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.............. It is my conviction that technique is made up of a limited number of procedures with an unlimited number of applications. Therefore, as Porpora clearly understood, a sound technical methodology is not one that tries to cover all possible forms of a given procedure, but rather one that identifies and trains the essential mechanism which makes the procedure, in all its forms, possible. .............. 此部分共[8]页: 1>> 2>> 3>> 4>> 5>> 6>> 7>> 8>> 〖The Path to Virtuosity by Ricardo Iznaola(精湛技巧练习路径)〗 Level VII Nos. 69 - 81 Exercise No.69: Rasgueado Technique(轮扫技巧) Exercise No.70: Minor and Major 7ths and 9ths(大、小七度与九度音程) Exercise No.71: Three-Octave Melodic Minor Scales(g# to b)(g#到b之间的3个八度旋律小调音阶) Exercise No.72: Chromatic Scales(cont.) (半音阶) Exercise No.73: Trills in an Upper Voice above a Bass Line(Conclusion) Exercise No.74: Trills and Shifts (Conclusion) Exercise No.75: Extensions and Contractions of the Left-Hand(左手扩展与收缩) Exercise No.76: Extensions and Contractions of the Left-Hand with Shifts(Beginning) Exercise No.77: Left Hand Shifts with Octave Jumps(左手八度跳跃移指) Exercise No.78: Natural Harmonics (cont.) (自然泛音) Exercise No.79: Natural Harmonics(cont.)(自然泛音) Exercise No.80: Diatonic Scales in Artificial Harmonics(人工泛音音阶) Exercise No.81: Violin-Type Harmonics Level VIII Nos. 82 - 90 Exercise No.82: Repeated Chords (Beginning)(和音重复右手练习) Exercise No.83: 10ths to Minor 13th(十度到小十三度之间的音程) Exercise No.84: Two Octave Harmonic Minor Scales(2个八度和声小调音阶) Exercise No.85: Double Slurs(双音圆滑音) Exercise No.86: Extensions and Contractions of the Left-Hand(左手扩展与收缩) Exercise No.87: Left-Hand Shifts (Jumps and Slides) Exercise No.88: Arpeggions in Artificial Harmonics(人工泛音琶音) Exercise No.89: Arpeggios in Artificial Harmonics(cont.)(人工泛音琶音) Exercise No.90: Arpeggios in Artificial Harmonics(cont.)(人工泛音琶音) Level IX Nos. 91-101 Exercise No.91: Repeated Chords(Conclusion)(和音重复右手练习) Exercise No.92: Major 13ths to Double Octaves(大十三度至两个八度之间的音程) Exercise No.93: Three-Octave Harmonic Minor Scales(3个八度的和声小调音阶) Exercise No.94: Slurs & Campanella(Double Trills) Exercise No.95: Slurs & Campanella(Double Trills)(cont.) Exercise No.96: Slurs & Campanella(Double Trills, Cont.) Exercise No.97: Slurs & Campanella (Double Trills, Conclusion) Exercise No.98: Left Hand Extensions (Conclusion)(左手扩展) Exercise No.99: Left Hand Shifts (One Finger Arpeggios)(左手移指,单个手指按弦琶音练习) Exercise No.100: Artificial Harmonics with Slurs, Incorporating Full Use of Right Hand Fingers(人工泛音、圆滑音、右手拨弦的综合练习) Exercise No.101: Co-ordination Exercises in Artificial Harmonics(人工泛音综合练习) Appendix I Work-Out Plans For All Levels(练习计划安排) Guide for Daily Practice of the Exercise(日常练习安排参考指南) General Working Guidelines(通用计划安排指南) Level I (I级计划安排) Level II (II级计划安排) Level III (III级计划安排) Level IV (IV级计划安排) Level V (V级计划安排) Level VI (VI级计划安排) Level VII (VII级计划安排) Level VIII (VIII级计划安排) Level IX (IX级计划安排) Appendix II Special Effects, Use of The Right Hand Little Finger and Transcendetal Technique(特殊技巧,小指应用,超强练习) I. Special Effects(特殊效果/特殊演奏技巧) Pizzicato-Mute(拨奏) 1. Mute-Pizzicato With a & e(使用无名指和小指的闷音拨奏技巧) 2. Non-Muted p Pizzicato(拇指拨奏) 3. Pizzicato Stridente Percussive Effects I. Right Hand 1. Tambora 2. Special Strumming Effects II. Left Hand 1. Tabalet 2. Pizzicato 3. Villa-Lobos Partials and MUltiphones II. Uses of The Right Hand Little Finger(右手小指应用) III. On Achieving "Virtuoso" Speed In Scales(快速音阶) IV. Left Hand Technique Beyond the 12th Position(左手12品以上高把位弹奏) The Back Page 此部分共[8]页: 1>> 2>> 3>> 4>> 5>> 6>> 7>> 8>> 〖The Path to Virtuosity by Ricardo Iznaola(精湛技巧练习路径)〗 |
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