论潮州二弦演奏轻、重、活、反调方法  

A Study on the Performance Techniques of Chaozhou Er’xian

作　　者：吴喜荣 Wu Xi-rong(Hexi Chaozhou Music Society,Shantou,Guangdong 515164)

机构地区：[1]河溪潮乐社,广东汕头515164

出　　处：《汕头大学学报(人文社会科学版)》2024年第10期82-84,96,共4页Journal of Shantou University(Humanities and Social Sciences Edition)

摘　　要：潮州二弦的演奏方法中轻、重、活、反调尤为重要,其具体分为轻六调、重六调、活五调、反线调。轻六调的弦乐表现为轻松愉快,其方法主要包括指法拣练、力度控制、乐曲选择。重六调的弦乐表现为凝重深情,其方法主要包括指法运用、力度加强、乐曲氛围。活五调的弦乐表现为缠绵悱恻,相对于快节奏则堪称幽默诙谐,其方法主要包括指法灵活、情感表达。反线调的弦乐表现为闲逸谐趣,其方法主要包括特定的变奏手法或调式变换以及对传统调式的创新。The performance techniques of light or heavy or flexible or inversemodes are particularly significant in Chaozhou er’xian(two-stringed fiddle)playing.These are specifically categorized as light-six-mode,heavy-six-mode,flexible-five-mode,and nverse-string-mode.The light-six-mode conveys a lighthearted and cheerful expression,achieved through refined finger techniques,dynamic control,and appropriate repertoire selection.The heavy-six-mode embodies solemnity and deep emotion,realized through deliberate fingering,enhanced dynamics,and an evocative musical atmosphere.The flexible-five-mode expresses a lingering,melancholic sentiment,though it can also adopt a humorous and witty character in faster rhythms,relying on flexible fingering and nuanced emotional delivery.The nverse-string-mode presents a leisurely and playful style,employing specific variation techniques,modal shifts,and innovative adaptations of traditional modes.

关 键 词：潮州二弦 演奏方法 

分 类 号：J632[艺术—音乐]