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首页 钢琴踏板(Piano pedal)

钢琴踏板(Piano pedal).doc

钢琴踏板(Piano pedal)

Everley众汉
2018-11-06 0人阅读 举报 0 0 暂无简介

简介:本文档为《钢琴踏板(Piano pedal)doc》,可适用于社会民生领域

钢琴踏板(Pianopedal)钢琴踏板(Pianopedal)First,pedaloverviewMostdomesticpianoshavethreepedalsInthemiddle,steppeddown,ablanketwillcoverthepiano,thehammerheadonlypianoplayinginablanket,notdirectlyonthestrings,thevolumecanbereducedtoaminimumlevelInfact,itmightbesaidthatthepedalwassetupforthenextdoorneighborssothattheycouldnothearthesoundofthekeysInnormalmusic,thepedalisnotusedTheoneontheleftcanalsoreducethevolume,anditcanalsochangethetone(whichismorepronouncedontheplatformpiano),whichisrarelyusedinthemusicTherightpedalisthemostusedonePedalcanbecome"soul",alsodependsmainlyonitHere'sthepedalThemechanicalperformanceofthepedalisnotcomplicatedIfyousteponit,thestopperonthestringwillopenAtthispoint,ifoneorsomestringsaresounded,theycancontinuetosoundwhenthehandisoffthekeyboardAfterliftingthefootandreleasingthepedal(ie,restoringthepedalwithoutsteppingdown),thestopperrepressesthekeys,andthepronunciationstopsimmediatelyWhatroledoessuchadeviceplayinmusicplaying,considerfromasoundfirstWhenyoudon'tsteponthepedal,playthenextsound,onlythekeysrelatedtothissoundarepronounced,andtheotherstringsareabsolutelysilentWhenyoustepdownthepedal,playthesamesound,becauseallthestopsareopened,othersoundsgetridoftherepressionofthestopsound,andtheyparticipateinthesoundproductionThatistosay,thesoundthatdoesnotbounceisalsoaudibleIsitpossibleNotpossible,iscertainlythecase,accordingtotheprincipleandinstrumentacousticsdeterminationhaveprovedthat,whenasound,eightdegrees,fivedegreesandtherelationshipbetweensound(more)tonewillsoundslightlybyresonanceFromasoundpointofview,asounditselfisnotactuallyasoundItisasoundmadeupofaharmonicseriesWhattheearhearsisjusttheonewiththebiggestsoundWhenyoustepdownthepedal,thesoundsintheseovertonescorrespondtoothersoundsItturnsoutthatwhenwesteponthepedal,asoundthatpopsupisaricher,moreresonant,morerounded,slightlyenlargedsoundThiscanbefeltonthepianoThus,withapedal,thereisa"change"meansofasoundAsoundcanbebeautified,andamelodycannaturallybebeautifiedWhenyouneedtochangetheintensityofthemelody,theneedtoincreasethethicknessofthepoint,theneedto"Polish"andsoon,youcanusethepedalAtthesametime,thepedalaction,butalsosomeopponentsofthe"liberation",thehandisnotalwayskeeponthekeysIntheintervalawidelegatomelody,youcanusethepedalhelptunecoherence,thegreatersignificanceofthepedal,inharmonyHarmonyisbasedonchordsThe"beautificationeffect"ofthepedalonthechordisfargreaterthanthatofthetoneThere'snoneedforspecialtraining,andpeople'searscanclearlysenseitThenumberoffingersislimited,andthesoundthatcanbehelddownislimitedThereisapedal,youcankeepsomesoundthroughthesoundnewpedal,thenhandpopsup,allkindsofintervalrelations,moresound,inthethreedimensionalstackedstructure,theformationofharmonicsoundisveryrichandvariouscomplexThepowerful,heavybasschordsthatweoftenhear,thefullandfulltenorchordsandthebright,brillianttreblechords,togetherwiththemovingharmonicsound,can'tbeplayedwithoutpedals,thepedalalsomakesdifferentchordscompletelylegatopossibleTheemergenceofpedalshasaprofoundinfluenceonthedevelopmentofpianomusicandthedevelopmentofplayingtechniquesForexample,withoutapedal,therewouldbenoEuropeanromanticandImpressionistpianomusicplayingextremelywellMorethanjustabriefdescriptionofthebasicfunctionsofthepedal,itactuallyallisdifficult,sothegreatRussianpianistRubensteinsay"pianopedalisthesoulofthissentence,describethespecialroleofappropriatepedalwords,Itmeansthatitmakesmusicfullofvitality,vitality,brillianceandcharmHowever,allthewonderfuleffectsofthesepedalsshouldbebasedonthecorrectuseIfusedimproperly,thepedalalsohasgreatharm,willleadtothemelodyoffuzzy,unknownphrase,andopacity,rhythmdisorderInaword,it'senoughtomakeabeautifulpieceoutofrecognitionSecondBasicessentialsofpedaltechniqueaction()positionheeltoground,andthedistancefromthepedalisjustsothatthemiddlepartofthefrontfootisplacedonthecircularendofthepedalDon'tgettooclosetothepiano,almostatoeboardofthepiano,sodoubtful()actionheeltouchdown,withthe"wrist"asthemainpartofaction,withtheforefoottopedaldown,liftupalsoknownas"release","release"pedalWhenyouletgo,thesolesofthefeetcankeepawayfromthepedal,oryoucanleavealittlebit,thatis,alittlehigherthanthefoot,thatis,"clean""Therearesomepianists,becauseofemotionalexcitement,steponthepedal,heelofftheground,thewholelegandthewholefootdown,beginnersmustnotimitate()flexibilitykeepyourwristsflexibleandfree,legsmove,donotforceBecausethefeetnaturallyasthehandissoflexible,sotheankleagileneedtopracticeTobeabletoslowlyontheend,slowlyup,suddenlyontheend,suddenlylookedup,butalsowillgently"click",ortheuniformvelocitycontinuedtoplacedown,called"brokenpedal",alsoknownasthe"jitterpedal"or"shakingthepedal"()depthunderstandingthedepthofthepedalThedistancefromthepedaltothegroundisthewholedistanceofthepedaldepthIfyoutakethisdistanceasavalue,thepedalsalsohavedifferentdepthssuchas,,,etcThiscanbecalculatedfromthetopdown,orinthereverse,fromthebottomupAfterall,liftupthefoot(pedal),lift,,or,orliftitallThedivisionofthedepthofthepedalisduetothefactthatthestopperisfirmlypressedonthestringandisslightlycloseorcompletelyleft,andtheeffectisdifferentAlso,thesamedepthofthepedal,differentthicknessofthestrings(differentregister)functionsarenotthesame()difference,althoughthepianopedalisdesignedaccordingtoacertainspecification,butdifferentbrands,differentmodels,eventhesamebrand,modelpedal,itsdepth,sensitivity,weightwillbedifferentSome,thefootnextto,thereisareflectionsome,youmustfirststeponalittlebit,andthenstepontohaveeffectsomearedeep,andsomeareshallowThefeelingofsteppingisheavierandlighterFinally,thedistancefromthefloortothepedalwillvarytooTherefore,thebasictechnicalessentialsofpedaltechniquemustbecombinedwiththespecificsituationofthepianopedalThird,howtochangethepedalinlegatoThisisoneofthemostbasicandcommonpedalusagesthatbeginnersoftenhavetomasterbutmustlearnLegato,requestsoundsUsingpedaltoextendthefunctionofsound,itiseasytorealizethecontinuityofsoundHowever,ifthepedalisnotmoving,evenconnected,andatthesametimewilloverlapbeforeandafterthesound,itisboundtoproducemuddy,messysoundIt'stimetochangethepedalssoastoeliminatethemessSo,inthiscase,thefunctionofthepedalis,notonlytoconnect,butalsocannotmixHere'sanexampleoftwochords(thesameassingletone)toillustratethebasicmethodWhenthefirstchordisreleased,thepedalscanbesetdownatthesametimeorearlierThenmoveyourfingersawayfromthekeys(asthepedalworks,thechordscontinuetoplay),andfindthenextchord(notethatthefollowingisthekeyinthenextchord)fingerpopsupatthesametime,thefoot(pedalrelease,checkoffinfrontofthevoice)thekeyliesintheliftactionnotearlierthanthenextchordpopIt'searly,andthetwochordsarebrokenNottoolateLater,thetwochordsoverlapThen,afterthesecondchordsarereleased,thefootisagainsteppedonthepedal,Thepedalhasnothingtodowiththepreviouschord,buttothelatterchordInamoment,thehandsandfeetmoveintheoppositedirection:handsdown,feetupliftup,andthenstepdownHere,themovementofthefootisnotonthebeatpoint,whichiswhybeginnersfeelconfusedToreplacethetwochordpedal,thenmanychordsandslurredlegato,singledualtone,thetruthisthesameFourthWhatisthe"splitpedal"Whatis"followingthepedal""Syncopatedpedal","followthepedal",alsocalled"tonepedal",arethesame,namelythereplacementpedallegato"Segmentation"meanstoplaycompletelythesecondtoneinthe(dualtone,tone,HeXian),handdownwhenthefootisliftedup(andthensteppeddown),similartoplayingsyncopated"Follow"meansthatthefootgoesdownwiththesecondsound"Aftersound"means,popupthenewsoundandthensteponitTheobjectiveisa,evenonthetwotone,andnottomakeasoundbeforeandafterasoundmixingFifth,thecommonpedalusageBeginnersmainlyhavethefollowingusage:()apowerfulchordcanbehelpedbypedalstomakeitmoreresonantandlouderThemethodisalsoverysimple,withtheactionofthehandatthesametimeorbeforetheactionofthehand,steponthepedalAtthesametime,italsodependsonthechordorshortorlong,withdecisiveactiontoreleasethepedalfoot,smoothandcleanIfyoudon'tgetitclean,you'llweakentheimpression()connectthebasswiththechordWhencoupledwiththeformationofthebasschordrangeofmorethaneightdegreesandinlegato,basspopuppedal,andholdontoplaychords()emphasizetherhythmofmusicStrongsenseofrhythmandaccompaniment,suchastwoshot,threeshot,avarietyofdancemusic,mostlyinthebeatwiththepedal,makestherhythmmorevivid,morevivid()afewchordsneedlegato,fingersanddifficulttofullyqualified,willbeavailableforeachchordpoplegatopedal()whenthechordintheformoflegatoarpeggio,useapedalconnectseachchordWhenthechordchanges,thepedalsmustbereplaced()topolishthemelodywiththepedal,makingitmorecoherent,expressiveOnlywhenthemelodyisaccompaniedbyharmony,wecannotonlyfocusonthemelody,butalsotakecareoftherelationshipbetweenthepedalandharmonyButaslongasyoumoveyourheadandears,it'snotdifficulttofindtheproperuseof"comprehensivegovernance"()holdthetimevalueofthesoundwiththepedal,andreleasethehandlefromthekeyboard,soastomakethenecessarytouchingpreparationforthenextsoundSixthGeneralprinciplesofusingornotusingpedalsEachmusichasaspecificpedalusageWhenitcomesto"generalprinciples",itcanonlybegeneralizedGenerallyspeaking,therearethefollowingprinciples:()themusicoftheBaroqueperiodinEuropeismostlypolyphony,whichshouldbeusedlessormorecautiously(butnotimpossible)It'seasytoblurthetunesbecauseit'snotgood,andthiskindofmusicismainlycomposedofacoupleoftunesatthesametimeI'drathernotuseitwhenI'mnotsure()duringtheperiodofclassicalmusic,themainmelodywasthemain,andtheuseofpedalsincreasedgreatlyAndromanticmusic,almostwithoutpedals()slow,long,lyricalmusic,mostoftheuseofpedals()theuseofthepedalcannotleadtotheblurringofthemelodyandtheconfusionofharmonyYouhavetouseearsto"supervise"thesetwopoints()melodyinthetreblearea,generallydonotworrybecausetheuseofpedalsandleadtounclearlinesButintheAltoarea,especiallyinthebassarea,beextremelycarefulnottooverlapthedifferentsoundsthatshouldnotoverlap()therelationshipbetweendefinitionandregisterchords,andbasicallythesameaboutasituation,justafraidoffuzzy"morethantheextentofmelodySo,whenyouchangethepedalonthedifferentchordsintheAltoarea,especiallyinthebasszone,besuretocleanit()theuseofpedals,andthefingertouchkeyclarityisalsorelatedTouchthekeysclearly,youcanusemoreappropriatepedaltouchkeyfuzzy,lessornopedalOtherwise,thatwouldbeevenmorevague

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