召集英语较好，有心学习[欧美的小号论坛]的朋友

syxiehui

大家好，最近我学习了美国的小号论坛，[U][B]全是英文，尽是俚语和俗语[/B][/U]，
本想向大师请教，发了帖无人理睬，很是悲哀。
    三个臭皮匠，赛过诸葛亮。
    咱们论坛里有没有英语比较好，也有心学习欧美的小号论坛的朋友？
    如有的话，请跟帖，具体事宜容后再议。

管乐之风

我不是吹小号的,但是如果你有什么不明白,我可以试着翻译,我在英国留学

玉宝

好啊！有好东西，尽管发上来。也可提供国外的小号论坛网站。

able_chen

好啊，这个创意不错啊。支持支持～～！！
急切期待各位高手的回复和帮助！

syxiehui

管乐之风，您好！
    非常感谢您的回帖。
    首先我想向您请教一下，Breathing GYM这片DVD教学光盘，您和您的同学
对它的使用和评价。
    able_chen 您好！
    非常感谢您的回帖。
    您能向我介绍一下您学习中使用过的或正在使用的欧美光盘教学资料吗？
（已翻译过来国内公开发行的暂时不讨论）
    玉宝，您好！
    非常感谢您的回帖。
    您的英文怎么样啊？我先发一小段，您译一下，我们再联络好吗？

A question about teaching.

  Ok so I have been pondering this for a while. In another thread on
another forum, sorry guys I can't find it again, there was a discussion
about sound and Mr. Raymond made an interesting point. I'm going to
summarize what I got out of it. Basically he said that trying to tell
a beginer what a good or bad sound is can be somewhat silly and detremental
to thier growth becuase they will not have developed the muscular cordination
to play with my, as thier teacher, good sound. So my question is,
when you guys model, since we are letting the sound guide our development,
do you use your best sound, or do you use the best sound that is closest
to where a student's sound is when you begin to work with them,
and then gradually move towards your best sound.

Thank you all for your time. I hope this all makes some sense.

Peace,

管乐之风

你那段可以翻译为：

“一个关于教学的问题

我考虑这个有一段时间了。我从另外一个论坛上了解到一种思路（但我找不到那个论坛了）。他们有一次关于发声的讨论，Mr. Raymond提到了这样一个问题，我现在总结一下：他说，如果简单地告诉一个初学者什么声音是好和不好是无用甚至有害的，因为他们的嘴部肌肉还没有达到可以学习他们老师所发声音的程度。所以Mr. Raymond 的问题是，因为教学目的是让学生学习老师的声音，那么当老师给新生示范的时候，是应该用老师自己可以达到的最好发声，还是先用最接近学生可能达到的最好发声演示，然后再逐渐引导学生向老师自己可以达到的最好发声靠拢。

谢谢你的关注，我希望您可以理解我的意思。”

大概就是这个意思吧，如果翻译得准不准请多多包涵。另外，Breathing GYM这东西我没看过，因为我不是吹小号的，我只是在学单簧管。

syxiehui

管乐之风，您好！
    非常感动您的勤奋，热情！您从英国回来度假，我在深圳请您吃饭。
    我儿子今年13岁了，最近刚刚拿下“音乐会练习曲“，他的文化课成绩也很好，
我要让他向您学习。他刚转学去深圳华侨城中学上初一，我还在沈阳工作。
    http://www.windsongpress.com/breathing gym/breathing gym.htm里有
Breathing GYM的详细介绍，学习管乐的都用得上。

管乐之风

呵呵，谢谢，以后多交流吧，我的QQ是412155391，加我吧，请注明来自管乐网

syxiehui

able_chen , 玉宝，你们好！
    为何不回帖拉？管乐之风确实是名家，我不好意识总是用小号的事麻烦人家，但以后有真正难以理解的文章，就可以请名家出手。
    我再贴一小段，
Some guiding principles behind the Adam routine:

1. The imagination is the driving force behind music making. Hearing the desired result vividly in your imagination will activate whatever physical activity it takes to make that sound.

2. Every day and every repetition causes a more dependable result. Inconsistency eventually vanishes as the body makes a habit out of the most efficient way if finds to get the imagined result.

3. Most physical problems are air problems. When the air and the imagination are working, the embouchure, tongue, etc. can settle into balance. If the air never flows steadily the rest of your system will also be in a constant state of adjustment and compensation.

4. Physical and psychological tension are the trumpeter's greatest foes.

5. A trumpet player needs to be involved with every note they play in an energetic way-both physically and mentally. It takes a lot of energy to play well. It shouldn't take a lot of force. If it does you are fighting against yourself and/or the instrument.

6. We don't want our body to fight the physics and acoustics of the trumpet. Those natural laws don't change. Therefore, we have to change our approach.

7. Unnecessary tension comes when the body is working against itself. Isometric tension is created by opposing muscle groups which are at war.

8. Start the day by playing on the leadpipe/mouthpiece combination. Use plenty of air and try to get the most steady and resonant sound you can. On most Bb trumpets the concert Eb is the natural resonant pitch of the leadpipe.

9. After you have set up the air flow and warmed up the embouchure (without creating undue embouchure tension), transfer that approach to the trumpet.

10. Start with long tones or slowly moving flow studies with smaller intervals. Every single thing you play all day is a tone study!

11. Establish a relaxed but energized airflow and a rich, resonant tone on every note from the very first note.

12. Start in the middle register and gradually expand up and down alternating higher/lower/higher/lower, etc.

13. Carry the beauty of sound and the free flow of energized breath into all the other contexts: expand register, expand dynamics, go through all the various articulations, lyrical playing, etc.

14. At all times remember to imagine a beautiful sound. Keep your attention on that sound. Keep your energy up but never tense. Move that energized air through your sound. Stay calm and mentally focused...never anxious.

15. Never get angry with yourself and never try to go so fast that anxiety is created. If you do those things you are actually practicing being anxious and upset when playing. Of course that is how you will feel emotionally when you play if that is how you have practiced. Relax. It is supposed to be fun. We don't work music. We play music.

Figaro

啥意思？你把网址贴出来嘛，英文难不难我们上去看看就知道了。

xiaohaoman

h好啊!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

HITrubo

这是好事啊！说说具体的做法吧！

中国章鱼

那位老师有这个光碟？想学习。谢谢。