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C 右手（续） 手指的拨弦 （The Attack of the Fingers） 食指、中指与无名指（i,m,a） （index，middle and ring） 58) Open ( free-stroke ) is the normal attack , but not pulling the string out nor parallel to the soundboard , but pushing it in a little towards the soundbox . 58）开放拨弦（不靠弦）是标准的拨弦，但既不是勾弦，也不是平行于面板拨弦，而是要向琴箱方向做一点推弦的动作。 59) Rest stroke or free stroke ? The important thing is to find a position for the hand that allows us to have both kinds of attack available and gives homogeneity to both so that there is not a qualitative difference ( contrast in sound colour ) , but a quantitative sum of both attacks ( with louder and fuller sound in the case of rest stroke ) 59）靠弦还是不靠弦？重要的是为手找到一个姿势，使我们对两种拨弦方式都自由运用，一致兼顾，这样两者就不会有质的差别（音色的对比），而是在量上的加总（靠弦的声音会更响亮、更饱满）。 60 ) Also we have to try to keep a position that allows us to play free stroke with some fingers at the same time as we play rest stroke with another. 60）同时我们也要尽力保持一个姿势，使一些手指在采用靠弦弹法时，其他手指可以同时使用不靠弦弹法。 61）The ring finger as well as attacking the string with the normal movement( towards the palm of the hand) has a very slight ,almost unnoticeable clockwise movement , that is the tip tends to move slightly towards the middle finger . 61）无名指在正常拨弦的同时（向手心）有一个非常轻微、几乎无法察觉的顺时针方向运动，其指尖端的走向略微偏中指 。 62 ) The sound of the nail is produced because the finger passes the string more slowly than it should . The attack should be in one hit and as rapid as possible . It is a question of high speed ( to avoid the sound of the nail ) but not of force .The use of high speed with little , as well as a lot of force , must be achieved . 62）我们之所以能听到指甲的触弦声，是因为手指的过弦速度比应有速度缓慢导致。拨弦应该一击即中，并且速度尽可能地快。这是一个关于速度的问题（避免指甲声音），而不是力度的问题。必须要在小力度和大力度拨弦时，都能做到高速过弦。 63 ) For wound strings , look for an attack with ' less angle ”or in other words more perpendicular so as not to ' scrape ”the string. 63）对于琴弦缠丝者，注意拨弦时要寻找一个“较小的角度”或者说更垂直的方式，以免刮擦琴弦。 64 ) For fast scales on base strings a very good fingering is p-i. 64）对于在低音弦上的快速音阶来说，较好的指法是拇指与食指交替（p-i）。 65 ) For double ties or simultaneous movement and finger repetition ( for example : i-m ) , maintain a uniform separation between the fingers. 65）对于双重衔接（或同时移动）和手指重复拨弦（例如：i-m），要在手指之间保持均匀的分离。 66 ) Try p-m-a fingering instead of p-i-m if you want to highlight the middle note 66）如果要强调中间的音符，要使用p-m-a的指法代替p-i-m的指法。 67 ) To highlight the bass in a double string 6-5 , play the bass with the index finger and 5 with the thumb (crossing the fingers ) 67）在强调双弦低音6弦和5弦时，用食指演奏低音，用拇指弹奏5弦（交叉手指）。 —本节由姚经天翻译，未完待续—
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