钢琴家刘诗昆论和弦的弹奏方法

Pianist Liu Shikun on chord playing techniques

Chords can be roughly divided into the following categories based on their musical characteristics:以音乐特性，和弦可大体分为以下多种:

Grand and brilliant, such as Grieg’s “Piano Concerto”

一、宏伟、辉煌的，如格里格“钢琴协奏曲”

Majestic and majestic, such as Schumann’s “Carnival”

二、威武、雄壮的，如舒曼“狂欢节”

Solemn and solemn. For example, Beethoven’s Sonata ‘Pathétique’ Op. 13.

三、壮严、持重的。如贝多芬“奏鸣曲‘悲怆’作品 13 号”

Enthusiastic and passionate works, such as Liu Shikun and Fan Yiming’s “Youth Piano Concerto”

四、热烈、激昂的，如刘诗昆、藩一鸣“青年钢琴协曲”

Broad and expansive, such as Tchaikovsky’s Piano Concerto No. 1

五、宽广、开阔的，如柴可夫斯基“第一钢琴协奏曲”

Intensive and sustained, such as Schubert’s “Impromptu in A-flat major,” Op. 90 No. 4

六、密集、持续的，如舒伯特“降A大调即兴曲” 作品 90 之 4

Hard and dry, such as Prokoviev’s “March from ‘The Love of Three Oranges’”

七、钢硬、乾枯的，如普罗可夫耶夫“进行曲选自‘三个桔子的恋爱’”

Tragic and solemn, such as the third movement of the Funeral March from Chopin’s Sonata No. 2 in B-flat minor

八、悲壮、沉重的，如肖邦“降B小调第二奏鸣曲”‘葬礼进行曲’第三乐章

Gloomy and cold, such as Beethoven’s “Dawn Sonata” Op. 53

九、阴沉、冷峻的，如贝多芬“奏鸣曲‘黎明’”作品53

Rich and smooth, such as Schubert’s “Impromptu in A-flat major,” Op. 142 No. 2

十、醇厚、平稳的，如舒伯特“降A大调即兴曲”作品 142 之 2

Deep and rich, such as Beethoven’s “Appassionata Sonata, Op. 57”

十一、深沉、浑厚的，如贝多芬“‘热情’奏鸣曲 作品 57 号”

Dignified and elegant, such as Mozart’s Sonata in F major, Op. 332

十二、端壮、典雅的，如莫扎特“F大调奏鸣曲” 作品 332

Dexterous and clever, such as Ding Shande’s “Children’s Suite” “Catching Butterflies”

十三、灵巧、机敏的，如丁善德“儿童组曲”‘扑蝴蝶’

Lively, cheerful, like Strauss’s “Blue Danube”

十四、活洛，欢快的，如施特劳斯“兰色多瑙河”

Lyrical and satisfying, such as Tchaikovsky’s “Piano Concerto No. 1”

十五、抒情、如意的，如柴可夫斯基“第一钢琴协奏曲”

Gentle and elegant, like Wanlige’s “Spring”

十六、轻柔、飘逸的，如万利格“春”

The types of chord musical characteristics are countless if broken down into smaller categories, and many chords have characteristics that fall somewhere between two or more of the above chord types, so it’s impossible to list them all. The examples above are just the most typical and common ones.

和弦音乐特性的种类如细分，多不胜数，且有不少和弦之音乐特性，介于以上二种或多种和弦之间，故无法一一说全。以上所举仅为其中这最典型、多见者。

Due to the wide variety of chord musical characteristics, there are also many different ways to play chords, making it difficult to list them all. Below, we will discuss some of the most basic chord playing methods.

由于和弦音乐特性的种类繁多，和弦的弹奏方法亦多种多样，难于说尽。下面，讲述一些最基本的和弦弹法。

When playing chords, except for specific chords that require a light, ethereal sound, the fingers, especially the small joints at the tips of the fingers, should be upright and have a certain degree of rigidity. The palm, wrist, and arm should be relaxed and soft, with the entire arm essentially forming a soft top and hard bottom, light top and heavy bottom. This allows the playing force to reach down fully, especially to the fingertips, and settle on the keys. This ensures a rich, full sound. Some people play chords with soft, loose fingers while tensing and stiffening their palms, wrists, and arms; or with all three, tensing and stiffening. The resulting sound can be weak and indistinct, or stiff, shrill, and difficult to listen to.

一、弹和弦，除要求声音效果虚飘的特定和弦外，手指，特别是指头最前端小关节要挺立，有一定硬度。而手掌、手腕和臂膊要松弛、松软，整个手臂基本形成上软下硬、上轻下重，使弹奏力量充分下达、特别是指尖，沉落于琴键。这样，弹出的音方能充实、丰满。一些人弹和弦手指埸软、松垮，而手掌、手腕、臂膊紧张、僵硬；或手掌、手腕、臂膊均埸软、松垮；或全都紧张、僵硬。弹出的音或虚弱、模糊；或僵木、尖硬，难于入耳。

When playing a general chord, the wrist should be slightly raised before the next stroke and then lowered. The palm is raised to allow room for the wrist to fall; the wrist is lowered to allow the force of the stroke to be fully transmitted and concentrated to the fingers, especially the fingertips, through the falling force, producing a full sound. In this regard, the following points must be mastered:

二、弹一般和弦，下弹前，手腕要略微提高，下弹时落下。手掌提高，是为有下落的余地；手腕落下，是为使弹奏力量通过其下落，而充分下达、集中至手指，特别是指尖，奏出充实的声音。这方面，须掌握如下几点:

When raising and lowering the wrist, the wrist itself, the palm, and the forearm connected to it should be relaxed, while the playing fingers should be upright and firm. This ensures that the playing force is fully transmitted and concentrated to the fingers. Some people play chords by raising and lowering their wrists, relaxing their wrists, palms, and forearms, and consequently, their fingers. This prevents the playing force from being fully transmitted and concentrated to the fingers, and most of it is dissipated into space as the wrist drops, resulting in unclear and indistinct notes. Someone aptly put it this way: “When playing like this, not much of the force reaches the keys; most of it is lost in the space below.”

1、手腕提高和下落时，其本身及与之相连的手掌和小臂都要放松，而弹奏的手指要挺立，有硬度。这样，才能使弹奏力量充分下达、集中至手指。有些人弹和弦，手腕虽提高又落下，手腕和手掌、小臂也都放松，然手指也随之松垮，这样弹奏力量，就不能充分下达、集中至手指，而大多随着手腕的下落散耗于空间，弹出的音也自然模糊不清。有人形象地比喻说：“这样弹，力量没多少弹到键盘上，大部分都散落到键盘下面的空间去了”。

When the wrist drops, it is especially important to completely relax it, and let the force of relaxation fall naturally, rather than pressing it down rigidly. This way, the sound produced will be both full and relaxed; and even if the volume is high, the arm will not be very strenuous.

2、手腕于落下的一瞬间，尤要完全放松，并放松而产生的堕落力自然落下，而不要僵紧地硬压下去。这样弹出的音能既充实、又松弛；而且，即使所弹音量较强，手臂了不会很费力。

The playing force should be fully transmitted and concentrated on the fingers, especially the fingertips; it should not be transmitted partially, with some remaining in the palm, wrist or arm.

3、要使弹奏力量全部下达、集中至手指，特别是指尖；而不应只部分下达，部分仍留于手掌、手腕或臂膊处。

When playing standard chords, which aren’t forceful or jumping, the tip of your playing hand should always be in contact with the key surface as your wrist is raised or lowered. When changing chords, your fingertips should reach and touch the key surface of the chord you’re changing to before playing. Some people play standard chords without touching the keys before playing, instead flicking them loosely and limply from above. This sounds more like clapping than playing, creating a muddled, chaotic sound filled with the cacophony of fingers hitting the keyboard. Some people also play chords without touching the keys before playing, instead forming a rigid, unmoved whole with their fingers, palm, wrist, and arm. They drop together in a clumsy, hesitant manner, less like playing than positioning, producing a shallow, weak, and hollow sound. 5. The moment your wrist drops can be fast or slow. Generally, the louder and more intense the chord, the faster the wrist drops.

4、弹非强硬或非跳跃的一般和弦，手腕提高或下落时，弹奏的手尖要始终贴键面。换弹和弦时，指尖要提前到达并贴上所换和弦的键面再弹下。有些人弹一般和弦，下弹前，手指不贴键，松垮、散软地从琴键上方甩弹下来，不像弹琴，而像拍琴，发出的音模糊纷乱，指头拍击键盘之杂音充斥其中。不定期有些人弹和弦，不弹前手指也不贴键，手指同手掌、手腕、臂膊形成一僵滞整体，一起笨重、迟顿地落下，不像在弹奏，而像在摆放，发出的音，又浅、又弱、又虚。5、手腕下落这瞬间有速缓之分。一般，所弹和弦愈响亮、强烈，手腕下落也迅速。

Play jumping chords. The playing method is basically the same as the octave playing method. The rise and fall of the hand is mainly based on the wrist as the movement axis. The playing fingers should be bent and upright with a certain hardness, and the palm should also be supported.

三、弹跳跃性和弦，弹奏方法基本同于八度的弹法，手的起落主要以腕部为动作轴心，弹奏手指要弯曲、挺立，有一定硬度，手掌亦要撑住。

Fourth, play strong, resonant chords. The fingers, palm, wrist, and forearm are unified, with the elbow acting as the primary axis of movement, rising and falling as a whole. This technique requires the fingers to be firm and upright, the palm to be supported, and the wrist to be sharp and flexible. This technique produces a solid, full, and resonant sound, rich in resonance and three-dimensionality. However, it is more difficult and is only suitable for those with advanced skills.

四、弹强响、坚硬的和弦，手指、手掌、手腕和小臂可凝为一体，主要以肘部为动作轴心，整体上下起落弹奏。这样弹手指要坚硬、挺立，手掌要撑住，手腕要有刃性、弹性。这种弹法，弹出的音响效果坚实、饱满、宏亮，富有共鸣感和立体感，但难度较大，只宜技术水平较高的人运用。