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Adolf "Bud" Herseth 建议(铜管)下

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发表于 2013-12-11 16:30:29 | 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)

Think SOUND always - loud and soft.
永遠去關注你的音色,大聲和小聲都要

Never practice- always perform.
永遠以演出的態度吹奏,而不是練習

Practice various ways of articulating everything. (excerpts, solos, etc. i.e. slur Petroushka solo, tongue Schlossberg #18, etc.)
用不同的articulation練習片段或是獨奏曲(例如:將Petroushka用圓滑的吹或將Schlossberg練習曲 #18用點舌的吹之類的)

Get the sound you want in your head first, then play it. Listen as much as possible.
先在你的腦海中想到你想要的聲音再把它吹出來,盡可能地聆聽

Send a message when you play.
吹奏的時候要傳達出一些訊息

USE ONLY MECHANICS TO THINK OF PLAYING AS A WHOLE, AND BREATHING, AND ALL THE REST IS MUSIC.
只有在你要將各部分融會貫通時才需運用機械性的思考,除此之外,呼吸等等的事物都要想音樂

Play by sound, not by feel.
用聲音來當演奏的標準,不是用感覺吹樂器

Never work harder than necessary for a desired result.
該做幾分事就做幾分,不要做超過

Do interval exercises (all articulations).
練音程練習(用所有的articulations練)

Accent is not more tongue, but more air.
重音不是用更多的舌頭,而是用更多的氣

For etude practice, get them clean slowly, then speed them up.
在練練習曲時,先用慢的速度吹清楚,再加快速度

When you get high horns, play tune on them, then take low horn and play same pitches the same way. You will forget which horn is which.
當你吹高音銅管時,用它吹一段曲調;之後再拿低音銅管用同樣方式吹同樣音域的該曲調,你會忘了樂器的差別

Relate little horns to the big ones. The same concepts apply.
小隻和大隻的銅管都適用相同的吹奏觀念

WHEN YOU MAKE A MISTAKE, BE PROUD OF IT. PUT YOUR HORN DOWN AND STARE AT THE CONDUCTOR. UNLESS HIS EAR IS GREAT, HE WON'T KNOW. IF HE DOES, FINE!
當你吹錯時,你要感到很榮耀,此時放下你的樂器看看指揮,除非他的耳朵真的超好,不然他根本不會發現。如果他發現了…那好吧!

NEVER PRACTICE, PERFORM.
永遠不要以練習的態度吹奏,每次都是演出

Don't just listen to yourself on ensemble playing - let the ensemble help you on your entrances so you can be part of it and not playing along with it. All accompaniments will help you to play. Have them in your head so you just don't play out of context.
在重奏當中,不要只聽你自己的部分,讓你自己成為其中的一個部分,而不是隨著其他人吹,所有的伴奏都可幫助你的吹奏。把其他聲部記在腦海裡,那你就不會顯得唐突

Listen to good artists, and know what you want
聆聽偉大藝術家的演奏,並且知道自己要的是什麼.

A trumpeter's life is risky, and you have to be able to take those risks. No great playing is accomplished if a person is afraid of playing. To be timid or favor notes or ranges is running away from that risk.
小號手的人生就是一場冒險,你得有能力去冒這些險。如果一個人對吹奏感到害怕,那他就無法做出很棒的演奏;如果膽怯了,或是只喜歡練某個音或音域,那就連冒險的機會都沒了

DON'T THINK YOU HAVE PROBLEMS TO WORRY ABOUT IN YOUR PLAYING, JUST CERTAIN ASPECTS OF YOUR PLAYING AREN'T PERFECTED YET. DON'T WORRY ABOUT ANYTHING IN YOUR PLAYING, JUST ENJOY IT!
不要認為你的吹奏有令人煩惱的問題,那只是某些方面還不夠完美;不要擔心任何吹奏上的事,只需樂在其中!

Practice on the mouthpiece every day before your regular session. Walk around and play anything musical (no drills) from excerpts to pop tunes. Concentrate on being very musical on these pieces, and most important, on a very LARGE SOUND on the mouthpiece.
每天在正式練習開始前,四處晃晃,用號嘴吹一些音樂(不是吹技巧練習),像是樂團片段或是流行音樂之類的,吹這些曲子的時候要注意,要很有音樂性;此外最重要的是,要用號嘴吹出非常寬廣的聲音

The mouthpiece, because of the lack of divisions, it is possible to go over all ranges, and it forces you to use your ear. Also in emergency situations, it can be used as a substitute for regular practice on the horn.
因為吹號嘴時的音高沒有固定也沒有清楚的區分哪個音是哪個音,所以吹什麼音域都可以,這會逼你自己用耳朵聽。還有碰到特殊狀況時,也可以用練號嘴來替代日常的練習

Play a complete session on the mouthpiece once in a while. This keeps you from getting hangups on the horn, and improves everything from sound to articualtion.
有時候可以全用號嘴練習,這樣可以讓你從吹樂器不好的狀況中跳脫,也可以讓聲音以至於Articulation都變好

Whenever you are having problems on any piece, play it on the mouthpiece.
無論什麼時候,當你在一首曲子上碰到問題時,就用號嘴吹一次

Play no drills on the mouthpiece, only music.
不要在號嘴上吹一些技巧的練習,只演奏音樂

REMEMBER - BIG SOUND ALL THE TIME.
記得:總是吹出寬廣的聲音

When taking a breath, pronounce the word "ho" yet inhaling at the same time.
吸氣的時候,同時發出Ho的聲音

When using this method for practice, put hand on stomach and chest - it should move out on its own due to lungs filling up.
用這種方法練習時,把手放在肚子和胸口,因為肺部此時是充滿氣的,所以應該會感到它們向外擴張

For getting the feeling of an absolutely open airway and flow, put one end of a toilet paper roll in mouth and inhale - note the equal ease of inhaling and exhaling.
將滾筒衛生紙中間的紙筒放在嘴巴裡,然後吸氣,可以找到送氣的通道完全暢通以及氣流動的感覺,注意吸吐氣時要一樣輕鬆

Breathe from low in the lungs rather than from the chest. If done correctly, the stomach will go out on its own.
從肺的最底部送氣,而不是從胸口送氣;如果做對了,那肚子就會自己做該做的事

To get a big sound, it is imperative that the air flow (or movement) is greater. The pressure of air flow is not what creates the big sound, it is much the same as violin, which creates a bigger sound when the bow is moved faster across the strings then from pressure on the strings.
如果要吹出大的聲音,那氣的流動(或是氣的動作)就顯得非常重要,氣流的壓力不是吹大聲的關鍵,就像小提琴一樣,如果你想要拉大聲一點,那弓就要在弦上擦快一點,而不是施加更多壓力在弦上

Release air immediately - don't hold it.
讓氣馬上釋放出去,不要抓著不放

Differences between cornet and trumpet - there is none due to modern methods of construction. Most of sound difference is due to bends in tubing, rather than conical vs. cylindrical bores.
短號和小號的差異最主要是在管子的彎曲程度,而不是圓錐型或是圓柱型的管身

Stravinsky pieces - in world premieres of many of his works, Stravinsky said that cornets need not be used because of little difference between them and trumpets.
史特拉文斯基多數的曲子在世界首演時,他說過因為短號跟小號的差異太小了,因此不需要使用短號

Keep your horn free from ANY dirt inside. Clean it weekly if necessary. Clean mouthpiece daily. Clean horns and mouthpieces so nothing is ever in the horn.
不要讓任何髒東西跑進你的樂器,如果需要的話每週都清一次樂器,號嘴則是每天都要清;讓樂器和號嘴裡面不會有任何異物

To have good all around range you have to have good pedal tones. This is due to more and better vibrations producing more harmonics and a richer sound.
如果想把所有音域都吹的很好,那你就得有很好的pedal tones。這是因為吹pedal tone會產生更多更好的震動,所以聲音會更和諧、更豐滿

Slur pedal tone from octave, finger according to chart below:
C - open, B - open, Bb - 2, A - 2, Ab - 1, G - 12, F# - 23, F - 13, Eb – 123
從高八度的音滑到pedal tone,更低的Pedal tone指法如下:C全放,B全放,Bb - 2, A - 2, Ab - 1, G - 12, F# - 23, F - 13, Eb – 123

Play pedal tones on both Bb and C horns (harder on Bb)
在Bb調樂器和C調樂器上都要練pedal tones(Bb比較難)

Slur and tongue down from normal notes an octave to pedal, so you have an in tune note to relate it to.
用滑音或點音的方式從高八度的音往下吹到pedal tone以找到正確的音準

Don't overblow, just blow to get the best sound.
不要吹過頭,只用可以製造出最棒聲音的方法吹就好了

Do Carnival of Venice starting on pedal C
在Pedal C上練威尼斯狂歡節

I would rather jump right in and make mistakes than be timid.
我寧願準時的進來但吹錯音,也不要怯場不敢吹

Essence of Bud's lessons is that he builds ego, attitude, and musicianship. He lets the technical things work themselves out.
跟Bud上課的核心是他會建立你的自信、態度以及音樂家的風範,技巧的東西他則讓其自行運作

Have the attitude of "I can play anything". This is necessary for great trumpet playing.
要有”我什麼都能演奏”的態度,這是將小號吹得很棒的必要條件

Always, after hearing someone play something, say "I can do it better, or if not better, different."
聽到一個人吹奏之後,始終要保持如下的態度,跟自己說:”我可以做的更好,如果不能,至少要有不一樣的表現”

Whenever you have difficulty technically, think of the passage more musically, that's what is wrong.
當你碰到某個技術上的難題時,把樂句想的更具音樂性一點,這才是問題的所在

The reason Herseth is better than you are, is not that he tries harder, but he thinks musically. It is amazing what the chops can do when you get the head out of the way!
Herseth比你們吹的都好的原因不是因為他比較努力,而是他用比較音樂的方式思考,你的腦袋想什麼,你的嘴就能做出什麼!

Don't over-warmup for a performance; always go in a little under warmed up. Just warmup as low and high as the piece will go, that's all, then quit.
演出前不要做太多熱嘴,熱一下子就好,只要吹到曲子需要用的最高音和最低音就夠了

On any orchestral excerpt, study the scores and listen to recordings. Remember that Bud really believes in listening as a teaching guide to good playing. Never play any isolated notes in orchestra. Always be aware of the color that you add and know your role. Know what is important. Remember that there are different interpretations ( that is important). Don't just go by one recording.
吹任何的樂團片段,都要仔細的研讀樂譜並聽曲子的錄音。Bud相信要達到好的演奏,指導原則就是聆聽。在樂團裡面不要把音吹得像離群索居一樣不相干,永遠要注意音樂的色彩,你才能知道你要加入扮演的是什麼角色,知道什麼是真正重要的。也要記得曲子有許多不同的詮釋(這很重要),不要只被一個錄音版本制約

Always be heard - no matter the dynamics.
永遠要讓人聽到,不要管音量

When studying the score, know how it is to sound, and don't change unless the conductor forces you to. Don't wait to be told, if he isn't taking your tempo, change it.
讀譜的時候,要知道譜上的東西聽起來該是什麼樣子,之後除非指揮要求你改,不然不要換吹法。有時不要等到人家說你才做,如果指揮沒有採取你的速度,那你就做改變

For your own personal satisfaction, DO THE BEST JOB THAT CAN BE DONE!
選擇能力範圍內的事情,把它作到最好來讓自己滿意

IT IS NOT A MATTER OF BEING BETTER THAN ANYONE ELSE, HOW CAN YOU LOVE TRYING TO BE BETTER THAN ANYONE ELSE. PLAY FOR YOUR OWN SATISFACTION, AND FOR OTHERS ENJOYMENT.
有沒有比別人強不是重點,一個人怎麼能以勝過他人為樂。應該為了你自己的滿足感以及他人的愉悅而演奏

IF I COULDN'T PLAY THIS THING AS WELL AS IT COULD BE PLAYED, I WOULDN'T PLAY IT!!!!
如果我沒辦法把這個東西吹得跟它原本就應該表現出來的程度一樣好,那我就不會吹它了!!

Don't think of auditioning for a job, or against someone, just offer what music you have to offer. If they like it, fine. If not, that's fine too, go somewhere else. Just make music and enjoy yourself. If you do get excited, apply it to the music and not to the situation. Your goal should be to play as well as Bud, not to have a particular job!!!
不要認為你面試是為了工作,或是對著某人吹,你應該是要表現出該表現的音樂。如果考官喜歡,那就沒問題;如果不喜歡,那也沒關係,再去考別的團就好了。只要注意作音樂和享受自我,如果你覺得興奮,把這個情緒帶到音樂裡去,而不要把情緒表現在你的外在狀態上。你的練習目標應該是要吹得跟Bud一樣好,不是為了考取特定工作而練

Be anxious to play, not afraid to play.
要像等不及要吹樂器一樣,不要害怕吹奏

Say "tu" with the tongue for fast and nice sounding tonguing. This keeps it out of the way, or it will hinder the sound. It also keeps multiple tonguing faster and more even. Do lip trills daily for strong and more dependable high range.
點舌時用tu來讓點舌音色更好、更快,這樣會讓聲音傳出去,否則聲音就是悶住的了。雙三吐時同樣也是這種感覺,甚至要作更誇張。每天都練lip trills,這樣高音會更穩固

You never really know how much Doc and Bud hurt when they are playing, just play beautifully and forget how it feels.
你永遠不會知道Doc和Bud吹樂器的時候的不舒服,因為他們只注意是否吹得漂亮,而忘了自身的感覺

Don't only try for musicality and precision in performance, try all the time as in performance. REMEMBER - NEVER PRACTICE, ALWAYS PERFORM.
不要只有演出的時候才試著吹得有音樂性、吹得精準,每次練習都要像表演一樣;記得:沒有練習,只有演出

LIVE!!!!! Play and show you are alive, and have something to say to the audience.
生命!要在吹奏中展現你的生命力,並且在吹奏中要傳達給聽眾些東西

The horn is just a megaphone of yourself, show them how you feel!
樂器只是你的擴音器,把你的感覺傳達給他們

Don't overblow. Take it easy. You will play better if you don't actually blow so hard, and concentrate on the actual volume of air for a BIG SOUND.
不要吹過頭,放輕鬆。只要你不要吹得很艱辛的感覺,你就會吹的更好,並且把注意力放在吹大聲時確實的氣量

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发表于 2013-12-12 00:10:23 | 显示全部楼层
谢谢楼主分享这样的好文章
发表于 2013-12-12 17:58:59 | 显示全部楼层
谢谢楼主!!
发表于 2013-12-12 22:41:34 | 显示全部楼层
多谢楼主奉献,收益匪浅。
发表于 2013-12-15 10:09:55 | 显示全部楼层
lip trills 应该是唇震吧  谢谢楼主  真的是受益匪浅
发表于 2013-12-20 17:52:52 | 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 2013-12-20 22:55:50 | 显示全部楼层
受益匪浅 谢谢楼主!!!
发表于 2013-12-31 18:20:35 | 显示全部楼层
pedal tones应该是过渡音,就是除了全音和半音之外的所有震动频率
 楼主| 发表于 2014-1-7 15:26:26 | 显示全部楼层
原帖由 dokshitser 于 2013-12-31 18:20 发表
pedal tones应该是过渡音,就是除了全音和半音之外的所有震动频率

可能他指的是低八度F 或以下的音。
即用相同指法吹低八度F E Eb D,还有最难的低八度C
即STEMP的练习
发表于 2014-1-9 21:54:30 | 显示全部楼层
原帖由 ~abc~ 于 2014-1-7 15:26 发表

可能他指的是低八度F 或以下的音。
即用相同指法吹低八度F E Eb D,还有最难的低八度C
即STEMP的练习

我刚才又看了一遍,结合下面一条,我觉得你说的这个应该是对的,这两条讲的应该是倍低音区的练习,我之前以为是用临近的指法吹同一个音的练习,没看仔细
发表于 2014-1-28 21:17:35 | 显示全部楼层
感谢楼主!!!!!!!!!!!!!!
发表于 2014-9-24 13:59:20 | 显示全部楼层
受益匪浅 谢谢楼主!!!
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