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Adolf "Bud" Herseth 建议(铜管)上

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发表于 2013-12-11 16:29:42 | 显示全部楼层 |阅读模式
(因为是台湾鄒佳宏老師翻譯的,是繁体,不要介意)

Adolf "Bud" Herseth是小號界的傳奇人物,從27歲開始在芝加哥交響樂團當了53年的小號首席(之後還多當了3年的榮譽首席),他是非常非常著名的樂團演奏家,不管什麼風格的曲子他都能表現得很棒,芝加哥交響樂團的錄音中,那些小號重要片段幾乎都是他吹的。他吹樂器方法很自然,感覺一切都是渾然天成,到退休音樂會吹馬勒五還是像在喝水一樣,是小號人心目中永遠的英雄人物。

他的這篇訪談其實我看到很久了,也默默的有翻譯過。但因為太口語實在不好翻,有些東西應該只是作者當場隨筆記下來,所以東缺西缺只能猜測他的意思,再加上我的FB朋友中有翻譯界的絕世高手,因此之前一直不是很想把這篇放上來

但既然今天楊捷提到了,那我想說還是放上來好了,把原文順便附上,請大家看到覺得翻譯怪怪的有什麼建議的話可以在底下留言!

註:文中提到的Bud,是Adolf Herseth的綽號,至於有一段出現的Doc,是指另一位著名的小號獨奏家 Doc Severinsen,路線比較偏流行音樂,至今許多錄音也都還膾炙人口,有興趣的人可以到youtube找這兩個名字!


Bud Herseth的練習建議
I do believe in warming up, and as I grow older I find that it takes a little longer to get all the brain cells and all the red corpuscles going. It’s a fact of life. You know, a warmup is just a practice session gradually approached – that’s really all it is. You try to cover some of the fundamentals, first of all to get a nice freely-produced musical quality sound. And then you go through a few articulations, and gradually extend the range until your top, bottom, and middle registers, articulations, and lungs, are all there.
我是會做熱嘴的人,且我發覺隨著年紀增長,要讓腦細胞和你的血球們上軌運作的時間會稍微多一些,這就是人生啊。你知道,熱嘴只是一段漸進式的練習,它就只是這樣。在熱嘴中你試著把一切基本功順過去,首先是要找到一個發音很舒服的好聲音,然後你會跑一些運舌練習(articulations),接著再慢慢拓展你的音域,直到高、中、低的音域還有articulations和肺部,都開始正常工作。

Practice long tones in all registers and volumes.
練習不同音域及音量的長音

Overlap single tonguing speed with double and triple speeds.
把單吐的速度練到跟雙吐、三吐一樣快

Solfege--Sight sing--buzz excerpts and studies
練視唱,然後用號嘴吹片段以及練習曲

There are appropriate times for beauty and crudeness - use both.
美聲的吹法和暴力的吹法都各有其使用時機,兩個都要會使用

Sound is criterion for how you do this or that.
音色是用來判斷你吹奏方式的憑據

Melodic playing is very, very important. Know the importance of TONE, even in technical passages.
吹得有旋律性是超級重要的,要體會音質的重要性,就算是練技巧性的段落也一樣

Play tunes in high range, also pick off high notes for practice
將一段曲調移到高音域吹奏,同時也要把高音單獨挑出來練習

Remember-shaky high range can be due to letting up before hitting the note--rather take the lump and blow, that is the only way to be great. If you let up on all the notes, endurance is lost, and the overall sound is sickening.
記住:不穩的高音可能是因為在吹到那個音之前就鬆懈了,寧願撐過去並繼續送氣,這是造就成功的唯一方法;若是你總是讓每個音都鬆懈,那就會失去耐力,並且音色會像是病了一般難聽

Be consistent, and NEVER PRACTICE BUT ALWAYS PERFORM
要知行合一,每次的吹奏都是演出,不是練習

Never have any tension in the body when playing, just learn to always relax.
吹奏時身體裡不要有任何的壓力,要學習如何放鬆

Don't favor slurs, and in fact, DON"T FAVOR ANY NOTES.
不要特別喜歡吹滑音練習;事實上,不要特別愛吹任何一種練習

Only practice in 45 minute sessions, that is what Bud does.
每段練習只練45分鐘,這是Bud練習的方法

There is nothing wrong with your chops, your mind is messing them up. High register is no more physical than low, it should be as easy and sound just as good. Don't make such an issue of it. This habit must be worked out and will eventually go away, however there is only one way to get rid of this bad habit, and that is to apply concepts every day in your playing.
你的嘴沒有任何問題,你的想法才是搗亂它們的關鍵。高音沒有比低音耗費更多體力,它們應該聽起來一樣輕鬆一樣好;所以不要把這些當成問題來困擾。這種習慣應該慢慢的修正,最後才能解決;但只有一個方法能擺脫這個壞習慣,那就是將好的觀念應用在每天的吹奏上

Play arpeggios to get all ranges to sound good by being in tune and listening to the sound.
吹琶音時,注意保持音準並傾聽自己的音色,來讓所有的音域都能有好聲音

Play Bud's exercises; like singers do.
吹Bud的練習,像歌手那樣做(????)

Don't think mechanics at all on the high range, just play and listen.
完全不要去想吹高音的技術性問題,只需要吹並且傾聽。

When a note sounds beautiful, it is in tune(and vice versa)
當一個音聽起來很漂亮時,它就是準的(反之亦然)

Approach on the lines of good sound and intonation will come there too. The ear will do all the work if you let it.
盡量去達到好聲音的標準,那麼音準自然也會到它該屬的位置。如果你真的有用耳朵,那這些事情都能靠耳朵完成。

Say "tay" on the lower register to get away from the tubby sound.
低音點舌用Tay的發音來避免聲音變笨笨的

Increase air on the lower register. D and B are good examples of good low range sound.
低音用多點氣吹,D和B兩個音是好的低音音色的例子。

D, E, and E flat - let them float up to where they belong.
一點D, E,降E,讓它們上去到該有的音準上。

Don't think, just play beautifully. Your ear will tell you, and do all the work for you if you allow it to. Don't try to place notes, but let them go where they want.
不要想,只需要漂亮地吹。你的耳朵會告訴你答案並完成所有事,只要你願意用你的耳朵聆聽。不需去把每個音放到位置上,而是讓音自己去應去的地方

After working on the mouthpiece, do the same on the horn. Play everything from excerpts to to pop tunes on it to do things musically. Remember you are performing these pieces, and not practicing them.
練完號嘴之後,在樂器上練一樣的東西。你什麼都可以練,從樂團片段到流行音樂的旋律都可以,來讓你吹得更有音樂性。記得你是在表演這些曲子,不是在練習

NEVER PRACTICE, ALWAYS PERFORM.
總是以表演的態度吹奏,不是在練習

When encountering problems, technically or musically, sing them and play them on the mouthpiece. Then transfer this singing through the horn. Also, add words for added expressiveness, and sing these words through the horn. When a person sings, he does it in a naturally musical way.
遇到技巧或是音樂性上的問題時,把音樂唱一遍,再用號嘴吹一遍;接著把這種歌唱方式透過樂器吹出來。你也可以加上一些字句來形容這個音樂,幫助音樂的表現,再把這些字句透過樂器吹出來。一個人在唱歌時,他的音樂是用最自然的方式運作的。

Always take 10 minutes or so off after the first 15-20 minutes of playing (the warmup).
開始練樂器時,吹了15-20分鐘後,要休息10分鐘左右 (熱嘴的時候)

Rest, like Bud. FEEL FRESH ALL THE TIME.
像Bud一樣,休息一下,讓嘴唇一直保持在新鮮的感覺

Project a message when you play, never impress with mere mechanics.
在吹奏中要傳達出一些訊息,不要一直把注意力放在物理問題上

Put words to everything.
用文字來形容所有東西

THINK ONLY WHAT IT SOUNDS LIKE, NOT WHAT IT FEELS LIKE!
只去想它聽起來是如何,而不是它感覺起來是如何

Practice solos much more than drills or exercises for tonguing. Every time Bud learns a new solo (or rehearses one) it adds a new spark to his playing. Vocalize through the horn. Get a message across to the people - tell them a story, an interesting one. REMEMBER THINGS THAT YOU DO NOW WILL BECOME CONSISTANT LATER AS YOU APPLY CONCEPTS.
練獨奏曲的份量比例要比技巧練習或是點舌練習來的多,每次Bud學了一首新的獨奏曲(或是排練了一首新曲),他都會得到對於吹樂器的啟發。要透過樂器歌唱,並從吹奏中傳達訊息給人們,像是告訴他們一個故事或是趣聞一樣。記得你現在做的每件事都會變成你日後的習慣

Pulse the primary point - it keeps the music moving, and makes the overall sound more musical.
律動是最重要的事,它讓音樂前進,也讓一切更具音樂性

Practice all three forms of tonguing; only use legato for extreme double and triple tonguing, to make this tonguing move very fast.
練習各種形式的點音;在極快的雙三吐時用圓滑奏的感覺吹,這樣可以讓舌頭動作變得很快

Slur all technical passages first so you get the tones in mind.
碰到技巧性的段落時,先用滑的吹一遍,這樣你可以記得音色的感覺

Do same as above for staccato passages also.
斷奏的段落也跟上面的練法一樣

In all technical and lyrical passages, remember that first and foremost is TONE QUALITY and MUSICALITY.
在技巧性和歌唱性的段落中,記得第一件事和終極目標是:音質和音樂性

When playing slowly, remember that tongue and fingers have to move as fast as usual.
當吹緩慢的樂段時,記得舌頭和手指還是要一樣迅速到位

Everybody comes in late after rests, do something about it.
在曲子的休息小節過後大家都會晚進來,在這上面下點工夫

Keep dynamics through phrase, and keep dynamics consistent.
保持樂句的力度,也要讓力度保持連貫

Keep slurs smooth, don't jolt them - they are easy.
讓滑音流暢一點,不要感覺有顛簸,它們很簡單

High range is not a seperate part of trumpet playing, yet most players make such a big deal of it. It is not any more physical than any other aspects of trumpet playing, rather it should be just as musical. Just move the air more and keep a good sound, and it will always be there.
吹奏小號時,高音不是一個獨立的部分,但是多數的演奏者都對它小題大作。高音沒有比其他部分更複雜,它只是要一樣具備音樂性。只需送更多的氣並保持好的音色,就會有高音了

High C is not sharp, it's high C. No notes are naturally sharp. Just play and listen for the best sound and you will be in tune. It is very important that you think sound and not intonation. The intonation will be there if the sound is.
高音C不會偏高,它就只是高音C。沒有任何音是偏高的,只要吹並且聆聽自己尋求最好的聲音,音就是準的了。想音色勝過於想音準這點非常重要,因為音色到位音準就會到位

It is important to hear the note played before playing it. If you do, it will be there.
在吹之前就先想好你要吹的音很重要,這麼做一切就沒問題

High range - don't just think "high" before you play and expect to be able to play it.
高音域:在吹之前不要只是想它是高的,要告訴自己你能吹上去
On releases - know how long you want to hold the note, and then stop it. Don't just hold it until it stops.
談到力量的釋放:你要知道你的音要吹多長,然後主動收掉那個音,不要只是讓那個音吹到自己停下

On soft playing - play soft as if you are playing loud. Flow air the same as a forte.
談到吹小聲:用跟吹大聲相同的感覺吹小聲,讓氣的流動跟吹forte的音量時一樣

Picture the whole phrase before you start to play. Do this all the time.
在吹之前,永遠要把整個樂句的形象在心中描繪出來

Every note must have direction - always must be going somewhere.
每個音都有方向,永遠得朝某個地方前進

For high range, just use good air flow, with ease of middle and low registers.
吹到高音域時,只需使用好的氣的流動,並用中低音域的舒適感來吹

Practice a tune in all registers. Do this often, it will tell whether you are using the right concepts.
將一段曲調移到不同的音域練習。如果常常這麼做,你會知道你吹奏的想法是對或錯

Balance exercises with solos (music)
基本練習和獨奏曲的練習份量要均衡

Practice a session on just the mouthpiece.
單獨用號嘴作一個階段的練習

Tonguing has to be 5% consonant and 95% vowel. To much tongue inhibits the air flow. Use no more tongue than in normal speech, and release air immediately.
點舌是5%的子音加95%的母音,用太多舌頭會干擾氣的流動,只需要跟平常講話一樣的感覺點舌就好,釋放氣流也要很迅速
发表于 2013-12-12 17:57:25 | 显示全部楼层
谢谢,楼主!!
发表于 2013-12-21 00:52:33 | 显示全部楼层
樓主你好,這一篇文章是台灣的鄒佳宏老師翻譯的,
他不會介意分享,但是在當你轉貼時,是否有尊重他的智慧財產權?
因為FACEBOOK的分享都會知道出處,但是你這樣的複製轉貼讓譯者相當的不舒服。
是否加上譯者比較恰當?
发表于 2013-12-21 21:59:23 | 显示全部楼层
我已帮楼主加上了
发表于 2013-12-31 17:50:01 | 显示全部楼层
这么快就转到CNBRASS了,很好很好!非常值得演奏者仔细琢磨的文章
发表于 2013-12-31 17:52:07 | 显示全部楼层
希望有英语能力的号友直接看原文,辅助看翻译
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