看戏时,我常喜欢瞧几眼琴师的伴奏:有的看演员的神情动态;有的则死盯着谱架上的乐谱。细加品味,他们伴奏的效果也往往两样:前者的琴音的轻重缓急都同演员的行腔丝丝入扣,甚至行腔中一个极为短促的气口,都能插入一个很舒服、俏皮的“垫头”,把行腔顺畅地贯通起来;后者的琴音往往要同演员打架,弄得演员在台上气喘吁吁,观众也禁不住捏一把汗。据说,上点年岁的琴师一般不太精通乐谱,这固然是一种局限,但这就迫使他们花费巨大的劳动,把唱腔全盘记在心中,他的注意力全部放在演唱感情的烘托上,精通乐谱的多是年轻的琴师,这当然是进步了。然而,谱子毕竟是熟悉唱腔的辅助工具,如果过分依 When watching a movie, I often like to look at the accompaniment of the luthier: some look at the performers’ movements; others stare at the scoreboard on the musician. Subtle taste, their accompaniment is often the effect of two different: the former piano tone priorities with the actor’s cicatrization, or even a very short breath in the cavity, can insert a very comfortable, playful “head” to the cavity smooth Through the ground; the latter often have to fight with the actors and actresses, making the actor breathless on the stage, the audience could not help but pinch a sweat. It is said that the upper house of the year-old musicians generally not proficient in music, which of course is a limitation, but it forced them to spend huge labor, the whole record in the heart of the singing, his attention is all on the singing feelings of contrast Of course, it is certainly progressing. However, after all, the spectrum is familiar with singing aids, if excessive