本文以劉德海《一指禪》與羅永暉《一指禪》為例，探討右手指法歷史演變及整理，並針對樂曲做分析與詮釋。現今琵琶的原型為曲項琵琶，而曲項琵琶的發源地為西亞一帶。曲項琵琶傳入中國時為擲撥子演奏，但與自印度一帶傳入的五絃琵琶互相交流後，開始出現指彈曲項琵琶。正式廢撥彈為指彈的時間點，在歷史資料上並無明確指出，但自元代便有指彈琵琶的演奏譜流傳，且於明清時代最為興盛。明清時期，琵琶演奏技術提升，派系興起，開始系統化的記載樂譜及演奏法。1980年代開始，劉德海等受過專業音樂教育的作曲家及演奏家，開始發明新創演奏指法。新創指法中，劉德海的「正反彈」自《天鵝》一曲首次使用後，廣泛被樂界所利用。劉德海《一指禪》為大指挑、勾為主要演奏技巧，羅永暉《一指禪》只用食指單彈演奏。
This article takes Liu De-hai's " Yi Zhi Chan " and Luo Yong-hui's " Yi Zhi Chan " as examples to discuss the historical evolution and arrangement of the right-finger method as well as to analyze and interpret the music. The archetype of the pipa is Singing Pipa , which derives from West Asia. The Singing Pipa was played by plectrum when it was first introduced into China, but after an cultural exchange with the Five-Stringed Pipa which came from India, people started to play Singing Pipa by fingerpicking. Although the formal timing of changing from plectrum to fingerpicking is not clearly stated, it has been reported that since the Yuan Dynasty, musical scores of fingerpicking pipa has already existed and became widespread in the Ming and Qing Dynasty. During the Ming and Qing Dynasty, the performing techniques of the pipa has improved. In addition, various factions emerged. People started to record musical scores systematically. In the 1980s, Liu De-hai and other composers and performers, who had received professional music education, began to invent new fingerings. In the new fingering, Liu De-hai's “Zheng Fan tan” has been widely applied by the music circle since the first use in music“Swan”.Liu De-hai's " Yi Zhi Chan " used the Big Finger pick and hook as main performing skills. On the other hand, Luo Yong-Hui played " Yi Zhi Chan " only with index finger.
