Advanced Arpeggio Exercise: Explanation & Demonstration 進階琶音練習: 介紹, 講解及示範

As I promised before, I will write something more useful and practical, therefore I shall focus on discussing about technique in the following posts.

Today I would like to talk about arpeggios.

琶音練習(arpeggios)當然是不可缺少, 但基本的琶音練習是不足夠的。在這篇文章中,我會解釋和示範我編寫的這個進階琶音練習。

With the regular arpeggio exercise we are confined to practicing only the regular broken chord patterns while not exercising all the fingers (one finger is not used since it is either 1235 or 1245 pattern). Here I am going to show you this exercise I created for arpeggios of extended chords to warm up all fingers as well as create a better palm stretch because, we all know at the advanced level we do not play only regular broken chord patterns anymore.


進階琶音練習: 介紹及講解



Advanced Arpeggio Exercise: Introduction



Advanced Arpeggio Exercise: Demonstration 進階琶音練習: 示範



Advanced Arpeggio Exercise: Further Explanation




Advanced Arpeggio Exercise page 1

Advanced Arpeggio Exercise page 1



Advanced Arpeggio Exercise Page 2

Advanced Arpeggio Exercise Page 2


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A few things for extra attention:
請大家留意以下幾點:

1. When we play the arpeggios, think about stretching the PALM instead of the fingers. Try extending the palm outward (instead of only stretching from the fingers), and keeping some space between the palm and the keyboard.
當我們彈奏琶音時,我們要想著手掌的伸展,而不是拉開手指,因為只伸展手指部份會令手掌崩緊和手掌擴張濶度更少。所以,盡量由手掌的中心打開手掌。還有,手指是隨著手掌向外擴濶而不是向前拉開。

2. When we move along the keyboard as we play the arpeggios up and down, think about leading with the UPPER ARM moving the whole arm out and in, feeling the upper arm moving away from the upper torso when notes are going up and back towards the upper torso when notes down, instead of wriggling at the wrist. If you do not feel your upper arm is opening away and back towards the upper body, then the movement is wrong.
當我們在鍵盤上隨著彈著琶音上下行走時,我們要想著用上手臂帶領整個手臂向外和向內移動,整個動作是由手臂帶動手指上落。如果你的上手臂在整個彈奏琶音過程中一點也沒有從上身移動開去的話,那麼你的動作就錯了。

3. When we play (with the right hand) the arpeggios downward after reaching the top note (going upward for the left hand), ROTATE the whole arm at the shoulder socket so that the top of the palm is facing a bit towards the downward direction (upward direction for the left hand). Again, the rotation does not occur at the wrist.
當我們用右手彈奏琶音上行到頂音回轉向下時 (左手到底音回轉向上) ,我們要從肩膀部份轉動 (ROTATE)整個手臂,去帶領手指彈奏。手腕保持平靜,和前手臂(FOREARM) 成一直線,手腕部份絕對沒有自己的轉動動作。

4. When we shift our thumb during the arpeggios, do not think the thumb has to hurdle over the notes to get to the next position. Instead, the shift of thumb is a continuous motion right after it hits its note to the next note. The wrist does not go down during the shift. Think horizontal movement. Think whole arm movement instead of localized motion at the wrist joint. Instead of making a number of small circular movement at the wrist, think about it as a straight line horizontal motion. The whole execution of the arpeggios (same as scales) should be a very smooth action, there should be no bumpy motion up and down at individual notes. Again, the wrist does not go down at execution of each individual note; instead the wrist should remain very calm and should only move side to side (horizontally instead of vertically).
4.當我們在彈奏琶音中需要移動拇指時,不要去想我們要把拇指跳過其他鍵去彈下一個音。移動拇指是一個連貫而持續的向橫動作 (HORIZONTAL MOTION)。手腕並不需要在拇指向下彈時同時向下移。,相反,手腕應該保持平靜,而且沒有任何在手腕的轉動動作。整個彈奏琶音動作應該是持續而平滑順暢的向橫動作。


Here is the link of the PDF file should you wish to download and print it out for easier reference:
以下是我編寫練習的PDF file:

advanced arpeggio exercise PDF


Until next time,
Teresa Wong

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