《花非花》

《花非花》是最近在练的一首曲子，虽然曲子的旋律听着熟悉，但我一直也不知道这首曲子到底是为什么谱的。看到曲作者的名字“黄自”，没来由的就让我觉得《花非花》应该是首革命歌曲。前天读《未央歌》的时候里面提到了黄自谱曲的另一首歌《玫瑰三愿》，这个听起来就离着革命歌曲太遥远了。要是《花非花》真的是一首革命歌曲，那这个黄自倒是很引起我的兴趣，能够有这么广泛的创作范围，值得诂苟之。

去诂苟大学学习之后发现，这个错误犯的简直和当初对《江河水》的猜测有的一拼了！《花非花》原来出自白居易的一首诗，而且很朦胧、缠绵，完全和革命不搭界的。不过，“黄自”这个名字所引起的革命联想倒是对的。《抗战歌》、《旗正飘飘》、《中华民国国旗歌》都是黄自所作。而且读了维基上“黄自”的条款才晓得原来人家很是个人物的，只是自己孤陋寡闻了。不过，造成这种结果当然少不了党的贡献。正是Denovo的日记里那句话“I don't need sex, the government fucks me everyday.”

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百度上的《花非花》条款：

花非花

作者:【白居易】 年代：【唐】 体裁：【词】 类别：【未知】

花非花，雾非雾，
夜半来，天明去。
来如春梦不多时，
去似朝云无觅处。


【注释】：
①花非花、雾非雾：说它是花么？不是花，说它是雾吗?又不是雾。
②来如句：来的时候像一场春梦，停留没有多时。
③去似句：去了以后，如早晨飘散的云彩，无处寻觅。
这是一首情诗。说花非花，说雾非雾，本不是花，本不是雾，花有所指，雾有所喻。欲言又止，但止不住又说出真情——夜半来，天明去，既非花，又非雾，说明确有人来。谁来谁去？隐而不吐。为什么来？春梦无多，回味无穷；朝云遽散，惋惜惆怅。春梦者，春情也；朝云者，“旦为朝云，暮为行雨，朝朝暮暮，阳台之下”事也。此诗由一连串的比喻构成，描述隐晦而又真实，于朦胧中有节律整饬与错综之美，是情诗的一首佳作。后人曾谱为曲子，广为流传。
--引自李济洲编著之《全唐诗佳句赏析》http://tshjj.yeah.net/

白居易诗不仅以语言浅近著称，其意境亦多显露。这首“花非花”却颇有些“朦胧”味儿，在白诗中确乎是一个特例。

诗取前三字为题，近乎“无题”。首二句应读作“花——非花，雾——非雾”，先就给人一种捉摸不定的感觉。“非花”、“非雾”均系否定，却包含一个不言而喻的前提：似花、似雾。因此可以说，这是两个灵巧的比喻。苏东坡似从这里获得一丝灵感，写出了“似花还似非花，也无人惜从教坠”（《水龙吟》）的名句。苏词所咏为杨花柳絮，而白诗所咏何物未尝显言。但是，从“夜半来，天明去”的叙写，可知这里取喻于花与雾，在于比方所咏之物的短暂易逝，难持长久。

单看“夜半来，天明去”，颇使读者疑心是在说梦。但从下句“来如春梦”四字，可见又不然了。“梦”原来也是一比。这里“来”、“去”二字，在音情上有承上启下作用，由此生发出两个新鲜比喻。“夜半来”者春梦也，春梦虽美却短暂，于是引出一问：“来如春梦几多时？”“天明”见者朝霞也，云霞虽美却易幻灭，于是引出一叹：“去似朝云无觅处”。

诗由一连串比喻构成，这叫博喻。它们环环紧扣，如云行水流，自然成文。反复以鲜明的形象突出一个未曾说明的喻意。诗词中善用博喻者不乏其例，如《古诗十九首》（明月皎夜光）之“南箕北有斗，牵牛不负轭”，贺铸《青玉案》的“一川烟草，满城风絮，梅子黄时雨”。但这些博喻都不过是诗词中一个组成部分，象此诗通篇用博喻构成则甚罕见。再者，前一例用南箕、北斗、牵牛等星象作比，喻在“嘘名复何益”；后一例用烟草、风絮、梅雨等景象作比，喻在“借问闲悉都几许”，其喻本（被喻之物）都是明确的。而此诗只见喻体（用作比喻之物）而不知喻本，就象一个耐人寻思的谜。从而诗的意境也就蒙上一层“朦胧”的色彩了。

虽说如此，但此诗诗意却并不完全隐晦到不可捉摸。它被作者编在集中“感伤”之部，同部还有情调接近的作品。一是《真娘墓》，诗中写道：“霜摧桃李风折莲，真娘死时犹少年。脂肤荑手不坚固，世间尤物难留连。难留连，易销歇，塞北花，江南雪。”另一是《简简吟》，诗中写到：“二月繁霜杀桃花，明年欲嫁今年死”，“大都好物不坚牢，彩云易散琉璃碎”，二诗均为悼亡之作，它们末句的比喻，尤其是那“易销歇”的“塞北花”和“易散”的“彩云”，与此诗末二句的比喻几乎一模一样，连音情都逼肖的，它们都同样表现出一种对于生活中存在过、而又消逝了的美好的人与物的追念、惋惜之情。而《花非花》一诗在集中紧编在《简简吟》之后，更告诉读者关于此诗归趣的一个消息。此诗大约与《简简吟》同时为同一目的所作吧。

此诗运用三字句与七字句轮换的形式（这是当时民间歌谣三三七句式的活用），兼有节律整饬与错综之美，极似后来的小令。所以后人竟采此诗句法为词调，而以“花非花”为调名。词对五七言诗在内容上的一大转关，就在于更倾向于人的内在心境的表现。在这点上，此诗也与词相近。这种“诗似小词”的现象，出现在唐代较早从事词体创作的诗人白居易笔下，原是很自然的。

From 《The Music of Man》 (10)

But it is not wise for us to ascribe everything about the discovery of harmony, overtone, and scales to man alone. Not long ago I had an extraordinary experience on the island of Mykonos, in the Aegean Sea south of mainland Greece. Outside the harbor of Mykonos, there is a tiny island, uninhabited except for many, many bees. There is one small sloping beach, and at the topmost point of the isle, a little stone chapel for the rare visitor. The terrain is rather rugged, with a steep cliff rising sharply where the beach ends. One day in April when I was walking on the flowering cliff top, listening to the buzzing of the bees on their honey-making rounds, I distinctly heard one sound, which I will call the fundamental, and another sound exactly a fifth above. When I came closer, it seemed to my eye and ear that a larger bee was producing the lower sound and a small bee the upper one. It struck me as quite extraordinary that such an adjustment of sounds should be achieved by two bees. Then they were joined by another, making a sound that fell exactly in between the other two, which was in fact a third above the fundamental, establishing a full major chord. I was so surprised I had to go back in the afternoon to make sure; and there is was still, that same sound.

From 《The Music of Man》 (9)

That sense of tension and relaxation is in fact built directly into Western harmony, in the alternation between the major and minor. The major chord is the first and only pure one we encounter in natural overtones, and the major is generally regarded as happy, the minor as sad. I think this has to do with the fact that the minor has dropped the natural interval of the middle note in the chord by an artificial semitone. In C major the natural middle note is E, and in C minor that note becomes E-flat, where it conflicts with the implied E. The conflict is not so strong as to upset the strength of the basic three-note chord, but it is disturbing to the natural overtone series bey9ond. And what is sadness? It is a division, a sense that things are not right, that you want what you cannot have or lament what you have not done. You bewail the loss of something, you are not at one with yourself or the world. In that minor chord, that loss is the purity of the middle note, which wants to rise, to become major, to unite again with its natural series.

From 《The Music of Man》 (8)

For music to speak to us, it needs more than the structure of a scale, of intervals, or even of our emotions. It needs a recognizable form corresponding to something in our own being. I have often thought that the earliest musical form must have been a simple repetition, a double image rather like the right and left halves of a leaf when folded upon each other. We recognize the repetition of two roughly equal halves in a rhythm or melody, and this gives us a sense of security and completion, and with that musical memory we begin to build. Once we hear a sound we can repeat it, creating a simple rhythm at first. When we put a few sounds together in groups or phrases of related tones, we have the beginnings of melody, a blend of feeling with logic. We can also turn these phrases or rhythms upside down or backwards, for one of the basic tools of conceptual thinking is to consider a situation in its reverse.

From 《The Music of Man》 (7)

The circle of fifth is a human deduction, not a natural phenomenon. Nature always has its loose ends, elements that appear to our minds as mistakes, as if they simply should not happen. In our arrogance we feel that we should offer nature a correction, squaring the circle. The beauty of nature is that there is always an element that allows for mystery, for development or evolution. So it is with the circle of fifths, for when you come back to the note with which you started, providing the fifths have all been perfectly tuned, you find that this note has gone a little sharp. It is one of the mysteries of nature, as the Chinese knew by observation. We had to wait for Pythagoras to establish the precise mathematics of the difference, and it is now known as the Pythagoras to establish the precise mathematics of the difference, and it is now known as the Pythagorean Comma. Its existence is an important aspect of the difference between Western music and that of much of the rest of the world --- our music has always been based on pure or natural intervals (at least until this century). As we shall see, the rise of the keyboard instruments --- the organ, harpsichord and piano --- brought on a crisis in tuning precipitated by the conflict between pure intervals in one key and those in another. As with so much else in Western life, we adjusted the tuning to an uncomfortable compromise, a homage to the keyboard with which the voice and the string player are never totally comfortable.

From 《The Music of Man》 (6)

五声音阶的来历：

The overtone principle is like that of the skipping rope we all turned as children. We discovered quickly that by turning the rope faster, it could be made to divide into two or three loop segments, perhaps even five or six if the rope was long and was wielded with a strong wrist. These extra loops appeared because the rope had to follow the laws of tension and inertia, like molecules of vibrating air. When the loop segments multiplied, they turned in opposed waves, forming a continuous peak and trough. Ripples on a lake and sound waves in the air follow the same laws of the balance of opposing forces.

A string player constantly uses the overtone phenomenon, for he can produce the same effect on his vibrating string as the multiple loops in the jump rope. By touching the string at exactly its midpoint, he makes it vibrate in two opposed halves, producing a sound exactly an octave above the note to which the string is tuned. Touching the string lightly at one-third its length makes it vibrate in three equal parts, producing a sound a fifth higher still. At the quarter length, the string vibrates in four parts, giving a note two octaves above the fundamental. Those are the first three overtones. But touch the string at one-fifth its length and a critical new note appears, a major third above the fundamental, though two octaves higher up. This note completes the components of a major chord, the foundation of western harmony. It is also nature’s great secret, hidden for so long because that fourth overtone is so far above its parent. The overtone series continues upward in smaller steps, maintaining an unvarying sequence of mathematically pure ratios.

Although we can derive the entire scale, the twelve semitones of the octave from the overtone series, scales probably originated as social conventions, and there are many scales in the world that do not maintain pure intervals. Some scales may have arisen from a desire to produce evenly spaced holes on a flute or frets on a string instrument. The resultant scales sound quite unnatural to Western ears.

Such words as “octave” and “fifth” are themselves only convenient Western labels that have come into common usage because of our widely adopted seven-note major and minor scales. In this system, the note vibrating at twice the speed of another is always to be found eight notes up the scale. The fifth is another matter, for the Western scale is built of whole and half steps, again handy labels, and the distance between any five steps in the scale is not always a perfect fifth. Our scale system was probably derived from the circle of fifth, rather than from the overtones, and that circle is a closed one --- almost.

So far as we know the Chinese were the first to examine the relationship between fifths. Surviving documents, predating 3000 BC, show the importance to them of these relationships. They found that a series of fifths in a row will produce twelve separate notes before the notes begin repeating. Those twelve notes put in a series include all the semitones of our Western scale. Starting at the bottom on the piano, the circle can be played. You will find the thirteenth note at the top, seven octaves higher, is the same as the one on which you started.

They discovery of the circle of fifths was a great one to the Chinese, for they honor the number five as sacred, dividing the basic elements into five, namely earth, fire, water, wood, and metal, as they also recognize five basic human relationships and five basic kinds of grain. The Chinese used the circle of fifths to establish the five-tone pentatonic scale. Extending this series by two more intervals produced the notes needed to complete a major scale as we know it in the West. Music based on this seven-note scale did become popular in China, and later Chinese music used a scale with all twelve of the semitones we know. The Chinese also evolved a form of musical notation. Yet the five-note scale remained sacred, and was maintained for music expressing the highest moral, ethical or spiritual ideals, while the seven-note scale was designated to serve the music of the court or street.

For the Chinese, music was a tool to govern the hearts of the people. It is said in China that when there is music in the home, there is affection between father and son, and when music is played in public, there is harmony among the people. Their standardized scale was one they could duplicate on many kinds of instruments, for instances the zither-like ch'in, ancestor to the Japanese koto, both still in current use. By the seventh century BC, the Chinese poet Le Ly Kim could write, “Virtue is our favorite flower. Music is the perfume of that flower.”

呵呵，还是五声音阶的精神境界高呀！

这个Le Ly Kim 是谁？这个蹩脚的“Virtue is our favorite flower. Music is the perfume of that flower”怎么翻译回原文呢？

From 《The Music of Man》 (5)

After many a concert I have been asked what the music I played "means" to me; we have had to develop an elaborate set of terms to describe what music "means". The key difference lies in the fact that words refer first and foremost to the real world outside of us, to things and actions for which they serve as useful, acceptable symbols. Music, on the other hand, has a special relationship to our inner being. Our feelings become entities in themselves apart from literal meaning, and music shapes and alters them.

From 《The Music of Man》 (4)

小提琴的来历：

In that translucent light and air of the plains (in Africa), it is possible to hear for miles, to smell the coming of a storm, detect the movement of prowling beasts. The hunt became as much as a part of survival as the harvest, and no instrument altered the balance of power more swiftly in man's favor than the discovery of the bow and arrow, which gives man control over the animal from a distance. For the hunter this was not yet a weapon of war, but a matching of forces; only the necessity of food made man and animal antagonists. From the ritual of the hunt sprang music; the bow could produce a mellifluous twang. A widely held view is that the bow and arrow are ancestor to the violin.

From 《The Music of Man》 (3)

The keenness of every creature's senses is part of its ability to survive, to mate, to feed. Thirty thousand years ago, living in caves, among trees or in the open, our senses were our best weapon. Hearing was as important as sight; every rustle had a message; we came to know the noise of every other creature.

From 《The Music of Man》 (2)

Music may happen to be expressive, communicative, moving and inspired, but it is rarely accidental, even when it recalls the everlasting sounds of the sea or the spontaneity of birdsong. The cry of the newborn child is as much the intrinsic sound of music as is the staccato hammering of the woodpecker, the crash of thunder, the rustle of wind through the wheat field, the cooing of the dove, the rattle of seed pods, the clank of metal, the soft tread of feet on underbrush. Is it not in these very natural sounds that is largely found the raw material for the creation of man's music? Out of these we have built, constructed, continue building and constructing, musical languages, whether the most subtle and sophisticated monodic (melodic) and rhythmic textures such as developed thousands of years ago in India, or the most complex harmonic textures which have developed only recently in Western Europe.

我从来也不知道那些创作音乐的人是怎么思考的。音乐的表达(expressive, communicative, moving and inspired)不象语言的表达一样对于每一个人来说那么自然，因为我们从小和世界的交流是从会讲话起才变得清晰而意义明确的，所以虽然文字的创作可以有许多的技巧或是玄虚在里面，但是对于我来说还是比音乐要易懂得多。但是语言也是人类进化的产物，也许在没有语言之前，音乐是通过声音表达人类的感受更自然的方式。

刚想到这儿，几页之后就读到了这一段：

Music is our oldest form of expression, older than language or art; it begins with the voice, and with overwhelming need to reach out to others. In fact, music is man far more than words, for words are abstract symbols which convey factual meaning. Music touches our feelings more deeply than most words and makes us respond with our whole being.

本来很基本的东西自己还要思考才能明白。这么没有天份，实在是应该藏拙才对，还要写下来广而告之简直太没有廉耻之心了。但是写下来记录一下学习的足迹，算是对自己的鼓励吧。

From 《The Music of Man》 (1)

The Greeks knew this well and acknowledged man in his wholeness, giving due respect to his dual nature: one half of the Apollonian, always striving for clarity and moderation; the other the Dionysian, driving toward the fantastic and orgiastic. We revel in our senses, as we revel in the powers of our mind and soul. Today these senses are at the mercy of commercial society to whom all tastes are but appetites to be used and abused for the sake of profit. Inexorably, since my boyhood in San Francisco, I have seen the dislocation of the natural and instinctive flair and taste for the genuine twisted to the acceptance of the odorless flavors, the plastic plants, the whole flattening of the aesthetic responses, even to the acceptance of the appalling distortion of pure sound when something termed music pours through various mechanical devices in one long adenoidal wail.

对音乐的了解没有那么深厚，但是如果这句话用在当今的文坛真可谓是一矢中的呀！

古筝的流派

正文见这里，下面这些都是胡扯。

这一篇主要是为了给downhills古筝流派做注解的。因为古筝的流派大都按地域划分，我要是开创个古筝流派就算脸皮再厚也不好意思叫英国派，否则在英国弹筝的人们多有意见呀！都弹成我那样还让不让大家活了？:P 当然也不好意思叫伦敦派。英国除了伦敦可能也没别的地方有弹筝的人了，就有也没几个，所以英国派和伦敦派没啥本质区别。叫downhills派还比较安全。好像至今我们这条街上就我一个人弹筝（如果我那个可以叫做“弹”的话），所以玷污不到别人。这样比较好。

扯了一堆废话，说点儿有用的。古人评论宋词各个流派的不同风格的时候有一个比较著名的例子是比较婉约派的柳永和豪放派的苏轼。说“柳郎中词，只合十七八女郎，执红牙板，歌杨柳岸晓风残月。学士词须关西大汉铜琵琶、铁绰板唱大江东去。”这两天找练习曲的视频，搜敛到周望老师（陕西筝派）的《关山月》和林玲老师（潮州筝派）的《孟姜女》，虽然都是女人弹古筝，不过真可谓一个是“关西大汉铜琵琶、铁绰板唱大江东去”，一个是“十七八女郎，执红牙板，歌杨柳岸晓风残月”。

俺是两头都够不着......所以downhills派也可以叫“找不着调”派。

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偶不会剪辑video file，所以还上传不了视频。:( 以后会补上。

论古筝的演奏音色

不知道在N年之后是否能够在实践中实现这些理论指导。不过在有行动能力之前，可以先在理论上拽(zhuai3)起来。:))))))))))))

原贴在这里。

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音色即音品，声音的属性之一。主要由其谐音的多少及各谐音的相对强度所决定。从器乐的角度，音色可分为乐器音色和演奏音色。前者为乐器本身所具有的音色；后者为演奏乐器所获得的音色。乐器音色的优劣对演奏音色有一定的影响：乐器音色优良，为演奏者弹奏出良好的演奏音色提供了好的先决条件;乐器音色差，不但不会有助于良好的演奏音色，反而会阻碍到演奏者弹奏出良好的演奏音色。无疑，拥有一台具有良好乐器音色的乐器是每一个演奏者共同的愿望。但是，有了好的乐器，如果演奏者不具备正确的演奏方法和美的心理音色，不仅奏不出美的演奏音色来，还会破坏乐器自身的好音色。因此，乐器音色只是一定的物质外部条件，关键还在于驾驭乐器的演奏者。演奏者可以在掌握正确的演奏方法的基础上，以美的心理音色为指导最大限度地弥补乐器音色的不足，从而获得悦耳的演奏音色。

演奏技巧是获得美的音色的手段，古筝的演奏音色包含基本音色和变化音色两种。

一、基本音色：

基本音色是演奏者弹奏的声音“底色”，是演奏者基本功的一定体现，是演奏者熟练地掌握和驾驭乐器音色的能力。

古筝属弹弦乐器类，它的基本音色是手指在最好的触弦点弹弦，使筝弦达到最佳的振动状态，从而发出清晰、圆润、结实、富有弹性的声音。演奏者要获得这种好的基本音色，首先要解决发音的问题——手指弹弦的基本方法。

古筝手指正确的弹弦方法是“大动作松，小动作活，力沉指尖”。弹弦时将手臂的肌肉用最节省的时间和紧张度调动起来，并通过全手自然的协调运动将动力集中地贯注在力的作用点（即手指尖）上，触弦后又迅速回到原来的状态中。整个手臂就像一根水管，手指尖似出水口。弹奏时，如果手的某一部位不松弛，如耸肩、抬肘、夹臂、手腕塌陷或凸突、指关节僵硬 ……等等都会破坏整个手的协调组合运动，致使协调作用转为对抗，手指触弦后无法迅速回到原来的自然状态，动力便不能贯注在指尖上，弹出的音色自然也就不可能是好的。例如：古筝大撮指法是以手腕为运动轴心，若手腕在运动后不能迅速回复到原来的自然状态而持续紧张，必然使协调作用转为对抗，即屈肌收缩而伸肌紧张。这样不但演奏十分吃力不能持久而且发音没有分量，还会造成手臂紧张，不能充分保持弹性，致使发出的音就像棍子拨弦一样，呆滞、僵硬而且干瘪。

由此可见，古筝的各种基本指法在弹奏中虽会出现运动轴心部位的变化，但手的各部为协调配合，有机地联成统一整体是不能变的。因为只有运用了手臂的组合运动方法，才能获得清晰、圆润、结实、富有弹性的基本音色。

古筝的基本音色除了手臂组合运动（用力）的方法外，还有一个弹拨乐器所特有和显著的问题——手指和义甲（即手指上戴的假指甲）的切弦角度。它与弓弦乐器的擦弦方向及吹管乐器的口风位置有相似的意义。古筝指甲与弦应该是平行的，无论夹弹或提弹都应用指甲的中锋切弦，手指对弦施加一定的压力，指甲垂直擦弦运动。如果指甲切弦的角度和部位不对，就不会发出正确的基本音色，当然也就谈不上如何使音色产生变化了。

古筝弹奏中弹弦方法和弹弦角度是决定基本音色优劣的两个根本性的问题。如果方法不正确，基本音色也就不会好，更无法获得变化音色了。

二、变化音色

变化音色是指在音乐表现中所使用的符合音乐内容、情感和风格的各种音色，也可称为应用音色。

每一首乐曲都有其固有的音乐形象和思想内容，情绪的变化和乐思的对比变化均贯穿于乐曲的始终。演奏者只掌握一种基本音色的发音是远远不能适应乐曲变化的。单调使音乐失去生命，而色调的变化正是纠正单调的良药。因此，要想塑造和刻画好各种音乐形象，就必须掌握产生变化音色的各种手法，只有这样才能适应需要。

在古筝演奏中，获得各种变化音色的途径有以下几种：

1、演奏中触弦位置的变化。

古筝演奏中基本触弦位置是距离前梁3至4公分的地方，这里发出的声音结实、明亮。但在演奏乐曲时，可以根据需要改变这一位置。例如乐曲《铁马吟》的引子部分。演奏这一段时，为了获得类似于古琴的音色应该把触弦位置放在弦的二分之一处。在这个位置，弹奏点两边的弦振动最为充分，余音也延续最长，发出的音浑厚、深沉，给人以古朴的感觉。

2、演奏中触弦速度的变化。

在弹音之前，手指先贴住弦，同时给弦一定压力，然后用滑动力使指甲与弦轻微摩擦，手指在弦上停留时间相对稍长，这样可获得非常松弛的抒情散音。另一种变化是手指贴住弦后，对弦施加一定压力，然后快速离开，手指在弦上停留时间较短，这样可获得活泼、跳跃的弹音。这两种变化在乐曲《洞庭新歌》中对比较明显。第一段如歌的慢板，表现洞庭湖优美的自然景色以及湖区人民恬静的生活。这里要求音乐具有很强的抒情性，就应该用慢触弦的方法弹奏。第二段热情的小快板，这一段主要表现湖区人民欢快的劳动场面，要求声音果断、富于弹性，为了获得具有跳跃感的音色就应使用快触弦的弹奏方法。

3、手指用力部位的变化。

古筝演奏的基本发力点在手指尖，但由于乐曲风格不同、情绪不同，演奏时就相应的需要变化用力部位。例如演奏河南筝曲，要求音色刚健、硬朗，就应把手指用力部位放在手指的根部关节（通常说的大关节），以增加力度，这样发出的音便刚劲有力；演奏浙江筝曲，要求音色柔和、委婉、灵巧。这时就不能把发力部位放在手指的根部关节，而应放在手指的第一关节（通常说的小关节），力度相应减小，发出的音则柔和、轻巧。

在同一首乐曲中也有这样的变化。例如《雪山春晓》第三段，小快板、慢起渐快。这是快板段的开头，以藏族的踢踏舞节奏为素材，表现一种粗犷、豪爽的民族风格。弹奏这一部分时就应把用力部位放在手指的根部关节。而此段的中部，采用快速演奏连续的十六分音符，表现欢快的舞蹈场面，需要跳跃、轻快、富有弹性的音色。弹奏这里时用力部位就应放在手指的第一关节。

手指用力部位的变化常常伴随着力度的变化：手指根部关节用力时，一般情况下力度要求都比较大；手指第一关节用力时，力度一般相对减弱。只有有机的结合才能获得理想的音色。

5、特殊音色的使用

特殊音色是根据乐曲作者的创作意图和要求来使用的。如乐曲《战台风》当中表现台风呼啸的一段把刮奏放在琴码的左侧，利用噪音来表现狂风呼啸，起到了烘托气氛的作用。

又如《幻想曲》中第三段，运用敲击琴板的手法来表现舞蹈场面，极富跳跃性。

在《庆丰年》第三段中，也有一个乐段用左手手指压住琴码使声音变得比较闷，以此来模仿敲击鼓边的声音，展现人们敲锣打鼓庆丰收的场景。

特殊音色的使用多见于创作乐曲中，它丰富了古筝的变化音色，拓宽了古筝的表现力。在演奏中应根据乐曲情绪的需要把握好演奏尺度，这样才能更形象生动的塑造音乐形象。

正确的演奏方法为获得良好的演奏音色提供了技术条件。但获得良好的演奏音色并不仅仅取决于演奏方法的正确与否，而更是和演奏者的心理音色分不开。心理音色是音色美的核心。

心理音色，即在对音色感知的经验基础上联想成像的音色标准，与内心听觉一样，是鉴别客观实践音色的无形尺度。心理音色先于客观实际音色而存在于个体思维之中，是诸多感受器官复杂活动之后，对音色形成的一种概念定势。它具有对音色感知的敏锐性和实践音色操作的指导性品质。

心理音色的形成是在长期的音乐实践活动中，人对某种乐器发出的声音，在频率、幅度、波形、高低、强弱及明亮、暗淡、浑噪、净润等方面获得的感性认识，这种感性认识不是一次或几次就能获得的，而是经过无数次地重复，是在音响对感官的一再刺激，经过数个感受器官联合工作，并将接受到的音色信息传入中枢神经的信息库（大脑）加以分析、综合、编码，形成固定的音色感知表象，心理音色才能建立。

心理音色与实际音色的关系是：先心理而后实际（尽管心理音色来源于实际）。心理音色是实际演奏音色的核心，没有美的心理音色就谈不上实际演奏音色的美。音色的美可以说是先得于心而后形于手，得心后才能通过手演奏出美妙的乐音。正如古人所言：“凡音起，由人心生也。”（《乐记》）美妙的音色先由人心生起，没有心中美的音色就不会有实际演奏的音色美，“得心”才能“应手”。因此，演奏者应重视自身的心理音色的训练，不断提高自身艺术修养。有了心理音色的尺度才可能达到实际音色所要求的高度。

英国哲学家休谟说：“人和人之间的敏感的程度可以差异很大，要想提高或改善这方面的能力的最好办法无过于在一门特定的艺术领域里不断训练，不断观察和鉴赏一种特定类型的美。”（休谟：《论趣味的标准》）演奏者要想具有心理音色的敏感能力，就要在各种音乐活动中，有意识地对各种音色进行“鉴赏”对比。尤其是对自身演奏的乐器音色的“鉴赏”。对于古筝演奏者来说，就是从对古筝的“鉴赏”中找到自己音色不美的地方，在对比中吸取他人音色中美的成分，借鉴姊妹艺术美的因素。这样取长补短，不断地丰富自己的音色，久而久之便会养成自己优美、纯净的音色。

总之，心理音色存在于演奏者心灵之中，无影无形，但却能主宰演奏者按照一定的目的去创造相应的音色。它对音色的选择是积极主动并且有创造性的，是实践音色美的先导，只有有了美的心理音色，才会优美的实际演奏音色。

在实际演奏中，心理体验和演奏技巧是混杂在一起的，并且十分复杂，不是明晰可辨、一目了然的。凡是很好地表现了音乐内容所创造的情景与音乐形象，而且给人以时间、空间精神感染的音色，都可以被认为是美的音色。

音乐是为音乐内容服务的，是表达作品情境的一种手段。要演奏好一首乐曲，不但要在音色方面与音乐情景共同变化，还要在心理和审美意识上与它相一致。俄国文学家托尔斯泰说：“在自己心里唤起曾经一度体验过的感情，在唤起这种感情之后，用动作、线条、色彩、声音以及言辞表达的形象来传达出这种感情，是别人也能体验到同样的感情——这就是艺术活动。”（托尔斯泰：《艺术论》）演奏者不但要在演奏技巧上下功夫，更应在艺术修养上下功夫。演奏者对音乐作品的内涵体验越深刻越细腻，就越能调动诸如音色、节奏、力度等因素，塑造出栩栩如生的音乐形象；越能通过美的音色去感染人。“使别人也能体验到同样的感情”，这对于优秀的古筝演奏者以及所有优秀的演奏者来说，都是一个必须重视和具备的条件。

古筝为什么是五声音阶的？

古筝是五声音阶的，弦上定好了的音只有１２３５６。我就一直不明白它为什么要定成五声音阶。今天看到一段记录王中山讲座的笔录，算是对古筝五声音阶定位的一种解释。:)以后也许能找到更多的解释。

古筝这种乐器充满了想像的空间，几千年前谁想象过会出现这招（在３上滑到５然后颤）。有人说，古筝这种乐器太落后了，钢琴可以弹出１２３４５６７１，多好啊，多先进啊。恰恰说这种话的人啊，是音盲。古人智慧很多，人家把３留着，是给你做这个的（弹了段古曲，其中在３弦上，滑到５，然后再做出回滑颤）这种感觉很旷远，深沉。如果把４调出来就糟了，刮奏的时候１７６５４３２１多难听。钢琴就可以把你取代了。但现代钢琴打死也取代不了古筝，因为钢琴弹得再好的人也做不了（滑颤）。古筝可以做出滑，钢琴大师得把钢琴盖翻开，用棍捅才能出来。所以谁也不要妄自菲薄，钢琴也是一种很好的乐器，古筝也是很好的乐器。外国人鼻子很高很翘，中国人不高不翘也很美。谁也不要说谁很先进。如果说是，那只能说明你不了解这种乐器。大３度空间，让你在中间创造出无穷的音乐，就是给你一个张力，一个变化的空间。你仔细考量下你就会知道古人有这么大的智慧。