学习小号的真正起点在哪里？（英文原文+翻译）

lorentz1108

这篇文章是带有启发性质的、着重讲述国外对学习小号究竟应该论从哪里作为起点的一篇简要论述~希望能给朋友们一点儿启发~
http://bbs.pinggu.org/?fromuid=218230

其他若干篇介绍国外铜管训练方法和思想的帖子请见：
国外铜管训练的思想理念索引——集中帖（不定期更新）
http://bbs.cnbrass.com/viewthrea ... &extra=page%3D1

原文：
Think of this... If, when you were learning to write, the teacher insisted that you hold the pencil in a way that was difficult or impossible for you, would you have learned to write very well? No, of course not!  Or, if the teacher told you to concentrate on what you wanted to write, not the process of writing, would you then be able to maneuver the pencil, without knowing how to form the letters? Again, of course not. Or even, if the teacher told you to concentrate on the muscles of your arm, could you then write?

No, you needed first to learn to hold the pencil (which required you and/or your teacher being able to recognize which hand was dominant), then to apply the pencil to paper, at first using a large, thick pencil and writing in huge letters, then as you gained mastery, learning to use smaller size pencil and print.... Finally you learned to write in cursive, with a fine-line pen or even a fountain pen, or perhaps even mastering the fine art of calligraphy!

In playing any instrument much the same process must be followed. Sometimes we must regress to the point of holding the pencil (locating the mouthpiece on the lips, or even correcting the size of the mpc) Sometimes, we need only go over the formation of certain letters, or change the angle (left to right) or tilt (pivot: up or down) of the paper (instrument).But it is always far easier to teach the right way from the beginning than it is to undertake remedial work.

That is why I advocate using the very low pedals, even from the first lesson for beginners. That is also why I feel buzzing（including lips and mouthpiece）to be important. There are those who can play without buzzing first, but their row becomes much harder to plow without removing those big rocks (non-buzzing styles of playing) first.

The slow, low pedals enable good buzzing. I don’t advocate the first octave of pedals. Why? Because they inevitably lead to bad habits in beginners, such as closed teeth and open apertures (both are bad things).Too often, again, there are players who are very strong, who advocate what works best for them, not for the student who is seeking guidance. That's why I strive to understand the student, and offer general principles first, before the specifics and the details of development.

译文：
想一想这个问题。先举个例子，假如你正在学写字，如果这时候你的老师坚持说你握笔的姿势对于你来说是不合适的，那么你能写得漂亮么？当然不会。或者，如果你的老师告诉你要全身心投入到你要写的字上，而不告诉你写字的步骤方法，你会在这种不知道字母格式的情况下动笔么?答案还是否定的。或者甚至是，如果你的老师告诉你把注意力放在你拿笔的那只胳膊的肌肉上，你能写得好字么？

不能。学写字首先需要学会的是握笔方法（这需要你或你的老师知道你是不是左撇子），接下来提供给你纸和铅笔，一开始要用粗头铅笔写大号儿的字母，之后随着你的掌握程度，学着用细头铅笔写字，最终你学会了用签字笔或钢笔写连笔字，或者也许你还成为了书法家。

在学习演奏乐器方面其实有着和学习写字同样可遵循的过程。有些时候我们必须回归到握笔这一点上（号嘴在嘴唇上的位置，甚至是选择适用于你嘴唇的号嘴型号）；有些时候，我们需要复习正确的字母拼写形式，或者改变书写角度（从左写到右）或者挪动纸张位置（就像将喇叭口适当抬高或降低一样）。要知道在初学者时期学习这些正确方法要比回过头来学习容易得多。

这就是我为什么一直提倡从最低的起点开始，甚至对于上第一节课的入门学生来说。这也是我觉得为什么振动（包括唇振和吹号嘴两部分）是那么重要的原因。仍然有好多学生在之前没有进行振动训练的情况下演奏，但是他们会发现越往后学习演奏，在没有移走这块大石头的情况下将会变得多么困难。

从慢的低的起点开始，能给你好的振动（打下良好基础）。我不提倡把练习音阶当作一个基础性起点。为什么？因为它不可避免的导致初学者养成不好的习惯，像上下牙摒紧，嘴唇孔隙过大等等。还有，很常见的就是一些很强的演奏者，他们总提倡一些对于他们而言掌握最好的东西，我们会发现这些提倡往往不是针对那些渴望寻求指点的学生们的。这也就是为什么我要努力懂得理解学生，先提供给他们原则性涵盖性广的内容，再渐渐往细节上发展（注：就像九年义务教育和高等教育一样，由初级基础过渡到高级专业，可以类比想象）。

ty11130

学习一下

bB调小号

很受用,大有帮助!十分感谢

mxm5005

谢谢！能否提供一些经典的口型方法或训练技巧。

八分音符

真的   很好   自己一个人摸索很难的     看了这后感觉很受用的   谢谢站长的翻译

高峰高峰

非常谢谢你的翻译，谢谢了，感受很深

永恒~小号

基础啊。。。。。。。。。。。。学习了

淡茶一杯

好好学习。天天向上。。。。。。。。

qqqkkkbbb

看来学习小号没什么速成的法子，只有慢慢来才有出路。

yghlf

就说了一点啊，基础太重要了

乐海听涛

很受启发，值得思考！

老城

认真学习了，的确很有帮助！！

zbpoint

非常感谢
共鸣！！！

堕落的江湖

非常正确啊，确实在学习小号的时候基础显得非常重要！

zzd

也就是说练习小号是没有捷径可走的对吧？我是一位刚拿小号的，当初没想到练习小号这么难，只是听到小号大师吹奏的是那么优美，表现是那么精彩，吸引力还是蛮大的，所以。。。当然，我是没有想退出的意思，但在练习小号时，常因为进步不大而恼火，现在明白了。