Philosophy of Teaching and Playing by James Olin

choisy

Philosophy of Teaching and Playing by James Olin
Philosophy of Teaching and Playing

Introduction

In order to know how to teach, we must know who is being taught so that we can decide what to teach. Before dismissing this notion as obvious, consider the importance of knowing the student’s age, present playing level, and, most importantly, the objectives and goals of the student.

If you as the teacher do not know the specific goals of your student, or you do not know why he or she is studying with you, then ask! A typical first lesson might include playing a simple duet, and then asking the student what it is he or she hopes to gain from the lesson with you. By then you will have an idea of the playing level of the student, and the diversion of sight reading a duet will put him or her at ease (especially if you are not warmed up!)
In the teaching of applied trombone, whether at an advanced or primary level, we also should ask the question, “Why do we play the trombone?” We should point out that playing the trombone is fun!; otherwise why would we be studying and practicing? My philosophy of teaching is essentially derived from this “given” - that there exists in us a love for playing the trombone.
Making playing fun depends on:
a) choosing practice material that is challenging but not too difficult,
b) providing different types of music- not only daily drills and etudes, but also solos and orchestral excerpts,
c) allowing the student to progress at his or her own rate.
Allow the student to excel at a rate that matches the student’s ambitions at the moment. I have found that pushing (or pulling back too much) a student’s own rate of progress can be counter productive, especially if you exhibit frustration that the student’s expectations do not match your own. It is difficult for me to discourage a player as long as I know that the student is enjoying playing. Trombone playing can be thought of as therapy!
I am not implying that our work is so blissful that all of my students think that they will get a job playing in a major orchestra. I try to make clear that a person’s goals should be realistic, and that they should include alternative plans, in case the long term goals are not met within a reasonable period of time.

The following outline describes specific ideas and techniques which I use in my teaching. The underlying theme of my teaching is to teach yourself how to play. If a student constantly tries to teach himself techniques for self-improvement and learns to be independent from his or her major teacher, then the improvement of the student can progress at the most satisfactory rate.
An Outline of Basic Concepts:
Breathing
a) Breathing is natural.b) Breathing should be relaxed, with your body limp.c) A breathing tube helps to simulate saying the syllable “HO.”d) Take in ample air (more than you think you will need).e) The respiratory system is like a bellows- it rises and falls very easily and naturally.f) Expel air without locked muscles. Do not work against yourself. g) Do not push or hold your stomach out.h) Fill up as if you are yawning. Allow your entire torso to move up and out.i) Put your hand on all areas of the chest in order to feel the even and natural expansion and collapse. j) The sound of inhalation should be dark and quick and open.k) Suck the air from your mouth.l) Practice starting notes without tonguing. Do not articulate with the throat as you might do when whistling.m) ) Do not tense the large muscles of your body as if doing isometrics.l) Practice blowing air out with little or no effort (collapsing). The add light articulation.m) Try incorrectly blowing air out by using large muscles (forcing); then collapse and feel the difference. Forcing and collapsing are opposites. It is impossible to collapse and force at the same time.n) When blowing, think of the air stream as thick and slow. Think of an open aperture.
Sound (tone)
a) Concept
1) Think of the greatest, smoothest, most exact, beautiful sound that could ever be, and imitate it.2) Always pretend you

wizardguy

大概翻译了一下，应该有很多不准确的地方，请大家指正：

教学和演奏的哲学——James Olin

介绍
为了知道如何教学，你必须首先知道你在教谁，这样你才能决定教什么。不要认为这一点太显而易见而忽略它，要知道，了解学生的年龄，他的演奏水平是很重要的，更为重要的是，要了解他的演奏动机和目的。

如果你作为一个老师却不知道你的学生的特定动机，也就是说你不知道你的学生为什么要向你学习，那么就向他问清楚！典型的第一堂课应该包括演奏一个简单的重奏，然后问你的学生，他或她到底想从你这里学到什么。到那时候你就会对这个学生的演奏水平有个初步的想法，并且你一看谱就能奏出二重奏的本领会让他（她）感到很开心（特别是当你根本还没有热身！）。

在长号的实用教学中，不管是高级教学还是初级教学，我们都需要问一个问题：“为什么我们要吹长号？”我们应该给学生们指出：“吹长号很有趣！”，否则我们干嘛要这么辛苦地学习和练习？我的教学哲学根本上说就是“给予”——一份存在于我们心中的对演奏长号的热爱。

让演奏变得有趣依赖于以下几点：
1）选择有挑战性但是不过于难的练习教程；
2）提供一些不同种类的曲子——不光有每日练习，还有独奏和管弦乐队谱子的摘录；
3）让学生按照自己的速度进步。
要在任何时候都让学生按照符合自己愿望的速度前进。我已经发现，揠苗助长（或是极力遏制）对教学效果是有反作用的，尤其是当你已经表露出学生没有达到你的期望而失望的时候。对我来说，我不会去阻碍一个学生只要我觉得他在享受吹奏的乐趣。演奏长号就像是一种治疗方法！

我并不想说我们的工作太幸福以至于我的学生都认为能在一个大乐团里找到工作。我只是尝试着让他们知道一个个人目标应该是现实的，并且应该包括一些可变计划，以防其长远目标在一个相当长的时间里可能无法实现的情况出现。

下面的大纲描述了我在教学中使用的具体想法和技巧。我的教学的潜在主题就是“教会你自己如何演奏”。如果一个学生能够经常的自学一些技巧以自我提高并学着独立于他的老师，那么这个学生就能以一个相当让人满意的速度不断进步。

基本概念：
呼吸（Breathing）：
1）呼吸要自然；
2）呼吸必须要放松，让你的身体柔软放松；
3）呼吸时管腔就像是在发音“HO”；
4）吸入充足的空气（要比你想象的需要的要多）；
5）整个呼吸系统就像一个风箱——呼和吸都非常简单自然。
6）呼气时不要呼到憋气的程度，别和自己过不去；
7）别把自己的胃都吐出来了（:-D）；
8）吸气时就像是在打哈欠。让你整个体腔跟着运动；
9）把手放在胸腔的所有地方去感觉自然平均的扩张和收缩；
10）吸气的声音必须暗地的，快速的并且开放的；
11）用嘴吸气；
12）练习不用音头去吹奏音符；
13）不要像你吹口哨时那样用喉咙进行音节的连接；
14）不要让你身体的大块肌肉像做肌肉锻炼一样紧张；
15）练习不需要太多或跟本不需要费力地呼气（塌陷式呼气法，collapsing）；
16）尝试使用用大块肌肉地（强迫式呼气法，forcing）不正确地呼气方法，然后与塌陷法进行比较不同点。塌陷式和强迫式是相反地，不可能同时强迫式和塌陷式呼吸。
17）当呼气时，想象一个又粗又慢地气流。想象一个开放地孔穴。

声音（音调）（Sound (tone)）：
a）概念
1）想象一个有史以来最伟大，最平滑，最准确，美丽的声音，然后模仿它；
2）总是想象你在为某个人演奏，即使你并没有；
3）不要吊儿郎当（故意造成奇怪的噪音）；
4）全神贯注于美丽的音调，并总是为其品质奋斗；
5）想象一个有效的，能引起共鸣的不费力气的声音；
6）吹奏一个自顶向下的美丽声音。从低音到高音练习。
7）你的理想的声音和放松的吸气应该是你在演奏之前唯一考虑的事情。
8）打开你的喉腔成为一个容纳位于中央的巨大的清晰的声音的洞穴。一个掩盖了的声音有时可能是可以的，但是必须要小心它并朝一个清晰的声音努力。
9）声音在任何大小的情况下都必须一致；
10）好的声音依赖于正确的音高，所以滑管必须根据需要有正确的长度。

b）号嘴（Embouchure）
1）世上并没有一个适合任何人的号嘴。对于号嘴必须要有足够的重视；
2）为自己找到一个合适的吹嘴位置。吹号嘴能够帮助找到最好的解决方案。尝试用左手演奏，如果你想改变一下老习惯；
3）一般建议：
-面颊部运动的噗噗吹法应当避免；
-在吹奏高音区时使用微笑法或将嘴唇水平方向扩展会限制持久力，并且会对声音的清晰度的改进不利。

C）舌头（Tonguing）
1）舌头在口中的位置就像你说“T”，对于一个开放的声音，音节“TOH”或“TAH”最合适；
2）在低音区，把舌头放在牙齿中间比较好。
3）那些帮助于舌头速度的练习对于运舌的持久力和清晰度也有好处。

d) 连音（Legato）
1）尽可能使用自然（唇）连音；
2）用滑连音控制气息（不要过分渲染），然后用轻软的“DAH”舌头滑过音节间隔；
3）总的来说，活得自然连音总比出现半音程要好，尽量在同一个泛音列演奏半音间隔。当然，应当尽可能的寻找能够产生最佳效果的技巧。
4）持滑管手臂一定要放松

农村长号

！！！！！！嗯-----------------------------------------------------基本上都看不懂，那位高手帮着翻译一下呀！！

zl_trombonist

讲得太棒了!谢谢顶楼和我楼上的兄弟!
这是我们学习的一个指南啊!

dlgy888

好的文章...........................谢谢

农村长号

真得很不错呀，水平很高呀！！

爱好

太好了.我已经把他打印出来作为学习资料.慢慢领会精神实质.谢谢

choisy

James Olin is Principal Trombone of Baltimore Symphony Orchestra and teaching in The Peabody Institute of the Johns Hopkins University. Also he is lower brass teacher of Asian Youth Orchestra from 1999 to now.

http://www.peabody.jhu.edu/jolin
https://jshare.johnshopkins.edu/jolinjr1/index.html

z18600

能不能告诉我们 The Peabody Institute of the Johns Hopkins University
这个翻译成中文是什么大学?哪国的啊?

dlgy888

咱们论坛高人多啊，楼主英语牛啊