The Application Of The Technique Of Sailing In The Musical Works

The research of tremolo in Pipa has become a hotspot for lots of Chinese music theorists and performers recently. Some theorists review the tremoloteaching process and problems systematically in order to develop better instruction methods. The comprehensive study of the technique will help cultivate the passionate learning of Pipa learners. While others explore the playing order, sound characteristics and aesthetic experience of the tremolo. This issue analyzes Pipa music compositions of different times and in different styles from a tremolo technique perspective, and hopefully pushes Pipa learners’ better understanding, appreciation as well as application of such technique. Therefore, the research of tremolo techniques’ application in Pipa musical pieces and the expression of emotion through such techniques are absolutely meaningful and vital. The article is consisted of five chapters.Chapter one: Overviews of tremolo techniques, including classification, hand-shape, strings-contact point and dynamic of tremolo.Chapter two: Comparative analysis of tremolo application and presentation in classical pieces, including Wen Qu, Wu Qu and Wen Wu Qu. This chapter enumerates some typical segments to analyze.Chapter three: Comparative analysis of tremolo application and presentation in contemporary and modern pieces, including seven works from different times. This chapter enumerates some typical segments to analyze.Chapter four: Comparative analysis of tremolo application and presentation in concerto, including two distinctive concerto compositions. The chapter enumerates two typical segments to analyze.Chapter five: Additional remarks with regards to the application of tremolo, including the control of tremolo’s dynamics, speed and angle of contact.Numerous art practices have demonstrated that tremolo is not only a vital skill to acquire in Pipa’s performance but also shows the comprehensive strength of the performer’s capability. In this article, we mainly focus on the comparison of tremolo in Pipa performances of various periods, genres and musical pieces to demonstrate the versatile application of this technique. Last but not least, it will be my great pleasure if all Pipa performers, composers and other professionals in this field could benefit from my study.