这样,久而久之,就容易学到字帖上字的结构。所谓临,就是把字帖放在习字纸旁;照着帖上的字依样画葫芦。要求点画写得象,有轻重节奏和粗细的变化。这样,久而久之,就容易学到字帖上字的笔意。由于临书比摹书难,因此要先摹后临,由于临和摹是两种相辅相成的学字手段,因此要临摹结合,循序渐进。
(3)仔细读贴。再者,临摹前要仔细读帖。对帖上的字,其点画怎样书写,结构怎样安排,章法怎样布置,都要仔细琢磨并从中找出规律,这样就容易写得有兴趣,也容易写得象,写得好。临摹时,不能贪多贪快,每天坚持一、二小时,反复地临摹几个字,这样才会有真正的收获。对难写的字,更要知难而上,多临摹,多比较。
坚持练习
练习,持之以恒地坚持下去。一般来说,有一年左右的时间就可以书写出一手漂亮的行书。
练习行书在开始的时候有一个适应的阶段,熟能生巧,从一个字到一段字,从几个字、一行字到一篇字,逐渐掌握行书的规律,慢慢也就形成了属于你自己的行书风格。要善于从多方面吸取营养,名人题字,商家牌匾,学校老师甚至是同学之间,只要认真观察,都可以找到别人写的好字,学会了,就成了自己的字。
行书技巧
增加钩挑与牵丝
楷书书写要一笔一画、工工整整,行书则不然,是将点画连起来书写,即所谓“相间流行”,所以行书书写时在点心之间自然地出现或增加了由于用笔带出来的钩挑和牵丝。所谓钩挑是在原来没有钩挑的点画上,行笔时顺势写出来短钩,如“茂”等字。所谓牵丝则是在前后或上下笔本不相连的点画之间,顺笔势带出来细细的牵丝,如“发”“想”等字。在行书的点画之间有了钩挑与牵丝,则显得笔势流动通畅和谐,意态自然,给人一种生机勃勃的感觉。
注意:
钩挑与牵丝不能使用太多太弱,用多了,到处都是钩挑与细牵丝,显得用笔不干净利索,造型不美观;太弱了,钩脚如肉瘤,细丝如棉线,显得软弱无力,缺乏铁画银钩之健美。
以圆转代方折
行书转折处多采用草书圆转的写法,所以行书才显得笔势流畅。但需注意,行书的圆转中隐含着折意,写时仍需要驻笔、提按,否则圆润而无力,缺乏方圆兼备,方中有圆,圆中有方之妙趣,如“后”、“落”、“生”等字。
改变书写笔顺
小学老师强调写字注意笔顺,这确实是很重要,特别是楷书。然而在行书中,有时有意识地改变楷书的书写笔顺,而采用草书的笔顺,其目的是便于书写,同时也是为了造型的变化多姿,如“感”字。
注意:
一般地说行书写法也足先上后下先左后右,先内后外,但有时却反其道而行之,倒也别有风趣,如“风”“国”字等,但也必须注意,改变书写笔顺一定要因势利导,要合乎草书的规范。且不宜多,偶见则收,方能成趣,如果滥用成灾,使人乏味,就失败了。
用笔灵活
行书比楷书用笔灵活多变,同样的点画可以这样写,可以那样写,不受约束。如“也”字的浮鹅钩,一般是回锋收笔而出。但如果勾端由上翻笔而下也可以。又如木字旁,一般是写好横画和竖画后、笔势总是从左边带出撇挑,但从右边挑笔而上,然后顺笔就势写出撇挑,也有道理。如“杨”字。
起笔露锋入纸
楷书无论是点、横,还是撇、捺,都强调减锋为主。而在行书中起笔处以露锋人纸为多,因为露锋人纸,书写起来比较简捷方便,自然流畅,例如“生”字的左竖,“红”字的撇画及“工”字横画的起笔,“河”字三点水的侧点等,都是露锋人纸。然而必须说明的是,上面所说的字虽然都是露锋人纸,但不是随便的顺锋搭下一写,而是仍要“逆锋”,只是这个“逆锋”是要求凌空取势,即抢锋。不理解这一点,就会犯落笔尖细软弱的毛病。
注意:
露锋入纸,取势要求要快,写出字来,笔意就生动活泼.而藏锋取势较慢,笔意含蓄凝重。这两种写法各有所长,我们书写时相互结合掺用,这样可以各得其所,相得益彰。一般说,行书开头的起笔往往是露锋入纸,而以下的承笔处则多数是藏锋用笔。
以点代替其他笔画
为书写简便敏捷,行书常常以“点”来代替其他笔画,以短小的“点”代替其他较长大的笔画,可以使字的结构形态发生变化,造型更为别致。如将“京”,“影”字中的“小一字改写为三点则更敏捷,字型发生了变化,显得饶有趣味。又如“大”字,将捺笔写成侧点来表示,这样书写起来简捷流畅,造型也显得精悍朴实,别具风味。
体态多变
行书是介于楷书与草书之间的一种兼工带写的字体,它的使用范围很广,表现力丰富,常常一个字有几种写法,体态多变,姿态各异,如“是”字有四种写法,四个姿态,结尾收笔各有不同,有收有放,亦工亦草,情趣盎然。再如“英、落、草、奠、花”同是草字头,但写法各不相同,生动活泼,耐人寻味。如果同样的字或是字头字尾相同的字,写得千篇一律,没有变化,使人看了乏味,那就不称其为书法了。
运笔的技巧
中锋行笔
中锋行笔就是要使笔锋保持在点画中间行笔。中锋行笔是用笔的关键,是书法的生命。要能达到中锋行笔,就要在行笔时掌握好掌竖、腕平、笔杆直,同时还要随着墨液缓缓下流而不断调正笔锋,“令笔心常在点画中行”。篆、隶、楷书是这样,行书亦如此,如“乎”、“本”字除落笔和收笔外,中间所有的点画都是中锋行笔,“华”字亦是。
划重点:中锋行笔,笔迹圆润、道劲,妍美。
裹锋转笔
所谓裹锋转笔即是在转折处,用笔使毫不能太铺,要有所收敛,同时笔杆要稍加使转,以圆转代替方折,如“思”、“里”、“风”字的转角处即是。行书之所以比楷书书写简便,其中一个原因,就是以圆转代替方折。裹锋转笔,转折处玲珑流利,有一种活泼、自然的流动感。蔡邕在《九势》中所说的“转笔宜左右回顾,无使节目孤露”就是指裹锋转笔。但要注意裹锋转笔处,必须圆转中隐含折意,故书写时仍需驻笔、提按,否则圆而无骨,缺乏方圆兼备之妙趣。
折锋转笔
所谓折锋转笔,即转笔时如同写楷书一样,先提后折,顿笔后再调锋而下,只是书写速度略快些,转折处投有楷书那么方折,而是既看出是方折之意,又有圆浑之感,有骨有肉,骨肉兼备,即所谓“方中有回,圆中有方”。使人看了圆润、浑厚、劲挺。欲如此,则折锋转笔处要有方折的意味,折时要重些,轻重提按要一笔小苟,不能一笔带过。折锋转笔写出来的折画,不仅要方而见骨,而且要给人一种风骨挺立,神采飞扬的感觉。如“曲”“故”“总”字。
划重点:行书中的折笔写法,不外折锋转笔和裹锋转笔两种用笔。折锋转笔外露,裹锋转笔内含,各有千秋,但一般说在行书中以裹锋转笔为主,折锋转笔为辅。
衄锋勒笔
衄锋勒笔,就是点画中间稍用力顿挫一下,再中锋勒笔而出。衄锋勒笔大多数是用在反撩与撇的交接处,如“又”、“文”、“交”字的反捺中间用笔。衄锋勒笔,用笔收敛蓄势,短小精悍,而形态也有变化。这种用笔米芾书法中常用。
划重点:衄锋勒笔在衄锋时要有力,勒笔处要迅速,捺画末笔要收得住。
提锋连笔
提锋连笔即提笔连锋,也就是在点画相连处用笔提而不断,锋尖着纸带出牵丝。凡是点画间有牵丝相连者都是提笔连锋用笔。这种用笔的好处是:“是点画处皆重,非画处,偶相牵引,其笔皆轻。”(姜夔《续书谱》)且主次分明叉递相映带,如“墨”、“照”、“然”的点画牵引处。
在书写过程中,提和按,连和断,互为辩证的关系。提锋连笔是牵丝的写法,非牵丝处都是字的实画。我们在学习过程中,一定要注意用笔要实,不能虚,用笔要按不能提。只有按得下,方能提得起,只有实是实,方能虚是虚。
字组黄金法则
书法的形式是各种造型的组合关系。例如点画与点画的组合、结体与结体的组合、字组的组合、行的组合、区域的组合,直至笔墨与空白的组合等。这些组合从小到大,随着组合关系的不断扩大,审美内涵也逐渐丰富。
行书的结构和章法的规则要求主要是:结体大小轻重要适当,长短纵横要合度,疏密黑白要相称,左右欹正相呼应,使之错落变化,气势贯通,协调统一,神定气足。
以米芾的《苕溪诗帖》为例子,来窥探米颠他这部旷世作品里常见字与字之间的呼应的关系,进行一个简单的总结和归类。
欹正组合
欹正是指部分偏旁、部首或局部作倾斜、欹侧处理,又能倾而不倒,平中寓奇,增加字的变化和意外的奇趣。欹正得体就是说,歪的与正的阴阳配合到完美,指字写的很完美。
浓淡组合
书法是通过墨来表现的,墨法是书法的四大要素之一被书家重视。墨色的变化,一般有“浓、淡、干、湿、涨”。作品中的墨色的深浅枯润,可以造成雄奇或秀媚的书法意境。
大小组合
在行书作品中,字的大小是宾主关系,主次分明。把较大的笔画较粗的主字分布原则掌握了,较小的笔画较细的字分布原则也是一样的。
行书与草书组合
首先是字型结构方面,草书的字型变化很大,大小不一,不是内行的话一般很难辨认。而行书大小就比较一致了,看起来很工整。其次是笔法方面,草书笔法相对复杂些,且运笔较疾。而行书相对缓和,其锋刃体现在字形上,和草书有所区别。最后是章法。草书的章法是在起承转合中一气呵成,有一种大将风范。而行书则像一位隐士,不失工整,却又不乏气场。
粗细组合
线条,尤其是行书的线条,其轻、重、长、短、粗、细、浓、淡、枯、润等等,变化无穷,仪态万千,技法俱分高下,情态尽在其中。难怪有人说书法是“线条艺术”。
行书线条有其艺术法则的规范性。不是任何随意抹画出来的线条都可称之为行书艺术的线条,他们必须符合行书法则规范性要求并经过长期技法训练之后才能被书者所拥有。
这种规范性要求是客观的,不依书者主观意志为转移。书者只有在掌握了规范性要求的前提下方能发展和张扬其个性。区分写字与书法,必须首先看其是否具有“法度意识”即“规范意识”,是否符合规范性要求。
连体组合
连画写法在行书中,除了横、竖、撇、挑、捺、点、折、勾外,还常常有多个笔画连在一起写的情况,简称连笔或连画。连画的式虽然纷繁复杂,但分解起来,无非是直线弧线、转和折的组合。直线和爪线较易分辨,也较易书写,只要及时运腕,做到中锋行笔即可,比较不易分清的是转和折。书写复杂的连画时,必须注意灵活运腕和转折相间等原则。
横纵组合
主要表现为点画、部件或整体字形的长宽比例。楷书字形一般比例较为稳定,而行书则常随时进行调整。
省略组合
一般情况是凡字的固有笔画则重些,而两画之间的连接相应轻些,但不可截然跳动,否则呆板无神。牵丝形成连的效果是行书的主要特征之一,但却要运用得当。一味的牵连缠绕,当断不断,反而弄巧成拙,形成浮滑薄弱之病,是行书书写中的大忌。一位书法家讲过“连与断效果不同,连易断难,故当知断”。因此将牵丝引带与点画呼应分开来讲以区别它们的不同功用,这是行书的又一重要特征。
疏密组合
疏密体现在结字上,就是要加强对比,制造视觉反差。如势巧形密与意疏字缓。
排列组合
从汉字的特点和人的生理习惯来看,因为是右手写字,左手执册个字的笔顺自然是从上至下,自左而右的方便。如果从右往左写,写左半部时,毛笔势必挡住右半字形,不便于安排结构,影响结字的美观。而每个汉字的未笔都是在中下或右下,写完上一字的末笔紧接着写下一字的起笔,竖式书写比横式书写更方便,更便于笔势的连贯。
十大行书
第一行书
《兰亭序》是王羲之47岁时的书作,记述的是王羲之和友人雅士会聚兰亭的盛游之事。全篇从容娴和,气盛神凝,逸笔天成,匠心独运而又不毫无安排造作的痕迹。这样资质超群、功力深厚的作品,被评“为天下第一行书”,确实是当之无愧的。
第二行书
《祭侄文稿》,全名《祭侄赠赞善大夫季明文》。原作纸本,纵28.8厘米。横75.5厘米,共234字(另有涂抹字30余个)。现藏台北故宫博物院。颜真卿这篇《祭侄文草稿》是在极度悲愤的情绪下书写,顾不得笔墨的工拙,故字随书家情绪起伏,纯是精神和平时功力的自然流露。这在整个书法史上都是不多见的。可以说,《祭侄文稿》是极具史料价值和艺术价值的墨迹原作之一,至为宝贵。
第三行书
《黄州寒食诗帖》,纸本,25行,共129字,是苏轼行书的代表作。这是一首遣兴的诗作,是苏轼被贬黄州第三年的寒食节所发出的人生之叹。诗写得苍凉多情,表达了苏轼其时惆怅孤独的心情。《黄州寒食诗帖》彰显动势,洋溢着起伏的情绪。元朝鲜于枢把它称为继王羲之《兰亭序》、颜真卿《祭侄稿》之后的"天下第三行书"。
第四行书
《伯远帖》行书纸本,因首行有“伯远”二字,遂以帖名。此帖为晋代真迹,王珣书,故列希珍之宝。此帖行书,笔力遒劲,态致萧散,妍媚流便,是典型的王氏书风。是帖明末在新安吴新宇处,后归吴廷,曾刻入《馀清斋帖》,至清代时归入内府,并与王羲之《快雪时晴帖》、王献之《中秋帖》同列为三希堂法帖之一,现藏北京故宫博物院。
第五行书
《韭花帖》,杨凝式书,墨迹麻纸本,高26厘米,宽28厘米,共7行,63字。《韭花帖》是一封信札,内容是叙述午睡醒来,腹中甚饥之时,恰逢有人馈赠韭花,韭花非常可口,遂执笔以表示谢意。
第六行书
《蒙诏帖》,墨迹纸本,又名《翰林帖》,高26.8厘米,长57.4厘米,大字行书,计7行,27字,书于长庆元年(公元821年),当时柳公权四十四岁,年富力强,正是他书法创作的颠峰期,所以字如惊鸿击空。
第七行书
《张翰思鲈帖》也称《季鹰帖》,是欧阳询为张翰写的小传,属于行楷,无款。纸本,纵25.2厘米,横33厘米。共10行,每行九至十一字。字体修长严谨,笔力刚劲挺拨,风格平正中见险峻之势,是欧书中的精品。
第八行书
《蜀素帖》是米芾三十八岁时(1088年),在蜀素上所书的各体诗八首。此帖用笔多变,正侧藏露,长短粗细,体态万千,充分体现了他“刷字”的独特风格。结字也俯仰斜正,变化极大,并以欹侧为主,表现了动态的美感。董其昌在《蜀素帖》后跋曰:“此卷如狮子搏象,以全力赴之,当为生平合作。”
第九行书
《松风阁诗帖》墨迹纸本,纵32.8厘米横219.2厘米,全文计29行,153字。台北故宫博物院藏。
黄庭坚的行书,如《松风阁》,起笔处欲右先左,由画中藏锋逆入至左顿笔,然后平出,“无平不陂”,下笔着意变化;收笔处回锋藏颖。善藏锋,注意顿挫,以“画竹法作书”给人以“沉着痛快”的感觉。
第十行书
《土母帖》,行书墨迹,纸本。纵31.2厘米,横44.4厘米,10行,共104字。后有萧引高、王严实、王称等跋。《珊瑚纲》《书画汇考》《墨缘汇观》《石渠宝笈续编》著录。台北故宫博物院藏。
%3Chowto_content%3E[{"type":"paragraph","attrs":{"is_abstract":true},"children":[{"type":"text","text":"行书,又称“行押书”,也称“藁书”,是介于楷书和草书之间的一种书体。楷书稍加连贯,点画略带呼应,就是行书。行书写起来比楷书快,又比草书容易识认,所以是应用最广的书体。它既实用,又美观,写起来便捷。","id":""}],"text":"","id":"doxcn4aE402auGgSmmtW0KQep9N"},{"type":"heading","attrs":{"level":1},"children":[{"type":"text","text":"行书分类","id":""}],"text":"","id":"doxcncUyaQmms04Sa2zFsbUI2ud"},{"type":"paragraph","children":[{"type":"text","text":"行书大致以其作品所具有的楷书和草书成分,划分为两类:作品中楷书成分较多的称之为行楷或楷行、真行:作品中草书成分较多的则称之为行草或草行。","id":""}],"text":"","id":"doxcneY8iG0IKOSicElqlROpOTf"},{"type":"image","attrs":{"height":240,"note":[{"type":"text","text":"行书分类","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/1e6d4cfb4c724fe2a50bc9fe27bff8dc","width":480},"text":"","id":"doxcnMiMuEeu6KU4Y6CxkhgVSwg"},{"type":"heading","attrs":{"level":1},"children":[{"type":"text","text":"硬笔行书","id":""}],"text":"","id":"doxcnKCIIoaIocYeGw32CPfbbHg"},{"type":"heading","attrs":{"level":2},"children":[{"type":"text","text":"书写姿势","id":""}],"text":"","id":"doxcns0IOUKCaUeqMc34iSKLlUq"},{"type":"paragraph","children":[{"type":"text","text":"正确的书写姿势不只是为了好看,还可以使书写技能得到充分、有效地发挥,有助于书写者的身心健康。书写姿势同时也反映出书写者的修养,只有身正才会字正。正确的姿势应是头正、身直、肩平、胸舒、臂开、足安。(如下图)","id":""}],"text":"","id":"doxcn8wqMMEEiWK8OiSzYNHJStb"},{"type":"image","attrs":{"height":226,"note":[{"type":"text","text":"书写姿势","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/a40508b1d7ef468ab40fdfcd01534c40","width":490},"text":"","id":"doxcnSUKKakM2KekcminomBeyLe"},{"type":"paragraph","children":[{"type":"text","text":"1、头部端正:头要居中,稍向前下方俯视,眼睛与纸面一尺距离,不可俯得太低,也不可左偏、右斜。","id":""}],"text":"","id":"doxcnY8s24cQaSg82y03cujOMIS"},{"type":"paragraph","children":[{"type":"text","text":"2、身直肩平:臀部平坐于椅子中间大部,不能扭向一边,两肩平齐,上身不弯曲,使上身重心安稳。","id":""}],"text":"","id":"doxcngQwUUyUQUkM4uefGQBv2gf"},{"type":"paragraph","children":[{"type":"text","text":"3、臂开胸舒:两臂自然开张,两肘平放桌面,保持一线,腹背挺直,胸口与桌沿保持一拳距离,使呼吸顺畅。","id":""}],"text":"","id":"doxcnSoYiKiMyo0oYG4KjKiM9Ed"},{"type":"paragraph","children":[{"type":"text","text":"4、腿开足安:两腿分开,与肩同宽,自然下垂,内侧保持平行,两脚平放地上,使全身平衡。正确的书写姿势,才能使字写得端正,重心平衡。同时,正确的姿势也会给人的身体带来益处。","id":""}],"text":"","id":"doxcns6mMuygeoOAAbeNdCTR3sR"},{"type":"heading","attrs":{"level":2},"children":[{"type":"text","text":"执笔方法","id":""}],"text":"","id":"doxcnMwOuYqCOUmyOElewXFfoue"},{"type":"paragraph","children":[{"type":"text","text":"执笔方法不正确,不但妨碍书写姿势,影响书写质量,还会给书写者身心健康带来危害,不可忽视。根据笔的自身特点,硬笔是三指执笔法,斜拿。","id":""}],"text":"","id":"doxcnKOyeGgCKysSuoR4AWMSTlf"},{"type":"paragraph","children":[{"type":"text","text":"正确的执笔方法:","id":""}],"text":"","id":"doxcn4Y2OUi0EcSesIUbc1vozpb"},{"type":"paragraph","children":[{"type":"text","text":"①用拇指、食指、中指三个指头捏住笔杆(三指处于同一平面);","id":""}],"text":"","id":"doxcngiwu0UCAOYacIu6KGL2H3r"},{"type":"paragraph","children":[{"type":"text","text":"②指尖距笔尖约2.5cm~3cm(两指左右);","id":""}],"text":"","id":"doxcnY6kCIqw0i082UZUfuDnTDe"},{"type":"paragraph","children":[{"type":"text","text":"③所有指关节都向外弯;","id":""}],"text":"","id":"doxcnWqouSwww48YQ45GHVukRNf"},{"type":"paragraph","children":[{"type":"text","text":"④笔杆位于食指的根部(如下图)。","id":""}],"text":"","id":"doxcnkoKMOqEkee8w8Vu8sYbtOg"},{"type":"image","attrs":{"height":306,"note":[{"type":"text","text":"执笔方法","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/2476017c5da14695a5b88c8300e664d5","width":480},"text":"","id":"doxcnk2eq26YwUeQye0miiDVODh"},{"type":"paragraph","children":[{"type":"text","text":"同时,还要做到:","id":""}],"text":"","id":"doxcnmkYyAe0YMcmwsNUG9hBGmc"},{"type":"paragraph","children":[{"type":"text","text":"①指实:拇指、食指、中指来自三方的力量,处在与笔杆垂直的同一圆角上,将笔杆夹牢,松紧适度。","id":""}],"text":"","id":"doxcn8MAI8SUaSEEowxU0syE1Rf"},{"type":"paragraph","children":[{"type":"text","text":"②掌虚:无名指和小指紧随中指下部依次靠拢,并向掌心弯曲、虛握。小指的整个底部形成一个环形底座,虚贴桌面。","id":""}],"text":"","id":"doxcnYqGg4KaqUsUm4I9Irngdfe"},{"type":"paragraph","children":[{"type":"text","text":"③杆斜:笔杆向右后方倾斜,紧靠在食指第三关节与虎口方向,与桌面呈45°角。如果写较大的字,手指向前伸直,笔杆与纸面角度减小;书写较小的字手指向掌心收缩,笔杆与纸面角度大,宜于精離细琢。","id":""}],"text":"","id":"doxcnWGwGcMy8qowe4sTzMLSAvd"},{"type":"heading","attrs":{"level":2},"children":[{"type":"text","text":"练习方法","id":""}],"text":"","id":"doxcnsaya08WYQEEgOA9x1F1eDg"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"选笔","id":""}],"text":"","id":"doxcn6WKOMyA0IiGeeq3QniKiwd"},{"type":"paragraph","children":[{"type":"text","text":"钢笔","id":""}],"text":"","id":"doxcnawaQGACeGAi4A9G4AT0UCg"},{"type":"paragraph","children":[{"type":"text","text":"具备一支书写流畅的钢笔,是开始练习行书的基础条件。众所周知,随着技术的发展进步,签字笔已经深入到社会生活的各个方面,我们在绝大部分时候都是使用签字笔来写字,使用钢笔的时候比较少。但是想要练习好行书,则必须要有一支书写流畅的钢笔。钢笔不同于签字笔,它可以更好地适应行书的书写顺序,保证书写出来的行书更加漂亮。明尖笔,弹性略大一点,笔画变化稍大,更适合书法。","id":""}],"text":"","id":"doxcnEAOAGWos4YIA0nNNjF1oZ7"},{"type":"paragraph","children":[{"type":"text","text":"推荐钢笔","id":""}],"text":"","id":"doxcnYwCceOkKmec2ADd4rKqTZb"},{"type":"paragraph","children":[{"type":"text","text":"适合练字的钢笔,日笔应该比欧笔更适合一些。推荐白金3776,百乐78G,写乐21K等。","id":""}],"text":"","id":"doxcn4IuGQ8eQO2oostFB9eXqxh"},{"type":"heading","attrs":{"level":2},"children":[{"type":"text","text":"选字帖临摹","id":""}],"text":"","id":"doxcnycuY0ckCq0eciOKdFwPLIe"},{"type":"paragraph","children":[{"type":"text","text":"买一本包含常用字在内的行书字体进行模仿练习是练习行书的基本方法。我们常说先学会走路再学会跑,如果还没有学会走路是不可能学会跑的。练习行书也是如此,首先是要学会名家的习作,学会他们的书写方式,照着样子先临摹、描红,然后再过渡到自己来练习书写。在具体选择的时候,一定要选用包括常用字在内的字帖,这样更加有利于今后的具体实践使用。","id":""}],"text":"","id":"doxcneCiuKQMIwUs8CWBJHmBafc"},{"type":"paragraph","children":[{"type":"text","text":"适合练习的字帖推荐以下启功《论书绝句百首》、梁鼎光的《钢笔临帖》、田英章老师的字帖、顾仲安的字帖。","id":""}],"text":"","id":"doxcn8QWMYKeaA8AWSEuXAihhyc"},{"type":"heading","attrs":{"level":2},"children":[{"type":"text","text":"坚持练习","id":""}],"text":"","id":"doxcnWiO0OWMcK88GWYnoQZnF3e"},{"type":"paragraph","children":[{"type":"text","text":"写好行书并非一朝一夕之功,需要长时间的练习才能成功。对于初学者来说,如果有一定的书法基础,可以很快上手练习行书。如果还没有练习其他字体的书法基础,最好是先练习正楷字、钢笔字然后再过渡到行书的书写,这是学习的一个循序渐进的过程。因此,练习行书没有捷径可以走,有的就是每天坚持练习,持之以恒地坚持下去。一般来说,有一年左右的时间就可以书写出一手漂亮的行书。","id":""}],"text":"","id":"doxcn8aoyKwWaQec4WCK3D6nuRc"},{"type":"heading","attrs":{"level":2},"children":[{"type":"text","text":"连笔意识训练","id":""}],"text":"","id":"doxcn8Gms0uSOc2S0Cu3LPF6tad"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"通过笔画练习","id":""}],"text":"","id":"doxcnGCoc6OEYwk6oI1CFDJi6Rh"},{"type":"paragraph","children":[{"type":"text","text":"要写好硬笔行书,首先要了解行书的运笔特点,即行书是流动的楷书,它的基本笔画就反映了这一特征。因此,我们通过基本笔画训练,逐渐掌握行书运笔要领,为写好行书奠定基础。","id":""}],"text":"","id":"doxcnScECckGgIqYWcrQ83Iu5Db"},{"type":"paragraph","children":[{"type":"text","text":"1、点画:行书点虽小,但很重要,起着笔画的起止、过渡、装饰、承上启下、画龙点睛的作用。点有独立点、组合点两种。","id":""}],"text":"","id":"doxcnouAoKEIIIkYA2rdaxDWlAf"},{"type":"paragraph","children":[{"type":"text","text":"独立点,写法如楷书笔画中撇点,右下顿笔由轻到重转向左下,方向视下一笔画起笔位置而定。","id":""}],"text":"","id":"doxcnEUqk2WKKe6uGSIceKiXVpb"},{"type":"image","attrs":{"height":80,"note":[{"type":"text","text":"通过笔画练习","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/1fbdd0fc295f4a3a815a2b0f3d6b67ad","width":480},"text":"","id":"doxcnw2OQEIcW4wWy6xC8LxP6Nc"},{"type":"paragraph","children":[{"type":"text","text":"组合点,横式排列、竖式排列,重点体现出点与点之间的呼应关系。","id":""}],"text":"","id":"doxcn6si2cc4mWEqKaAlZt0LXch"},{"type":"image","attrs":{"height":384,"note":[{"type":"text","text":"通过笔画练习","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/11b7945f5cb546d3aa8f56b557856e6e","width":480},"text":"","id":"doxcnauKumWsSUEsygh07G1gA6g"},{"type":"paragraph","children":[{"type":"text","text":"2、横画:行书横画在字中起平衡作用,随意性大,起、收笔变化多端,短横有时处理成点,数横并存忌平行划一,要姿态各异。","id":""}],"text":"","id":"doxcn604qGyKGyuSGYr3jMVZbeu"},{"type":"paragraph","children":[{"type":"text","text":"短横:起笔轻,收笔重,末端收笔可向左下勾出,以呼应下一笔。","id":""}],"text":"","id":"doxcnUI2e8UGeQ0cq0Uio4iKv5z"},{"type":"image","attrs":{"height":123,"note":[{"type":"text","text":"通过笔画练习","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/33364bc4a3d44c36a984600ad68c41db","width":480},"text":"","id":"doxcniam0CGK4WAkccrA5SLvR2b"},{"type":"paragraph","children":[{"type":"text","text":"长横:起笔向左下轻落笔,快而有力向右运笔,驻笔后左下方出锋运笔中间轻、两头重。","id":""}],"text":"","id":"doxcnCAuuAGEKE8SyUNGuXQdDAg"},{"type":"image","attrs":{"height":120,"note":[{"type":"text","text":"通过笔画练习","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/de867c5dfe5040f793c15991deef8dc5","width":480},"text":"","id":"doxcn6sS6aMkq4yK8A4fEFbiWhb"},{"type":"paragraph","children":[{"type":"text","text":"3、竖画:竖画有左竖、右竖、短竖、悬针、垂露之分。左竖向右上回锋与下笔呼应;右竖向左下出锋引带下画。","id":""}],"text":"","id":"doxcnm68iwScaOMYigna9iEeC9g"},{"type":"paragraph","children":[{"type":"text","text":"悬针竖:垂直书写,出锋不可随意甩出,以免轻浮。","id":""}],"text":"","id":"doxcn8wkQYuIYAguqSomBUypzJd"},{"type":"image","attrs":{"height":120,"note":[{"type":"text","text":"通过笔画练习","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/f35393ac415d4036a585bd61f1fb8916","width":480},"text":"","id":"doxcnK2wwyiIAImOMuMmhXnVWFh"},{"type":"paragraph","children":[{"type":"text","text":"垂露竖:收尾呈露珠状,但不一定垂直,往往左侧向左凸,右侧向右凸。","id":""}],"text":"","id":"doxcnasEqqkQ6kWc0WgqZNleuic"},{"type":"image","attrs":{"height":120,"note":[{"type":"text","text":"通过笔画练习","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/001c7a5eca7a4696a423645cae83d76c","width":480},"text":"","id":"doxcnSOmY6GqC6AKA4YxA5iB17c"},{"type":"paragraph","children":[{"type":"text","text":"4、撇画:撇在字中是支撑重心作用,具有较强的运动感,其特点飘逸劲健,灵动活泼。","id":""}],"text":"","id":"doxcnoEYeUIeIGuEMEd8HDRRLfd"},{"type":"paragraph","children":[{"type":"text","text":"小撇:乃字之精神,写法与楷书同。要注意长短、粗细及笔的走向,出锋锐利。","id":""}],"text":"","id":"doxcn4AUQsicgYYgCWmahZUC3nf"},{"type":"image","attrs":{"height":120,"note":[{"type":"text","text":"通过笔画练习","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/787d504d437b41e4a6ca927aa8225742","width":480},"text":"","id":"doxcnqkWesoGi2YKaeoGforcowf"},{"type":"paragraph","children":[{"type":"text","text":"长撇:中间部分要粗些,但勿过分,笔法与楷书同。","id":""}],"text":"","id":"doxcnGYMyKM4eiOcAykrzHfjCWf"},{"type":"image","attrs":{"height":120,"note":[{"type":"text","text":"通过笔画练习","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/0cc89e15f85447cb8ea62400b62b882f","width":480},"text":"","id":"doxcnGUYEWiO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:""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/eeebae2d7979437ba6fd3ad2d2530c84","width":480},"text":"","id":"doxcn2s6Aae4oWSUIiqm98u96Ac"},{"type":"paragraph","children":[{"type":"text","text":"3、木部在左时横短竖长且偏右,捺改点;在右时横短竖长,撇捺伸展;在字上竖较短,撇捺张开;在字下横画长,竖带钩,撇捺改点。","id":""}],"text":"","id":"doxcncacUGAgeokiy8EVMkDPsTH"},{"type":"image","attrs":{"height":96,"note":[{"type":"text","text":"通过偏旁部练习","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/a8c7266cdbc247bab3c0b69bd55b08a9","width":480},"text":"","id":"doxcnQmMme0SoAEi80Yiuvytgwf"},{"type":"paragraph","children":[{"type":"text","text":"4、日部竖画柔和自然,横折与竖画协调,中横居中不要太满,底横不可超出右竖。作左偏旁时较窄;在字右部地位适中。","id":""}],"text":"","id":"doxcnsMgeM6k0myGqeg2Z54zZJe"},{"type":"image","attrs":{"height":96,"note":[{"type":"text","text":"通过偏旁部练习","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/b07c184b095d46fcb29a2f2d5aa10c3e","width":480},"text":"","id":"doxcnWW0CkEcqCmeuaUh0HfRNog"},{"type":"paragraph","children":[{"type":"text","text":"5、月部竖撇较长,里面两横偏上不写满。月旁在左写得瘦窄些;在右侧写得丰满些。","id":""}],"text":"","id":"doxcnMEGyaOWI2MSSGAxxesNmAf"},{"type":"image","attrs":{"height":96,"note":[{"type":"text","text":"通过偏旁部练习","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/0533b72235844564877fe4162198fe03","width":480},"text":"","id":"doxcnQuesucyGOQGAQdNilSBHwh"},{"type":"paragraph","children":[{"type":"text","text":"6、方部点斜取势,横与点保持间距,弯钩重心。方在左横画右边不能长;在字下部点与横相交。","id":""}],"text":"","id":"doxcnoO4sA8iwwisaWemxEIfBWd"},{"type":"image","attrs":{"height":96,"note":[{"type":"text","text":"通过偏旁部练习","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/7dd29e23e18948fabfa7cccc4c10ebe7","width":480},"text":"","id":"doxcn6YoAW6oWcMyKEf7WPqMJXd"},{"type":"paragraph","children":[{"type":"text","text":"7、石部在左位置偏上,字形略小,以让右;在字下部要横长撇短;品字结构要上正左小右大。","id":""}],"text":"","id":"doxcnWmcsQaq0kGaSQTcVxk0q7f"},{"type":"image","attrs":{"height":96,"note":[{"type":"text","text":"通过偏旁部练习","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/9342f31800c54b8ab56f0f0d2ee84255","width":480},"text":"","id":"doxcnsaCWsGGKm4EcTizCRXWYlV"},{"type":"paragraph","children":[{"type":"text","text":"8、耳部笔顺先横后竖再三横,在字左悬针改垂露,下横变提在右侧稍丰满些;居字上部悬针短。","id":""}],"text":"","id":"doxcnEUWGMEoOQIKeUMwOcU1agq"},{"type":"image","attrs":{"height":96,"note":[{"type":"text","text":"通过偏旁部练习","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/7e86a6d4028a44cd9e589fe27eb9923f","width":480},"text":"","id":"doxcniCQsGI8QeaKIIr0GybZWzb"},{"type":"paragraph","children":[{"type":"text","text":"9、米部在字左侧时横短竖长,捺变点;在字右边撇捺伸展;居字上部竖画的下部短;在字下部,竖画的上部短。","id":""}],"text":"","id":"doxcnKeMA6E2uw4WKukc3qURTzg"},{"type":"image","attrs":{"height":96,"note":[{"type":"text","text":"通过偏旁部练习","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/989aa10495cf497bbdcf70cfe495fc6e","width":480},"text":"","id":"doxcnk0KYmI00yW02KcWhzaXl5d"},{"type":"paragraph","children":[{"type":"text","text":"10、禾部用作左旁,撇橫间距拉开,竖偏右,捺改点;在右时,左撒收缩以让左;禾部在字上写法有两种:①下部伸展,禾部收缩;②下部收缩,则禾部散捺伸展。","id":""}],"text":"","id":"doxcnSagqI8kcWsmYkFVW3oX6Mc"},{"type":"image","attrs":{"height":96,"note":[{"type":"text","text":"通过偏旁部练习","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/88cf217e36844147bbc244c4a267a610","width":480},"text":"","id":"doxcnM4mKuIAmSMemmqNAPkFODe"},{"type":"paragraph","children":[{"type":"text","text":"总之,笔画之间要遵循上、下、左、右伸缩,高、低、顾、盼照应的规律。\\n三、相似偏旁部首的区别训练\\n","id":""},{"type":"text","text":"行书写法简省笔画,再加之勾挑、牵丝相连,从而出现一些相似部首容易混淆。","id":""}],"text":"","id":"doxcnciwugAsi8iQs8x41KnHlnd"},{"type":"paragraph","children":[{"type":"text","text":"因此,我们有必要","id":""},{"type":"text","text":"对其分析,找出规律、异同,掌握正确的书写方法。\\n","id":""},{"type":"text","text":"1、言字旁和三点水二者主要区别在第二笔。言字旁横折提的横折处实、重;三点水第二笔为右点收笔与第三笔虚连、轻。","id":""}],"text":"","id":"doxcnQoEkQiWMaSsKYBpFrYuftg"},{"type":"image","attrs":{"height":120,"note":[{"type":"text","text":"通过偏旁部练习","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/fd1a6a74366142adbf7b3017f1e45fe5","width":480},"text":"","id":"doxcnCoC2yIas6SQ0GTr64LXZgb"},{"type":"paragraph","children":[{"type":"text","text":"2、提手旁和牛字旁都是一笔完成。区别是提手旁第一笔为横,牛字旁是撇折,因此,提手旁第一笔逆势过大很容易写成牛字旁。","id":""}],"text":"","id":"doxcnMG8sko60y8AQiOLzj5X3Ob"},{"type":"image","attrs":{"height":120,"note":[{"type":"text","text":"通过偏旁部练习","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/76bc21d0e08345c3b9846cec581829f2","width":480},"text":"","id":"doxcnUu8uiOyQSAaM6C7S2KnYIg"},{"type":"paragraph","children":[{"type":"text","text":"3、木字旁与反犬旁区别:","id":""}],"text":"","id":"doxcnQS6ea6EwoaAq2jPQlDjw1d"},{"type":"paragraph","children":[{"type":"text","text":"①第一笔笔画和笔势不同,木旁为短横,由左至右上挑,反犬旁为撇,由右上至左下再上覆连弯钩。②第二笔木旁为竖,笔势直;反犬为弯钩,笔势弧形。","id":""}],"text":"","id":"doxcnaUMuiqSMUo6KwdgfLG5uad"},{"type":"image","attrs":{"height":120,"note":[{"type":"text","text":"通过偏旁部练习","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/260ad4c2456645de98a044ea520f5975","width":480},"text":"","id":"doxcnOU4CuYaQc0uACepy2epVZf"},{"type":"paragraph","children":[{"type":"text","text":"4、奉字头与卷字头区别在首笔,奉字头是横,卷字头为合两点,如将合两点写得过近,连丝过粗,近似短横,则二者就","id":"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字训练","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/214447e754f443ab8c114397b2c86668","width":480},"text":"","id":"doxcnMooiQWsykgES1vrhkhJmyw"},{"type":"heading","attrs":{"level":1},"children":[{"type":"text","text":"毛笔行书","id":""}],"text":"","id":"doxcnuYMoi2gAEaSeOCkJGMGcce"},{"type":"heading","attrs":{"level":2},"children":[{"type":"text","text":"基本技法","id":""}],"text":"","id":"doxcna2MoS22K0ogmalZGn2Gihb"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"笔法","id":""}],"text":"","id":"doxcnYgK84iy2CgCKeGlc5N5VNd"},{"type":"paragraph","children":[{"type":"text","text":"笔法指执笔和用笔,写行书的人一般都练习过楷书,所以执笔和用笔都有了基础。但是,行书的笔法比楷书要丰富得多。要做到中锋用笔,方圆兼备,中、侧锋并用,点画之间以牵丝映带、似连非连、笔断势连的形式贯通气脉。","id":""}],"text":"","id":"doxcnwI8aMcCyCsAU5pjqYqW5hs"},{"type":"image","attrs":{"height":402,"note":[{"type":"text","text":"笔法","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/fa5386bb596a422eb12fd3f6d7a9fa8d","width":236},"text":"","id":"doxcng24GKMoGk0cgAfuKKVi9Ig"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"点画写法","id":""}],"text":"","id":"doxcnoucemYKam0eoeGBIKYx6Oh"},{"type":"paragraph","children":[{"type":"text","text":"行书点画要注意呼应,同时应在平整中取攲侧之势,在匀称之中得疏密之形,使之变化多姿,特别要注意的是,牵丝往来要有笔断意连之妙,运笔快慢要得疾涩相生之意。圆转处要劲气內敛,方折处要如削金断玉,明快洁净。","id":""}],"text":"","id":"doxcnkgyigAmwSEuUuk6Cj1CLBe"},{"type":"image","attrs":{"height":198,"note":[{"type":"text","text":"点画写法","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/9bd4cdf6908345ca8f4f2873f144e4d6","width":581},"text":"","id":"doxcn62c8mOgOYg4WeA4XxcTIVb"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"结构","id":""}],"text":"","id":"doxcn0K4QAOQ24M2ACOrq0VXNRe"},{"type":"paragraph","children":[{"type":"text","text":"行书结构千变万化,","id":""},{"type":"text","text":"但基本原则是要重心平稳,","id":""},{"type":"text","text":"变化自然,顾盼呼应。行书多用奔放之笔取攲侧之势,但无论如何奔放也要重心平稳,特别是攲侧中站稳重心,这种奇正相成的结构是行书的特点。行书多变化,变化要顺乎自然。字行大小、疏密、长短、伸缩、开合、俯仰、向背等自然之行,初写时要尽各字真态、本色,切忌故意造作,制奇弄险,走入流俗,能得自然之美方是真本领。至于点画之间顾盼生情,相互呼应要如闻其声,则字字都活泼而有生气了。","id":""}],"text":"","id":"doxcnikakYC4SiKcsCyZlTWYnEf"},{"type":"image","attrs":{"height":481,"note":[{"type":"text","text":"结构","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/ec38a898aa3d45e6a4cd24e15ea3a711","width":417},"text":"","id":"doxcnC4YmwA2UGCEcYhNaUSRvKe"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"章法","id":""}],"text":"","id":"doxcnC2SUucw8CWu6kBrlqAsiHf"},{"type":"paragraph","children":[{"type":"text","text":"行书章法多用纵有行、横无列,或纵无行,横无列两种。字与字之间要有內在联系,行与行之间要有意态呼应。不必故意笔笔相连,贵在气息贯注,笔断意连。通篇字的大小变化、疏密对比、伸缩之宜都要合乎自然,章法要如音乐之旋律,如诗词之有声律。诗词的“","id":""},{"type":"text","text":"平平仄仄平平仄”","id":""},{"type":"text","text":"抑扬顿挫,一如行书的疏密奇正伸缩,对比中求和谐,对立中求统一。虽是“疏可跑马,密不容针”,仍要密不迫塞,疏不散漫,总之要浑然一体,一气呵成,无意之佳为最妙。","id":""}],"text":"","id":"doxcn04A0IIi6M4EwqMltH6jt8e"},{"type":"heading","attrs":{"level":2},"children":[{"type":"text","text":"练习方法","id":""}],"text":"","id":"doxcno8OayaMusYgQyW8qrgX6lf"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"选笔","id":""}],"text":"","id":"doxcn8amCSkIwokIgtGEPU7bxlk"},{"type":"paragraph","children":[{"type":"text","text":"初学者在书写行书时,不论是行草还是行楷,因对毛笔的使用以及落笔的轻重缓急尚未把握,可以选择兼毫来使用,兼毫兼具了硬毫和软毫的优点,较为容易上手,而且使用兼毫吸墨量适宜,不会导致初学者在书写行书时停顿出现墨水团影响纸面。","id":""}],"text":"","id":"doxcnuU4iayCCoiwmiotBm1rFRg"},{"type":"paragraph","children":[{"type":"text","text":"挑选毛笔是挑毛尖。笔头要尖、齐、圆、键,即:笔头的锋颖既尖锐似锥又要圆润,笔头既要修削整齐,笔尖又要丰满,富有弹性。一般笔杆多用凤尾竹、湘妃竹、花竹、紫竹制成。挑选笔杆时要看笔管是否圆正光滑,不瘪、不裂、不弯、不斜,长短适度。笔杆上有篆刻的,要看它是否镌秀清晰;有镶嵌的,要看是否曲雅古朴。最后,要看笔头与笔杆是否粘牢,笔头有无发霉、虫蛀现象。先用手轻轻晃动笔头,不能出现松动现象,再轻轻弹笔杆,看是否有掉毛,有毛掉睛,不是虫蛀,便是发霉。检查毛笔笔头是否发霉,还可以闻闻有无霉味。","id":""}],"text":"","id":"doxcnmACksiOOkaUOmSfiLeDWZd"},{"type":"image","attrs":{"height":300,"note":[{"type":"text","text":"选笔","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/6ba4cf325a9d447dacb3f43f7b146328","width":300},"text":"","id":"doxcn6kyYYQqKyAeyikNcHqck0g"},{"type":"heading","attrs":{"level":2},"children":[{"type":"text","text":"选字帖临摹","id":""}],"text":"","id":"doxcnq8wyW6MGEG228k1O0QCzQ5"},{"type":"paragraph","children":[{"type":"text","text":"(1)挑选字帖。挑选一本孩子比较喜爱的、点画比较工整的、结体比较匀称的字帖来临摹。毛笔字帖,应挑选字体小一点的字帖,这样可省去缩小的工夫。","id":""}],"text":"","id":"doxcnsI0Gqq88UAS24JhM2exNvf"},{"type":"paragraph","children":[{"type":"text","text":"(2)先摹后临、临摹结合在习字时,要先摹后临、临摹结合。毛笔照着字帖上的字一点一画地描红。要求写的笔迹不要越出字帖字外,都写在字帖上字的点画中间。这样,久而久之,就容易学到字帖上字的结构。所谓临,就是把字帖放在习字纸旁;照着帖上的字依样画葫芦。要求点画写得象,有轻重节奏和粗细的变化。这样,久而久之,就容易学到字帖上字的笔意。由于临书比摹书难,因此要先摹后临,由于临和摹是两种相辅相成的学字手段,因此要临摹结合,循序渐进。","id":""}],"text":"","id":"doxcnC88eogKKM0YE8PDGFbRyje"},{"type":"paragraph","children":[{"type":"text","text":"(3)仔细读贴。再者,临摹前要仔细读帖。对帖上的字,其点画怎样书写,结构怎样安排,章法怎样布置,都要仔细琢磨并从中找出规律,这样就容易写得有兴趣,也容易写得象,写得好。临摹时,不能贪多贪快,每天坚持一、二小时,反复地临摹几个字,这样才会有真正的收获。对难写的字,更要知难而上,多临摹,多比较。","id":""}],"text":"","id":"doxcnUS8KgaY4qQwyctvspKnzLf"},{"type":"image","attrs":{"height":800,"note":[{"type":"text","text":"选字帖临摹","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/a333a665d1cb4ff5909b128c743317db","width":800},"text":"","id":"doxcne46Wg00GCU0iQhZWcyf8ue"},{"type":"heading","attrs":{"level":2},"children":[{"type":"text","text":"坚持练习","id":""}],"text":"","id":"doxcnuaYGKW6s6IsKMZ6vxv5BNg"},{"type":"paragraph","children":[{"type":"text","text":"练习,持之以恒地坚持下去。一般来说,有一年左右的时间就可以书写出一手漂亮的行书。","id":""}],"text":"","id":"doxcnSae6k0m0YiME0ijVWnv9dh"},{"type":"paragraph","children":[{"type":"text","text":"练习行书在开始的时候有一个适应的阶段,熟能生巧,从一个字到一段字,从几个字、一行字到一篇字,逐渐掌握行书的规律,慢慢也就形成了属于你自己的行书风格。要善于从多方面吸取营养,名人题字,商家牌匾,学校老师甚至是同学之间,只要认真观察,都可以找到别人写的好字,学会了,就成了自己的字。","id":""}],"text":"","id":"doxcno6scGs40mgUwMPZyth6jQf"},{"type":"heading","attrs":{"level":2},"children":[{"type":"text","text":"行书技巧","id":""}],"text":"","id":"doxcnGgMkWIswy4aWI9CKClG7Yc"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"增加钩挑与牵丝","id":""}],"text":"","id":"doxcnSOIwy6gug2yiILhCRiOt6b"},{"type":"paragraph","children":[{"type":"text","text":"楷书书写要一笔一画、工工整整,行书则不然,是将点画连起来书写,即所谓“相间流行”,所以行书书写时在点心之间自然地出现或增加了由于用笔带出来的钩挑和牵丝。所谓钩挑是在原来没有钩挑的点画上,行笔时顺势写出来短钩,如“茂”等字。所谓牵丝则是在前后或上下笔本不相连的点画之间,顺笔势带出来细细的牵丝,如“发”“想”等字。在行书的点画之间有了钩挑与牵丝,则显得笔势流动通畅和谐,意态自然,给人一种生机勃勃的感觉。","id":""}],"text":"","id":"doxcneoSwSyoMioA4QJLpgKMPgh"},{"type":"paragraph","children":[{"type":"text","text":"注意:","id":""}],"text":"","id":"doxcnEMm0Wiim0aYio9EpLvmFuc"},{"type":"paragraph","children":[{"type":"text","text":"钩挑与牵丝不能使用太多太弱,用多了,到处都是钩挑与细牵丝,显得用笔不干净利索,造型不美观;太弱了,钩脚如肉瘤,细丝如棉线,显得软弱无力,缺乏铁画银钩之健美。","id":""}],"text":"","id":"doxcnakEyKiscmICk0G1mqmDlhe"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"以圆转代方折","id":""}],"text":"","id":"doxcniqCwKOsae0wOagvh8GZHDh"},{"type":"paragraph","children":[{"type":"text","text":"行书转折处多采用草书圆转的写法,所以行书才显得笔势流畅。但需注意,行书的圆转中隐含着折意,写时仍需要驻笔、提按,否则圆润而无力,缺乏方圆兼备,方中有圆,圆中有方之妙趣,如“后”、“落”、“生”等字。","id":""}],"text":"","id":"doxcnQkQiuCyiM28aC6EesvkF2d"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"改变书写笔顺","id":""}],"text":"","id":"doxcnaEIAc6086uaKIzU1Jth3wg"},{"type":"paragraph","children":[{"type":"text","text":"小学老师强调写字注意笔顺,这确实是很重要,特别是楷书。然而在行书中,有时有意识地改变楷书的书写笔顺,而采用草书的笔顺,其目的是便于书写,同时也是为了造型的变化多姿,如“感”字。","id":""}],"text":"","id":"doxcnsusswkMGSWC8Mpqp9aoQHg"},{"type":"paragraph","children":[{"type":"text","text":"注意:","id":""}],"text":"","id":"doxcni08AcWw4cCOcuu7P5wB9Vb"},{"type":"paragraph","children":[{"type":"text","text":"一般地说行书写法也足先上后下先左后右,先内后外,但有时却反其道而行之,倒也别有风趣,如“风”“国”字等,但也必须注意,改变书写笔顺一定要因势利导,要合乎草书的规范。且不宜多,偶见则收,方能成趣,如果滥用成灾,使人乏味,就失败了。","id":""}],"text":"","id":"doxcnugsYwQYcGMKSWYp4jcFAFe"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"用笔灵活","id":""}],"text":"","id":"doxcnwiqGgAwkW22yeI4Qcpwe0d"},{"type":"paragraph","children":[{"type":"text","text":"行书比楷书用笔灵活多变,同样的点画可以这样写,可以那样写,不受约束。如“也”字的浮鹅钩,一般是回锋收笔而出。但如果勾端由上翻笔而下也可以。又如木字旁,一般是写好横画和竖画后、笔势总是从左边带出撇挑,但从右边挑笔而上,然后顺笔就势写出撇挑,也有道理。如“杨”字。","id":""}],"text":"","id":"doxcnyKsSm8ee886g2vkKvARPab"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"起笔露锋入纸","id":""}],"text":"","id":"doxcnoACYOUOiIiWEG48WX0lrwf"},{"type":"paragraph","children":[{"type":"text","text":"楷书无论是点、横,还是撇、捺,都","id":""},{"type":"text","text":"强调","id":""},{"type":"text","text":"减锋为主。而在行书中起笔处以露锋人纸为多,因为露锋人纸,书写起来比较简捷方便,自然流畅,例如“生”字的左竖,“红”字的撇画及“工”字横画的起笔,“河”字三点水的侧点等,都是露锋人纸。然而必须说明的是,上面所说的字虽然都是露锋人纸,但不是随便的顺锋搭下一写,而是仍要“逆锋”,只是这个“逆锋”是要求凌空取势,即抢锋。不理解这一点,就会犯落笔尖细软弱的毛病。","id":""}],"text":"","id":"doxcnIkGAgMgMogYqQHi9Fm9I7f"},{"type":"paragraph","children":[{"type":"text","text":"注意:","id":""}],"text":"","id":"doxcnEsugOog0QCUmEz5OzjipPg"},{"type":"paragraph","children":[{"type":"text","text":"露锋入纸,取势要求要快,写出字来,笔意就生动活泼.而藏锋取势较慢,笔意含蓄凝重。这两种写法各有所长,我们书写时相互结合掺用,这样可以各得其所,相得益彰。一般说,行书开头的起笔往往是露锋入纸,而以下的承笔处则多数是藏锋用笔。","id":""}],"text":"","id":"doxcnKIU0WQsqimACgZ0Ooo19Bb"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"以点代替其他笔画","id":""}],"text":"","id":"doxcnGqaGISWekSeeyqOdiMEZxf"},{"type":"paragraph","children":[{"type":"text","text":"为书写简便敏捷,行书常常以“点”来代替其他笔画,以短小的“点”代替其他较长大的笔画,可以使字的结构形态发生变化,造型更为别致。如将“京”,“影”字中的“小一字改写为三点则更敏捷,字型发生了变化,显得饶有趣味。又如“大”字,将捺笔写成侧点来表示,这样书写起来简捷流畅,造型也显得精悍朴实,别具风味。","id":""}],"text":"","id":"doxcn0guAaSMMWw2mW6V1Fkftvf"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"体态多变","id":""}],"text":"","id":"doxcnKUgaEECkg4EMqauIuJBL1c"},{"type":"paragraph","children":[{"type":"text","text":"行书是介于楷书与草书之间的一种兼工带写的字体,它的使用范围很广,表现力丰富,常常一个字有几种写法,体态多变,姿态各异,如“是”字有四种写法,四个姿态,结尾收笔各有不同,有收有放,亦工亦草,情趣盎然。再如“英、落、草、奠、花”同是草字头,但写法各不相同,生动活泼,耐人寻味。如果同样的字或是字头字尾相同的字,写得千篇一律,没有变化,使人看了乏味,那就不称其为书法了。","id":""}],"text":"","id":"doxcnaqOa8kqk2k6Qovm6Ldj4nc"},{"type":"heading","attrs":{"level":2},"children":[{"type":"text","text":"运笔的技巧","id":""}],"text":"","id":"doxcneeqI0ywusu4czoZH24FIOi"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"中锋行笔","id":""}],"text":"","id":"doxcneGuIc0uocgIsGuGt1mGzAg"},{"type":"paragraph","children":[{"type":"text","text":"","id":""}],"text":"","id":"doxcngUEA42saWscQpHIIosixu5"},{"type":"image","attrs":{"height":109,"note":[{"type":"text","text":"中锋行笔","id":""}],"url":"{{imag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text","text":"排列组合","id":""}],"text":"","id":"doxcnQ0U6suWSYA2k8huiC9BcTf"},{"type":"paragraph","children":[{"type":"text","text":"从汉字的特点和人的生理习惯来看,因为是右手写字,左手执册个字的笔顺自然是从上至下,自左而右的方便。如果从右往左写,写左半部时,毛笔势必挡住右半字形,不便于安排结构,影响结字的美观。而每个汉字的未笔都是在中下或右下,写完上一字的末笔紧接着写下一字的起笔,竖式书写比横式书写更方便,更便于笔势的连贯。","id":""}],"text":"","id":"doxcnw6AOCwqy2iiUsNlHTucuBc"},{"type":"image","attrs":{"height":594,"note":[{"type":"text","text":"排列组合","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/cf2f1f640bed423d989fc7662315b362","width":291},"text":"","id":"doxcnKc4yU0sy0iYYagtL6U79fc"},{"type":"heading","attrs":{"level":2},"children":[{"type":"text","text":"十大行书","id":""}],"text":"","id":"doxcnUKCEOaSMIg4kj6MxFAZVw3"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"第一行书","id":""}],"text":"","id":"doxcn2EYocUG0IUUusjL56LBAOb"},{"type":"paragraph","children":[{"type":"text","text":"《兰亭序》是王羲之47岁时的书作,记述的是王羲之和友人雅士会聚兰亭的盛游之事。全篇从容娴和,气盛神凝,逸笔天成,匠心独运而又不毫无安排造作的痕迹。这样资质超群、功力深厚的作品,被评“为天下第一行书”,确实是当之无愧的。","id":""}],"text":"","id":"doxcnioSqq20aKCiW7RFRfehbED"},{"type":"image","attrs":{"height":640,"note":[{"type":"text","text":"第一行书","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/2733fc0c42c34dd7a219da258e5c430b","width":1951},"text":"","id":"doxcngIa6o2qoUKoW0gQhOqmnHd"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"第二行书","id":""}],"text":"","id":"doxcn2mW26Oykc0uYsrwqZu8uRc"},{"type":"paragraph","children":[{"type":"text","text":"《祭侄文稿》,全名《祭侄赠赞善大夫季明文》。原作纸本,纵28.8厘米。横75.5厘米,共234字(另有涂抹字30余个)。现藏台北故宫博物院。颜真卿这篇《祭侄文草稿》是在极度悲愤的情绪下书写,顾不得笔墨的工拙,故字随书家情绪起伏,纯是精神和平时功力的自然流露。这在整个书法史上都是不多见的。可以说,《祭侄文稿》是极具史料价值和艺术价值的墨迹原作之一,至为宝贵。","id":""}],"text":"","id":"doxcn2WayUS8SKU82OIzjUPZrDg"},{"type":"image","attrs":{"height":640,"note":[{"type":"text","text":"第二行书","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/55f564bd244a488f873420c8cc5a08f6","width":1892},"text":"","id":"doxcnMW8GUQwYKm42aAFdDMZMSh"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"第三行书","id":""}],"text":"","id":"doxcniiK0g2u0i0QwiiiupSSjPd"},{"type":"paragraph","children":[{"type":"text","text":"《黄州寒食诗帖》,纸本,25行,共129字,是苏轼行书的代表作。这是一首遣兴的诗作,是苏轼被贬黄州第三年的寒食节所发出的人生之叹。诗写得苍凉多情,表达了苏轼其时惆怅孤独的心情。《黄州寒食诗帖》彰显动势,洋溢着起伏的情绪。元朝鲜于枢把它称为继王羲之《兰亭序》、颜真卿《祭侄稿》之后的\"天下第三行书\"。","id":""}],"text":"","id":"doxcneeW2se8eo6sOgHjTXo6OSg"},{"type":"image","attrs":{"height":349,"note":[{"type":"text","text":"第三行书","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/90b2d9bc09dd4ba88fc8696728112a7e","width":1112},"text":"","id":"doxcn62cWE4MyG0muKSd1uTQstg"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"第四行书","id":""}],"text":"","id":"doxcnOuiE0OuW2GWEWwpaHhMBch"},{"type":"paragraph","children":[{"type":"text","text":"《伯远帖》行书纸本,因首行有“伯远”二字,遂以帖名。此帖为晋代真迹,王珣书,故列希珍之宝。此帖行书,笔力遒劲,态致萧散,妍媚流便,是典型的王氏书风。是帖明末在新安吴新宇处,后归吴廷,曾刻入《馀清斋帖》,至清代时归入内府,并与王羲之《快雪时晴帖》、王献之《中秋帖》同列为三希堂法帖之一,现藏北京故宫博物院。","id":""}],"text":"","id":"doxcnamGYYI80IO0WxrvscdfNFe"},{"type":"image","attrs":{"height":777,"note":[{"type":"text","text":"第四行书","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/99fcf6f49e0e4e6688ac9ca0a6a3f573","width":640},"text":"","id":"doxcn8KWE0Q2YY2YmqUH1DjoBgg"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"第五行书","id":""}],"text":"","id":"doxcnaSq8M6wsaemqaotPOhcxWe"},{"type":"paragraph","children":[{"type":"text","text":"《韭花帖》,杨凝式书,墨迹麻纸本,高26厘米,宽28厘米,共7行,63字。《韭花帖》是一封信札,内容是叙述午睡醒来,腹中甚饥之时,恰逢有人馈赠韭花,韭花非常可口,遂执笔以表示谢意。","id":""}],"text":"","id":"doxcnGs6aQk2IMmASC45hI5IY7c"},{"type":"image","attrs":{"height":611,"note":[{"type":"text","text":"第五行书","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/12394805404042cf86627f9aa507bb23","width":640},"text":"","id":"doxcnwEcGaaQCc8mmw3MOWCSlxh"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"第六行书","id":""}],"text":"","id":"doxcnmC6EgUC8YkcoK2oF7Cbmhb"},{"type":"paragraph","children":[{"type":"text","text":"《蒙诏帖》,墨迹纸本,又名《翰林帖》,高26.8厘米,长57.4厘米,大字行书,计7行,27字,书于长庆元年(公元821年),当时柳公权四十四岁,年富力强,正是他书法创作的颠峰期,所以字如惊鸿击空。","id":""}],"text":"","id":"doxcnQSMUucgqigUiGcVl4YLSFf"},{"type":"image","attrs":{"height":502,"note":[{"type":"text","text":"第六行书","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/94a1be7e5ee4433a9b05463e96f5adee","width":1280},"text":"","id":"doxcnauIusG0AIUOGOknFIJAwAe"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"第七行书","id":""}],"text":"","id":"doxcnsuGQwkq2oWUyeONi6xcCb0"},{"type":"paragraph","children":[{"type":"text","text":"《张翰思鲈帖》也称《季鹰帖》,是欧阳询为张翰写的小传,属于行楷,无款。纸本,纵25.2厘米,横33厘米。共10行,每行九至十一字。字体修长严谨,笔力刚劲挺拨,风格平正中见险峻之势,是欧书中的精品。","id":""}],"text":"","id":"doxcn4QCm028O2GksUTn7C2Ttvg"},{"type":"image","attrs":{"height":518,"note":[{"type":"text","text":"第七行书","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/06853ef035aa4ec5804068bda7e9f98a","width":640},"text":"","id":"doxcnSWkoWYiQ4ScOWAzwCNatUg"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"第八行书","id":""}],"text":"","id":"doxcnuEuewmkgeC4YolUvDFmv3e"},{"type":"paragraph","children":[{"type":"text","text":"《蜀素帖》是米芾三十八岁时(1088年),在蜀素上所书的各体诗八首。此帖用笔多变,正侧藏露,长短粗细,体态万千,充分体现了他“刷字”的独特风格。结字也俯仰斜正,变化极大,并以欹侧为主,表现了动态的美感。董其昌在《蜀素帖》后跋曰:“此卷如狮子搏象,以全力赴之,当为生平合作。”","id":""}],"text":"","id":"doxcn8Ik4I4SEikIEY9aLE0117g"},{"type":"image","attrs":{"height":640,"note":[{"type":"text","text":"第八行书","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/3e4d0e8432ba494abfc37556f780f26e","width":4584},"text":"","id":"doxcnQkqSoQqSYgOglYRanA9RwY"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"第九行书","id":""}],"text":"","id":"doxcnkIEIekSI0COIC3Ftity3zS"},{"type":"paragraph","children":[{"type":"text","text":"《松风阁诗帖》墨迹纸本,纵32.8厘米横219.2厘米,全文计29行,153字。台北故宫博物院藏。","id":""}],"text":"","id":"doxcnie2CWMcacGOaQhrGgyg8rg"},{"type":"paragraph","children":[{"type":"text","text":"黄庭坚的行书,如《松风阁》,起笔处欲右先左,由画中藏锋逆入至左顿笔,然后平出,“无平不陂”,下笔着意变化;收笔处回锋藏颖。善藏锋,注意顿挫,以“画竹法作书”给人以“沉着痛快”的感觉。","id":""}],"text":"","id":"doxcnQ2ygo0YmqSCwekYMmTT0ud"},{"type":"image","attrs":{"height":550,"note":[{"type":"text","text":"第九行书","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/df085ab818d4451ebc7b387df85122d4","width":3440},"text":"","id":"doxcn26G2iQEaWYiCaQZFVp51ne"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"第十行书","id":""}],"text":"","id":"doxcn2AIKOcaAQiwMGCIc5IF6Fg"},{"type":"paragraph","children":[{"type":"text","text":"《土母帖》,行书墨迹,纸本。纵31.2厘米,横44.4厘米,10行,共104字。后有萧引高、王严实、王称等跋。《珊瑚纲》《书画汇考》《墨缘汇观》《石渠宝笈续编》著录。台北故宫博物院藏。","id":""}],"text":"","id":"doxcn4Ieww8CkO2qiWmMAe5ulJf"},{"type":"image","attrs":{"height":452,"note":[{"type":"text","text":"第十行书","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/9aaaa6066e1244398c397a74efe614a0","width":640},"text":"","id":"doxcnYAsWYsoos4skicDRWc1oAg"},{"type":"paragraph","children":[{"type":"text","text":"","id":""}],"text":"","id":"doxcnskG2IAOg4auEsBXeTtXtYb"}]%3C%2Fhowto_content%3E如何学播音?
对于很多热爱播音的人来说,学习播音不仅能让人具备更好的表达能力、思考能力、沟通能力、组织协调以及领导能力,而且学得好,可以实现当播音主持的梦想。那么如何学播音呢?
什么是播音
播音定义
播音的定义有广义和狭义的区分。
广义:指电台、电视台等电子传媒所进行的一切有关声音语言和副语言传播信息的活动。
狭义:播音员和节目主持人运用有声语言和副语言,通过广播电视传媒进行传播信息的创作。
播音的要求
发音正确,吐字正确。
用标准的普通话播读,特别要注意多音多义字,古诗文中特别要注意按意定音。不添字不少字不读破句,朗读清晰完整。
语速适当,用心感受
要抓住文章特点,使节奏流利和谐,缓急结合。
语调生动,轻重适宜
根据需要,分出轻重缓急,分清抑扬顿挫,表达出文章的思想感情。
播音学习技巧
对播音员而言,具备良好的语言表达能力犹如进入这一行的钥匙,假如无法打开这道门,就无法担任播音主持的工作。想要具备娴熟的语言表达能力、专业化的播音能力,就需播音员通过长时间努力练习及不断探索
普通话标准
普通话标准是播音主持上岗的基本条件,如何达到普通话标准呢?主要可以从以下几个方面着手。
声母
声母包含b、p、m、f、d、t、n、l、g、k、h、j、q、x、z、c、s、zh、ch、shi、r
声母按发音部位的分7类:
1、双唇阻:上唇与下唇成阻。下唇向上运动与上唇接触,双唇闭拢成阻。双唇阻声母有b、p、m。
2、唇齿阻:上门齿与下唇成阻。上唇稍抬,稍露出上齿,下唇向上,唇缘线与上门齿靠拢、接触成阻。唇齿阻声母有f。
3、舌尖前阻:舌尖与上门齿背成阻。舌尖平伸,与上门齿背接触或接近成阻。舌尖前阻声母有z、c、s。
4、舌尖中阻:舌尖与上门齿龈成阻。舌尖向前上方抬起与上门齿龈接触、抵住成阻。舌尖中阻声母有d、t、n、l。
5、舌尖后阻:舌尖与前硬腭成阻。舌体稍向后缩,舌尖向上方翘起,与硬腭前部接触或接近成阻。舌尖后阻声母有zh、ch、sh、r。
6、舌面阻:舌面前部与硬腭前部成阻。舌尖向下前伸抵住下齿背,舌面向上抬起,接触或接近硬腭前部成阻。舌面阻声母有j、q、x。
7、舌根阻:舌根与硬腭软腭交界处成阻。舌体后缩,舌根隆起与硬腭和软腭交界处接触或接近成阻。舌根阻声母有g、k、h。
韵母
按汉语语音学的传统分析方法,把汉语音节中声母以后的部分叫韵母。韵母由单元音或复合音充当,普通话中有39个别韵母。
1、10个单韵母:a、o、e、ê、i、u、ü、-i(前)、-i(后)、er
2、13个复韵母:ai、ei、ao、ou、ia、ie、ua、uo、üe、iao、iou、uai、uei
3、16个鼻韵母8前8后:an、en、in、ün、ian、uan、üan、uen、
ang、eng、ing、ong、iong、iang、uang、ueng
调值
声调是汉语音节结构中不可缺少的成分,它同声母、韵母一样,有区别意义的作用。
调值是指音节声调的相对音高。调值通常采用“五度标记法”记录,用一条竖线表示声音的高低,从下面最低点到最高点共分为五度,分别用1、2、3、4、5依次表示。
普通话各类声调的调值为:
阴平:高平调,55
阳平:高升调,35
上声:降升调,214
去声:全降调,51
练习方法
1、练习绕口令
通过绕口令练习,可以提高口语能力,把握住文字发音音准,学好拼音字母,掌握发音部位,反复进行训练,让自己普通话的发音准确度更高。
2、制定训练计划
要有计划的进行普通话训练,了解自己的基础,制定合理的计划,规定每天的练习量,以周为单位,在不断训练中查找不足,并不断提升。
3、掌握训练要领
坚持用普通话进行日常会话,可以读一些报纸上的文章,或者拿出词典,多多进行发音练习,提高发音准度。
气息控制
气息控制是播音从业人员需要达到的最基本要求。
播音发声气息的要求
一、持久的气息控制能力
气息控制是作为一个播音员的基本的条件,如果播音员播一篇长篇的稿件时要求声音由始至终保持一定力度,不减不衰,从容不迫,这就要求对气息有持久的控制能力。
二、气息控制要有稳劲儿
播音员要根据节目内容的要求调节气息压力,该强就强、该弱就弱,吸气量要大于日常说话,呼气时要保持较为稳定的压力,调节自如。
三、能做到快吸慢呼,并能根据需要及时补气
播音语言,一般句子长度比口语长,结构比较复杂,间歇比口语少而短。要把每个句子播得完整而有层次,就需要按照句子结构用气,绝不能因气不够用而停下来吸气,要求播音员呼气的持续时间要尽量长,而且要掌握在句子进行中补气、偷气的技巧。
四、做到短时间无声吸气
即要求播音员能作较长时间的呼气及保持一定的气息压力,吸气量就必须比平常大一些,吸气速度快一些,播音员依靠话筒传声,话筒灵敏度高,很容易混入吸气的杂音。而吸气杂音多,会给人不从容的感觉,甚至会使人厌烦。因而,播音员必须学会在短时间内吸气无声。
五、呼气时要注意的两点
1、尽量保持两助张开支撑感(实际仍会塌下收回一些)。
2、着重体会,在这种呼吸肌的配合中、靠腹肌收缩往外送气流的感觉。这一步练习主要体会胸腹联合式呼吸方式中,腹肌参与吸气、呼气控制、特别是收腹呼气的感觉。随着呼吸控制能力及隔肌与腹肌配合能力的增强,吸气量可加大到八、九成满,只需注意呼气时,仍不要有明显地“扼喉”感。
播音发声气息控制具体实施方法
没有气息,声带不能颤动发声。但只是声带发出声音是不够的。想要嗓音富于弹性、耐久,需要的是源源不断供给声带气流。
一、胸腹联合呼吸法
吸气后两肋扩大,横膈膜下降,小腹微收。胸腹联合呼吸法是朗读时应该掌握的方法。这种呼吸活动范围大、伸缩性强,可以使气息均匀平衡。理想的状态是做到“吸气一大片、呼气一条线;气断情不断,声断意不断”。
练习方法:
1、慢吸慢呼,双目平视前方、头正、肩放松,像在旷野呼吸花香一样,慢慢吸足气。要感觉到腰腹之间充气膨胀,气入丹田,但是要收小腹,保持几秒后,轻缓呼出。
可以在呼气的时候加入以下练习:呼气时练习xiao lan(拼音小兰),一声声渐渐远去,或者数数1、2、3、4……,嘴上用力,发音之间不要闭住声门,不要跑气换气,数得越多越好。
2、快吸慢呼,快速短促地吸气,并保持气息,呼气时缓缓呼出,配合声音,平稳均匀。
呼气时,可以通过以下发声练习:巴、拔、把、爸、低、答、底、大。
换气时,可以进行以下练习:广场上,红旗飘,看你能数多少旗,一面旗、两面旗、三面旗、四面、五面旗……,相声小品里的“数来宝”经常用这个形式,大家可以观察演员的呼吸。
二、强控制练习
要求气要吸得深并保持一定量,呼气要均匀、通畅、灵活。强控制练习需要一点声乐练习知识,在这里不好介绍。大家可以回想:《智取威虎山》里杨子荣喝酒唱歌那一段,最后结尾有个“啊—哈、哈、哈、哈哈哈……”基本的感觉就是这样。要体会膈肌和腹肌的作用,发声的时候气息是应该下沉的。
参考练习诗词:岳飞《满江红》、毛泽东《忆秦娥·娄山关》、陈然《我的“自白”书》,新闻联播播音员在播报简讯的时候,一般都用强控制。
三、弱控制练习
1、吸气深呼气匀。缓慢持续地发出ai、uai、uang、iang四个音。
2、夸大声调,延长发音,控制气息。花红柳绿H—ua、H—ong、L—iu、L—v(发音时,声母和韵母之间气息拉长,要均匀、不断气)。
3、通过夸大连续,控制气息,扩展音域。
参考练习诗词:李白《静夜思》、孟浩然《春晓》等。气息控制训练可以把握“深(吸得深)、匀(呼得匀)、通(气通畅)、活(用灵活)”四字方针,注意气息和内容的结合。单纯的语音、气息训练效果并不好,需要大家在实际朗读过程中不断体会、运用。
共鸣控制
共鸣对于播音发声的重要性体现在播音是以言语发声的过程,要想声音圆润集中,需要改变共鸣条件。
共鸣控制要领
根据解剖学原理,共鸣器官能够受控并随意活动的是软腭、咽部和舌部,共鸣控制主要关注这三部门肌肉的活动组成结果。
1、提起颧肌
颧肌稍带紧张感,使该部位肌肉向外上方稍稍提起,这就是提颧肌。提颧肌能使我们的发音更清晰、明亮。
2、打开牙
指双侧上后槽牙保持向上提起的感觉。这样就加大了口腔开度丰富了共鸣。考生可以用含有“Q”的音节来做夸张的练习,将会取得明显效果。
3、放松下巴
下巴紧张会导致舌根和喉头的紧张,进而导致发声吃力,声音也将发紧,有意的放松下巴就会使我们的发声吐字更加自如。
共鸣分类及训练
1、口腔共鸣:口腔共鸣的获得是要在发音时,口腔自然上下打开,笑肌微提,下腭自然放下稍后拉,上腭有上提的感觉。口腔共鸣发声最主要的一点,是发声的时候鼻咽要关闭,不产生鼻泄露。
通过下列练习大家可以体会一下,基本都是以开口元音为主练习:ba、da、ga、pa、ta、ka、peng、pa、pi、pu、pai。普通话的四个声调,准确的叫法是第一声—阴平,第二声—阳平,第三声—上声,第四声—去声。我们在进行声音训练的时候,多用阴平声调进行,这样有利于体会声音和气息。
词组练习:澎湃、冰雹、拍照、平静、批评,哗啦啦、噼啪啪、咣啷啷、扑嗵嗵、胡噜噜、快乐、宣纸、挫折、菊花、捐助、吹捧。
绕口令:山上五株树,架上五壶醋,林中五只鹿,柜中五条裤,伐了山上树,取下架上醋,捉住林中鹿,拿出柜中裤。
2、鼻腔共鸣:鼻腔共鸣是声波在鼻骨上的振动,即将声音的焦点定位在鼻腔。
鼻腔共鸣是通过软腭来实现的,标准的鼻辅音m,n和ng就是这样发声的。有人觉得鼻音重显得声音好听、有厚度,但是过多的鼻音有如感冒,是不好的。发a、i、u的音,加点鼻腔共鸣体会,加鼻辅音ma、mi、mu、na、ni、nu。
词组练习:妈妈、光芒、中央、接纳、头脑。
蓝蓝的天上白云飘,白云下面马儿跑,挥动鞭儿响四方,百鸟齐飞翔。
3、胸腔共鸣:是指声带振动激起气管内空气柱振动而传送到肺再扩及整个胸腔引起共振产生的整个共鸣包括横隔膜以上至气管顶端的整个脑区。
胸腔的空间及共鸣能量大,发出的声音有深度和宽度,声音更浑厚、宽广。“a”元音直上、直下、滑动练习。词组练习:百炼成钢、翻江倒海、追悔莫及。
小柳树满地栽,金花谢,银花开。
声音的弹性
声音弹性,是指播音时声音形式对不同播讲内容和形式的适应能力。声音弹性包括声音的高与低、强与弱、实与虚、明与暗、刚与柔、厚与薄、纵与收等多层次对比变化。
声音弹性的特点
1、可变性,不同语调和情感。
2、对比性,有起有伏。
3、复合性,不会单独存在,是多种结合的,如虚低,高实。
声音弹性训练方法
1、虚实练习
虚实练声方法是:吸一口气,然后屏住呼吸,让声门保持在闭合状态,开始发音,此时声音是响亮的实声。然后逐渐打开声门,声音由明亮到柔和的音色变化,这个时候注意体会喉咙的感觉,刚柔、厚薄、明暗等变化。
2、高低声练习
a、i、u由低音向上滑动,再从高音向下滑动。
这个练习主要可以锻炼自己对于音色的精细识别能力和控制能力,可以在自己不断的练习中感受。可以进行不同音高的朗读练习。用一句话,或一首诗,变化着不同的音高来进行练习。
如:“飞流直下三千尺,疑是银河落九天。”
先用习惯音高朗读一遍,然后逐渐降低音调朗读,读到不太能胜任的音高时又逐渐提高音调读,也是读到自己还能胜任的最高音为止。
3、强弱练习
远距离对话练习,练习时随时改变距离。
甲:喂—,喂—,小芳—
乙:嗳—
甲:快—来—啊—
乙:怎么了—呀—
甲:一起去看—电—影—吧
乙:好—啊!
夸张声音练习法:注意加大运动幅度,用丹田气发声。
快板是最明显的例子,想象说快板的演员发声的状态,自己找一段快板试试,体会声音的弹性。
4、练唱音阶法
声音音高与声带张力成正比例。
如果想提高音高,就须加强声带张力。反之则减弱。所以,进行音高的变化练习能有效地发展和增强声带伸缩变化的控制能力。
其中最有效的练习办法是利用钢琴来练唱音阶,在自己力所能及的音域内半度半度地下降,半度半度地上升,进行反复练习。没有条件的则可借鉴京剧演员喊嗓子的练声法,做绕音练习,从基础音开始,逐渐地向高、低音两头扩展。
发音中的情声气
语言是传递信息和交流思想情感的工具,存在于人际交流的有声语言情感,语声和气息是一个系统中的几个方面。
情:是指在播音过程中播音员服务于播,讲目的由具体稿件或者话题引发,并由有声语言表达出来,始终运动着情感情,情我们进行播音创作的依据。
声:声是播音员依据稿件或话题,使发声器官运用播音技巧所发出的表达思想情感包含大量信息,并通过电声设备进行传播,经过科学训练的规范化艺术化的有声语言。
气:气指的是在播音过程中未时有声,语言传情达意,播音员所控制自如使用胸腹式联合呼吸法所获得的发生动力。
情声气要求
1、情感需要具备最丰富的并能随时调动起来的思想情感,一方面播音员节目主持人要不断的加强自己的修养,锻炼和培养自己的政治艺术素养,使自己具备宽广的胸怀、纯真的情操、美好的憧憬、深邃的境界、蓬勃的志趣、灵动的活力等等,另一方面调动起来的运动者的思想情感一定要服从于稿件或话题的界定,服务于播讲目的。
2、对声音的要求是要能够充分的表达各类不同稿件所确定的不同层次,不同色彩的情感,能清晰明确的传递稿件所载有的所有信息,并具有各自声音形象特点。
3、播音发声对气息的要求是能符合播音员进行播音创作的要求,有一定力度呼吸控制自如完美的配合发声的气息。
总之,情感要取其高声音要取其中气息,要取其深以达到自整,腔圆清晰持久,刚柔自如声情并茂的境地。
发声练习常见的问题及矫正方法
虚声过多
主要表现:声音不实在,有些无力,没有足够的亮度和响度。
矫正方法:虚声过多的学生,要注意锻炼唇舌的力度,练习一些响亮实在的词语和绕口令,如“百步穿杨”“中国伟大”等力度较大的词组,以及绕口令《八百标兵》《白庙和白猫》等。新闻播音当中,基本以实声为主,一般不出现虚声,而且换气声不要太大。
声音过于靠后
主要表现:声音沉重,不明亮。发声过程中也容易疲劳和不适。
矫正方法:注意“两头紧中间松”,口腔和小腹加强控制,喉部保持松弛。舌根要灵活,不要太生硬。注意与口腔共鸣的调节方法相结合。
鼻音偏重
主要表现:声音暗淡,不响亮,影响语言的清晰度。
矫正方法:注意软腭挺起,牙关打开,减少过多的气流经过鼻腔。克服口腔、双唇的无力状态,保持积极的播音状态,不可过于懒散。
声音分散
主要表现:声音不集中,不饱满,冲击力不强。
矫正方法:在发声的时候注意嘴唇中间三分之一部分用力,力量不可过于分散。注意气流冲击硬腭前端,也就是我们说的声挂硬腭,使声音更集中,更有冲击力。
缺乏弹性
主要表现:声音缺乏变化,没有抑扬顿挫的对比。
矫正方法:加强对比训练,包括高与低,快与慢的对比训练等。高与低的训练,可以练习声音的爬高与降低。比如“伟大的祖国,伟大的人民”这句话,可以先逐渐升高地说,然后再逐级下降地说,体会声音的高低变化,丰富声音的层次。快与慢的训练,可以用不同速度来说一句话。比如“班干部不管班干部”这句话,可以分别用快速和慢速来练习,体会快与慢的变化。声音弹性的获得还需要情感的支撑,加强情声气结合。
日常学习方法
朗读朗诵
读书,大声读书。天天坚持朗读文章,既训练咬字敏捷清楚,又能掌握更多文学常识,更关键的是对播音大有益处,清喉扩胸,纳乾坤之气,成皓然之身。需要多读相关著作文章,每日坚持朗读三十分钟以上。
录像练习
倘若时间需要,每过一阵子,把声音和演讲内容进行视频拍摄,接着反复观看,探讨哪里存在问题导致卡壳,姿势和神情是否不自然,久而久之,口才以及心态表现都会有明显进步。
速读
找来一则演说稿或一则其辞优美散文片段。先把原文中不明白的字、词弄明白,接着开始朗读。通常刚开始朗读速率比较慢,之后逐次逐次加快,直到你能够做到的最快速率。朗读过程中不可以有间断,读音要准确无误,咬字要清楚,要尽可能保证发音的完整。速读一定要建立在咬字清楚、读音干净整齐的前提上。大伙儿都有听过体育频道的解说员的解说,他们的解说就让人有快而不乱的感觉,每个字、每个音都发得十分清楚,没有含混不清的地方。播音希望做到的快也就是这种快,咬字清楚,而不是只为快而快。
即兴读物
日常余暇时,随意拿张旧报纸,随机翻到一段话,接着一鼓作气读下来。在朗读过程中,尽量控制上半句看稿子,下半句离开稿子看前面(假设前面有听众)。长此以往能加强记忆力,提高理解和即兴构思能力。
转述法
转述法就是把他人说的话重新地讲述一次。需要找一位伙伴一同进行。第一步,请另一方随便讲一个话题,亦或是故事。自己需注意聆听。然后再向另一方转述一次。练习在于训练语言的衔接性、实地临场发挥能力以及语言表达组织能力。倘若能面对观众转述就更佳,还能够训练你的胆量,摆脱焦虑不安心理。
模仿
大多数人自小便会模仿父母或大人说话。实际上模仿的过程也是一种学习。儿时学讲话是向父母及身边人学习。那么,练习口才同样也可以利用模仿法,对有相关专场的人模仿,如电视主持。久而久之,口语表达能力也会有所提高。
①模仿特定个人。生活上找一位语言表达能力强的人,请他讲些精彩说话,拍摄下来,供你进行模仿。也可以把你喜欢又适合模仿的主播、艺人、相声家等的表演记录下来进行模仿。
嗓音的保护
科学练声
1、练声过程必须按照:“以情带声、以声传情、以情运气、气随情动;以情用声、声随情变;声情并茂、传情达意”的要求来进行。
2、在练习时,要注意发“暖声”,状态应该积极热情,面部呈“似微笑”状。同时还应该把握住练声的顺序,那就是—声音由小到大、由弱渐强、由低至高、由近及远、由实转虚、由短到长、由柔到刚。有些人在用声时喉部负担过重,有的胸口僵硬、气息沉不下来,还有的人声音过刚过直等等,这类要尽快改掉毛病,掌握科学的发声方法,通过大量练习完成量变到质变的过程。
3、避免超时超量超负荷运作,一般来说,晨练控制在20分钟至半小时为宜,主要目的是把嗓子练开、练舒服,切不可盲目加大嗓音运动量。在嗓音疲劳的时候,可以用气泡音来帮助消除疲劳。气泡音是弱气流冲击声带,声带在压力最自然的状态下发出的音,是一种很好的声带保健方法。
它的具体做法是这样的,喉要放松,喉结处于适中的位置,气吸到五到七成,发出比较明亮的颗粒性比较强的气泡音。最好以“啊”音的延长音作为练习材料【a----------】【a----------】【a-------------】。如果一时发不好,可以反复做几次伸舌的动作,把舌头用力地向外伸,张大口,这样可以起到调节喉结紧张度的作用。在喉部松弛的情况下再来发音。气泡音在练声前发可以起到活动开声带的作用,在练声后发能起到保健按摩的作用。在练声前后常做此练习可以有效的提高发声的效率。
日常注意事项
1、根据自身的嗓音条件,扬长避短、量力而行、循序渐进、持之以恒。一般来说,只要方法科学,练习得法,好嗓子是可以练出来的。
2、增强体育锻炼。发音器官健康与否,很大程度上取决于身体的健康状况。对于播音员主持人以及其他学习者来说,适当的增强耐力性的体育锻炼,例如跑步等等,能有效地提高我们呼吸肌肉群对于气息的控制力,从而大大提高发声的效率。
3、睡眠要充足,睡眠不足会引起声带充血、喉肌疲劳,致使声音黯淡嘶哑。
4、养成良好的生活习惯、饮食习惯。要避免烟酒刺激,抽烟会使声带粘膜干燥、充血、肥厚,使喉下分泌物增多,从而引起声音变低、音色昏暗沙哑等等。饮酒除了辛辣对喉部的直接刺激以外,还会使大脑以及发声器官功能失调。进行嗓音工作前半小时最好不要吃油腻的食品,否则容易造成嗓子不清爽、发粘。
5、女生例假期间,不要高声练习,最好少用嗓,因为这期间往往伴随声带充血、水肿,如果高声练习,容易产生声带小结。这时可以做些无声练习,例如唇舌力量、口腔开合度以及气息训练等等。
6、剧烈运动后不宜喝冷饮。人在运动时,声带处于发热充血状态。这时如果喝冷饮,声带遇冷会不正常收缩,长此以往,容易引起声带的病变。
总之,好的嗓子是按照科学的方法,经过严格的训练得来的。使用与保护是同时进行的,切不可盲目使用而不去保护,长此以往,声音变坏,甚至患严重喉疾病,被迫离开播音主持岗位,就很可惜了。
心理素质的培养
1、播音主持人在紧张的压力下会出现一系列相应的系统变化,如声带绷紧导致声音变高、变窄、声音抖动,呼吸急促导致气浅气浮;身体姿势和动作会发生变化,协作变得不自然,笨拙甚至僵硬;思维也会变得混乱等。
2、良好的心理素质是播音主持人需要具备的职业素养之一。在播音前,首先要克服紧张的情绪。紧张的情绪很多时候是自信心不足造成的,要增强自信心就需要播音主持人对节目的全过程有总体的把握,同时对可能出现的问题要考虑周全,设定出应对措施。
3、在发声时,让声音准确、清晰、流畅,富于表现力和感染力的前提是优秀的心理素质。充足的自信心可以鼓舞士气,使身心处于亢奋状态,促使大脑的积极思考,反应敏捷。
学习途径
大学
在播音领域排名第一的是中国传媒大学,其次是浙江传媒大学,如果有志于学习播音的同学,可以以上面两所学校,作为自己的目标。
校外的实体学校
因为播音方面的学习,不像英语班或者学生学习的补习班那样的普及,这方面的学校一个省也就那么几个吧,不是太多的,非常的稀少,而这方面的市场需求又很大,所以这一块学习的相关支出是非常大的。
自学
自学播音主持是可以的,但是比较难,需要找对方法并认真学习。
%3Chowto_content%3E[{"type":"paragraph","attrs":{"is_abstract":true},"children":[{"type":"text","text":"对于很多热爱播音的人来说,学习播音不仅能让人具备更好的表达能力、思考能力、沟通能力、组织协调以及领导能力,而且学得好,可以实现当播音主持的梦想。那么如何学播音呢?","id":""}],"text":"","id":"doxcnKQ0mCi6QmeCiEVCoSASpSg"},{"type":"heading","attrs":{"level":1},"children":[{"type":"text","text":"什么是播音","id":""}],"text":"","id":"doxcn8IQos808SykemqDi6GcUKh"},{"type":"heading","attrs":{"level":2},"children":[{"type":"text","text":"播音定义","id":""}],"text":"","id":"doxcng8e02Ya0aGosMFKSZ346xe"},{"type":"paragraph","children":[{"type":"text","text":"播音的定义有广义和狭义的区分。","id":""}],"text":"","id":"doxcnm0eIq2kiOeo6w6lSRd6NwM"},{"type":"paragraph","children":[{"type":"text","text":"广义:指电台、电视台等电子传媒所进行的一切有关声音语言和副语言传播信息的活动。","id":""}],"text":"","id":"doxcn48WCsaAiy4gIUVUbJkINTc"},{"type":"paragraph","children":[{"type":"text","text":"狭义:播音员和节目主持人运用有声语言和副语言,通过广播电视传媒进行传播信息的创作。","id":""}],"text":"","id":"doxcnMkcCIoUgOigQeA6kdlw1od"},{"type":"image","attrs":{"height":584,"note":[{"type":"text","text":"播音定义","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/e20e7d8d37804569829ca3dc289c4266","width":1036},"text":"","id":"doxcnmOsCGeEoYkygQFqJ58ebJc"},{"type":"paragraph","children":[{"type":"text","text":"","id":""}],"text":"","id":"doxcno8yaaCGiSieIIJTcnR81ee"},{"type":"heading","attrs":{"level":1},"children":[{"type":"text","text":"播音的要求","id":""}],"text":"","id":"doxcn8gAUicKiiYgeMU6mea4gvR"},{"type":"heading","attrs":{"level":2},"children":[{"type":"text","text":"发音正确,吐字正确。","id":""}],"text":"","id":"doxcnQyW8M8oKOAcOQh6UIbzoCb"},{"type":"paragraph","children":[{"type":"text","text":"用标准的普通话播读,特别要注意多音多义字,古诗文中特别要注意按意定音。不添字不少字不读破句,朗读清晰完整。","id":""}],"text":"","id":"doxcnG48AuiWgcGaiOSg5eReJ4g"},{"type":"heading","attrs":{"level":2},"children":[{"type":"text","text":"语速适当,用心感受","id":""}],"text":"","id":"doxcn48sqQ6QQuMGsKLM1WtQiW6"},{"type":"paragraph","children":[{"type":"text","text":"要抓住文章特点,使节奏流利和谐,缓急结合。","id":""}],"text":"","id":"doxcn8k0UceYa04acJxxeh2K5FT"},{"type":"heading","attrs":{"level":2},"children":[{"type":"text","text":"语调生动,轻重适宜","id":""}],"text":"","id":"doxcnmOKoyIC6OO4OYjqTU0yeie"},{"type":"paragraph","children":[{"type":"text","text":"根据需要,分出轻重缓急,分清抑扬顿挫,表达出文章的思想感情。","id":""}],"text":"","id":"doxcnu0MsKoIkCECwo7RXn1VK9b"},{"type":"image","attrs":{"height":450,"note":[{"type":"text","text":"语调生动,轻重适宜","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/2a376655c146424dbb5ccb8fc1381c1f","width":600},"text":"","id":"doxcnEWuQCyewgEawHVyXrWOgE7"},{"type":"paragraph","children":[{"type":"text","text":"","id":""}],"text":"","id":"doxcnCU4aoieqyOaYNHTKq0Qnhu"},{"type":"heading","attrs":{"level":1},"children":[{"type":"text","text":"播音学习技巧","id":""}],"text":"","id":"doxcnMGqIaoCqOguoyus43oK0ib"},{"type":"paragraph","children":[{"type":"text","text":"对播音员而言,具备良好的语言表达能力犹如进入这一行的钥匙,假如无法打开这道门,就无法担任播音主持的工作。想要","id":""},{"type":"text","text":"具备娴熟的语言表达能力、专业化的播音能力,就需播音员通过长时间努力练习及不断探索","id":""}],"text":"","id":"doxcnEyOyqEQ6w06UD7S02oUvkq"},{"type":"heading","attrs":{"level":2},"children":[{"type":"text","text":"普通话标准","id":""}],"text":"","id":"doxcn4Qi8wiaAOqOo2VIFEvwSrd"},{"type":"paragraph","children":[{"type":"text","text":"普通话标准是播音主持上岗的基本条件,如何达到普通话标准呢?主要可以从以下几个方面着手。","id":""}],"text":"","id":"doxcnsq2s6A00OGuAwf9cS66pXd"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"声母","id":""}],"text":"","id":"doxcnuYse8e4a42yaCwMtn8jqPd"},{"type":"paragraph","children":[{"type":"text","text":"声母包含b、p、m、f、d、t、n、l、g、k、h、j、q、x、z、c、s、zh、ch、shi、r","id":""}],"text":"","id":"doxcnAQsMAwgoyMq687kEaCpoye"},{"type":"paragraph","children":[{"type":"text","text":"声母按发音部位的分7类:","id":""}],"text":"","id":"doxcniuQ2syuUWKGAaWD98guzVb"},{"type":"paragraph","children":[{"type":"text","text":"1、双唇阻:上唇与下唇成阻。下唇向上运动与上唇接触,双唇闭拢成阻。双唇阻声母有b、p、m。","id":""}],"text":"","id":"doxcnaSqWCIoA6wSae4H8sy3hjR"},{"type":"paragraph","children":[{"type":"text","text":"2、唇齿阻:上门齿与下唇成阻。上唇稍抬,稍露出上齿,下唇向上,唇缘线与上门齿靠拢、接触成阻。唇齿阻声母有f。","id":""}],"text":"","id":"doxcnWWcgU068iKcysHNQZEz1ib"},{"type":"paragraph","children":[{"type":"text","text":"3、舌尖前阻:舌尖与上门齿背成阻。舌尖平伸,与上门齿背接触或接近成阻。舌尖前阻声母有z、c、s。","id":""}],"text":"","id":"doxcnMEggASY02SsGK4rdtOCOmf"},{"type":"paragraph","children":[{"type":"text","text":"4、舌尖中阻:舌尖与上门齿龈成阻。舌尖向前上方抬起与上门齿龈接触、抵住成阻。舌尖中阻声母有d、t、n、l。","id":""}],"text":"","id":"doxcnWSGcGwAAMiuEsdrMzC8yEh"},{"type":"paragraph","children":[{"type":"text","text":"5、舌尖后阻:舌尖与前硬腭成阻。舌体稍向后缩,舌尖向上方翘起,与硬腭前部接触或接近成阻。舌尖后阻声母有zh、ch、sh、r。","id":""}],"text":"","id":"doxcnkIyQsuYw4a20CaOiAsIbMb"},{"type":"paragraph","children":[{"type":"text","text":"6、舌面阻:舌面前部与硬腭前部成阻。舌尖向下前伸抵住下齿背,舌面向上抬起,接触或接近硬腭前部成阻。舌面阻声母有j、q、x。","id":""}],"text":"","id":"doxcnqm2CC8ckE62WO42xKGUmDb"},{"type":"paragraph","children":[{"type":"text","text":"7、舌根阻:舌根与硬腭软腭交界处成阻。舌体后缩,舌根隆起与硬腭和软腭交界处接触或接近成阻。舌根阻声母有g、k、h。","id":""}],"text":"","id":"doxcnKUwIC8CCoyYaknQTBP6hJf"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"韵母","id":""}],"text":"","id":"doxcniOwEISookeekyUntzscm2d"},{"type":"paragraph","children":[{"type":"text","text":"按汉语语音学的传统分析方法,把汉语音节中声母以后的部分叫韵母。韵母由单元音或复合音充当,普通话中有39个别韵母。","id":""}],"text":"","id":"doxcnG6IuOgmqa6Y068bp5Mab5f"},{"type":"paragraph","children":[{"type":"text","text":"1、10个单韵母:a、o、e、ê、i、u、ü、-i(前)、-i(后)、er","id":""}],"text":"","id":"doxcnQUUUCugmG8i0UUx3QGqmfc"},{"type":"paragraph","children":[{"type":"text","text":"2、13个复韵母:ai、ei、ao、ou、ia、ie、ua、uo、üe、iao、iou、uai、uei","id":""}],"text":"","id":"doxcn22GqeKsko8EK41ykNGsbnh"},{"type":"paragraph","children":[{"type":"text","text":"3、16个鼻韵母8前8后:an、en、in、ün、ian、uan、üan、uen、","id":""}],"text":"","id":"doxcnuqUywGIy0a8MUzVfadKEsh"},{"type":"paragraph","children":[{"type":"text","text":"ang、eng、ing、ong、iong、iang、uang、ueng","id":""}],"text":"","id":"doxcnYEaiOiMqes0ukp8w2M9oTb"},{"type":"image","attrs":{"height":537,"note":[{"type":"text","text":"韵母","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/20cb2f4943434647bd64a1f6060e4a2e","width":720},"text":"","id":"doxcnuEycEq8c06M0oXfPEsSude"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"调值","id":""}],"text":"","id":"doxcnOIKuiEGa8M6ScJ1vNqxWaf"},{"type":"paragraph","children":[{"type":"text","text":"声调是汉语音节结构中不可缺少的成分,它同声母、韵母一样,有区别意义的作用。","id":""}],"text":"","id":"doxcnOuGGCWww6SCE4GaNFMg3Q6"},{"type":"paragraph","children":[{"type":"text","text":"调值是指音节声调的相对音高。调值通常采用“五度标记法”记录,用一条竖线表示声音的高低,从下面最低点到最高点共分为五度,分别用1、2、3、4、5依次表示。","id":""}],"text":"","id":"doxcnOoSyWCeY8482KQ0Bx604vd"},{"type":"paragraph","children":[{"type":"text","text":"普通话各类声调的调值为:","id":""}],"text":"","id":"doxcnickoGMCqm2EIyeqeya43Xf"},{"type":"paragraph","children":[{"type":"text","text":"阴平:高平调,55","id":""}],"text":"","id":"doxcnUGKOw8Igu8gQcQaJKBWFrb"},{"type":"paragraph","children":[{"type":"text","text":"阳平:高升调,35","id":""}],"text":"","id":"doxcnGWaOYeSM0yM2OmWa9prVTg"},{"type":"paragraph","children":[{"type":"text","text":"上声:降升调,214","id":""}],"text":"","id":"doxcnGguGKSWm8EUIsTYKLq9ijf"},{"type":"paragraph","children":[{"type":"text","text":"去声:全降调,51","id":""}],"text":"","id":"doxcn2g2S0sGum20w6xlg07JKKe"},{"type":"image","attrs":{"height":570,"note":[{"type":"text","text":"调值","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/24e822024d284a1891f388f97908f858","width":828},"text":"","id":"doxcnMsQoYYWGaCw4uAPNN73rzb"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"练习方法","id":""}],"text":"","id":"doxcnaUeCUciKeKYOkBnha4sR0g"},{"type":"paragraph","children":[{"type":"text","text":"1、练习绕口令","id":""}],"text":"","id":"doxcnss6IiqIu0AmsGSYeqYeich"},{"type":"paragraph","children":[{"type":"text","text":"通过绕口令练习,可以提高口语能力,把握住文字发音音准,学好拼音字母,掌握发音部位,反复进行训练,让自己普通话的发音准确度更高。","id":""}],"text":"","id":"doxcnmycM24CiKY6QsM8Y9yiVhb"},{"type":"paragraph","children":[{"type":"text","text":"2、制定训练计划","id":""}],"text":"","id":"doxcnY40qS2QIow4I8qLOuaoGJb"},{"type":"paragraph","children":[{"type":"text","text":"要有计划的进行普通话训练,了解自己的基础,制定合理的计划,规定每天的练习量,以周为单位,在不断训练中查找不足,并不断提升。","id":""}],"text":"","id":"doxcnMgekkQqUsy8k6g0nPatdof"},{"type":"paragraph","children":[{"type":"text","text":"3、掌握训练要领","id":""}],"text":"","id":"doxcnMs6goemswaAOq2w7rhRe2b"},{"type":"paragraph","children":[{"type":"text","text":"坚持用普通话进行日常会话,可以读一些报纸上的文章,或者拿出词典,多多进行发音练习,提高发音准度。","id":""}],"text":"","id":"doxcneW8MysAam6YicXlVzHoxJc"},{"type":"image","attrs":{"height":300,"note":[{"type":"text","text":"练习方法","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/acc2adaf0ca94163904c39cf31e3eec0","width":500},"text":"","id":"doxcnk6QQgSuCGgEKUPijS7GWlc"},{"type":"heading","attrs":{"level":2},"children":[{"type":"text","text":"气息控制","id":""}],"text":"","id":"doxcniCKm004WwEqKSEEn5EK87g"},{"type":"paragraph","children":[{"type":"text","text":"气息控制是播音从业人员需要达到的最基本要求。","id":""}],"text":"","id":"doxcnoUgE6AIkOYe4eq6Kpgk4fb"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"播音发声气息的要求","id":""}],"text":"","id":"doxcnKg8kMm0YqqeqUbJmXlXLWc"},{"type":"paragraph","children":[{"type":"text","text":"一、持久的气息控制能力","id":""}],"text":"","id":"doxcnOiu4EEIwY6ko6VBsNqpe67"},{"type":"paragraph","children":[{"type":"text","text":"气息控制是作为一个播音员的基本的条件,如果播音员播一篇长篇的稿件时要求声音由始至终保持一定力度,不减不衰,从容不迫,这就要求对气息有持久的控制能力。","id":""}],"text":"","id":"doxcnSuSK0cYu8Qu4kbw4e4SfId"},{"type":"paragraph","children":[{"type":"text","text":"二、气息控制要有稳劲儿","id":""}],"text":"","id":"doxcnAOgg4kcu0MMG4yqXdrCwPj"},{"type":"paragraph","children":[{"type":"text","text":"播音员要根据节目内容的要求调节气息压力,该强就强、该弱就弱,吸气量要大于日常说话,呼气时要保持较为稳定的压力,调节自如。","id":""}],"text":"","id":"doxcnqOguqKMyyEs4I5wXwkbzyg"},{"type":"paragraph","children":[{"type":"text","text":"三、能做到快吸慢呼,并能根据需要及时补气","id":""}],"text":"","id":"doxcnSwqy2usOiGmkG0YtgHEwcf"},{"type":"paragraph","children":[{"type":"text","text":"播音语言,一般句子长度比口语长,结构比较复杂,间歇比口语少而短。要把每个句子播得完整而有层次,就需要按照句子结构用气,绝不能因气不够用而停下来吸气,要求播音员呼气的持续时间要尽量长,而且要掌握在句子进行中补气、偷气的技巧。","id":""}],"text":"","id":"doxcnuwoiAwUY0GASEFKOEiIdkg"},{"type":"paragraph","children":[{"type":"text","text":"四、做到短时间无声吸气","id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lan(拼音小兰),一声声渐渐远去,或者数数1、2、3、4……,嘴上用力,发音之间不要闭住声门,不要跑气换气,数得越多越好。","id":""}],"text":"","id":"doxcng8iyoEyykm22CsVTJE5nAc"},{"type":"paragraph","children":[{"type":"text","text":"2、快吸慢呼,快速短促地吸气,并保持气息,呼气时缓缓呼出,配合声音,平稳均匀。","id":""}],"text":"","id":"doxcn8KKUSk8yaISEYF36pQWzsf"},{"type":"paragraph","children":[{"type":"text","text":"呼气时,可以通过以下发声练习:巴、拔、把、爸、低、答、底、大。","id":""}],"text":"","id":"doxcnoQQKWYaSUcgOsnOUvrmiKd"},{"type":"paragraph","children":[{"type":"text","text":"换气时,可以进行以下练习:广场上,红旗飘,看你能数多少旗,一面旗、两面旗、三面旗、四面、五面旗……,相声小品里的“数来宝”经常用这个形式,大家可以观察演员的呼吸。","id":""}],"text":"","id":"doxcn2eiSo46Wq66kUZUmE18XSg"},{"type":"paragraph","children":[{"type":"text","text":"","id":""}],"text":"","id":"doxcni6oYcqmgEKKC0PdiMZVQN5"},{"type":"image","attrs":{"height":377,"note":[{"type":"text","text":"播音发声气息控制具体实施方法","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/b8ba113e2df949d9ba1bd306d39a09ad","width":589},"text":"","id":"doxcnqoAyAe6qm0gciMFhE0Zp0d"},{"type":"paragraph","children":[{"type":"text","marks":[{"type":"strong"}],"text":"二、强控制练习","id":""}],"text":"","id":"doxcnk8aS0kg6m4ckmESCKGRhmh"},{"type":"paragraph","children":[{"type":"text","text":"要求气要吸得深并保持一定量,呼气要均匀、通畅、灵活。强控制练习需要一点声乐练习知识,在这里不好介绍。大家可以回想:《智取威虎山》里杨子荣喝酒唱歌那一段,最后结尾有个“啊—哈、哈、哈、哈哈哈……”基本的感觉就是这样。要体会膈肌和腹肌的作用,发声的时候气息是应该下沉的。","id":""}],"text":"","id":"doxcnOyuMG6SggaU66CBu3QuMEh"},{"type":"paragraph","children":[{"type":"text","text":"参考练习诗词:岳飞《满江红》、毛泽东《忆秦娥·娄山关》、陈然《我的“自白”书》,新闻联播播音员在播报简讯的时候,一般都用强控制。","id":""}],"text":"","id":"doxcnc6iSwAUMgKIWIhlc3GDZlh"},{"type":"paragraph","children":[{"type":"text","marks":[{"type":"strong"}],"text":"三、弱控制练习","id":""}],"text":"","id":"doxcnQsCQSOwGWCkYKONR4rNmNd"},{"type":"paragraph","children":[{"type":"text","text":"1、吸气深呼气匀。缓慢持续地发出ai、uai、uang、iang四个音。","id":""}],"text":"","id":"doxcnsseW4woWao8Io55wUQmHpd"},{"type":"paragraph","children":[{"type":"text","text":"2、夸大声调,延长发音,控制气息。花红柳绿","id":""},{"type":"text","text":"H—ua、H—ong、L—iu、L—","id":""},{"type":"text","text":"v(发音时,声母和韵母之间气息拉长,要均匀、不断气)。","id":""}],"text":"","id":"doxcnG8KgQ4QW24EqIjSOx3Dpvh"},{"type":"paragraph","children":[{"type":"text","text":"3、通过夸大连续,控制气息,扩展音域。","id":""}],"text":"","id":"doxcnc2066YeCYoWuA5axY6L29f"},{"type":"paragraph","children":[{"type":"text","text":"参考练习诗词:李白《静夜思》、孟浩然《春晓》等。气息控制训练可以把握“深(吸得深)、匀(呼得匀)、通(气通畅)、活(用灵活)”四字方针,注意气息和内容的结合。单纯的语音、气息训练效果并不好,需要大家在实际朗读过程中不断体会、运用。","id":""}],"text":"","id":"doxcngoyaSYCSisK6i7xYaI3EOa"},{"type":"image","attrs":{"height":277,"note":[{"type":"text","text":"播音发声气息控制具体实施方法","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/ba87e92bdc874c9fb5a9c16bd620ef93","width":443},"text":"","id":"doxcnIkUukwQUu0CgymKAWjZCMe"},{"type":"heading","attrs":{"level":2},"children":[{"type":"text","text":"共鸣控制","id":""}],"text":"","id":"doxcn8OgeOEoSYYOg82d11hV6Ac"},{"type":"paragraph","children":[{"type":"text","text":"共鸣对于播音发声的重要性体现在播音是以言语发声的过程,要想声音圆润集中,需要改变共鸣条件。","id":""}],"text":"","id":"doxcnuWWs4mEMssgaiG60jbgk0g"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"共鸣控制要领","id":""}],"text":"","id":"doxcnu4KYESoMqy6wmg7qqYQzY4"},{"type":"paragraph","children":[{"type":"text","text":"根据解剖学原理,共鸣器官能够受控并随意活动的是软腭、咽部和舌部,共鸣控制主要关注这三部门肌肉的活动组成结果。","id":""}],"text":"","id":"doxcn4IESICikGE4SOuqSjPYOZf"},{"type":"paragraph","children":[{"type":"text","text":"1、提起颧肌","id":""}],"text":"","id":"doxcnEoU4Y8SSUQ4KuwQOuWvKZc"},{"type":"paragraph","children":[{"type":"text","text":"颧肌稍带紧张感,使该部位肌肉向外上方稍稍提起,这就是提颧肌。提颧肌能使我们的发音更清晰、明亮。","id":""}],"text":"","id":"doxcnCUwyWIGi2uCiQJ4I9gi6pb"},{"type":"paragraph","children":[{"type":"text","text":"2、打开牙","id":""}],"text":"","id":"doxcn6QOMAkeSgosgUD0kLFtG5e"},{"type":"paragraph","children":[{"type":"text","text":"指双侧上后槽牙保持向上提起的感觉。这样就加大了口腔开度丰富了共鸣。考生可以用含有“Q”的音节来做夸张的练习,将会取得明显效果。","id":""}],"text":"","id":"doxcnW2qMQWiiSC4gCEFzJnRSsc"},{"type":"paragraph","children":[{"type":"text","text":"3、放松下巴","id":""}],"text":"","id":"doxcnSMmMsoaioaCKGKA0tgxnth"},{"type":"paragraph","children":[{"type":"text","text":"下巴紧张会导致舌根和喉头的紧张,进而导致发声吃力,声音也将发紧,有意的放松下巴就会使我们的发声吐字更加自如。","id":""}],"text":"","id":"doxcnag6mESMUCWeAyq0bhQ3sSh"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"共鸣分类及训练","id":""}],"text":"","id":"doxcnKQyq4M0gSewOCkzz5DU9tc"},{"type":"paragraph","children":[{"type":"text","text":"1、口腔共鸣:口腔共鸣的获得是要在发音时,口腔自然上下打开,笑肌微提,下腭自然放下稍后拉,上腭有上提的感觉。口腔共鸣发声最主要的一点,是发声的时候鼻咽要关闭,不产生鼻泄露。","id":""}],"text":"","id":"doxcnCK242aIESIYoaCmdGmiNKh"},{"type":"paragraph","children":[{"type":"text","text":"通过下列练习大家可以体会一下,基本都是以开口元音为主练习:ba、da、ga、pa、ta、ka、peng、pa、pi、pu、pai。普通话的四个声调,准确的叫法是第一声—阴平,第二声—阳平,第三声—上声,第四声—去声。我们在进行声音训练的时候,多用阴平声调进行,这样有利于体会声音和气息。","id":""}],"text":"","id":"doxcnYq4Y68kwoiGW0wUFLK6FBb"},{"type":"paragraph","children":[{"type":"text","text":"词组练习:澎湃、冰雹、拍照、平静、批评,哗啦啦、噼啪啪、咣啷啷、扑嗵嗵、胡噜噜、快乐、宣纸、挫折、菊花、捐助、吹捧。","id":""}],"text":"","id":"doxcnmSI2MMiiKYIc2JsxMuGGBh"},{"type":"paragraph","children":[{"type":"text","text":"绕口令:山上五株树,架上五壶醋,林中五只鹿,柜中五条裤,伐了山上树,取下架上醋,捉住林中鹿,拿出柜中裤。","id":""}],"text":"","id":"doxcnwo8CQUQ28uMSS2MaOYv3Kd"},{"type":"paragraph","children":[{"type":"text","text":"2、鼻腔共鸣:鼻腔共鸣是声波在鼻骨上的振动,即将声音的焦点定位在鼻腔。","id":""}],"text":"","id":"doxcnI2UmU8a8w2uukRBDbSJs0e"},{"type":"paragraph","children":[{"type":"text","text":"鼻腔共鸣是通过软腭来实现的,标准的鼻辅音m,n和ng就是这样发声的。有人觉得鼻音重显得声音好听、有厚度,但是过多的鼻音有如感冒,是不好的。发a、i、u的音,加点鼻腔共鸣体会,加鼻辅音ma、mi、mu、na、ni、nu。","id":""}],"text":"","id":"doxcnKuQKkkW4UUYeoFaepZ750c"},{"type":"paragraph","children":[{"type":"text","text":"词组练习:妈妈、光芒、中央、接纳、头脑。","id":""}],"text":"","id":"doxcneamQWggW4uy4u6cD6C5iYc"},{"type":"paragraph","children":[{"type":"text","text":"蓝蓝的天上白云飘,白云下面马儿跑,挥动鞭儿响四方,百鸟齐飞翔。","id":""}],"text":"","id":"doxcn0sAWusKK44myWKSLISMkNh"},{"type":"paragraph","children":[{"type":"text","text":"3、胸腔共鸣:是指声带振动激起气管内空气柱振动而传送到肺再扩及整个胸腔引起共振产生的整个共鸣包括横隔膜以上至气管顶端的整个脑区。","id":""}],"text":"","id":"doxcnsaGkc2kEmcoqWIBqB8Kqeb"},{"type":"paragraph","children":[{"type":"text","text":"胸腔的空间及共鸣能量大,发出的声音有深度和宽度,声音更浑厚、宽广。“a”元音直上、直下、滑动练习。词组练习:百炼成钢、翻江倒海、追悔莫及。","id":""}],"text":"","id":"doxcnIQmQsOksqwG0iiC6g7rnDe"},{"type":"paragraph","children":[{"type":"text","text":"小柳树满地栽,金花谢,银花开。","id":""}],"text":"","id":"doxcnIy8W2oU8KCg1rcQLXD1bcu"},{"type":"image","attrs":{"height":300,"note":[{"type":"text","text":"共鸣分类及训练","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/3a3b97baf4a34bc1abc921726774778c","width":500},"text":"","id":"doxcnICoiWOKeAo8IOqMkQcu7Oh"},{"type":"heading","attrs":{"level":2},"children":[{"type":"text","text":"声音的弹性","id":""}],"text":"","id":"doxcnkk2sEuII88o8Qxb0snvEne"},{"type":"paragraph","children":[{"type":"text","text":"声音弹性,是指播音时声音形式对不同播讲内容和形式的适应能力。声音弹性包括声音的高与低、强与弱、实与虚、明与暗、刚与柔、厚与薄、纵与收等多层次对比变化。","id":""}],"text":"","id":"doxcne2MiAWA0wUQE6somUzgVgg"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"声音弹性的特点","id":""}],"text":"","id":"doxcnIsO4kUqCQ4C2uKjRgucrfe"},{"type":"paragraph","children":[{"type":"text","text":"1、可变性,不同语调和情感。","id":""}],"text":"","id":"doxcn6CIo8SyUceSAaMgUtT9Xsc"},{"type":"paragraph","children":[{"type":"text","text":"2、对比性,有起有伏。","id":""}],"text":"","id":"doxcnkso4AGE8OOOiCEA2t2WQqe"},{"type":"paragraph","children":[{"type":"text","text":"3、复合性,不会单独存在,是多种结合的,如虚低,高实。","id":""}],"text":"","id":"doxcn8wOiKAoyeCAiYFTeqMYRle"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"声音弹性训练方法","id":""}],"text":"","id":"doxcnEkkimyM80iEaAxVtZ4Ggae"},{"type":"paragraph","children":[{"type":"text","text":"1、虚实练习","id":""}],"text":"","id":"doxcnmikKGSEG4sWqEBKISBwABe"},{"type":"paragraph","children":[{"type":"text","text":"虚实练声方法是:吸一口气,然后屏住呼吸,让声门保持在闭合状态,开始发音,此时声音是响亮的实声。然后逐渐打开声门,声音由明亮到柔和的音色变化,这个时候注意体会喉咙的感觉,刚柔、厚薄、明暗等变化。","id":""}],"text":"","id":"doxcnmWeGsQ4qiMEokTwAJI4Lid"},{"type":"paragraph","children":[{"type":"text","text":"2、高低声练习","id":""}],"text":"","id":"doxcnwu4mecEsws48m8fZDUNsOc"},{"type":"paragraph","children":[{"type":"text","text":"a、i、u由低音向上滑动,再从高音向下滑动。","id":""}],"text":"","id":"doxcnsaycc2SEAckK8TdWavwg8d"},{"type":"paragraph","children":[{"type":"text","text":"这个练习主要可以锻炼自己对于音色的精细识别能力和控制能力,可以在自己不断的练习中感受。可以进行不同音高的朗读练习。用一句话,或一首诗,变化着不同的音高来进行练习。","id":""}],"text":"","id":"doxcnyCWWGMSaAG8Ivezah1u0rU"},{"type":"paragraph","children":[{"type":"text","text":"如:“飞流直下三千尺,疑是银河落九天。”","id":""}],"text":"","id":"doxcnK0QUas08wISU2tGbpVVvDn"},{"type":"paragraph","children":[{"type":"text","text":"先用习惯音高朗读一遍,然后逐渐降低音调朗读,读到不太能胜任的音高时又逐渐提高音调读,也是读到自己还能胜任的最高音为止。","id":""}],"text":"","id":"doxcnwOg6i0MqQOuICmpqfHhpde"},{"type":"paragraph","children":[{"type":"text","text":"3、强弱练习","id":""}],"text":"","id":"doxcnQQiioy0EUaqyOklSXJKbXd"},{"type":"paragraph","children":[{"type":"text","text":"远距离对话练习,练习时随时改变距离。","id":""}],"text":"","id":"doxcnuiQGY4Uk4IIYAzM9UkTdte"},{"type":"paragraph","children":[{"type":"text","text":"甲:喂—,喂—,小芳—","id":""}],"text":"","id":"doxcneqkgKOeCC0mm6b4CjsS8ld"},{"type":"paragraph","children":[{"type":"text","text":"乙:嗳—","id":""}],"text":"","id":"doxcnOyMoOw6OAm8ImUULp4SNxc"},{"type":"paragraph","children":[{"type":"text","text":"甲:快—来—啊—","id":""}],"text":"","id":"doxcnSA2IsYkqKOoieq7SVTbdSh"},{"type":"paragraph","children":[{"type":"text","text":"乙:怎么了—呀—","id":""}],"text":"","id":"doxcnqu4MgwMGgy0CEVo1A9f79d"},{"type":"paragraph","children":[{"type":"text","text":"甲:一起去看—电—影—吧","id":""}],"text":"","id":"doxcngYmu4Mk84o0C0CB9ZFwJbd"},{"type":"paragraph","children":[{"type":"text","text":"乙:好—啊!","id":""}],"text":"","id":"doxcn2MeUgyYUauCgOyqrlUl6Cd"},{"type":"paragraph","children":[{"type":"text","text":"夸张声音练习法:注意加大运动幅度,用丹田气发声。","id":""}],"text":"","id":"doxcnIomUmGio6wIKqmUQDFQ97c"},{"type":"paragraph","children":[{"type":"text","text":"快板是最明显的例子,想象说快板的演员发声的状态,自己找一段快板试试,体会声音的弹性。","id":""}],"text":"","id":"doxcnmC2IiSOCiUcS2nXeJ5PrFh"},{"type":"paragraph","children":[{"type":"text","text":"4、练唱音阶法","id":""}],"text":"","id":"doxcnmKY8cuoOKESEkBlcoZTsOb"},{"type":"paragraph","children":[{"type":"text","text":"声音音高与声带张力成正比例。","id":""}],"text":"","id":"doxcnG2sMAymU64wgGWdPSlU55b"},{"type":"paragraph","children":[{"type":"text","text":"如果想提高音高,就须加强声带张力。反之则减弱。所以,进行音高的变化练习能有效地发展和增强声带伸缩变化的控制能力。","id":""}],"text":"","id":"doxcnEWmo8emuMIEe2bdktNV68g"},{"type":"paragraph","children":[{"type":"text","text":"其中最有效的练习办法是利用钢琴来练唱音阶,在自己力所能及的音域内半度半度地下降,半度半度地上升,进行反复练习。没有条件的则可借鉴京剧演员喊嗓子的练声法,做绕音练习,从基础音开始,逐渐地向高、低音两头扩展。","id":""}],"text":"","id":"doxcnmOQsyiWC60EE6Xg4ykJNBd"},{"type":"image","attrs":{"height":715,"note":[{"type":"text","text":"声音弹性训练方法","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/f99e97717b7d4b93bc9cc5b8d79a3c0c","width":1080},"text":"","id":"doxcnkGYGsUo4GUQUoRW8cYKD65"},{"type":"heading","attrs":{"level":2},"children":[{"type":"text","text":"发音中的情声气","id":""}],"text":"","id":"doxcn4SOOOmCM4k20SOvXpqPzGe"},{"type":"paragraph","children":[{"type":"text","text":"语言是传递信息和交流思想情感的工具,存在于人际交流的有声语言情感,语声和气息是一个系统中的几个方面。","id":""}],"text":"","id":"doxcnCaM0u6sG6gaqs5GUq5hdig"},{"type":"paragraph","children":[{"type":"text","text":"情:是指在播音过程中播音员服务于播,讲目的由具体稿件或者话题引发,并由有声语言表达出来,始终运动着情感情,情我们进行播音创作的依据。","id":""}],"text":"","id":"doxcn0A888y04IoYsK8DFcP40gd"},{"type":"paragraph","children":[{"type":"text","text":"声:声是播音员依据稿件或话题,使发声器官运用播音技巧所发出的表达思想情感包含大量信息,并通过电声设备进行传播,经过科学训练的规范化艺术化的有声语言。","id":""}],"text":"","id":"doxcnUUUiACwUeqIiUvrXAR7B5g"},{"type":"paragraph","children":[{"type":"text","text":"气:气指的是在播音过程中未时有声,语言传情达意,播音员所控制自如使用胸腹式联合呼吸法所获得的发生动力。","id":""}],"text":"","id":"doxcni8eW8IGEayiwewaXOZUoah"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"情声气要求","id":""}],"text":"","id":"doxcncwS0IKmEKquIy2TOxZk0Od"},{"type":"paragraph","children":[{"type":"text","text":"1、情感需要具备最丰富的并能随时调动起来的思想情感,一方面播音员节目主持人要不断的加强自己的修养,锻炼和培养自己的政治艺术素养,使自己具备宽广的胸怀、纯真的情操、美好的憧憬、深邃的境界、蓬勃的志趣、灵动的活力等等,另一方面调动起来的运动者的思想情感一定要服从于稿件或话题的界定,服务于播讲目的。","id":""}],"text":"","id":"doxcnsu2cQyyauUQ6SGzGtoQLpe"},{"type":"paragraph","children":[{"type":"text","text":"2、对声音的要求是要能够充分的表达各类不同稿件所确定的不同层次,不同色彩的情感,能清晰明确的传递稿件所载有的所有信息,并具有各自声音形象特点。","id":""}],"text":"","id":"doxcngKK8084WUUoiMJT8pHJINc"},{"type":"paragraph","children":[{"type":"text","text":"3、播音发声对气息的要求是能符合播音员进行播音创作的要求,有一定力度呼吸控制自如完美的配合发声的气息。","id":""}],"text":"","id":"doxcnAiimu8gkyYAme2chiPoybf"},{"type":"paragraph","children":[{"type":"text","text":"总之,情感要取其高声音要取其中气息,要取其深以达到自整,腔圆清晰持久,刚柔自如声情并茂的境地。","id":""}],"text":"","id":"doxcnwOIAkQc4eGkWW4SF8F7Huc"},{"type":"image","attrs":{"height":356,"note":[{"type":"text","text":"情声气要求","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/6a704f2ad3d0469f9e035f26e9d6ce3c","width":640},"text":"","id":"doxcnSgQMoCiEIoQaqqo1cnWoZf"},{"type":"heading","attrs":{"level":2},"children":[{"type":"text","text":"发声练习常见的问题及矫正方法","id":""}],"text":"","id":"doxcnaagU68e8AiCK6u7Crz4vrh"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"虚声过多","id":""}],"text":"","id":"doxcnc0cM4cWGGuMOADBF0eJjUb"},{"type":"paragraph","children":[{"type":"text","text":"主要表现:声音不实在,有些无力,没有足够的亮度和响度。","id":""}],"text":"","id":"doxcnQOQcqyqcM4KyWMvPSzyXig"},{"type":"paragraph","children":[{"type":"text","text":"矫正方法:虚声过多的学生,要注意锻炼唇舌的力度,练习一些响亮实在的词语和绕口令,如“百步穿杨”“中国伟大”等力度较大的词组,以及绕口令《八百标兵》《白庙和白猫》等。新闻播音当中,基本以实声为主,一般不出现虚声,而且换气声不要太大。","id":""}],"text":"","id":"doxcnSCKmkMMkee0wiiBhMHxLab"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"声音过于靠后","id":""}],"text":"","id":"doxcnSsw004u6uQwyojuiGGJ4Ec"},{"type":"paragraph","children":[{"type":"text","text":"主要表现:声音沉重,不明亮。发声过程中也容易疲劳和不适。","id":""}],"text":"","id":"doxcng226EEwgOOGyas1wPqwCLd"},{"type":"paragraph","children":[{"type":"text","text":"矫正方法:注意“两头紧中间松”,口腔和小腹加强控制,喉部保持松弛。舌根要灵活,不要太生硬。注意与口腔共鸣的调节方法相结合。","id":""}],"text":"","id":"doxcnqggIgeKqW4UiykRqr0PqGg"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"鼻音偏重","id":""}],"text":"","id":"doxcnQqiEyGOSm2ms1oE5SqXfpe"},{"type":"paragraph","children":[{"type":"text","text":"主要表现:声音暗淡,不响亮,影响语言的清晰度。","id":""}],"text":"","id":"doxcnkIoMiWoUUyy0C81fLun4Ng"},{"type":"paragraph","children":[{"type":"text","text":"矫正方法:注意软腭挺起,牙关打开,减少过多的气流经过鼻腔。克服口腔、双唇的无力状态,保持积极的播音状态,不可过于懒散。","id":""}],"text":"","id":"doxcnmq8ec6gkKW4yMLugGc51cv"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"声音分散","id":""}],"text":"","id":"doxcnESOyiOK46g4EZGnfRWyfEd"},{"type":"paragraph","children":[{"type":"text","text":"主要表现:声音不集中,不饱满,冲击力不强。","id":""}],"text":"","id":"doxcn0iAQOCUmmwGwH3Qsed2Jxh"},{"type":"paragraph","children":[{"type":"text","text":"矫正方法:在发声的时候注意嘴唇中间三分之一部分用力,力量不可过于分散。注意气流冲击硬腭前端,也就是我们说的声挂硬腭,使声音更集中,更有冲击力。","id":""}],"text":"","id":"doxcnKq6U2SqqQ4AYW8oIwSEswf"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"缺乏弹性","id":""}],"text":"","id":"doxcngQccMwGseoGYoJMRLpi47b"},{"type":"paragraph","children":[{"type":"text","text":"主要表现:声音缺乏变化,没有抑扬顿挫的对比。","id":""}],"text":"","id":"doxcnwquQaww06wAAQf4qtQARAd"},{"type":"paragraph","children":[{"type":"text","text":"矫正方法:加强对比训练,包括高与低,快与慢的对比训练等。高与低的训练,可以练习声音的爬高与降低。比如“伟大的祖国,伟大的人民”这句话,可以先逐渐升高地说,然后再逐级下降地说,体会声音的高低变化,丰富声音的层次。快与慢的训练,可以用不同速度来说一句话。比如“班干部不管班干部”这句话,可以分别用快速和慢速来练习,体会快与慢的变化。声音弹性的获得还需要情感的支撑,加强情声气结合。","id":""}],"text":"","id":"doxcnccCUuI6OC0c6ymTj7tyCBc"},{"type":"image","attrs":{"height":476,"note":[{"type":"text","text":"缺乏弹性","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/f22e64303de543959ec58d632e19ba1e","width":1024},"text":"","id":"doxcnI8wkwsys2o2MWY3vts0YZc"},{"type":"heading","attrs":{"level":1},"children":[{"type":"text","text":"日常学习方法","id":""}],"text":"","id":"doxcnOmQM6KQIiiUkcNB3KgGQ9d"},{"type":"heading","attrs":{"level":2},"children":[{"type":"text","text":"朗读朗诵","id":""}],"text":"","id":"doxcnwYqeIs2iOIoMYVCWzx5zFb"},{"type":"paragraph","children":[{"type":"text","text":"读书,大声读书。天天坚持朗读文章,既训练咬字敏捷清楚,又能掌握更多文学常识,更关键的是对播音大有益处,清喉扩胸,纳乾坤之气,成皓然之身。需要多读相关著作文章,每日坚持朗读三十分钟以上。","id":""}],"text":"","id":"doxcniIuYCAOGKcYiykgjdMFhAc"},{"type":"heading","attrs":{"level":2},"children":[{"type":"text","text":"录像练习","id":""}],"text":"","id":"doxcn0SWy6GQEOUGoqOGHd29Gbb"},{"type":"paragraph","children":[{"type":"text","text":"倘若时间需要,每过一阵子,把声音和演讲内容进行视频拍摄,接着反复观看,探讨哪里存在问题导致卡壳,姿势和神情是否不自然,久而久之,口才以及心态表现都会有明显进步。","id":""}],"text":"","id":"doxcnG4a4woWigqE8IfQkXzFxfd"},{"type":"heading","attrs":{"level":2},"children":[{"type":"text","text":"速读","id":""}],"text":"","id":"doxcnK6coaei62akaaQDcTDuM9y"},{"type":"paragraph","children":[{"type":"text","text":"找来一则演说稿或一则其辞优美散文片段。先把原文中不明白的字、词弄明白,接着开始朗读。通常刚开始朗读速率比较慢,之后逐次逐次加快,直到你能够做到的最快速率。朗读过程中不可以有间断,读音要准确无误,咬字要清楚,要尽可能保证发音的完整。速读一定要建立在咬字清楚、读音干净整齐的前提上。大伙儿都有听过体育频道的解说员的解说,他们的解说就让人有快而不乱的感觉,每个字、每个音都发得十分清楚,没有含混不清的地方。播音希望做到的快也就是这种快,咬字清楚,而不是只为快而快。","id":""}],"text":"","id":"doxcn8OUAMSQisMc2WIf4ycOvPh"},{"type":"heading","attrs":{"level":2},"children":[{"type":"text","text":"即兴读物","id":""}],"text":"","id":"doxcni8oEEC4aUgQ8AjCNEKQz2g"},{"type":"paragraph","children":[{"type":"text","text":"日常余暇时,随意拿张旧报纸,随机翻到一段话,接着一鼓作气读下来。在朗读过程中,尽量控制上半句看稿子,下半句离开稿子看前面(假设前面有听众)。长此以往能加强记忆力,提高理解和即兴构思能力。","id":""}],"text":"","id":"doxcngc8MaY046QQyCI1wtyUWrC"},{"type":"heading","attrs":{"level":2},"children":[{"type":"text","text":"转述法","id":""}],"text":"","id":"doxcnyCIGqMSuGkIyc5WA1sTzWh"},{"type":"paragraph","children":[{"type":"text","text":"转述法就是把他人说的话重新地讲述一次。需要找一位伙伴一同进行。第一步,请另一方随便讲一个话题,亦或是故事。自己需注意聆听。然后再向另一方转述一次。练习在于训练语言的衔接性、实地临场发挥能力以及语言表达组织能力。倘若能面对观众转述就更佳,还能够训练你的胆量,摆脱焦虑不安心理。","id":""}],"text":"","id":"doxcnaeM8YOA8mckoMpIWRxd73g"},{"type":"heading","attrs":{"level":2},"children":[{"type":"text","text":"模仿","id":""}],"text":"","id":"doxcncEA0yEIeWOSCsIUz73Rn6p"},{"type":"paragraph","children":[{"type":"text","text":"大多数人自小便会模仿父母或大人说话","id":""},{"type":"text","text":"。实际上模仿的过程也是一种学习。儿时学讲话是向父母及身边人学习。那么,练习口才同样也可以利用模仿法,对有相关专场的人模仿,如电视主持。久而久之,口语表达能力也会有所提高。","id":""}],"text":"","id":"doxcnOSUG6EmUkSueGmGh5BLR3c"},{"type":"paragraph","children":[{"type":"text","text":"①模仿特定个人。生活上找一位语言表达能力强的人,请他讲些精彩说话,拍摄下来,供你进行模仿。也可以把你喜欢又适合模仿的主播、艺人、相声家等的表演记录下来进行模仿。","id":""}],"text":"","id":"doxcna0MkuQ68GsoCobRZbxlXnf"},{"type":"image","attrs":{"height":800,"note":[{"type":"text","text":"模仿","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/2d740719019e41349497421a5a977604","width":1200},"text":"","id":"doxcnKwSoKS0gKqU6s3lY40tkUf"},{"type":"heading","attrs":{"level":1},"children":[{"type":"text","text":"嗓音的保护","id":""}],"text":"","id":"doxcn4gIi488YUiKWes0BiuU4bb"},{"type":"heading","attrs":{"level":2},"children":[{"type":"text","text":"科学练声","id":""}],"text":"","id":"doxcnqY08UwMYssgIa9hokXUzXK"},{"type":"paragraph","children":[{"type":"text","text":"1、练声过程必须按照:“以情带声、以声传情、以情运气、气随情动;以情用声、声随情变;声情并茂、传情达意”的要求来进行。","id":""}],"text":"","id":"doxcnEUUUA0G6uOYQsfEPim187c"},{"type":"paragraph","children":[{"type":"text","text":"2、在练习时,要注意发“暖声”,状态应该积极热情,面部呈“似微笑”状。同时还应该把握住练声的顺序,那就是—声音由小到大、由弱渐强、由低至高、由近及远、由实转虚、由短到长、由柔到刚。有些人在用声时喉部负担过重,有的胸口僵硬、气息沉不下来,还有的人声音过刚过直等等,这类要尽快改掉毛病,掌握科学的发声方法,通过大量练习完成量变到质变的过程。","id":""}],"text":"","id":"doxcnwMyoIu2aIIKGkvS6FRS1Jh"},{"type":"paragraph","children":[{"type":"text","text":"3、避免超时超量超负荷运作,一般来说,晨练控制在20分钟至半小时为宜,主要目的是把嗓子练开、练舒服,切不可盲目加大嗓音运动量。在嗓音疲劳的时候,可以用气泡音来帮助消除疲劳。气泡音是弱气流冲击声带,声带在压力最自然的状态下发出的音,是一种很好的声带保健方法。","id":""}],"text":"","id":"doxcncyW28ayIO0uEYf22aN9a6c"},{"type":"paragraph","children":[{"type":"text","text":"它的具体做法是这样的,喉要放松,喉结处于适中的位置,气吸到五到七成,发出比较明亮的颗粒性比较强的气泡音。最好以“啊”音的延长音作为练习材料【a----------】【a----------】【a-------------】。如果一时发不好,可以反复做几次伸舌的动作,把舌头用力地向外伸,张大口,这样可以起到调节喉结紧张度的作用。在喉部松弛的情况下再来发音。气泡音在练声前发可以起到活动开声带的作用,在练声后发能起到保健按摩的作用。在练声前后常做此练习可以有效的提高发声的效率。","id":""}],"text":"","id":"doxcn2iwcKiamcuaUuEcYidOqZg"},{"type":"heading","attrs":{"level":2},"children":[{"type":"text","text":"日常注意事项","id":""}],"text":"","id":"doxcnsMiQwAkemuwGIzslzBHIxb"},{"type":"paragraph","children":[{"type":"text","text":"1、根据自身的嗓音条件,扬长避短、量力而行、循序渐进、持之以恒。一般来说,只要方法科学,练习得法,好嗓子是可以练出来的。","id":""}],"text":"","id":"doxcnSqk8sOOWCIwGeu7H94kU2e"},{"type":"paragraph","children":[{"type":"text","text":"2、增强体育锻炼。发音器官健康与否,很大程度上取决于身体的健康状况。对于播音员主持人以及其他学习者来说,适当的增强耐力性的体育锻炼,例如跑步等等,能有效地提高我们呼吸肌肉群对于气息的控制力,从而大大提高发声的效率。","id":""}],"text":"","id":"doxcnA8G6yOGkKkuU08Pf2H93ab"},{"typ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钢琴是西洋古典音乐中的一种键盘乐器,有乐器之王的美称。由88个琴键和金属弦音板组成。几乎囊括了乐音体系中的全部乐音,是除了管风琴以外音域最广的乐器。
认识钢琴
钢琴是西洋古典音乐中的一种键盘乐器,有乐器之王的美称。意大利人巴尔托洛奥·克里斯托弗利在1709年发明了钢琴。不但可以作为独奏、重奏、合奏和伴奏乐器使用,也是音乐创作和听觉训练中必不可少的基础乐器之一。
钢琴种类
钢琴目前可分为两大类别,传统类和电子类。
传统类
传统类可分为立式钢琴和三角钢琴。
1、立式钢琴是最为常见的钢琴种类,价格相对便宜,占用空间小,实用性较强。
2、三角钢琴价格比较昂贵,占用空间较大,一般用于大型演出或专业人士弹奏。
电子类
1、电子琴:电子琴是早期发展而来的乐器,带有扬声器,音量可以自由调节,而且能模仿多种乐器的声音,价格比较便宜,适合儿童启蒙时使用。61 键电子琴比较常用。
2、电钢琴:电钢琴和电子琴的原理基本一样,但是电钢琴主要是为了模仿真钢琴弹奏手感雨存在的,各个厂家研发各种高科技手段来实现真钢琴手感。当然,电钢琴的价格相差也比较大,便宜的在2000元左右,贵的可以达到3~5万元。
3、合成器:合成器是现代高科技的产物,它不但结合了电子琴和电钢琴的特点,还有其他很多方面的提升,比如可以自动伴奏,代替乐队进行演奏,它不但可以弹奏出真钢琴的音色,还能弹奏出其他乐器的声音,比如鼓、吉他、萨克斯等。合成器的琴键数量也有多种选择,最常见的是61键、73键以及88键,价格相对来说比较贵,通常在1~3万元之间,合成器的音色一般比较好,可以在音乐制作时使用。
如何选购钢琴
1、音质:好的钢琴要有好听的声音,太亮,太闷都不是好的声音。大家选择时可以演奏简单的旋律测试,而不要使用踏板,并且要在大空间检验,这样才能测试出钢琴真正的音质。你可以相信自己的耳朵,而无需专业人士的帮助就能做出准确的判断。
2、手感:一架钢琴的好坏不仅取决于声音,跟手感也有很大关系。很多家长在挑选钢琴时,要求推荐琴键轻的钢琴,怕孩子太小琴键太重会弹坏孩子的手指。其实这种做法是错误的,钢琴键盘的分量是有一个国际规范的,过重过轻都不是好的选择。
3、音板:钢琴的音板是钢琴声音的灵魂。音板的厚度一般为1厘米。钢琴的音色取决于音板的各项声音指标。市场上常见的音板分三种:单层实木音板、实木复合音板、复合音板。高端钢琴一般采用单层实木音板,低端钢琴则常用复合音板。
4、型号:钢琴的型号一般是按高度划分,如118、120、123、125、132等,同品牌同系列的钢琴高度越高声量越大,各方面的性能也更好一点,一般家庭初次购买钢琴,建议选择123-125的型号,这样的钢琴音质以及表现力还有稳定性都较好,性价比也高。
5、品牌:德国钢琴品牌品质是最好的,其次是德国以外的欧洲地区,再次是美国、日本、中国。越是知名的品牌钢琴的质量也就越好,这是因为每个钢琴品牌都有着自己的技术沉淀。
6、价格:也是大多数消费者比较关心的问题,个人建议先确定好预算,都说一分钱一分货,钢琴的价格从万元到数百万不等。在预算范围内尽量选择接近预算上限的,这样的品质也比较好。
钢琴功能
学习钢琴之前我们需要先了解钢琴的使用方法,可以参考钢琴说明书,先熟悉钢琴的面板功能,然后再系统学习钢琴。
无论是立式钢琴还是三角钢琴,都是由七部分组成:外壳、键盘、击弦机、 弦列、音板、铁支架、踏板。
钢琴键盘
1、共有52个白键和36个黑键。
2、黑键的长度和宽度均小于白键。
3、每个黑键都位于两个白键中间(但不一定是正中间)。
4、琴键分为若干组,每组有12个琴键(7个白键和5个黑键)。
5、最左边的组只有3个琴键(2个白键和1个黑键),最后边的组只有1个琴键(1个白键),这两个组都是不完整的组。
6、每组的这12个琴键中,7个白键从左向右依次为do、re、mi、fa、sol、la、si,5个黑键从左向右依次为升do(降re)、升re(降mi)、升fa(降sol)、升sol(降la)、升la(降si)。
7、图中的那些汉字是每组的名称(从左向右依次为大字二组、大字一组、大字组、小字组、小字一组、小字二组、小字三组、小字四组、小字五组,其中大字二组和小字五组是不完全音组)。
钢琴音色
给钢琴调音,一般可借助耳朵去听琴的音色来调,这需要知道钢琴的构造,一般调音师会把中高音区的同一个音的一根弦先调,这需要注意听音的高低和音色。除此,还可以借助调音器代替耳朵来听琴的音色。但如果没有这方面的技巧,还是应该找专业人士帮忙调音,切不可自己胡乱调节钢琴的音色。
1、钢琴调音,简单地说,就是将琴弦拧紧或者放松,使其达到一定的音高(国际标准音),即以小字一组a音,振动频率以440Hz为标准,按十二平均律的生律方法来调试钢琴的每一个音。钢琴调律是一个较为复杂的工作,如果没有这方面的技巧,还是应该找专业人士进行调音,切不可自己胡乱调节钢琴的音色。
2、给钢琴调音,一般可借助耳朵去听琴的音色来调。钢琴调音常用的音程是同度、八度、四度和五度。不仅从理论上要懂得这几种音程的特征,还要从听觉上掌握其音响特点。调音是靠听拍音来判断音程是否准确的。一般来讲,听同度、八度较为容易,听四度和五度较难。
3、除了靠耳朵听音,还需要知道钢琴的构造。钢琴分出高音区、中音区、低音区。高音区一个音对应有三根琴弦,中音区有两根,低音区有一根,一般调音师会把中高音区的同一个音的一根弦先调出来。
4、调音一般采用的是“四、五度循环法”,其程序为:先从中音组的A音开始,并用A音440HZ的调音器或标准音叉进行调音。A音调好后开始向八度扩展。中音组调好后,再调低音组。低音组的调音方法和中音组一样,以中音组为标准,用八度按半音阶。八度音调准后,再向五度、四度音进展。最后调高音组。
5、钢琴调音对于新手来说还是有些难度的,可以配合视频讲解来学习:https://haokan.baidu.com/v?pd=wisenatural&vid=10528990544618385757。
钢琴调率
调率方法
1、四五度调律法 此方法采用上四下五在基准音组的闭环循环,得出12平均律,然后利用8度扩展。
2、 三六度调律法 此方法采用三六度音拍频数相对较多,不容易分辨出个数,然后利用8度扩展,是国内手法调律师常见的使用方式。
3、 电子仪器调律法 此方法采用电子波形采样原理,其软件有YAMAHA、Tunelab等。在使用了高质量拾音器的情况下,软件能够很好地辅助校准,同时获得更高的精度。
4、单纯看文字可能会有些难度,大家可以观看视频教程一起学习:https://ke.qq.com/course/350545#term_id=100416879。
调率工具
1、止音工具。钢琴调律是逐个音、逐根弦调试的过程,而钢琴的音多数为同音弦组构成,即一个音由两根或三根弦组成,调律时,这就需要将暂时不调试的弦止住防止它发出不必要的声音,以免干扰被调试弦的音响,而影响到调律听觉。这也是止音工具的作用。止音工具包括止音呢契、止音皮契、止音呢带、高音止音夹、高音止音棒、金属柄高音止音皮契和链条式止音皮契等器具。
2、校音工具。校音工具是一种能产生或发出纯音的具有固定频率可作为调律标准音或校对、测试音高的音响工具。校音工具主要包括音叉、电子音叉和音准仪等器材。
3、调音工具。调音工具只有调音扳手。调音扳手是一种转动钢琴弦轴销,以调整弦张力的大小,使音升高或降低的专用工具。
4、辅助工具。调律工具中的辅助工具有三件:一件名叫“套筒装卸扳”;另一件是螺丝刀:再一件是“倒退制止器调整扳”。
钢琴脚踏板
从左到右依次是,柔音踏板,中央踏板,减震踏板。
1、柔音踏板,顾名思义就是让钢琴的声音变得柔和一点,让声音变得更加的贴切。还有一个重要的作用就是减小声音的大小,适合早晨和晚上练琴。
2、中央踏板,不同的钢琴不一样的作用,有的钢琴中央踏板有延音的效果,如果你按下一个音符,踩下延音踏板,即使你松开音符,音符也会继续发音。
3、减震踏板,简单的来说,就是踩下去,可以让你敲击出来美妙共鸣的声音。
学习钢琴
钢琴手法
首先弹钢琴的正确手法是手指放到钢琴上,手掌要拱起来,并五指分开,手指一定是要自然下垂,整个手像握一个鸡蛋一下,成一个半圆形状。大拇指处外,手两只手的四指指尖去触碰一键,千万不要是指肚,拇指是用指尖的侧面去碰琴键的。
指法
像我们平时在家随时随地都可以练习,将手指摊平放在桌面上,去敲击桌面,从而达到手指的力量。有时候一个手指频繁的操作,就需要另外一个手指去接替了,像平时拇指弹奏过多的情况下,也可以用无名指接替弹奏,来减轻拇指的负担。指法的学习是重中之重,也是弹好钢琴的基础。
1、顺指法:
在某个固定位置上,即五音手位上,用一个手指对准一个琴键,五个手指依次排列在五个琴键上,期间没有间隔的琴键,以手指的自然顺序使用的指法。这是钢琴弹奏中最常用的基本指法。如果一段旋律只有五度内的五个音,原则上不用移位。
2、扩指法:
五个手指在大于五度的音程上用伸展手型弹奏。大指与食指之间的虎口是伸展手型的有利条件。六度音程的旋律用六度的手型弹奏,一指与五指之间的距离为六度,一、二指之间间隔一个琴键,其余手指顺指排列。
3、缩指法:
五个手指在小于五度音程上用收缩手型弹奏。迂回上行或下行的旋律可以用这种缩指法弹奏。在弹奏过程中,把手指相互收缩弹奏旋律的指法。
4、同音不同指:
在同一个音上换指弹奏的指法。同音换指法往往与顺指法或扩指法结合使用。为了使连续出现的同音弹奏得均匀清晰,可以用两个手指交替弹奏,也可以用三个或四个手指自右至左有规律地依次轮奏。旋律进行中,同音换指可以移动把位,移动把位后要立刻为下一个手型作好准备。
5、同指不同音:
用相同的手指弹两个或两个以上的音,有如下:用大拇指同时弹奏相邻的两个键。滑指:用同一个手指连续弹奏两个音,由一个音滑向另一个音或由黑键向白键滑动或在两个白键间平行移动。
我们可以观看视频讲教程:https://jingyan.baidu.com/article/af9f5a2d40439343140a45e9.html。
钢琴识谱
认识五线谱
1、通常来说,音符由符头、符干、符尾三部分组成;符头可以是空心的,也可以是实心的,两者拍数相差一半;除了全音符之外,其它的音符都有符干,增加符干原来时值也减一半;根据符头所在的线或间唱相应的音。
2、符点音符是标在音符符头右边的小圆点儿,用以增加音符的拍值。若一个音符的右边带有一个符点,那么表示该音符的拍值在原来的基础上还要再增加1/2拍。
3、新手学习五线谱会有一些不容易理解的地方,观看视频教学:https://haokan.baidu.com/v?pd=wisenatural&vid=14863524342786170721,会提升我们的学习效率。
入门五线谱推荐
小星星视频教学:https://www.bilibili.com/video/BV1VZ4y1z7j8/。
童年视频教学:https://www.bilibili.com/video/av798895059/。
简谱的看法
1、在简谱中,用以表示音的高低及其关系的基本符号有七个数字,即1、2、3、4、5、6、7,分别代表do、re、mi、fa、sol、la、si。(这是一个很详细的简谱教学视频:https://haokan.baidu.com/v?pd=wisenatural&vid=4528756325398501909)。
2、只使用七个音符是无法表现众多的高低音调的。在简谱中,在基本音符上方加记一个“·”,表示该音升高一个八度,称为高音;加记两个" :",则表示该音升高两个八度,称为倍高音。
在基本音符下方加记一个"·",表示该音降低一个八度,称为低音;加记两个" :",则表示该音降低两个八度,称为倍低音。在钢琴键盘上共有五个音区部分,分别从左到右,对应从高音到低音。
3、装饰音符:在乐谱中表示音乐的休止(停顿)的符号称为休止符。简谱的休止符用O表示。用“>”或“□”或“sf”标记在音符的上面,表示这个音要唱(奏)得坚强有力
当“>”与“□”两个记号同时出现时,表示更强。终止线是用两条竖线,其中一条细线,一条粗线并行,细的一条在前,粗的一条在后,表明乐曲终了。
4、两只老虎简谱,其中红框的节拍,表明你弹奏歌曲的节奏,即每一小节为四拍。绿框表示sol的因为长摁两拍。黄框表示一个节拍同时摁两个音,即和弦。
5、紫框为休止符号。绿框为该音符低一个八度。
入门简谱推荐
1、《让我们荡起双桨》
刘炽让导演把孩子们召集起来后唱给大家听,孩子们听后拍着手说:“真好,唱出了我们刚才在船上的心情”,乐曲真切的表现了孩子们的心情,趣味和欢乐与幸福,刘炽这才感到满意。让跟着视频一起弹奏吧:https://www.bilibili.com/video/BV1844y1Y72L/。
2、《我爱北京天安门》
因为歌曲旋律清新、节奏活泼,只有9度音域,演唱的适应面广,富于儿童特点,不同于当时占据乐坛的“语录歌”、“忠字歌”千篇一律的进行曲、战歌那样的高亢、声嘶力竭,在当时迅速脱颖而出,并成为了70年代文革后期的儿童和青年人传唱的经典红歌。让我们跟着视频一起弹奏吧:https://haokan.baidu.com/v?pd=wisenatural&vid=8539017987112186836。
大调音阶指法
为了锻炼手指技术,大调音阶有不同的指法,且需要转指才能完成,这个需要练习者要非常集中精神,所以音阶的练习是手指练习的必要组成部分。视频教学更清晰明了,可以参考视频:https://search.bilibili.com/all?keyword=%E5%A4%A7%E8%B0%83%E9%9F%B3%E9%98%B6%E6%8C%87%E6%B3%95&from_source=webtop_search&spm_id_from=333.1007&search_source=5。
C大调音阶:CDEFGABC
G大调音阶:GABCDEF#G
D大调音阶:DEF#GABC#D
A大调音阶:ABC#DEF#G#A
E大调音阶:E F# G# A B C# D# E
B大调音阶:BC#D#EF#G#A#B
F#大调音阶:F#G#A#BC#D#E#F#
F大调音阶:FG ABbCDEF
Bb大调音阶:Bb CDEbF G A Bb
Eb大调音阶:Eb F G Ab Bb C D Eb
Ab大调音阶:Ab Bb C Db Eb F G Ab
Db大调音阶:DbEb F Gb AbBbC Db
钢琴练习
五指练习
五指练习的三种奏法,即断奏、连奏(连音)和跳音的弹法。我们分别讲解一下。
1、断奏(也叫非连音奏法)。这种方法是初学者首先要学习和掌握的一种弹奏方法。初学时,要求学生手指、手掌、手腕都处于放松状态,手臂提起来后自然地落下,使弹奏的手指在琴键上站稳,并发出跑满坚实的声音,听见音声后立即放松,然后按同样的方法练习其他手指。
2、连奏(也叫连音奏法)。这是演奏钢琴最基本、最常用的弹奏方法。其要求正好与断奏相反,音与音之间无空隙、无停顿。连奏可以连接两个音或者多个音。具体弹法是:弹完第一个音后,手不要提起来,而是把手指的支撑点从一指传给二指(二指弹之前可先向上抬一下),接着二指再传给三指,三指传给四指,四指再传给五指,最后手腕提起,完成这五个音的连奏。
3、跳奏。顾名思义,这是一种有弹性、活泼跳跃的奏法。它要求弹出的声音短促、有力、富有弹性,手指弹下去随即离键,但也不能太短。把手指放在键上,然后,所弹手指在手臂的带动下往上“抽”,发力要快,集中,这样才能弹出比较集中、明亮、富有弹性的跳音。在此基础上再练习用手腕和手指的跳音奏法。
4、断奏与联奏的详细指法一定不要错过哦:https://www.bilibili.com/video/av977873916/。
5、 跳音的指法教学也很详细:https://haokan.baidu.com/v?pd=wisenatural&vid=11206217697925100531。
五指练习的手位
第一种手位:C、D、E、F、G
初学钢琴的学生对do re mi fa sol比较感兴趣,这样的手位学生容易接受,比较符合初学者的要求和特点。所以,我在教学时,首先采用的是这个手位,容易在琴上找到,双手相隔一个八度,练习起来较为方便,效果显著。
第二种手位:E、升F、升G、升A、C
这是当年肖邦在教育学生时常用的教学方法,一百多年的教学实践都证明了这种手位是最符合这个年龄段学生的手的自然生理状况,大指和小指放在白键上,而食指、中指、无名指放在黑键上,这种手位容易使学生找到放松的感觉,可以使学生掌握正确的指间距离,形成良好的弹奏手型和积极的弹奏状态。
五指练习的节奏变化
在练习时,可以采用变化节奏的方法进行,这样,可以提高学生的学习兴趣,同时,还可以提高手指的训练效果,进一步强化巩固已经所学的弹奏方法。
训练时一般可以采用三种不同的节奏变化。
1、一长一短:X. X|X. X|
2、一长二短:X. XX|X. XX|
3、一长三短:X. XXX|X. XXX|
也可以倒过来练习,即一短一长,二短一长,三短一长的节奏来进行练习。(五指练习视频教学:https://www.bilibili.com/video/BV16L411g7BN/)。
初学钢琴注意事项
1、弱音踏板习琴者都会有一个困扰:练琴时会对周围的邻居造成影响。踏板可以解决这个问题。对常用的立式钢琴来说,最直接的办法就是使用钢琴中间的弱音踏板:踩下钢琴中间的弱音踏板,并往左边移动至卡槽处固定,可以阶段性的减弱钢琴的音量,有助于降低对周围人群的影响。而且这针对弹奏者练习手指和熟悉乐谱来说,是丝毫没有影响的。
2、节拍器的使用:很多朋友把节拍器放在钢琴上可能一次都没有使用过,节拍器并不是钢琴上的摆设哦~我们平时所能感受到的节奏大致可分为:快、中、慢等不同速度,但要精确地把握和表现某种具体的速度,仅仅凭感觉是远远不够的,所以在练琴时一定要记得使用节拍器。
3、定期调律:如果钢琴使用较频繁,每年最好能进行两次钢琴调律,使用率不高的话,也要保证一年一次调律。最好是能请有专业资质的或具备相当经验的调律师来对钢琴进行音律的定期调整及维护保养。
4、乐谱:在一些地方盗版乐谱的使用非常普遍。印刷的磁粉劣质、纸张低劣、乐谱音符颜色较淡,使用一段时间后纸张就会破损脱落,对习琴者的眼睛也会有伤害。
学习方法
教材推荐
这是我国钢琴初级阶段教学运用极为广泛的教材之一。全书可分为三个部分。
1、第一部分是57首以前这部分是巩固手型,训练手指独立性的练习,要求弹奏放松、自然、练习速度以慢速中速为主。
2、第二部分是58~79首。58首到70首是训练快速练习,这里的快速是针对前阶段而言的,在学生奏法正确的基础上要求初步加快速度。71首~79首是带装饰音与不带装饰音的旋律练习。练习时先慢速,把节奏弹准确,弹平均,双手对齐,在稍微加快。这部分又是旋律练习要注意乐谱上的表情术语及力度术语,注意分句、呼吸、旋律的连贯与歌唱。
3、第三部分是80首到结束,是综合性的练习,无论音型、节奏型、音阶琶音类和双音练习都比前面丰富,练习时不仅要弹准确,还要注意音乐起伏,做出力度,速度变化。
课程推荐
刚开始学习钢琴的时候可以多看些视频资源,或者可以与许多钢琴爱好者交流,不懂时还可以提出问题,这样总比自己一个人探索有用得多。
下面是一些钢琴的视频教程,大家可以跟着一起学习。
https://search.bilibili.com/all?keyword=%E9%92%A2%E7%90%B4%E6%95%99%E5%AD%A6%E5%85%A5%E9%97%A8%E9%9B%B6%E5%9F%BA%E7%A1%80&from_source=webtop_search&spm_id_from=333.1007&search_source=2。
如何选择老师
1、找有经验的老师作为启蒙老师。很多人会觉得刚开始学琴,先随便找个老师教教就可以,这完全是不正确的做法。有经验的老师可以为你打下扎实的基础。
2、多了解老师的学习经历、教学方式及成果。好的老师都会有着良好的教育经历,以及丰富的教学成果,而他的学习经历也经过时间的沉淀,慢慢的转变成了自己独特的教学风格,也决定了他的教学思路。
3、成熟的老师教学思路非常清晰。对于钢琴老师来说,教学思路非常重要,如果一个钢琴老师连教学思路都没有的话,那么他就不能是一个好老师,因为这样的钢琴老师迷迷糊糊的就开始进行教学,自己都不知道会把学生带到哪个方向去。只有教学思路明确了,教学的内容才会明确,学生才会被带到正确的方向。
4、试课听课,一定不要忽略试课听课的环节,如果不试课就不知道老师的教学风格和教学方式是不是适合自己,能不能听懂这个很关键。
日常保养方法
1、保持良好的通风。钢琴需要良好的通风环境,不良的通风环境将对钢琴造成损坏。如果条件允许,钢琴最好置于房间的中央,或靠房间的内墙放置,如果可能,避免将钢琴靠房屋外墙放置,以防止外界气候变化对钢琴的音质和音量产生不良影响。若受条件限制,也务必确保钢琴四周有良好的通风。
2、切勿将钢琴靠窗放置尽可能不要将钢琴放置于窗前,钢琴的外壳是木质结构,要避免阳光的直射以及温度湿度的骤变。至少琴房窗户应该向屋外方向打开。若受条件所限必须将其靠窗放置时,一定要在窗户上悬挂厚窗帘来保护钢琴。
3、远离热。钢琴要远离散热器或加热器等热源,以免伤害钢琴外部和内部构件,导致音质、手感品质下降。因此要避免热辐射及热空气对钢琴的侵害。、4.适宜的环境可确保更好的音色适宜的温度和湿度,良好的通风环境是钢琴的演奏性能和声学品质表现最佳的必要条件。总体来说,相对湿度保持在50%--60%是比较理想的。钢琴的某些内部构件,如木、绒、毡等材料的对环境的变化极为敏感,稍有不慎就会损坏。
5、湿度对钢琴的影响。由绒、毡、皮及木材制成的击弦机构件精密度很高,允许的误差被限制在1/100mm以内。这些构件对湿度的变化极其敏感,湿度过高会导致击弦机运动迟钝,琴声沉闷,金属部键生锈和琴键失灵等问题出现。
6、避免过度干燥。对钢琴来说,环境潮湿是个问题,但过度干燥则更为不利,尤其是使用空调器的人工除湿房间。在一般干燥的气候下,钢琴自身有足够的水分来防止干燥产生的问题,但若空气过于干燥,木质和绒质构件会收缩变形,更为甚者,胶合的音板、夹板也会离层。构件的轻微变形将产生杂音。而且过于干燥的环境会导致弦轴钉松动,导致难以维持音准稳定。建议用户在琴房放置阔叶植物或湿度调节器以防止过度干燥。
7、注意气温骤变。如果寒冷的房间温度骤升,水分会凝结在琴弦或其他金属部件上导致生锈。绒质和毡质的构件也会因吸收水分而变形,导致击弦机运动迟钝,音色沉闷。请特别注意,在气温骤变时将钢琴移至朝北的气温较低的房间或密闭的混凝土结构房间。
8、钢琴的放置与音响效果。请将钢琴放置在声音可以均匀分布的房间。若在一个房间里所有的声音都集中于一点,易造成声音滞后及回音。为了让琴声更加悦耳、丰满,避免粗糙刺耳的回声,最好将钢琴放置于可以确保良好音响效果的房间。
9、切勿将物品放置在钢琴的顶盖上。如果在钢琴的顶盖上放置重物会产生杂音。一瓶鲜花会使钢琴更具风采,但一旦花瓶破裂,水流到钢琴内部将导致金属键生锈、击弦机变形等严重后果。所以,为避免意外,除乐谱和节拍器外,建议任何物品都不要放置于钢琴的顶部。
%3Chowto_content%3E[{"type":"paragraph","attrs":{"is_abstract":true},"children":[{"type":"text","text":"钢琴是西洋古典音乐中的一种键盘乐器,有乐器之王的美称。由88个琴键和金属弦音板组成。几乎囊括了乐音体系中的全部乐音,是除了管风琴以外音域最广的乐器。","id":""}],"text":"","id":"doxcnwiIKO2eQIgA2ywvjaMLDXd"},{"type":"heading","attrs":{"level":1},"children":[{"type":"text","text":"认识钢琴","id":""}],"text":"","id":"doxcnsqoW4ooYq6I2QBFvlgKuFe"},{"type":"paragraph","children":[{"type":"text","text":"钢琴是西洋古典音乐中的一种键盘乐器,有乐器之王的美称。意大利人巴尔托洛奥·克里斯托弗利在1709年发明了钢琴。不但可以作为独奏、重奏、合奏和伴奏乐器使用,也是音乐创作和听觉训练中必不可少的基础乐器之一。","id":""}],"text":"","id":"doxcna2ywSeA2moi22XlUXHvBxg"},{"type":"heading","attrs":{"level":1},"children":[{"type":"text","text":"钢琴种类","id":""}],"text":"","id":"doxcnGYkcO6eCeiOIyYFiOUoZHe"},{"type":"paragraph","children":[{"type":"text","text":"钢琴目前可分为两大类别,传统类和电子类。","id":""}],"text":"","id":"doxcnCAM4imcSMYw4uKPcgbADjh"},{"type":"heading","attrs":{"level":2},"children":[{"type":"text","text":"传统类","id":""}],"text":"","id":"doxcnMwwmaOwKoowgKMVupovitc"},{"type":"paragraph","children":[{"type":"text","text":"传统类可分为立式钢琴和三角钢琴。","id":""}],"text":"","id":"doxcn0MUQS2emEIsQWwD9Ygd3Zg"},{"type":"image","attrs":{"height":707,"note":[{"type":"text","text":"传统类","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/586b5d56074248d596f160268c61ccd7","width":790},"text":"","id":"doxcnagam6oGYOgUY2NQ5DrAXpf"},{"type":"paragraph","children":[{"type":"text","text":"1、立式钢琴是最为常见的钢琴种类,价格相对便宜,占用空间小,实用性较强。","id":""}],"text":"","id":"doxcn2kKoqw6GUwqWaYJsIF599c"},{"type":"image","attrs":{"height":480,"note":[{"type":"text","text":"传统类","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/4460fb353ab142fd9f2deb31f7c8dd5c","width":598},"text":"","id":"doxcnW8GIA4sa4UwE232oMV6Wdg"},{"type":"paragraph","children":[{"type":"text","text":"2、三角钢琴价格比较昂贵,占用空间较大,一般用于大型演出或专业人士弹奏。","id":""}],"text":"","id":"doxcnuWmSymaAmacMGC0lfGHdhf"},{"type":"heading","attrs":{"level":2},"children":[{"type":"text","text":"电子类","id":""}],"text":"","id":"doxcnQE4miWs4ii88KKdT43PFjf"},{"type":"image","attrs":{"height":327,"note":[{"type":"text","text":"电子类","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/22e1255c61b8499c9bd25290a4ab5210","width":750},"text":"","id":"doxcnyoWsqgCG4wE8eIyW2JxO3d"},{"type":"paragraph","children":[{"type":"text","text":"1、电子琴:电子琴是早期发展而来的乐器,带有扬声器,音量可以自由调节,而且能模仿多种乐器的声音,价格比较便宜,适合儿童启蒙时使用。61 键电子琴比较常用。","id":""}],"text":"","id":"doxcnkwu8gsm6O06co7qVkbutYc"},{"type":"image","attrs":{"height":599,"note":[{"type":"text","text":"电子类","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/c417660eaba046febbdfc331e3fdf90d","width":800},"text":"","id":"doxcnGsOGI2kMAYmkshqYFMUKvb"},{"type":"paragraph","children":[{"type":"text","text":"2、电钢琴:电钢琴和电子琴的原理基本一样,但是电钢琴主要是为了模仿真钢琴弹奏手感","id":""},{"type":"text","text":"雨","id":""},{"type":"text","text":"存在的,各个厂家研发各种高科技手段来实现真钢琴手感。当然,电钢琴的价格相差也比较大,便宜的在2000元左右,贵的可以达到3~5万元。","id":""}],"text":"","id":"doxcnWWA0I4aaqGkqmAkNk5fbmc"},{"type":"image","attrs":{"height":520,"note":[{"type":"text","text":"电子类","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/a0a655a6d41046b19e778a2804c89de3","width":1000},"text":"","id":"doxcnYc8cGGkS6AmQK4DXpr37Bh"},{"type":"paragraph","children":[{"type":"text","text":"3、合成器:合成器是现代高科技的产物,它不但结合了电子琴和电钢琴的特点,还有其他很多方面的提升,比如可以自动伴奏,代替乐队进行演奏,它不但可以弹奏出真钢琴的音色,还能弹奏出其他乐器的声音,比如鼓、吉他、萨克斯等。合成器的琴键数量也有多种选择,最常见的是61键、73键以及88键,价格相对来说比较贵,通常在1~3万元之间,合成器的音色一般比较好,可以在音乐制作时使用。 ","id":""}],"text":"","id":"doxcng4ysGaoeueIUOAlSzLRwUf"},{"type":"heading","attrs":{"level":2},"children":[{"type":"text","text":"如何选购钢琴","id":""}],"text":"","id":"doxcnWAOMq2QIOI6wRS2wxlqwdA"},{"type":"paragraph","children":[{"type":"text","text":"1、音质:好的钢琴要有好听的声音,太亮,太闷都不是好的声音。大家选择时可以演奏简单的旋律测试,而不要使用踏板,并且要在大空间检验,这样才能测试出钢琴真正的音质。你可以相信自己的耳朵,而无需专业人士的帮助就能做出准确的判断。","id":""}],"text":"","id":"doxcnyuY4qKmAY08qAnsOwx1kUd"},{"type":"paragraph","children":[{"type":"text","text":"2、手感:一架钢琴的好坏不仅取决于声音,跟手感也有很大关系。很多家长在挑选钢琴时,要求推荐琴键轻的钢琴,怕孩子太小琴键太重会弹坏孩子的手指。其实这种做法是错误的,钢琴键盘的分量是有一个国际规范的,过重过轻都不是好的选择。","id":""}],"text":"","id":"doxcn6c4YyEwKc6CSKIaxx2ijpd"},{"type":"paragraph","children":[{"type":"text","text":"3、音板:钢琴的音板是钢琴声音的灵魂。音板的厚度一般为1厘米。钢琴的音色取决于音板的各项声音指标。市场上常见的音板分三种:单层实木音板、实木复合音板、复合音板。高端钢琴一般采用单层实木音板,低端钢琴则常用复合音板。","id":""}],"text":"","id":"doxcnoa6gy0OACiWG423Nwqv7Kd"},{"type":"paragraph","children":[{"type":"text","text":"4、型号:钢琴的型号一般是按高度划分,如118、120、123、125、132等,同品牌同系列的钢琴高度越高声量越大,各方面的性能也更好一点,一般家庭初次购买钢琴,建议选择123-125的型号,这样的钢琴音质以及表现力还有稳定性都较好,性价比也高。","id":""}],"text":"","id":"doxcnq28846EgESuSGa6XhDoQHf"},{"type":"paragraph","children":[{"type":"text","text":"5、品牌:德国钢琴品牌品质是最好的,其次是德国以外的欧洲地区,再次是美国、日本、中国。越是知名的品牌钢琴的质量也就越好,这是因为每个钢琴品牌都有着自己的技术沉淀。","id":""}],"text":"","id":"doxcnsig0ciGwiqscgV0xUQGGYf"},{"type":"paragraph","children":[{"type":"text","text":"6、价格:也是大多数消费者比较关心的问题,个人建议先确定好预算,都说一分钱一分货,钢琴的价格从万元到数百万不等。在预算范围内尽量选择接近预算上限的,这样的品质也比较好。","id":""}],"text":"","id":"doxcnUasKgAasIAkEG2pGYJ3wre"},{"type":"heading","attrs":{"level":2},"children":[{"type":"text","text":"钢琴功能","id":""}],"text":"","id":"doxcn6syKS2SYqMGQmaLR9z172e"},{"type":"image","attrs":{"height":810,"note":[{"type":"text","text":"钢琴功能","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/db33ad89d6254ae59864b742dd2a681e","width":1080},"text":"","id":"doxcnwM6qYQgAu0wm0AABR0OT6g"},{"type":"paragraph","children":[{"type":"text","text":"学习钢琴之前我们需要先了解钢琴的使用方法,可以参考钢琴说明书,先熟悉钢琴的面板功能,然后再系统学习钢琴。","id":""}],"text":"","id":"doxcn68Kwi4sy2g4EiQpqCGzYud"},{"type":"paragraph","children":[{"type":"text","text":"无论是立式钢琴还是三角钢琴,都是由七部分组成:外壳、键盘、击弦机、 弦列、音板、铁支架、踏板。","id":""}],"text":"","id":"doxcn06Y6i2YoOEKW6jgPKxu5kd"},{"type":"heading","attrs":{"level":2},"children":[{"type":"text","text":"钢琴键盘","id":""}],"text":"","id":"doxcnSa4EckkyMwMgyYfXIM9qOe"},{"type":"image","attrs":{"height":252,"note":[{"type":"text","text":"钢琴键盘","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/f65b8ec96f1643f5be53e1cd0529ccfc","width":600},"text":"","id":"doxcnuIqUokQ22eaiakMsvgqh9c"},{"type":"paragraph","children":[{"type":"text","text":"","id":""}],"text":"","id":"doxcngWaOgWKc6y8omoeP5p2xcc"},{"type":"paragraph","children":[{"type":"text","text":"1、共有52个白键和36个黑键。","id":""}],"text":"","id":"doxcnissmQGisc06aI3bFgDNgSe"},{"type":"paragraph","children":[{"type":"text","text":"2、黑键的长度和宽度均小于白键。","id":""}],"text":"","id":"doxcnswMeIAQm0AQi62Mtj7xfIh"},{"type":"paragraph","children":[{"type":"text","text":"3、每个黑键都位于两个白键中间(但不一定是正中间)。","id":""}],"text":"","id":"doxcniqoC4IWq6GoIKeBH9BtoFb"},{"type":"paragraph","children":[{"type":"text","text":"4、琴键分为若干组,每组有12个琴键(7个白键和5个黑键)。","id":""}],"text":"","id":"doxcnuQy6EqY6UAesSEEcPWDRXd"},{"type":"paragraph","children":[{"type":"text","text":"5、最左边的组只有3个琴键(2个白键和1个黑键),最后边的组只有1个琴键(1个白键),这两个组都是不完整的组。","id":""}],"text":"","id":"doxcnA226quwMUK2Gg7IFrJu3Lh"},{"type":"paragraph","children":[{"type":"text","text":"6、每组的这12个琴键中,7个白键从左向右依次为do、re、mi、fa、sol、la、si,5个黑键从左向右依次为升do(降re)、升re(降mi)、升fa(降sol)、升sol(降la)、升la(降si)。","id":""}],"text":"","id":"doxcngIWCSm88maCSYBT763cUid"},{"type":"paragraph","children":[{"type":"text","text":"7、图中的那些汉字是每组的名称(从左向右依次为大字二组、大字一组、大字组、小字组、小字一组、小字二组、小字三组、小字四组、小字五组,其中大字二组和小字五组是不完全音组)。","id":""}],"text":"","id":"doxcnQqas008KiSqcuAyG0THBVd"},{"type":"heading","attrs":{"level":2},"children":[{"type":"text","text":"钢琴音色","id":""}],"text":"","id":"doxcn6SsEcwcKmeWG87EU48LxZd"},{"type":"paragraph","children":[{"type":"text","text":"给钢琴调音,一般可借助耳朵去听琴的音色来调,这需要知道钢琴的构造,一般调音师会把中高音区的同一个音的一根弦先调,这需要注意听音的高低和音色。除此,还可以借助调音器代替耳朵来听琴的音色。但如果没有这方面的技巧,还是应该找专业人士帮忙调音,切不可自己胡乱调节钢琴的音色。","id":""}],"text":"","id":"doxcnAksYmsGSO8IA81jjG21x3e"},{"type":"paragraph","children":[{"type":"text","text":"1、钢琴调音,简单地说,就是将琴弦拧紧或者放松,使其达到一定的音高(国际标准音),即以小字一组a音,振动频率以440Hz为标准,按十二平均律的生律方法来调试钢琴的每一个音。钢琴调律是一个较为复杂的工作,如果没有这方面的技巧,还是应该找专业人士进行调音,切不可自己胡乱调节钢琴的音色。 ","id":""}],"text":"","id":"doxcnASKsgcqycQgYMutszksxqd"},{"type":"paragraph","children":[{"type":"text","text":"2、给钢琴调音,一般可借助耳朵去听琴的音色来调。钢琴调音常用的音程是同度、八度、四度和五度。不仅从理论上要懂得这几种音程的特征,还要从听觉上掌握其音响特点。调音是靠听拍音来判断音程是否准确的。一般来讲,听同度、八度较为容易,听四度和五度较难。 ","id":""}],"text":"","id":"doxcnQSCuwSWiSAUk4NfsF2cuvg"},{"type":"paragraph","children":[{"type":"text","text":"3、除了靠耳朵听音,还需要知道钢琴的构造。钢琴分出高音区、中音区、低音区。高音区一个音对应有三根琴弦,中音区有两根,低音区有一根,一般调音师会把中高音区的同一个音的一根弦先调出来。 ","id":""}],"text":"","id":"doxcnC2Agu2eEeYsuuwoWf3DnFg"},{"type":"paragraph","children":[{"type":"text","text":"4、调音一般采用的是“四、五度循环法”,其程序为:先从中音组的A音开始,并用A音440HZ的调音器或标准音叉进行调音。A音调好后开始向八度扩展。中音组调好后,再调低音组。低音组的调音方法和中音组一样,以中音组为标准,用八度按半音阶。八度音调准后,再向五度、四度音进展。最后调高音组。","id":""}],"text":"","id":"doxcnoouCuIKUCEcgOWBG3mTS9b"},{"type":"paragraph","children":[{"type":"text","text":"5、钢琴调音对于新手来说还是有些难度的,可以配合视频讲解来学习:https://haokan.baidu.com/v?pd=wisenatural\u0026vid=10528990544618385757","id":""},{"type":"text","text":"。","id":""}],"text":"","id":"doxcnO6Wg6ymyWM4k0CM6E6joHb"},{"type":"heading","attrs":{"level":2},"children":[{"type":"text","text":"钢琴调率","id":""}],"text":"","id":"doxcnmGG8OAKY2WskcoyM9inbWe"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"调率方法","id":""}],"text":"","id":"doxcnkMaq4Wy2YemukYdRVvbvAv"},{"type":"paragraph","children":[{"type":"text","text":"1、四五度调律法 此方法采用上四下五在基准音组的闭环循环,得出12平均律,然后利用8度扩展。","id":""}],"text":"","id":"doxcnIg4iuAUKYiSIAqm7AnQSHk"},{"type":"paragraph","children":[{"type":"text","text":"2、 三六度调律法 此方法采用三六度音拍频数相对较多,不容易分辨出个数,然后利用8度扩展,是国内手法调律师常见的使用方式。","id":""}],"text":"","id":"doxcn8q8CIEgEs8mucj2MvVkjAe"},{"type":"paragraph","children":[{"type":"text","text":"3、 电子仪器调律法 此方法采用电子波形采样原理,其软件有YAMAHA、Tunelab等。在使用了高质量拾音器的情况下,软件能够很好地辅助校准,同时获得更高的精度。","id":""}],"text":"","id":"doxcnmggQ6IOkGMSO4oAySPj0qx"},{"type":"paragraph","children":[{"type":"text","text":"4、单纯看文字可能会有些难度,大家可以观看视频教程一起学习:https://ke.qq.com/course/350545#term_id=100416879","id":""},{"type":"text","text":"。","id":""}],"text":"","id":"doxcnUIyeS8KeMuq8s3FqquKs5f"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"调率工具","id":""}],"text":"","id":"doxcnmOq60eAw06eGSwwxlzJlhS"},{"type":"paragraph","children":[{"type":"text","text":"1、止音工具。钢琴调律是逐个音、逐根弦调试的过程,而钢琴的音多数为同音弦组构成,即一个音由两根或三根弦组成,调律时,这就需要将暂时不调试的弦止住防止它发出不必要的声音,以免干扰被调试弦的音响,而影响到调律听觉。这也是止音工具的作用。止音工具包括止音呢契、止音皮契、止音呢带、高音止音夹、高音止音棒、金属柄高音止音皮契和链条式止音皮契等器具。","id":""}],"text":"","id":"doxcnS6C24Gk4U8SciEbmhG3Izh"},{"type":"paragraph","children":[{"type":"text","text":"2、校音工具。校音工具是一种能产生或发出纯音的具有固定频率可作为调律标准音或校对、测试音高的音响工具。校音工具主要包括音叉、电子音叉和音准仪等器材。","id":""}],"text":"","id":"doxcnwUMKUOqayYKoWkT73OigFb"},{"type":"paragraph","children":[{"type":"text","text":"3、调音工具。调音工具只有调音扳手。调音扳手是一种转动钢琴弦轴销,以调整弦张力的大小,使音升高或降低的专用工具。","id":""}],"text":"","id":"doxcn8mOs2YeWmAOAcbsDNvdLwe"},{"type":"paragraph","children":[{"type":"text","text":"4、辅助工具。调律工具中的辅助工具有三件:一件名叫“套筒装卸扳”;另一件是螺丝刀:再一件是“倒退制止器调整扳”。","id":""}],"text":"","id":"doxcn8UwyAKM2ku4kA9bEx8dc0b"},{"type":"heading","attrs":{"level":2},"children":[{"type":"text","text":"钢琴脚踏板","id":""}],"text":"","id":"doxcnQ8WSwc8EEgWY61Q4O64W4d"},{"type":"image","attrs":{"height":390,"note":[{"type":"text","text":"钢琴脚踏板","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/ccd723e693ff445cbd07ee0dd2f7acde","width":593},"text":"","id":"doxcnyAOQqCkEI0EMAZvH1967Xc"},{"type":"paragraph","children":[{"type":"text","text":"从左到右依次是,柔音踏板,中央踏板,减震踏板。","id":""}],"text":"","id":"doxcnkCu2e2qUuSsqshbgdU0kpd"},{"type":"paragraph","children":[{"type":"text","text":"1、柔音踏板,顾名思义就是让钢琴的声音变得柔和一点,让声音变得更加的贴切。还有一个重要的作用就是减小声音的大小,适合早晨和晚上练琴。","id":""}],"text":"","id":"doxcnyO6moUiAiYUKqvlAryDARz"},{"type":"paragraph","children":[{"type":"text","text":"2、中央踏板,不同的钢琴不一样的作用,有的钢琴中央踏板有延音的效果,如果你按下一个音符,踩下延音踏板,即使你松开音符,音符也会继续发音。","id":""}],"text":"","id":"doxcnYg4OaaOoQec8c5gFvjzXQh"},{"type":"paragraph","children":[{"type":"text","text":"3、减震踏板,简单的来说,就是踩下去,可以让你敲击出来美妙共鸣的声音。","id":""}],"text":"","id":"doxcn8kWkacEI4oc2aYTc8wPFsh"},{"type":"heading","attrs":{"level":1},"children":[{"type":"text","text":"学习钢琴","id":""}],"text":"","id":"doxcnOQ4Auww6e4aokTs8D8faIc"},{"type":"heading","attrs":{"level":2},"children":[{"type":"text","text":"钢琴手法","id":""}],"text":"","id":"doxcnigakKSyksgIOCqIRnG8zgj"},{"type":"image","attrs":{"height":310,"note":[{"type":"text","text":"钢琴手法","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/0904149986694e58bfce065a9258d9bc","width":640},"text":"","id":"doxcneSoGwgE0isKY6udGKzJV2f"},{"type":"paragraph","children":[{"type":"text","text":"首先弹钢琴的正确手法是手指放到钢琴上,手掌要拱起来,并五指分开,手指一定是要自然下垂,整个手像握一个鸡蛋一下,成一个半圆形状。大拇指处外,手两只手的四指指尖去触碰一键,千万不要是指肚,拇指是用指尖的侧面去碰琴键的。","id":""}],"text":"","id":"doxcnCwGqOgOewME8q06I4tjW1e"},{"type":"heading","attrs":{"level":2},"children":[{"type":"text","text":"指法","id":""}],"text":"","id":"doxcn4GigmIEW084CO06brZsQxg"},{"type":"paragraph","children":[{"type":"text","text":"像我们平时在家随时随地都可以练习,将手指摊平放在桌面上,去敲击桌面,从而达到手指的力量。有时候一个手指频繁的操作,就需要另外一个手指去接替了,像平时拇指弹奏过多的情况下,也可以用无名指接替弹奏,来减轻拇指的负担。指法的学习是重中之重,也是弹好钢琴的基础。","id":""}],"text":"","id":"doxcnmCK2qwq2wuCkEDXqSg35Cd"},{"type":"paragraph","children":[{"type":"text","text":"1、顺指法:","id":""}],"text":"","id":"doxcnaGyaAgqEIWucLcU91Quqqa"},{"type":"paragraph","children":[{"type":"text","text":"在某个固定位置上,即五音手位上,用一个手指对准一个琴键,五个手指依次排列在五个琴键上,期间没有间隔的琴键,以手指的自然顺序使用的指法。这是钢琴弹奏中最常用的基本指法。如果一段旋律只有五度内的五个音,原则上不用移位。","id":""}],"text":"","id":"doxcnOqoc2Ak2gyOs02wkIM226g"},{"type":"paragraph","children":[{"type":"text","text":"2、扩指法:","id":""}],"text":"","id":"doxcnsqWKUaYS6EgEoJY2n23Ljh"},{"type":"paragraph","children":[{"type":"text","text":"五个手指在大于五度的音程上用伸展手型弹奏。大指与食指之间的虎口是伸展手型的有利条件。六度音程的旋律用六度的手型弹奏,一指与五指之间的距离为六度,一、二指之间间隔一个琴键,其余手指顺指排列。","id":""}],"text":"","id":"doxcn8QsAkwcqwiuWQzq27dKq3e"},{"type":"paragraph","children":[{"type":"text","text":"3、缩指法:","id":""}],"text":"","id":"doxcnemAY06cicgSuohq85bbTSh"},{"type":"paragraph","children":[{"type":"text","text":"五个手指在小于五度音程上用收缩手型弹奏。迂回上行或下行的旋律可以用这种缩指法弹奏。在弹奏过程中,把手指相互收缩弹奏旋律的指法。","id":""}],"text":"","id":"doxcncEgImoQciaEMIncMd9nJnd"},{"type":"paragraph","children":[{"type":"text","text":"4、同音不同指:","id":""}],"text":"","id":"doxcnye6W2MocSssqGWixYOHOS9"},{"type":"paragraph","children":[{"type":"text","text":"在同一个音上换指弹奏的指法。同音换指法往往与顺指法或扩指法结合使用。为了使连续出现的同音弹奏得均匀清晰,可以用两个手指交替弹奏,也可以用三个或四个手指自右至左有规律地依次轮奏。旋律进行中,同音换指可以移动把位,移动把位后要立刻为下一个手型作好准备。","id":""}],"text":"","id":"doxcnuYeQSGyIWKSeu2yrkl4I2g"},{"type":"paragraph","children":[{"type":"text","text":"5、同指不同音:","id":""}],"text":"","id":"doxcnyW4Usmceo84eQLZBZSqpxb"},{"type":"paragraph","children":[{"type":"text","text":"用相同的手指弹两个或两个以上的音,有如下:用大拇指同时弹奏相邻的两个键。滑指:用同一个手指连续弹奏两个音,由一个音滑向另一个音或由黑键向白键滑动或在两个白键间平行移动。","id":""}],"text":"","id":"doxcni6Qo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:\",则表示该音升高两个八度,称为倍高音。","id":""}],"text":"","id":"doxcnuImsEkQyy8WmQBtszK56Zg"},{"type":"paragraph","children":[{"type":"text","text":"在基本音符下方加记一个\"·\",表示该音降低一个八度,称为低音;加记两个\" 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Db","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/d250ba19a6c44180bd597f6cad55182c","width":564},"text":"","id":"doxcnWAiwgso0Q0uuQmC5P7LZlu"},{"type":"heading","attrs":{"level":1},"children":[{"type":"text","text":"钢琴练习","id":""}],"text":"","id":"doxcneoUgysAaw68o27Ieik76bc"},{"type":"heading","attrs":{"level":2},"children":[{"type":"text","text":"五指练习","id":""}],"text":"","id":"doxcnyUK8IWmcywUiYT4tAs38lh"},{"type":"image","attrs":{"height":288,"note":[{"type":"text","text":"五指练习","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/c3c7ed1be1c64880832e8c3a0a16ac5b","width":800},"text":"","id":"doxcnyIMOsW226M4kQJXaoVpVvd"},{"type":"paragraph","children":[{"type":"text","text":"五指练习的三种奏法,即断奏、连奏(连音)和跳音的弹法。我们分别讲解一下。","id":""}],"text":"","id":"doxcnQy2KssS8QiaAOgkLxVsKyb"},{"type":"paragraph","children":[{"type":"text","text":"1、断奏(也叫非连音奏法)。这种方法是初学者首先要学习和掌握的一种弹奏方法。初学时,要求学生手指、手掌、手腕都处于放松状态,手臂提起来后自然地落下,使弹奏的手指在琴键上站稳,并发出跑满坚实的声音,听见音声后立即放松,然后按同样的方法练习其他手指。","id":""}],"text":"","id":"doxcnkMYuGMmugiKGuMO78WfsXg"},{"type":"paragraph","children":[{"type":"text","text":"2、连奏(也叫连音奏法)。这是演奏钢琴最基本、最常用的弹奏方法。其要求正好与断奏相反,音与音之间无空隙、无停顿。连奏可以连接两个音或者多个音。具体弹法是:弹完第一个音后,手不要提起来,而是把手指的支撑点从一指传给二指(二指弹之前可先向上抬一下),接着二指再传给三指,三指传给四指,四指再传给五指,最后手腕提起,完成这五个音的连奏。","id":""}],"text":"","id":"doxcnga2eyeoce2ooYhfaHTgy6d"},{"type":"paragraph","children":[{"type":"text","text":"3、跳奏。顾名思义,这是一种有弹性、活泼跳跃的奏法。它要求弹出的声音短促、有力、富有弹性,手指弹下去随即离键,但也不能太短。把手指放在键上,然后,所弹手指在手臂的带动下往上“抽”,发力要快,集中,这样才能弹出比较集中、明亮、富有弹性的跳音。在此基础上再练习用手腕和手指的跳音奏法。","id":""}],"text":"","id":"doxcnIkcgiUSaSWcYE5J2jxP7de"},{"type":"paragraph","children":[{"type":"text","text":"4、断奏与联奏的详细指法一定不要错过哦:","id":""},{"type":"external_link","attrs":{"url":"https://www.bilibili.com/video/av977873916/"},"children":[{"type":"text","text":"https://www.bilibili.com/video/av977873916/","id":""}],"text":"","id":""},{"type":"text","text":"。","id":""}],"text":"","id":"doxcneComcCMwQysosxV0Wr3Hfh"},{"type":"paragraph","children":[{"type":"text","text":"5、","id":""},{"type":"text","text":" 跳音的指法教学也很详细:https://haokan.baidu.com/v?pd=wisenatural\u0026vid=11206217697925100531","id":""},{"type":"text","text":"。","id":""}],"text":"","id":"doxcnAWQCcio6SSsOs770nFSOXe"},{"type":"heading","attrs":{"level":2},"children":[{"type":"text","text":"五指练习的手位","id":""}],"text":"","id":"doxcnU6GcoKOKaQ2gUlwSRjglhg"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"第一种手位:C、D、E、F、G","id":""}],"text":"","id":"doxcn0W0IWumWg0eukRbwk1S1cd"},{"type":"paragraph","children":[{"type":"text","text":"初学钢琴的学生对do re mi fa sol比较感兴趣,这样的手位学生容易接受,比较符合初学者的要求和特点。所以,我在教学时,首先采用的是这个手位,容易在琴上找到,双手相隔一个八度,练习起来较为方便,效果显著。","id":""}],"text":"","id":"doxcnkoWE04aCaQimoZ6MkGwDfg"},{"type":"heading","attrs":{"level":3},"children":[{"type":"text","text":"第二种手位:E、升F、升G、升A、C","id":""}],"text":"","id":"doxcnGA8yae06OmeGmYuP2Y70Gh"},{"type":"paragraph","children":[{"type":"text","text":"这是当年肖邦在教育学生时常用的教学方法,一百多年的教学实践都证明了这种手位是最符合这个年龄段学生的手的自然生理状况,大指和小指放在白键上,而食指、中指、无名指放在黑键上,这种手位容易使学生找到放松的感觉,可以使学生掌握正确的指间距离,形成良好的弹奏手型和积极的弹奏状态。","id":""}],"text":"","id":"doxcnOwigWyYSoCAGwp4l5mJiig"},{"type":"heading","attrs":{"level":2},"children":[{"type":"text","text":"五指练习的节奏变化","id":""}],"text":"","id":"doxcnSK2gm02sKwoCOie5vnnXed"},{"type":"paragraph","children":[{"type":"text","text":"在练习时,可以采用变化节奏的方法进行,这样,可以提高学生的学习兴趣,同时,还可以提高手指的训练效果,进一步强化巩固已经所学的弹奏方法。","id":""}],"text":"","id":"doxcnai2ywig2mAkqo7CIbQOHff"},{"type":"paragraph","children":[{"type":"text","text":"训练时一般可以采用三种不同的节奏变化。","id":""}],"text":"","id":"doxcnecsWEC2G48UYAzMExSwULf"},{"type":"paragraph","children":[{"type":"text","text":"1、一长一短:X. X|X. X|","id":""}],"text":"","id":"doxcnKGEaYmgigAoayCITacTGIh"},{"type":"paragraph","children":[{"type":"text","text":"2、一长二短:X. XX|X. XX|","id":""}],"text":"","id":"doxcncIkmYEqeqyMO86Nyfj0W0T"},{"type":"paragraph","children":[{"type":"text","text":"3、一长三短:X. XXX|X. XXX|","id":""}],"text":"","id":"doxcnWm8ye0ckGU2qyspL61KiKc"},{"type":"paragraph","children":[{"type":"text","text":"也可以倒过来练习,即一短一长,二短一长,三短一长的节奏来进行练习。(五指练习视频教学:","id":""},{"type":"external_link","attrs":{"url":"https://www.bilibili.com/video/BV16L411g7BN/"},"children":[{"type":"text","text":"https://www.bilibili.com/video/BV16L411g7BN/","id":""}],"text":"","id":""},{"type":"text","text":")。","id":""}],"text":"","id":"doxcnOyCUGiWyeUqceufQMzZRwf"},{"type":"heading","attrs":{"level":2},"children":[{"type":"text","text":"初学钢琴注意事项","id":""}],"text":"","id":"doxcnYwma0Ycosyq6yTqeK7hpVL"},{"type":"paragraph","children":[{"type":"text","text":"1、弱音踏板习琴者都会有一个困扰:练琴时会对周围的邻居造成影响。踏板可以解决这个问题。对常用的立式钢琴来说,最直接的办法就是使用钢琴中间的弱音踏板:踩下钢琴中间的弱音踏板,并往左边移动至卡槽处固定,可以阶段性的减弱钢琴的音量,有助于降低对周围人群的影响。而且这针对弹奏者练习手指和熟悉乐谱来说,是丝毫没有影响的。","id":""}],"text":"","id":"doxcnA6MKCasQK4QAtnV98obmCP"},{"type":"paragraph","children":[{"type":"text","text":"2、节拍器的使用:很多朋友把节拍器放在钢琴上可能一次都没有使用过,节拍器并不是钢琴上的摆设哦~我们平时所能感受到的节奏大致可分为:快、中、慢等不同速度,但要精确地把握和表现某种具体的速度,仅仅凭感觉是远远不够的,所以在练琴时一定要记得使用节拍器。","id":""}],"text":"","id":"doxcn8oiW4mkeciKI02cGOJB6Ug"},{"type":"paragraph","children":[{"type":"text","text":"3、定期调律:如果钢琴使用较频繁,每年最好能进行两次钢琴调律,使用率不高的话,也要保证一年一次调律。最好是能请有专业资质的或具备相当经验的调律师来对钢琴进行音律的定期调整及维护保养。","id":""}],"text":"","id":"doxcnQwMKgeQ0wuqugMb7gIxXc3"},{"type":"paragraph","children":[{"type":"text","text":"4、乐谱:在一些地方盗版乐谱的使用非常普遍。印刷的磁粉劣质、纸张低劣、乐谱音符颜色较淡,使用一段时间后纸张就会破损脱落,对习琴者的眼睛也会有伤害。","id":""}],"text":"","id":"doxcnOmo24IQocEeym2lS6eUsNc"},{"type":"heading","attrs":{"level":1},"children":[{"type":"text","text":"学习方法","id":""}],"text":"","id":"doxcnwycawG8kI620gXNY7alq9f"},{"type":"heading","attrs":{"level":2},"children":[{"type":"text","text":"教材推荐","id":""}],"text":"","id":"doxcnOE2gCseWCaAOkdj6OiKebd"},{"type":"image","attrs":{"height":355,"note":[{"type":"text","text":"教材推荐","id":""}],"url":"{{image_domain}}tos-cn-i-qvj2lq49k0/30848e32d72f447c8a249e0e9bda9e35","width":312},"text":"","id":"doxcngMQqe4sOUga2IRkx2t09Hb"},{"type":"paragraph","children":[{"type":"text","text":"这是我国钢琴初级阶段教学运用极为广泛的教材之一。全书可分为三个部分。","id":""}],"text":"","id":"doxcnayq8kKAIGiM6ySu0zMafUf"},{"type":"paragraph","children":[{"type":"text","text":"1、第一部分是57首以前这部分是巩固手型,训练手指独立性的练习,要求弹奏放松、自然、练习速度以慢速中速为主。","id":""}],"text":"","id":"doxcnq0MMI8wi6SKseOvv3Hky0f"},{"type":"paragraph","children":[{"type":"text","text":"2、第二部分是58~79首。58首到70首是训练快速练习,这里的快速是针对前阶段而言的,在学生奏法正确的基础上要求初步加快速度。71首~79首是带装饰音与不带装饰音的旋律练习。练习时先慢速,把节奏弹准确,弹平均,双手对齐,在稍微加快。这部分又是旋律练习要注意乐谱上的表情术语及力度术语,注意分句、呼吸、旋律的连贯与歌唱。","id":""}],"text":"","id":"doxcnKykOMsyg4W6OaKc3Btn2ze"},{"type":"paragraph","children":[{"type":"text","text":"3、第三部分是80首到结束,是综合性的练习,无论音型、节奏型、音阶琶音类和双音练习都比前面丰富,练习时不仅要弹准确,还要注意音乐起伏,做出力度,速度变化。","id":""}],"text":"","id":"doxcnYMke4CmU6KQOYzweEUAZse"},{"type":"heading","attrs":{"level":2},"children":[{"type":"text","text":"课程推荐","id":""}],"text":"","id":"doxcnsyw0oCo8qW8GuoEA51cvGh"},{"type":"paragraph","children":[{"type":"text","text":"刚开始学习钢琴的时候可以多看些视频资源,或者可以与许多钢琴爱好者交流,不懂时还可以提出问题,这样总比自己一个人探索有用得多。","id":""}],"text":"","id":"doxcnWosmKU6EAoW4S0fvViydXc"},{"type":"paragraph","children":[{"type":"text","text":"下面是一些钢琴的视频教程,大家可以跟着一起学习。","id":""}],"text":"","id":"doxcnIew0A84iKMOYMUWYIN7Lcb"},{"type":"paragraph","children":[{"type":"external_link","attrs":{"url":"https://search.bilibili.com/all?keyword=%E9%92%A2%E7%90%B4%E6%95%99%E5%AD%A6%E5%85%A5%E9%97%A8%E9%9B%B6%E5%9F%BA%E7%A1%80\u0026from_source=webtop_search\u0026spm_id_from=333.1007\u0026search_source=2"},"children":[{"type":"text","text":"https://search.bilibili.com/all?keyword=%E9%92%A2%E7%90%B4%E6%95%99%E5%AD%A6%E5%85%A5%E9%97%A8%E9%9B%B6%E5%9F%BA%E7%A1%80\u0026from_source=webtop_search\u0026spm_id_from=333.1007\u0026search_source=2","id":""}],"text":"","id":""},{"type":"text","text":"。","id":""}],"text":"","id":"doxcnKYqMkyE6YMAMgbVoEMjrXe"},{"type":"heading","attrs":{"level":2},"children":[{"type":"text","text":"如何选择老师","id":""}],"text":"","id":"doxcnEsO8AaksmiEcY1GJvfcfne"},{"type":"paragraph","children":[{"type":"text","text":"1、找有经验的老师作为启蒙老师。很多人会觉得刚开始学琴,先随便找个老师教教就可以,这完全是不正确的做法。有经验的老师可以为你打下扎实的基础。","id":""}],"text":"","id":"doxcn4e0qWKkaAI42K4zsdU4tYd"},{"type":"paragraph","children":[{"type":"text","text":"2、多了解老师的学习经历、教学方式及成果。好的老师都会有着良好的教育经历,以及丰富的教学成果,而他的学习经历也经过时间的沉淀,慢慢的转变成了自己独特的教学风格,也决定了他的教学思路。","id":""}],"text":"","id":"doxcnaoeYmwAsIG2Qu6Kl8Hd0re"},{"type":"paragraph","children":[{"type":"text","text":"3、成熟的老师教学思路非常清晰。对于钢琴老师来说,教学思路非常重要,如果一个钢琴老师连教学思路都没有的话,那么他就不能是一个好老师,因为这样的钢琴老师迷迷糊糊的就开始进行教学,自己都不知道会把学生带到哪个方向去。只有教学思路明确了,教学的内容才会明确,学生才会被带到正确的方向。","id":""}],"text":"","id":"doxcnOcmwKmMOQ44Yo5ptgBjLzg"},{"type":"paragraph","children":[{"type":"text","text":"4、试课听课,一定不要忽略试课听课的环节,如果不试课就不知道老师的教学风格和教学方式是不是适合自己,能不能听懂这个很关键。","id":""}],"text":"","id":"doxcnc8QKAaMeqq66Ap9siLL3lf"},{"type":"heading","attrs":{"level":2},"children":[{"type":"text","text":"日常保养方法","id":""}],"text":"","id":"doxcnicCAoSeIEcE2eQQymhyRKe"},{"type":"paragraph","children":[{"type":"text","text":"1、保持良好的通风。钢琴需要良好的通风环境,不良的通风环境将对钢琴造成损坏。如果条件允许,钢琴最好置于房间的中央,或靠房间的内墙放置,如果可能,避免将钢琴靠房屋外墙放置,以防止外界气候变化对钢琴的音质和音量产生不良影响。若受条件限制,也务必确保钢琴四周有良好的通风。","id":""}],"text":"","id":"doxcnQ8mmu6SkcOMqeSheSvc3nL"},{"type":"paragraph","children":[{"type":"text","text":"2、切勿将钢琴靠窗放置尽可能不要将钢琴放置于窗前,钢琴的外壳是木质结构,要避免阳光的直射以及温度湿度的骤变。至少琴房窗户应该向屋外方向打开。若受条件所限必须将其靠窗放置时,一定要在窗户上悬挂厚窗帘来保护钢琴。","id":""}],"text":"","id":"doxcnuQ88OSeSOOKMqMB2Xxpjrf"},{"type":"paragraph","children":[{"type":"text","text":"3、远离热。钢琴要远离散热器或加热器等热源,以免伤害钢琴外部和内部构件,导致音质、手感品质下降。因此要避免热辐射及热空气对钢琴的侵害。、4.适宜的环境可确保更好的音色适宜的温度和湿度,良好的通风环境是钢琴的演奏性能和声学品质表现最佳的必要条件。总体来说,相对湿度保持在50%--60%是比较理想的。钢琴的某些内部构件,如木、绒、毡等材料的对环境的变化极为敏感,稍有不慎就会损坏。","id":""}],"text":"","id":"doxcngg0AU28O6uiAOM1GEh4HTh"},{"type":"paragraph","children":[{"type":"text","text":"5、湿度对钢琴的影响。由绒、毡、皮及木材制成的击弦机构件精密度很高,允许的误差被限制在1/100mm以内。这些构件对湿度的变化极其敏感,湿度过高会导致击弦机运动迟钝,琴声沉闷,金属部键生锈和琴键失灵等问题出现。","id":""}],"text":"","id":"doxcnyC6wmMqOaGia2nxt4P0oUc"},{"type":"paragraph","children":[{"type":"text","text":"6、避免过度干燥。对钢琴来说,环境潮湿是个问题,但过度干燥则更为不利,尤其是使用空调器的人工除湿房间。在一般干燥的气候下,钢琴自身有足够的水分来防止干燥产生的问题,但若空气过于干燥,木质和绒质构件会收缩变形,更为甚者,胶合的音板、夹板也会离层。构件的轻微变形将产生杂音。而且过于干燥的环境会导致弦轴钉松动,导致难以维持音准稳定。建议用户在琴房放置阔叶植物或湿度调节器以防止过度干燥。","id":""}],"text":"","id":"doxcnaEUG0YE4yyO8kVfeclHXCd"},{"type":"paragraph","children":[{"type":"text","text":"7、注意气温骤变。如果寒冷的房间温度骤升,水分会凝结在琴弦或其他金属部件上导致生锈。绒质和毡质的构件也会因吸收水分而变形,导致击弦机运动迟钝,音色沉闷。请特别注意,在气温骤变时将钢琴移至朝北的气温较低的房间或密闭的混凝土结构房间。","id":""}],"text":"","id":"doxcnOuoM4QWO2Smow7CkStIDOh"},{"type":"paragraph","children":[{"type":"text","text":"8、钢琴的放置与音响效果。请将钢琴放置在声音可以均匀分布的房间。若在一个房间里所有的声音都集中于一点,易造成声音滞后及回音。为了让琴声更加悦耳、丰满,避免粗糙刺耳的回声,最好将钢琴放置于可以确保良好音响效果的房间。","id":""}],"text":"","id":"doxcneeI2GYuSkGIcuQYLyUQ4ae"},{"type":"paragraph","children":[{"type":"text","text":"9、切勿将物品放置在钢琴的顶盖上。如果在钢琴的顶盖上放置重物会产生杂音。一瓶鲜花会使钢琴更具风采,但一旦花瓶破裂,水流到钢琴内部将导致金属键生锈、击弦机变形等严重后果。所以,为避免意外,除乐谱和节拍器外,建议任何物品都不要放置于钢琴的顶部。","id":""}],"text":"","id":"doxcnG6UU4EAiWuCQY7v3aXRuwe"},{"type":"paragraph","children":[{"type":"text","text":"","id":""}],"text":"","id":"doxcnueEoQ46OGyaGY94RBHUR3g"},{"type":"paragraph","children":[{"type":"text","text":"","id":""}],"text":"","id":"doxcnGYMsAKEGoqYAG2ImNN3BJb"},{"type":"paragraph","children":[{"type":"text","text":"","id":""}],"text":"","id":"doxcnYiwceU0Cu6oqmcqINdd7Ce"}]%3C%2Fhowto_content%3E美国服务器用哪家的比较好?
Gigsgigscloud的美国洛杉矶在1月16日预售之后,终于在2月24日陆续开通。本人拿到之后也进行了测试,总体来说线路质量很好,中国三网直连,回程全部走CN2回国。在玩高峰的时候联通和移动用户也都能有很好的延迟。
CPU型号:QEMU Virtual CPU version 2.5+CPU核数:2核内存:482MB硬盘:15GB SSD机房:GigsGigsCloud洛杉矶双程CN2 GIA架构:KVM官网:www.gigsgigscloud.com成立时间:2015年速度演示:暂无官方测速:暂无优势:价格优惠; 线路优化; 库存相对充足; 支持支付宝洛杉矶CLOUDLET V (LAX): 美国西海岸洛杉矶Coresite机房,回城直连三网走CN2 GIA线路,速度和稳定性都相当好这是从杭州到服务器的延迟这是网速测试,注:我家的带宽为20Mbps