心耳相随,有机结合——谈巴赫钢琴作品右踏板的教学运用  

Teaching application of right pedal in Bach′s piano works

作　　者：陈春兰[1,2] 

机构地区：[1]福建师范大学音乐学院,福州350007 [2]泉州师范学院教育科学学院,福建泉州362000

出　　处：《闽西职业技术学院学报》2008年第4期75-78,共4页Journal of Minxi Vocational and Technical College

摘　　要：巴赫钢琴作品诞生的年代还没有出现踏板,在弹奏其作品时对踏板的使用一直存在很大争议。有的认为任何钢琴曲都可以使用踏板,只是多用、少用、如何使用的问题;有的认为巴赫作品是为羽管键琴和古钢琴所创作的,使用踏板会影响作品的原始风貌。依据巴赫作品的特点,结合踏板的使用与一般运用规律,弹奏巴赫的钢琴作品时,在连接两音、润色琴音及和弦共鸣时是需要使用踏板的,听觉是决定是否使用踏板的关键,使用踏板应特别考虑到巴赫复调作品中和声的安排与进行,即应做到"心耳相随,有机结合"。When Bach＇s piano works were born, the pedal has not appeared yet. So there is debate on using pedal while playing his works. Some hold that all piano works can use the pedal, just having some problems such as more use, less use and how to use. Some hold that since Bach＇s work were cre- ated for harpsichord and ancient piano, using pedal would influence the works＇ original style. Analyzing the characteristics of Bach＇ s work, combining with application and general using law of pedal, the paper presents the reasons of debate and puts forward some suggestions：connecting two tunes, retouching psaherium tune and resonating chord need pedal when playing Bach＇s piano works; auditory is the key to decide whether to use pedal or not; using pedal should consider arrangement of harmony in Bach＇s polyphonic works.

关 键 词：钢琴作品 巴赫 右踏板 

分 类 号：J624.106[艺术—音乐]