在扬琴的双向击打与磨损过程中的巴赫前奏曲

​BACH Preludes on the process of “double-percussion” and abrasion

​

​

对于巴赫这两首著名的前奏曲，演奏成了真正的问题。

扬琴的所有琴弦在琴面（横切面）上纵横交织，发音孔位于琴的底面。扬琴传统方式的击奏在每一次击打后都留下了绵长的余音。当音符愈加密集，所有单音泛音列缠绕在一起，余音自然呈现出浑浊混乱的音响。

扬琴在现代制琴过程中加入了止音踏板去处理余音，止音海绵块装置在琴面上，通过脚踩制动器，去紧贴琴弦干扰琴弦的振动。这一特性使得琴弦层受到两个方向的击奏，一个是手握琴竹的击奏，一个是脚踩止音踏板对余音的击奏。更准确来说，后一种是脚趾的精细控制。

琴弦的裸露给磨擦式的弹奏方式提供了机会。在无限渐弱的过程中，击奏自然地变换为“磨奏”，去对抗惯常的流动。

​

​

For Bach’s two famous preludes, there is a real problem in performance.

The traditional way of playing the Yangqin leaves a long lingering sound after every hit. When the notes become denser, all monophonic overtones are entangled, and the remaining sound naturally presents a mess and chaotic sound.

In the modern instrument-making process, the Yangqin adds a mute pedal to deal with the residual sound. The mute sponge block is installed on the surface, and the foot brakes are applied to interfere with the string vibration. The percussion feature is in two directions, one is from hand holding the Qinzhu (the Yangqin stick), and the other is from foot pedal for mute the string, more precisely, the latter is finely controlled by the toes.

The bareness of the strings provides opportunity for frictional way of playing. In the process of infinite crescendo, the percussion feature naturally transforms into "grinding”,  to counter the flowing.