大卫罗素的技巧

来自吉他大师的 165 条建议

安东尼奥·德·康特瑞拉斯
（Antonio de Contreras）

王建国 姚经天 译

“古典吉他资讯与赏析”微信公众号

目录
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前 言
第3页

第一部分：机械式技巧
       A. 总 论
第5页
       B. 左手
                纵 向 换 把
第6页
                收 缩 与 扩 展
第7页
                揉 弦
第7页
                衔 接 与 装 饰
第9页
                圆 滑 音
第9页
                横 按
第 10 页
       C. 右手
                琶 音 与 琶 音 和 弦
第 10 页
                手臂
                手 指 的 拨 弦
第 11 页
                大 拇 指
第 12 页
                音 量
第 13 页
                音 色
第 14 页
                颤 音
第 15 页
                震 音
第 15 页
       D. 左 右 手 协 调
第 16 页

第 二 部 分 ： 音 乐 技 巧
第 17 页
       和 声
第 19 页
       节 奏
第 19 页
       风 格 和 曲 式
第 19 页
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第 三 部 分 ： 练 琴 技 巧
第 21 页

第 四 部 分 ： 表 演 技 巧
第 23 页
前言
Introduction

安东尼奥·康特瑞拉斯（Antonio De Contreras）
over the notes we have been accumulating since
1992 年开始，大卫罗素每年都要在塞维利 his first visit and the idea emerged of presenting a
亚举办吉他课程。他最近来访的这一学年之 summary of the most outstanding ideas. Our aim is
初，我们备受鼓舞。回顾他第一次开课后所 to use them as a basis for reflection and as the
积累的听课笔记，一个主意涌入脑海，我们 beginning of a deeper analysis of the technique of
想将这些最有价值的观点，摘要呈现出来。 this famous concert performer. The results of an
我们的目标是，将其作为思考基础，对这位 extensive analysis of his concert style and teaching
method would surely exceed the limits of a small
著名音乐会演奏家的技巧展开更深入分析。
book like this, although a complete work would
要对他的音乐会风格和教学方法进行全面深 undoubtedly fill an important gap in the
入分析的话，显然不是这么一本小册子所能 bibliography of the contemporary guitar.
承载的；毫无疑问，完整的工作成果将为当
代吉他文献填补一个重要的空白。 We are not proposing to establish once and for all
the basis that supports the technical, stylistic and
我们并不想彻底地完成对这位演奏家的技巧 teaching work of this performer, but in a much
风格和教学的研究，而是以更适度的方式， more modest way to provide the reader with class
为读者提供我们在过去五年的吉他大师课程 notes of the ideas that we have picked up from this
中，记录下来的各个要点“课堂笔记”。鉴 master guitarist over five years of courses. For this
此，在组织材料时，我们选择了各种警句式 reason, when it came to organising the material,
语言，这些语言是在大量短句子建议的基础 instead of preparing a discursive text that would
上形成的，将其组织为各种主题，并以更多 give the sensation of something more definite and
的语句描述呈现出来；而不是试图准备有更 conclusive, we opted for an epigram formula based
明确结论的、东拼西凑的文本。同时，在决 on short pieces of advice organised into themes
定各个“技巧建议”条目的展示风格时，我 and presented as numbered sentences. As well,
们尽力保持原貌，传递开放、弹性的氛围， when deciding on the style of presentation of these
以便与大卫罗素吉他课堂上的新鲜感和简明 "pieces of advice" we have tried to maintain and
transmit the open and flexible atmosphere which is
易懂的特点相一致。
in line with the freshness and easy-going nature of
David Russell's classes.
然而，我们感到有责任事先为书中可能出现
的错误与不准确表述致歉。我们相信，读者 We feel obliged however to apologise in advance f
会理解：由于显而易见的因素，这些笔记是 or any errors or inaccuracies that might appear in
在某种程度上被如实记录下来，而不是其他 what follows.We trust that the reader will
情况。在一些案例中，逐字逐句地复述大卫 understand the causes: for obvious reasons these
罗素的原话是有可能的，这样会对其观点给 notes have been taken down more faithfully on
出自然而灵活的表达。然而在其他情形下， some occasions than on others. In some cases it
仅有可能获取的是一些大致的观点，然后不 has been possible to repeat David Russell's words
得不重新组织语言，并借助课后的一些记忆 literally, thus giving the ideas a naturalness and
来填补内容。 vitality which reflects the atmosphere of the
courses. On other occasions however, it has only
been possible to get an outline of the idea which
Since 1992 David Russell has given an annual has had to be reconstructed and filled in from
course in Seville. His last visit at the beginning of memory sometime after the class.
this academic year encouraged us to look back

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在为文中的各种观点进行分类的时候，我们 types of technique, as outlined in the following
脑海中会记住吉拉迪诺（Angelo Gilardito） fragment:
在其《古典吉他技巧新约》一书中所呈现的
术语特点。吉拉迪诺在书中将技巧分为两种 The guitarist, just like any other instrumentalist,
must develop two kinds of technique: one musical
类型，如下片段所述：
and the other mechanical.
“正如其他任何器乐演奏家一样，吉他家们 The first will put him in a position to unravel
必须训练两种技巧：一种是音乐性的，另一 written music, measure its rhythm, sing its melodic
种是机械式的。 lines, analyse its form and structure so as to give it
life as an internal perception, modeling its
第一种技巧将要求演奏家学会阐释纸面记录 phrasing before reproducing it materially.
的音乐、把握音乐的节奏、唱出音乐的旋律
线、分析曲式和结构等，以便在如实重现音 The second, which is subordinate to the first,
乐之前，对作品的内在知觉、分句模式等赋 permits him to transform into reality on his
予生命。 instrument all that he has perceived and imagined
during the reading and analysis of the musical text.
第二种技巧从属于第一种技巧，它将使演奏 This is what we call 'mechanical technique.
家能够通过乐器，将阅读和分析乐谱中所理
解和想象的音乐转化为现实的音乐。这就是 Thus, we began from the standpoint of two
我们所称的“机械式技巧。” man groups of ideas which correspond to the
two senses of the word “technique” that have
因此，我们从集合两种主要观点开始，反映 just been described. But these are not the only
上面所描述的两种技巧。但是，这些并非大 areas that have been touched on by David Russell
卫罗素的吉他课程所触及的唯一方面，于是 in his courses and so we have added two more
sections: Study Techniques which brings
我们添加了两个部分：“练琴技巧”和“表
together the two previously mentioned and
现技巧”。“练琴技巧”部分将前述的两个
finally Performance Technique which deals with
部分融合在一起，“表现技巧”部分处理器 the final moment in the process when the performer
乐演奏的最后一刻，即当演奏家置身于观众 finds himself in front of the audience and
面前、表现音乐作品，呈现其最终研习结果 demonstrates the final product of his study of the
上述四个部分将涵盖演奏家学习和表演给定 works he is presenting. With these four sections
音乐作品的完整流程。 the complete working procedure of the performer
on a given musical piece will be covered.
作者将这些文字的原稿交给了大卫罗素，大
卫罗素很亲切地答应会帮助修订。遗憾的是 The author has shown the original material for
由于他的日程安排比较紧张，我们一直未收 these articles to Russell who has kindly agreed to
到他的反馈，但是我们希望未来能够实现。 revise it.Unfortunately, for reasons which arise
至此，我们要利用这个机会感谢大卫罗素的 from his tight schedule we still do not have his
慷慨相助。无论如何，我们禁不住要将这本 comments available but we hope to be able to
小册子公开发布，将对大卫罗素授课和技巧 count on them in the future. At this point we would
研究的结果，呈现给国际吉他界，希望所有 like to take this opportunity to thank Russell for
读者都能够从中受益。 his generosity. In any case, given the
international guitar community's interest in his
1998 年 4 月·塞维利亚 work and the virtual inexistence of studies of his
At the moment of classifying the ideas in the text technique, we can no longer resist the temptation
we have kept in mind the terminological to divulge this material in the hope that it will be
distinction that was presented by Angelo both beneficial and of interest to all readers.
Gilardino in his Nuovo Trattato di Technica
Chitarristica where he distinguished between two Seville April 1998

第一部分： 机械式技巧
Part One: Mechanical Techniques
1）我们学习克服特定练习中的特定困难，
A. 总则 后来在其他背景下却无法认识到相同的情形
因此，我们必须学会将困难分解为各个技术

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要素，理解这些要素，并应用所学到的特定 4) Bad study can be compared with trying to pick
知识。 up an object from the ground while riding a
bicycle. Even though we pass the same place a
2）每天应当花一部分时间用于技巧练习。 hundred times we will never be able to pick it
如果只在学习一部作品时才去练习技巧，那 up . We have to stop, get off the bike, pick up the
么学习就成了一场障碍赛跑。 object and then continue.

5) Unless we avoid it, muscle tension accumulates

3）在技巧练习中， 决不允许出现 “不良
from one difficulty to another. To avoid it practise
的”的手部动作。在公开场合演绎时，我们 the first difficulty, stop, relax and later practise the
可以允许偶尔出错；但在练习技巧时，决不 second.
允许！要养成良好的习惯。

4）糟糕的练习就像在骑自行车时从地上捡 6) If you can do it well once then you can do it well

东西：即使一百次经过同一个地方，我们也 every time.
永远无法把它捡起来。我们不得不停住，下
车，捡起物品，然后才能继续往前。
7) To establish the most adequate fingering,
5）如果我们不能消除肌肉紧张，它就会从 search for patterns which always give the most
一个难点累积到另一个难点。要避免肌肉紧 fluent phrasing. Play the phrase in question in
张，可以练习第一个难点后，停下来，放松 sections and see where to interrupt the sound and
然后再练习第二个难点。 where not to.

6）如果你能做好一次，那么你就能每次都
8) A good trick to work out easier fingering is to
做好。
read the piece backwards. That is, begin in the
difficult position which is always reached with
7）为了建立最适当的指法，要去寻找合适 difficulty and continue reconstructing the phrase in
的指法模式，使其总能演奏出最流畅的乐句 reverse.
分节练习存在问题的乐句，去找到哪里需要 9）在一个涉及指法跳跃的乐句中，尽量避
断开声音，哪里不需要。 免与乐句中的一个重要节点重合，这样发声
时的间隙就不那么明显了。
8）找到更容易指法的方式是，从后往前读
谱。也就是说，从总是出现困难的地方开始 10）如果遇到一个非常困难的部分，尽力保
反过来往前重构乐句。 持统一的信号。把所有的音符演奏出来并不
那么重要，重要的是通过“正确的位置”
A. GENERAL CONSIDERATIONS. （节奏精确）和一个清晰的“方向感”，使
音符达到可辨认的状态。
1). We learn to overcome specific difficulties in
specific studies and later we are not capable of
recognising the same situations in other contexts. 11）在双手之间分配难点。有时如要减小一
We have to learn to break down difficulties into 只手的难度，只需增加另一只手的难度即可
their technical elements, understand them and 反之亦然。
apply the specific knowledge we have learned.

2) Part of the day should be dedicated to

technique. If technique is only practised when a B. 左手
piece is being learnt then learning becomes
something like an obstacle race. 纵向快速移动

12）不要强调纵向快速移动后的第一个音符
3) During technical study no 'bad hand movements
除非是音乐的要求。由于手的机械动作，这
should be permitted. While interpreting a piece in
个音符常常是在无意之中去强调的。
public we can permit the occasional mistake but
when practising technique, no.Here we are creating
good habits. 13）在困难的移位之后，最好是接受音符的
延迟；而不是试图去争取一些时间改变手指
的位置，去缩短先前的音符。如果我们这么
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做的话，只会将观众的注意力吸引到演奏难 14) If you have to cut a note short, it is better to
点上。 play it a littles ofter with vibrato and then play
the next note, which continues the phrase, a little
14）如果你不得不将一个音符时值减短，那 stronger (without accent, unless required by the
么最好是使用揉弦将它弹得柔和一点，然后 music).
再将下一个音符弹得强一点（但不要给重音
除非音乐需要），这样可以更好地将乐句进
行下去。
15) If interrupting the phrase is unavoidable, try to
find a way to justify it musically, extend the
15）如果打断某乐句是无法避免的，那么就 previous note (with vibrato) or better, prepare the
应该尝试用音乐的方式去缓和，延长前一个 interruption by slowing down the music.This leaves
音符（使用揉弦），或者用另外一种更好的 more time between the notes as an indication that
方式，即通过放慢音乐来准备这个停顿。这 the note to be shortened will take time in arriving.
样可以在音符之间留出更多的时间，让手指
就位，去演奏被缩短的音符。

16）为了掩盖纵向快速移动的难度，请减小
9) In a phrase that involves a jump, try to avoid 的音量，并“保持音符时值”，以避免加速
having it coincide with an important point in the
通过困难部分时手指的自然条件反射（因为
phrase, so that the gap in sound production is not
这会将观众的注意力吸引到演奏难点上）。
so noticeable.

10) If there is an extremely difficult part, try to 17）高音弦上的连续三度音程：避免连续的

maintain a unified message. It is not so important 换位（拇指尽可能不动，如可能找到并记下
to play all the notes but it is important to give the 感受压力的点，每一个压力点对应一对三度
notes a recognisable form by playing 'in the right 音程），并寻找最合适的位置来中断声音。
places' (rhythmic precision) and with a sense of 18）如果在快速移动之前有重复的音符，不
‘direction'. 要用同一个手指重复它，而是用另一个手指
代替，这将有利于位移。

11) Distribute the difficulty between both hands.

Sometimes it is necessary to reduce the difficulty 收缩与扩张
for one hand only to increase that for the other and
vice versa. 19）左手的肌肉会让手倾向于内握，因此当
左手打开时，手掌就会处于被强迫的状态。
大脑不得不向手指发送一个放松的指令，用
来抵消这种自然收缩的倾向。
B. THELEFT HAND.
20）使用手指 1-2（即食指和中指）进行的
LONGITUDINAL JUMPS 扩张动作总是优于手指 3-4（即无名指和小
指）的扩张动作。

21）如果我们不得不做一个过于长距离的左
12) Don’t accentuate the first note which follows 手扩张动作，那就要把观众的注意力转移到
a longitudinal jump unless the music calls for it. 要突出的高音或低音的音色（音质）上，这
Often this note is unintentionally accented 样另一个音的质量消减就不那么明显了。
because of the mechanical action of the hand.
22）手指扩张拉伸之后，你首先要做的是放
13) It is better to accept arriving late after a 松，然后再做位移，不要让手处在扩张的状
difficult displacement rather than shortening the 态中（会用力和紧张）进行位移。这样，在
previous note in an attempt to gain some time for 运动过程中，手臂在帮助手掌进行放松。
the change of position. If we do this, we draw the
publics attention to the difficulty.
揉弦

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23）揉弦是吉他演奏的重要表现形式之一， my case, I have spent a lot of time studying it,
但大多数吉他都是凭直觉去运用，很少有人 perhaps because of my initial formation as a
找到系统的方法去练习。以我为例，我曾花 violinist.
了很多时间研究揉弦，也许是因为我最初习 24）避免失控的、紧张的揉弦：用节拍器练
惯的形成把自己当做小提琴手。 习。可以先把节拍器设为 60，弹一个长音，
16) To cover up longitudinal jumps lessen 并且使用一对二练习（每拍摇摆两次）。
the volume but KEEP IN TIME to avoid the natural 25）在如上一条描述的方法开始练习揉弦之
reflex of accelerating to pass over the difficult part 后，可以在不太改变手指位置的情况下逐渐
more quickly which in the end, only serves to draw 提高速度，使其在轻松揉弦时达到 120 拍，
the public's attention to the problem. 或者强烈揉弦时达到 160 拍。
17) Successive thirds on high strings: avoid 26）为达到更大的能量和更强的控制，可以
continuous displacements (move the thumb as l 使用两个手指进行揉弦。
ittle as possible, finding and fixing in your
memory the pressure points if possible, each one 27）如果音乐处理需要揉弦，而我们正使用
serving for a pair of thirds) and look for the most 横按，这时需要释放横按（如果可能的话）
suitable places to interrupt the sound.
但不要立即揉弦。要减缓揉弦并更慢速地揉
弦。
18) If there is a repeated note before a jump, don’t
repeat it with the same finger but substitute it for
another which will favour the displacement. 28）对要使用揉弦的作品做一个不同速度下
的揉弦练习计划，也就是说，制定“揉弦计
划”但是不要过度运用。
CONTRACTION EXTENSION
29）如果你想让一个音符更响亮一些（尤其
19) The muscles of the left hand serve to close the 是高音），揉弦的频率要更快一些。
hand so that when the hand is open they are in a
forced position. A supplementary message to relax 30）时值短的音符，用慢速揉弦是不可能的
has to be sent to counteract this natural tendency to 因为没有足够的时间，否则听起来就像弦已
contract. 经走调了一样。

31）在旋律中保持高音是不可能的,我们可
20) An extension using fingers 1-2 is always 以用一个非常饱满的音符轻柔地揉弦，然后
preferable to one with fingers 3-4.
立即将听众注意力转移到低音线或另一个声
音上。这样，高音将继续在听众的惯性记忆
中“发声”。
21) If we have to make an extension that is too
long: divert the public's attention towards one of 32）在乐句中最重要的音符上稍做停顿是可
the textural extremes, that is, the first voice or 能的，可以通过对这个音符揉弦并且在那一
bass, so that the other takes second place and the 瞬间延缓原速，这样做可以强调音乐的表达。
loss of sound quality is not sO noticeable.
33）在旋律中揉弦是一种“音乐武器”，我
22) After an extension, the first thing you have to 们可以用它来吸引听众的注意力；但是如果
do is to relax and then make the displacement, 我们不断地揉弦，则将达不到任何效果。
not to make the displacement with the hand in an
extended position (forced or tense) so that during
the movement, the hand relaxes and it is the arm 24) Avoid uncontrolled nervous vibrato: practice it
that does the work. with a metronome. You can begin by placing the
metronome at 60and playing long notes with 2
oscillations per beat.
VIBRATO
25) After practising vibrato as described in the
23) Vibrato is one of the main forms of expression previous point, you can progressively increase
on the guitar but most guitarists use it intuitively velocity without altering the position of the hand
and it is not frequent to find any systematic too much up to 120 beats for a relaxed vibrato or
method of how to practice it in guitar methods. In 160 for an intense vibrato.
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 35）浪漫主题的音乐（装饰音群）更为感性
（较慢，几乎不演奏第一个音符）。巴洛克
26) For more power and control, two fingers can be 音乐更为抽象（更快，更强调第一个音符）。
used for the vibrato.
36）一般来说，可以在开始时演奏得略慢，
然后逐渐加速，以弥补开始时被占用的时间。
27) lf the music requires a vibrato and we are using
a barre, then release it (if possible) but don't
vibrate immediately.Retard the vibrato a little and 37）在一个波音之后（通常会以不可避免的
do it more slowly. 吱吱声结束）使用揉弦以掩盖杂音。

38）倚音：强调倚音并且减轻分辨率（或更
好的方法是：不用弹重音，而是用揉弦使后
28) Make a plan for the piece employing vibratos at 半拍听起来更有趣）。
different speeds, that is, decide on a vibrato plan
but without overdoing it . 39）使用长的装饰音（四个或多个音符）。
不要将第一个音符演奏得过于凶猛。这种强
烈的触弦通常是因为“害怕失去声音”，但
29) If you want to make a note brighter (especially 这是无意义的，我们这样做唯一取得的效果
high notes)vibrate it a little more rapidly. 就是使装饰音失衡。因为声音会在每一个衔
接处重新建立。
30) With a note of short duration, slow vibration is
not possible as there is not enough time and it
40）在两根弦上弹颤音最明智的指法是：a-
sounds as if the string has gone out of tune.
i-m-p（a 指和 m 指在最高的弦上）

31) It is not possible to maintain a high 41）如果颤音是标有渐强，而这是不可能做

note in the melody we can vibrate it very 到的（因为我们是在一根弦上演奏它）；然
softly with a very rounded note and then 后略微地加速，将增强它的效果，并且这将
immediately distract attention towards the bass line 弥补渐强的缺乏。
or another voice. The high note will continue
sounding in the listener’s memory.
圆滑音
32) lt is possible to make a short pause on the
most important note of a phrase by vibrating it and 42）最好不要演奏初始的音符，而是要从一
suspending the tempo for a minute to accentuate 个未限定的点在琴弦上“着陆”。
the expression. But this must be done very subtly: （TIES - ORNAMENTS）
imagine that we are throwing an object up in the
air there is a moment when it remains 34) Useful ties are those which oblige us to form
immobile before beginning to fall. musical phrases . The others (the purely
mechanical ones) we have to remove or if it is not
33) Vibrato in a melody is a musical weapon we possible , to compensate for them using sound
can use to attract attention, but if we use it quality or colour (timbre) but without making the
constantly it ceases to have any effect. mechanical imposition over the musicality
obvious .

35) Romantic turns (ornament groups) are more

衔接与装饰 sensual （slower , almost without playing the first
note) . Baroque turns are more abstract (faster and
34）有益的衔接会帮助我们形成乐句。其他 with more accent on the first note ) .
的（纯机械性的）衔接我们必须去掉，如果
不可能去掉的话，用音质或色彩（音色）来 36）In general , they can be played a little slowly
补偿他们，但不要明显地机械性强加在音乐 at the beginning and then progressively accelerated
to make up for the time " taken " at the beginning .
性上。

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37) After a mordent (which usually finishes with 48）如果我们使用了大力的按压，但姿势不
the unavoidable squeak) vibrate the note a little to 对，手指就会弯曲，部分音符就会听不出来
disguise it. 最常见的问题是中间部分的音符丢失，因为
缺少按压。我们必须学会使用食指的中间部
38) Appoggiaturas : accent the appoggiatura and 分去压弦，但仅在必要的时候运用。
soften the resolution (or even better : instead of
accenting , make it more interesting by vibrating
49）“弯曲的横按”（指覆盖了连续的两
the second half of the note)
品）很有用。练习方法：开始时是直接的横
按，然后将食指的低音按弦部分下移半个音
39) With long turns (of four or more notes) . don't 符，同时要按住剩余的和弦。然后扭正横按
attack the first note with force . This strong attack 回到初始位置（回到一个品的横按），继续
is usually because of a " fear of losing sound " but 用这种方法降序练习四五个品。
this is absurd . The sound is renewed with each tie .
The only thing we achieve is to unbalance the turn .
C 右手

40) The most advisable fingering for trils on two 琶音与琶音和弦

strings is : a-i - m-p (a and m playing on the highest
string)  50）一组和弦的第三或第四个和弦，如果是
作为分解和弦来运行的话，可以用琶音演奏
（不像其前面的和弦），这样会更为强烈，
41) If the trill is marked with a crescendo and it is 并有轻微的延迟。
not possible to do (because we are playing it on one 43) In Tarrega and late Romantic music you have
string) then accelerate slightly which will have the to arrive early at the designated note and then play
effect of increasing Interest and will compensate it as well.
for the lack of crescendo.

44) The slur is widely used in position changes and

SLURS gives good results in Romantic tremolos, although
it is  not necessarily written in the music.
42) It is better not to play the initial note but to
“land" on the string from an undefined point. 45) In the Classical period slurs are very smooth
and discreet with the first and last notes being very
43）在泰雷加和浪漫主义晚期音乐中，左手 clear.
手指必须早一点达到指定的音符，然后再弹
奏。 THE BARRE

44）在浪漫时期音乐的颤音之中，圆滑音广 46 ） Bear in mind the possibilities of the

泛在手指位置变化时使用，并取得良好的效 “running” or “mobile” bar to make
果，尽管这不一定写在音乐中。 fingerings easier (especially to  avoid useless
transversal movement of finger 1) and So as not to
45）在古典时期的音乐中，圆滑音很平滑和 break the continuity of the phrasing.
谨慎，第一个和最后一个音符都很清晰。
47 ） The problem with the barre, more than the
横按 pressure, is the distribution of the force along the
length of the finger. If we learn to control the part
46）心中要牢记横按要能够灵活和流畅移动 of the finger which is going to exert the pressure
the problem is resolved.
使指法安排更容易（特别是避免食指无用的
横向移动），这样可以不打断乐句的连续性。 48) If we use a lot of pressure but in a bad position,
the finger tends to bend and  not  all the notes will
47）相比按压而言，横按的问题是沿着手指 sound,  The  most common problem is in the
长度的力量分布。如果我们学会掌控用手指 center where sounds  are lost because of the lack of
的不同部分去实施按压，问题就解决了。 pressure.  We  have to learn to exert pressure with

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the central part of the index finger, but only use it
when necessary. 58）开放拨弦（不靠弦）是标准的拨弦，但
既不是勾弦，也不是平行于面板拨弦，而是
49) The"bent bar”(which covers two consecutive 要向琴箱方向做一点推弦的动作。
frets) can be very useful.Exercise: beginning with a
straight bar, turn the base of the index finger down
59）靠弦还是不靠弦？重要的是为手找到一
a semitone while holding the rest of the chord.Then
个姿势，使我们对两种拨弦方式都自由运用
straighten the bar to return to the initial position
(one fret back) and continue descending in this way
一致兼顾，这样两者就不会有质的差别（音
for four or five frets. 色的对比），而是在量上的加总（靠弦的声
音会更响亮、更饱满）。
51) When playing arpeggios, avoid arm movement
along the strings (a circular path with the elbow as
C THE LEFT HAND the center).

Arpeggios and Arpreggiated Chords 52) It is best to play chords 'arpeggio' where there
is tonal instability in the music (dominant,
50 ） The third or fourth chord of a group, if it dissonant chords).On the other hand the chords
functions as a resolution, can be played arpeggio used for the resolution of the tension may sound
(unlike the ones before it), more strongly and with better if played"plaque" and played softly.
a slight delay.
53) For long arpeggios (two octaves more or less)
that finish with a note.in the very high register,
51）在演奏琶音时，要避免胳膊顺着琴弦的 play the final note rest- stroke with slight
方向移动（以肘部作为中心的圆弧路线）。 vibrato.
52）在音乐中的音色不稳定之处（显性的、
不谐和的和弦），最好用琶音演奏和弦。另 54) If you are going to play various chords one
after the other，don't play all of them at the same
一方面，用于分解张力的和弦，如果同时演
speed.
奏和弦各音和轻柔地演奏，听起来会更好。
53）对于以一个在高音区的音符结束的长琶 55) So that a progression of chords sounds easier
音（多少也有两个八度音阶），要用轻柔的 and more fluent, relax the tempo and arpeggiate
揉弦和靠弦弹法演奏最后一个音符。 the chord immediately before the progression with
rubato.
54）如果你要依次演奏不同的和弦，请不要
以同样的速度演奏。

55）只要和弦的演进听起来较简单、更流畅 ARM
请放松速度，以自由的节奏在和弦演进之前
迅速以琶音演奏和弦。 56）Avoid arm movement from the elbow (see 46)
parallel to  the sound board when playing
arpeggios or scales ( in general  for runs from bass
手臂 to high notes or vice versa ) . The hand  should be
placed in a position which allows the fingers easy
56）在演奏琶音或音阶时（一般是从低音到 access to all the strings without moving the arm.
高音或反之亦然），要避免手臂肘关节平行
于面板的运动（参见第 46 条）。手应该放 57) Avoid mannerisms and gestures with the right
在这样一个位置：手指可以在不移动手臂的 hand and  arm which don‘t afford anything
情况下，容易地接触所有的琴弦。 musically and technically  displace the hand from
its correct position.
57）要避免右手及手臂做出矫揉造作和多余
的手势，否则的话会使手部偏离正确的位置
且不带来任何音乐和技术上的帮助。  THE ATTACK OF FINGERS

58) Open ( free-stroke ) is the normal attack , but

手指的拨弦 not pulling the  string out nor parallel to the

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soundboard , but pushing it in a  little towards the 60) Also we have to try to keep a position that
soundbox . allows us to play free stroke with some fingers at
the same time as we play rest stroke with another.
59) Rest stroke or free stroke ? The important thing
is to find a  position for the hand that allows us to 61) The ring finger as well as attacking the string
have both kinds of  attack available and gives with the  normal movement( towards the palm of
homogeneity to both so that there is  not a the hand) has a very slight ,almost unnoticeable
qualitative difference ( contrast in sound colour ) , clockwise movement , that is the tip  tends to move
but a  quantitative sum of both attacks ( with slightly towards the middle finger .
louder and fuller sound  in the case of rest stroke )
60）同时我们也要尽力保持一个姿势，使一 62) The sound of the nail is produced because the
些手指在采用靠弦弹法时，其他手指可以同 finger passes the string more slowly than it should .
时使用不靠弦弹法。 The attack  should be in one hit and as rapid as
possible . It is a question of high speed ( to avoid
the sound of the nail ) but not of force .The use of
61）无名指在正常拨弦的同时（向手心）有
high speed with little , as well as a lot of force ,
一个非常轻微、几乎无法察觉的顺时针方向
must  be achieved  .
运动，其指尖端的走向略微偏中指 。
63) For wound strings , look for an attack with "
62）我们之所以能听到指甲的触弦声，是因 less angle ”or in  other words more perpendicular
为手指的过弦速度比应有速度缓慢导致。拨 so as not to " scrape ”the  string.
弦应该一击即中，并且速度尽可能地快。这
是一个关于速度的问题（避免指甲声音），
而不是力度的问题。必须要在小力度和大力 64) For fast scales on base strings a very good
度拨弦时，都能做到高速过弦。 fingering is p-i.

63）对于琴弦缠丝者，注意拨弦时要寻找一
个“较小的角度”或者说更垂直的方式，以 65) For double ties or simultaneous movement and
免刮擦琴弦。  finger repetition ( for example : i-m ) , maintain a
uniform separation  between the fingers.
64）对于在低音弦上的快速音阶来说，较好
的指法是拇指与食指交替（p-i）。
66) Try p-m-a fingering instead of p-i-m if you
65）对于双重衔接（或同时移动）和手指重 want to highlight  the middle note  
复拨弦（例如：i-m），要在手指之间保持
均匀的分离。  67) To highlight the bass in a double string 6-5 ,
play the  bass with the index finger and 5 with the
66）如果要强调中间的音符，要使用 p-m-a thumb (crossing the  fingers )
的指法代替 p-i-m 的指法。

67）在强调双弦低音 6 弦和 5 弦时，用食指 THUMB

演奏低音，用拇指弹奏 5 弦（交叉手指）。 
68) Keep the tip of the thumb straight for playing
with the nail.
拇指
69) Rest stroke with the thumb is almost a
68）为使用指甲拨弦演奏，保持拇指末端笔 'luxury',which we can't use constantly because the
直。 hand goes out of position so we have to carefully
select the moments when we want to use this
69）用拇指靠弦弹法几乎是件“奢侈”的事 attack.
情，我们不能经常使用，是因为右手会处于
不合适的位置。因此，我们如果要使用拇指
靠弦演奏时，必须小心地选择时点。 70）一旦我们用拇指演奏完音符后，便可以
将拇指末端弯曲了，因为这时不会影响音乐。

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71）手腕可以抬起来一点，给拇指足够的空 VOLUME
间，以便使其变成独立的手指，就像其余手
指一样，而不仅仅是手臂的延伸。 73) Share out the volume and apply it in doses. A
plan should be made of the volume distribution for
72）为了用手指消除低音，手腕必须靠低一 the complete piece or movement. 
点；但是，一旦音符停止后，手腕应当立刻
恢复到自然位置。 74) Accent notes with quality and full sound rather
than just with more volume.
音量
75) If after a loud part there comes a soft part in the
73）分配好音量，大量地运用音量分配方法 soprano, attack with less angle looking for a clearer
应当对整个曲子或乐章中的音量分布，制定 and sharper sound (if we look for a rounded sound
一个计划。 in a very soft part nothing will be heard).

74）运用有质量和充分的发声去强调重音，
而不仅仅是运用更大的音量。 76) If we have to give strength to a final chord
(without arpeggio) in a phrase that is already
75）如果在响亮的声部之后，紧跟着一个轻 loud，retard its appearance a little.The silence will
柔的高音，那就请用一个更小的角度拨弦， create expectation and serve to accentuate its
以获得更清晰和更尖锐的声音（如果我们在 appearance even more.
很轻柔的声音部分追求一个很饱满的声音，
那么会什么都听不到）。
77) If we want to give more strength to a note,
increase the finger movement but without moving
76）如果我们在一个很大声的乐句中，需要 the hand,So that the path of the finger pushes the
强调最后的一个和弦（非琶音和弦），那么 string inwards more. 
请延迟一点弹出和弦。寂静之时会产生一种
期待，有利于更好地强调和弦的到来。

77）如果我们需要更好地强调一个音符，那 78) When there is a sustained note in the

就请提升手指的运动力度，但不要移动手腕 soprano and simultaneously two intermediate ones
以便手指的运动路径更多地向内推动琴弦。 (with index and middle fingers) as an
accompaniment in repeated semiquavers, these
78）在高音音符持续，同时有两个中间音符 two notes should be like an echo of the soprano as
（使用食指和中指弹奏）作为重复十六分音 it disappears.
符的伴奏时，这两个音符应当弹起来就像高
音消失后的回声。
79）在有两个声音：高音轻柔、低音突然很
70) Once the note has been played then we can 大声的时候，在演奏之前，直接按在低音弦
bend the tip of the thumb, as this will now not 上准备拨弦。这将避免两个音都很大声造成
affect the music. 的“挤压效应”。

80）在巴洛克音乐中，尽管乐谱上标有音量
71)  The  wrist can be raised a little  to  give the
的增强或减弱，但最好是在两个不同部分之
thumb more room  so that it becomes an
间考虑一下音量的对比水平。
independent finger just like the rest and not simply
an extension of the arm.

72) To stop the bass notes with the thumb the wrist 音色
has to be low but once the notes are stopped it
should return at once to its natural position. 81）真正弹出声音的是指甲末端与琴弦的最
后接触。 

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82）如果你画了一副不好的画，而且涂上鲜 83) To achieve these 'subtle colours' rather than
艳的颜色，结果将是一场灾难。 如果你画 looking for guitar stereotypes we could learn by
了一副好画（正确的分句），你可以添加一 listening carefully to good orchestral pieces.
些颜色（音质），如此巧妙甚至不易察觉，  
却显得更好。不适当的色彩破坏会一副良好
84) For the bass strings on frets I to V it is a good
的图画（糟糕的表演或粗糙的音色效果），
idea to move the hand towards the bridge a little in
但两者都不是问题。 
this way obtaining  a more metallic but more
effective quality .
83）为实现“巧妙的色彩”，而不是墨守成
规，我们可从优秀的管弦乐片段中认真汲取
营养。  85) Changes of sound , if they are done should
indicate a clear  intention because on the contrary
84）在第一至第五把位的低音弦上，将右手 they could sound like errors  in sound homogeneity
移向琴桥的方向一点，可获得更有金属感但 which have resulted from poor technique.
更有效果的音质。 
86) If we want to appear faster than we are really
85）如果要改变音色，那需要一个明确的意 playing then articulate with a slight staccato .
图，因为如果做反了，听起来将像是由于糟
糕的技术造成声音均匀性的错误。 87) For open strings on the first positions , A more
open sound(less angle) is better but for higher
86）如果我们想表现出比实际演奏更快的速 positions a more  closed sound(fuller , with more
度，那么使用轻微的断奏发音。  angle）.

87）对于第一把位的开放弦，更开阔的声音
（更小的角度）会更合适；但是对于更高的 88）如果我们演奏一个和声旋律与自然音符
把位，更封闭的声音（更饱满，角度更大） 的伴奏，永远不要切断旋律的音符。我们必
会更好。  须寻找指法，使得在不中断旋律音符的情况
下进行伴奏。 
79 ）When there are two voices ：very soft in the
high voice and suddenly very loud in the 89）用拇指在低音琴弦制造八度泛音，可以
bass，press on the bass string to prepare the attack 使声音更干净。
a little before playing.This will avoid the "pinching
effect" in which both voices sound loudly. 90）第五弦高把位的音在任何吉他上通常都
不好听。如果听起来过于明显的话，最好的
80) In Baroque music although there are volume 办法是采用不同的指法，避免演奏这个位置
increases and decreases indicated on the music, it  
is better to think in terms of contrasting levels of
sound volume between different sections. 91）我们必须深入研究吉他上的每一个音符
以找到“好”和“坏”音符，这样我们就可
以利用好音符，或者尽可能避免坏音符。 
SOUND COLOUR

81) What really produces the sound is the last 92）很矛盾的是，好吉他通常会强化所有吉

contact of the  tip of the fingernail with the string.  他都具有的典型缺陷（好吉他在这方面也更
为敏感）。
82) If you make a bad drawing and you paint it
with bright  colours as well , the result will be a
disaster. If you make a good drawing (correctly 颤音
phrased) and you can add some  colour (timbric
quality) which is so subtle that it's not even 93）演奏良好的颤音需要良好的无名指。由
noticeable，even better . But neither is it a question 于无名指的指甲最长，它通常是最不协调的
of spoiling a good drawing with inappropriate 手指。 
colours (badly performed or  careless timbre
effects ) .   94）用节拍器练习颤音，你可以把重音依次
在不同的手指上练习几分钟，从而确保你能
很均衡地演奏。 
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 the normal phrase in the correct time (making
95）为了把颤音和后面的音符连接起来，我 clear that something else is beginning）.
们可以遵循同样的节奏或夸张地减慢颤音的
最后音符，并在正确的时间开始正常的乐句
（明确地表达即将开始的内容）。  TRILL

96) Trills have to have more not less sound

given.They usually work by making a crescendo
震音
within the trill, beginning more slowly and
accelerating towards the end.
96）震音必须具有更多的声音，通常的演奏
方法是在震音中发出渐强的声音，开始时要
缓慢一点，逐渐向结尾处加速。 
97）考虑到上一条提到的要点，有多种方法
实现颤音。就我个人而言，在两根琴弦上的
88) If we have a melody in harmonics and the 震音似乎很让我满意。可以这样做：a）p-i
accompaniment  in natural notes, never cut off the 就像鲁特演奏者那样；或 b）用 a-i-m-p 指
notes of the melody . We  have to look for 法。 
fingerings that permit us to play the
accompaniment without interrupting the notes of 98）为了练习上一条提到的最后一种震音奏
the melody . 法，你可以先同时练习“p-a”和“i-m”，
然后连着练习，直到你可以使两个组整合起
89) Harmonics raised an octave on wound strings 来成为一个连续的声音。 
sound cleaner using the thumb to produce the note.

90) The fifth string in high positions doesn‘t D 双手协调

usually sound good on any guitar . If this gets to be
too obvious the best thing is to try a different 99）当你大力演奏的时候，你应当小心，左
fingering which avoids it. 手按弦不要太用劲了。 

100）大多数人都不由自主地演奏出了不连
91) We have to investigate the sound of each note 贯的声音，是因为双手的协调出现了问题。 
on our  guitar to find the “good ”and the “ba
d”notes so that we can take advantage of them or
avoid them whenever possible.

92) Paradoxically good guitars usually accentuate

the typical defects of all guitars ( they are more
sensitive in this respect also)

TREMOLO

93) A good tremolo is one which has a good ring

finger . As the finger with the longest fingernail , it
is usually the one which is  least coordinated.

94) To practice the tremolo with a metronome you

can put the  accent on a different finger for a few
minutes at a time thereby  ensuring that you are
ready to play it in a well-balanced way .

95) To connect the tremolo with what comes later

we can follow the same tempo or exaggeratedly
slow down the last  notes of the tremolo and begin
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97) There are various ways to achieve a trill which
allows for what was mentioned in the previous
point 97). Personally the trill  on two strings seems
very satisfactory to me . It can be done  a ) p-i like
the lute players or b ) with a-i-m-p.

98) To practice this last trill mentioned in the

previous point you can first practise simultaneously
" p-a " and " i-m and then  in succession until you
can integrate both groups in a continuous sound.

D COORDINATION OF BOTH HANDS

99) When you play strongly you have to be careful

that you don't exert more than the necessary
pressure with the left hand.

100) Most of the people who play involuntarily

with a staccato sound do this because of a problem
with the coordination fo both hands.

第二部分：音乐技巧
Part Two: Musical Techniques
101) 机械式的技巧不应当被听者察觉出来 多地从垂直思维，更少地平行思维。当分句
（机械式演奏制造出的重音往往与音乐所需 做好后，听起来就很轻松。
要的重音是相矛盾的）。
107）巴洛克作品首先要无连接地分句，以
102 ）对 于分句学 习（特别是在对位音乐 便能够自由地将乐句向着最后的一点推进；
中）来说，比较好的方法是先练习一个声部 然后我们就可以看看其是否值得保留。
然后再逐一加入其他声部，确保每个声部都
听起来一样好。 108）在巴赫音乐中，在紧张时刻或强调重
要的音符时，引入颤音和波音（一种装饰
103）无重音演奏作品是最好的事情（就好 音）是可能的。
像你在演奏羽管键琴），然后再决定如何演
奏重音。练习各种可能性，不要过早做结论。 109）有一种方法可在不增加音量的情况下
104）很难唱出来的那些音程可以慢一点弹， 强调音符或乐句，这就是把音符延迟一点演
这样可以给人感觉更具有歌唱性。 奏（正如大键琴演奏家做所做的那样）。
101) Mechanical technique should not be noticed
105）对位法：给主题赋予个性特征。挑出 (accents produced by the mechanics of playing
旋律曲线，以使主题更容易辨识，即便当主 often contradict the accents required by the music).
题出现在一个复杂的复调部分也是如此。
102) For the study of phrasing it is a good idea
106）巴洛克音乐分句：巴赫的作品是一个 (especially in contrapuntal music) to study.only one
voice and then one by one add the others ensuring
平衡的练习，为了练好我们必须分两个阶段
that they all sound equally good.
来进行：一是把手指放在正确的地方；二是
在每个声部中去掉额外的重音，以使我们更
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 结节拍重合的音符正好也与乐句的结尾重合
103) The best thing is to play the piece without 那么这些音符不应当用重音强调。
accents (as if you were playing  a harpsichord) and
later decide on the accents.Practice  various 114）乐句必须有呼吸点，就好像我们在演
possibilities without jumping  to foregone 奏管乐器时需要换气一样。
conclusions.
115）在重复同样 的乐 句时 ，要 改变 重音
（这不会总是令人满意，但有时一个细微的
104) Those intervals which are difficult to sing can
变化会增加必要的多样性）。
be slowed down a little thus giving the sensation
that they are more singable.
116）在不同的琴弦上演奏连续的音符时，
105) Counterpoint: give the themes 不要给人以拼凑“单词”的感觉。也就是说
personality.Pick out the melodic curve so  that it 如果你没有足够的技巧使其不易被人发现是
will be recognisable even when it appears in a 在不同的弦上演奏，那么这些音符对分句的
complex polyphonic section. 贡献就不会太好。

106) Baroque phrasing: the work of Bach is a 117）一个拥有渐强、加速或同时渐强与加

balancing exercise,To succeed in it we must work 速的乐句中，不要总是逐渐加速或渐强去演
in two phases:1.Put our fingers in the right 奏。有时，最好是在开始改变一点点，然后
places.2.Get rid of the extra accents in each voice 控制好只在结尾时“加速”。
which make uS think more in vertical than
horizontal.When the phrasing is good it"sounds 118）在分句中有停顿时候的两个演奏秘诀：
easy". 在伴奏中节奏略微自由，以及降低音量。
119）如果在乐句中遇到紧张状态逐渐加剧
的三个部分，我们可以第一个部分节奏自由
107) Baroque pieces have to be first phrased
地演奏，第二个部分节奏自由收敛一点，第
without ties in order to be able to freely project the 三部分以完全准确的节奏去演奏。
phrases towards their final point,Later we can see if
any of them are worth retaining.
110) To smooth out the gaps which are sometimes
unavoidable, use a slight and subtle rubato.
108) In Bach it is possible to introduce trills and
mordents in the moments of tension or to stress 111) If we have a soprano voice which has to be
important notes. interrupted by frequent position changes, then
attention has to be drawn towards another voice.

109) There is a way to accent without increasing 112) If there is no alternative but to shorten the
volume and this is by retarding the note a little (as sound, play the phrase in such a way that
harpsichord players do). the"interruption makes musical sense".

113) Don't abuse the initial accent of the bar

110）为了消除有时是不可避免的间断，可 especially in Renaissance and Baroque music as the
以使用轻柔而微妙的自由节奏去演奏。 sense of the phrase is more important than the
beginning accent.For example, the notes that
111）如果高音部不得不被频繁的把位变化 coincide with the beat of the bar should not be
打断，可以将观众的注意力吸引到另一个声 accented if they also coincide with the end of the
部上。 phrase.

112）如果声音将被缩短且别无选择，可以 114) Phrases have to have their breathing points,

这样来演奏：让“声音的中断更有乐感”。 as if we were playing a wind instrument.

113）不要滥用乐曲小节中的初始重音，特 115) In repetitions of the same phrase, change the

别是在文艺复兴和巴洛克音乐中，因为乐句 accent (it's not always satisfactory, but sometimes
感觉比开始的重音更重要。例如，如果与小 a subtle change adds the necessary variety).

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116) Two successive notes played on different 果我们不这样做，它会产生类似于当我们撞
strings don't give the sensation of forming 到了唱片机时针跳转到另一个音轨的效果。 
a"word".That is they don't contribute to the
phrasing unless you have sufficient technique to 126）当演奏节奏自由的分解和弦时（例如，
make it unnoticeable that they are on different “大教堂”第一乐章）过分重视伴奏，只有
strings. 那些我们想要强调伴奏音符的琶音，才应使
用节奏自由的演奏。 
117) A phrase that has a crescendo, acceleration or
both doesn't always have to be played gradually. At
times it is better to change very little at the 风格和曲式
beginning and hold back only to“speed up”at the
end. 127）在一个写好的作品中，要特别注意节
拍。例如，如果阿列曼德写成 2/4 拍，而不
是常用的拍子（阿列曼德通常为 4/4 拍），
118) Two secrets for when there is a pause in the 那么我们在演奏时，应该考虑单 2 拍而不是
phrasing: play  slightly rubato in the 单 4 拍。
accompaniment and reduce the volume. HAMONY

119 ） If we have a problem with three parts in 120) Whe the harmony changes ， think of an
which the tension gradually accumulate ， we can emotion like anger ， happiness ， sadness or
play the first rubato ， the second less rubato and seduction etc.
the third with a very exact rhythm.
121 ） The interest is normally centred in the note
that requires resolution.

RHYTHM
和声
122) In general , we often don’t take enough care
120) 当和声变化时，要想想一种情绪，例 with the  rhythm because almost always we are
如愤怒、快乐、悲伤或诱惑。 playing alone . We  should pay more attention
especially , for example , in fast sections with
arpeggiated chords where the movement of the
121) 听众的兴趣通常就集中在需要解决的
right hand can , with a simple repeated gesture ,
音符上。
produce  acceleration in each arpeggio giving as
the final result a wavy’ rhythmic movement
instead of a regular one.
节奏
123) Don't quicken the base ( a very frequent
122）一般来说，我们经常不太注意节奏， expressive trick ） . Remember that there could be
因为我们总是在独自弹琴。我们应该特别注 listeners who follow the base  line and will get a
意， 例如，在有琶音和弦的快速部分中， surprise if they suddenly hear an unexpected note.
右手的运动可以用一个简单重复的手势，在
每个琶音中产生加速效果，最后的结果是波 124) To play rapid scales with more virtuosity ,
状的节奏运动取代了整齐的节奏运动。  slow down the  beginning and accelerate the end.

123）不要加快低音（一个很常见的表达技 125) When there are rhythm changes within a piece

巧）。记住，有的听众可能跟随低音线条听 we have to give them some sense , do something
音乐，如果突然听到一个意外的音符，他们 musical in between.  because if we don't it could
会感到惊奇。  produce an effect similar to when we bump the
record player and the needle jumps to another track.
124）以更精湛的技艺演奏快速音阶，开始
时放慢节奏，结尾处加速完成。 
126) Playing with rubato all the arpeggios ( for
example , in the first movement of “The
125）当作品中有节奏变化时，我们必须给
Cathedral" ) gives too much importance to the
听众一些感觉，在中间做一些音乐。因为如
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accompaniment . Only those arpeggios that 的横按，正如今天在弗拉明戈音乐里常用的
accompany notes we want to highlight should be 那样。在某些场合下，记住这一点很有价值。
played rubato. 128) The performance of Saraband as is usually
more interesting if we accent the second half of the
bar .  
STYLE AND FORM
129) A lute suite which is in E flat major is
127) It is a good idea to be very careful with the normally transcribed for the guitar in D minor but it
tempo in which a piece is written. For example, an is possible to play it in E flat by simply putting a
Allemande is written in two four time not in capo on the first fret.  
common time , so when we play it we have to think
in duple time and not in quadruple time.
130) Take care with compound time in Romantic
128）如果我们强调小节里的后半段，表演 music.The typical Viennese waltz which inf
萨拉班德通常就会更有趣一些。  luenced great part of our  repertory in this period
has an accent on the third beat not on the first.
129）降 E 大调的鲁特琴组曲通常在改编为
吉他演奏时会变成 D 小调，但是我们可以在
E 大调演奏，方法很简单，就是将变调夹放 131) The " variations " don't have to sound as if
在吉他的第一品上。 they were a group of little pieces all repeating the
same scheme . They have to be integrated because
130）注意浪漫主义音乐的复合节奏。典型 it is the group as a whole which  has to be
的维也纳华尔兹在这一时期对我们的曲目产 communicated as a musical message.
生了巨大的影响，重音在第三拍，而非第一
132) The rests between the variations are very
拍。 important. They are moments of maximum
communication, of the progressive accumulation
131）“变奏曲”不必听起来都像一组重复 of tension which is maintained for the following
固定结构的小片段。它们必须整合起来，因 variation and continues until the end.
为它们是一个整体，必须作为一个音乐信息
来传达。  133) Fugues are truly exercises of balance and
control . They can be begun very softly and in
132）各变奏之间的休息是很重要的。它们 time .Each time another voice enters the volume
是交流最大化的时刻，是张力不断积累的时 can be increased another point.
刻，为接下来的变奏段保持并持续到最后。

133）赋格是真正地练习平衡和控制能力的 134) In Preludes there is always a chaotic fragment

手段。赋格可以很温和地开始，速度稳定。 (rubato）before the end.
每当一个新的声部进入后，音量都可以增加
一些。
135) Sor and Aguado used to add some notes to
complete the harmony in repetitions and we could
134）在前奏曲的结尾之前，通常会有一个
perhaps also dare to attempt this in our playing.
混乱的片段（自由速度）。
136）Look at much of works，from an orchestral
135）索尔和阿瓜多习惯于添加一些音符以 and concert point of view ， the "solo" parts could
完成重复的和声，或许我们也可以将其运用 be played more rubato and softer.
在实践当中。

136) 从管弦乐和音乐会的角度看，大部分 137 ） It is very typical in Sor's writing for the

作品的“独奏”（这里指乐团里的单人表演 guitar to find melodic patterns which allow a fixed
在吉他独奏中则是指单音旋律独奏，译者 barre to be maintained, as is done today in
注）部分都可以节奏自由和更轻柔地演奏。 flamenco. It is worth keeping this in mind in some
cases.
137) 在索尔为吉他缩写的作品中，可以发
现很典型的旋律模式，即允许保持一个固定

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 第三部分：练琴技巧
Part Three: Study Techniques

138）从结尾到开头倒着记忆音乐作品。这 139) Don't memorise involuntarily without

看起来有点看夸张或琐碎，但是我们所想要 realising what you are doing.  Do it in a conscious
的是，演奏者的通常态度是反着的。我们总 and voluntary manner.
是从最熟悉的部分开始，练到较不熟悉的部
分。但是通过从后往前背谱练习，我们就是 140) The first memorising  session is very
在从不太知道的地方向比较知道的地方练习 important even though it only lasts 10 minutes and
half an hour later it should be repeated. Motivation
这样可以提升我们的安全感和自信心。
is also very important and so you have to set
yourself deadlines even if you don't meet them in
139）请别不愿意背谱，别还未意识到你是 the end.
在干嘛。请以自觉和自愿的态度背谱。
141) After you have memorised the piece it is a
140）第一个背谱日程很重要，即便只持续 good idea to record it and then with the music in
10 分钟也好，半小时后应当重复练习。背 front of you, give yourself a class during which you
谱动机非常重要，因此你必须为自己设置最 take note of any defects.
后期限，即使最终没有完成目标。
142) The brain can function as a recorder and we
141）在你背完一首作品后，最好把它录下 can use this ability to sort out the mechanics of
来。然后将音乐放在面前，自己给自己上课 learning a piece. This means  repeating  difficult
把有任何瑕疵的地方都记下来。 sections very slowly to  record in memory the
correct movements (but be careful not to record
142）大脑可以扮演录音机的角色，我们可 wrong movements which can become established
以运用这个能力去整理一下学习一首作品的 and later need a lot of work to erase).
机理。这意味着，要很慢地重复困难部分，
以便在记忆中重播正确的乐章（但要注意的
是，不要重播了错误的乐章，否则这会固化 143) Concentration can be exercised by sometimes
practising in a distracting environment (in front of
在大脑中，以后要费很大力气才能擦除）。
the TV, with a person next to you who annoys you,
etc.).
143）有时，可以在让人分心的环境中练习
注意力的集中。比如，在电视机前面练琴， 144) Don't play only the melody or only the
让一个人在旁边干扰你，等等。 accompaniment to study a piece.

144）练习作品时，不要只弹旋律或只弹伴
奏。 145) Don't study continuously for more than 40 or
50 minutes.Change the activity and then return to
145）持续练琴不要超过 40 或 50 分钟。可 work.
以活动一下别的，然后回来继续练。

146）一个三小时的练琴日程：半小时练习
手指技巧；两个小时学习作品（中间休息一
下）；半小时检查修订你已经练过的。
138) Memorise backwards from the end to the
beginning of the piece.  It may appear exaggerated 147）当你更有接受能力时，最好是在早上
or trivial but what is intended is that the normal 开始练习新作品。晚上在“音乐会环境”感
attitude of the player is inverted.We always go 觉下练琴。
from what is  more familiar to what is less
familiar, but by memorising from the end to the 148）视谱练习很重要，因为这可以使我们
beginning we are playing from the less known 更容易、更快地找到替代的指法。小提琴练
towards the more known and thus we increase our 习法（吉他练习太难了）对演奏所见的东西
security and confidence.

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很有用（没有必要弹出所有的音符）；眼睛
要一直预览即将到来的半个小节。 148) Sight reading is very practical because it
allows us to find alternative fingerings easily and
149）要慢慢地、无中断地读谱。避免中断 quickly. Violin studies (guitar studies are too
比加快速度更为重要，因为出现中断的话， difficult) are useful for playing what you see(it's
将会打断音乐叙述的连续性，妨碍我们形成 not necessary to play all the notes), always glancing
at what is coming half a bar ahead.
乐句。尽管曲谱里面标有“快板”字样，也
要慢练；要知道这毕竟是我们第一次接触作
品，而不是要求我们在设定速度下诠释作品。 149) Read slowly but without stopping. It is much
more important to avoid stops that  break the
150）在音乐会演奏作品之前，你必须能够 continuity of the musical discourse and hinder us
把作品写下来（在脑子里过一遍，或者把吉 from forming phrases than to increase the tempo.
他翻过来在指板上弹一遍，也就是说把琴弦 Although the music is marked allegro, it is after all
对着自己的身体。） our first contact with the piece not an interpretation
which requires us to maintain a set speed.

150) Before playing a piece in a concert, you have

to be able to write it (revise it mentally or play it on
the fretboard but with the guitar turned over, that is,
with the strings against your body).

146) A  plan for a three hour session ： Half an

hour of technique. Two hours studying a piece
(with a break in the middle). Half an hour of
revision of what you already know.

147) It is better to start new pieces in the morning

when you are more receptive. At night practise
“concert situations”.

第四部分：表演技巧
Part Four: Presentation Techniques

151）为了与紧张做斗争，我们必须掌控自 152）把音乐会当成了解自己并同时教学的
己的心态。可以把自己当做“导游”，将向 机会。
公众展示我们看到的音乐，而不是被环境和
对公众的责任所左右。 153）练习特定的姿势（脸部表情、身体语
言……），这是放松、没有侵略性的状态。

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154）你必须享受自己所做的事情。 we are being judged at every moment. A mistake
that has occurred is now in the past.
155）我们应当学会在演奏时倾听自己。
158) We can make a mistake in a concert but we
156）你必须相信自己，一旦准备好了表演， have to know deep down that the  difficulty has
这就是我表现这首作品的方式，无论有多好 already  been overcome. lf not, we would be
作品都是与任何其他吉他演奏家一样的正确。 creating a bad habit by hoping for a lucky moment
in a concert when we encounter a difficulty that we
haven’t bothered to solve beforehand.
157）我们为某些人演奏时，别把小失误看
得过重。我们不应认为，每时每刻自己都在 159) Always lead yourself musically towards a
被评判。已经发生的错误是过去的事情。 certain point even though errors occur on the way.
158）我们可以在音乐会中出现错误，但我 160) It is impossible to play in a concert without
们必须深刻认识到困难已经克服了。如果没 making mistakes but we have to learn and practise
有，当我们遇到一个事先没有费心去解决的 the connection between the mistake  and  what
困难时，我们就会通过期待在音乐会中出现 comes later. If  we  don’t practise this just as
幸运时刻，这将养成坏习惯。 we practise the everything else, we can become
disconcerted when a mistake occurs and a
159）即便错误正在发生，我们也要总是富 small problem can become a big  problem causing
有音乐性地将自己引向某一个点。 us to lose concentration or even preventing us from
continuing to play.
160）在演奏会上要不出错误是不可能的， 161）每当你犯错误的时候，你可以跳过这
但是我们必须学会练习错误和之后音符的连 个小节向前练习，而不是通过重复这个小节。
接。如果不这样练习，正如我们练习的其他 162）也许能让我们焦虑不安的不是一个小
任何事情，那么当错误发生时，我们会变得 错误，而是大脑一片空白。我们必须练习记
不安起来，小问题变成大问题，导致我们注 忆音乐的曲式，准备参照的点，让我们能够
意力不集中，甚至无法继续演奏。 在出现紧急情况下跳过去。

151) To combat nervousness we have to control our 163）当你有点焦虑时，请夸大分句（节奏

attitude. Instead of being carried away by the 自由一点），这可以缓解紧张。
situation and by our responsibility to the public, we
can  think of ourselves as"tourist guides” who 164）与困难时刻互动的一个积极想法是：
are going to show the public our way of seeing the “事情正在变糟，但我知道自己有足够的资
music. 源去克服”。
152)  Consider  concerts  as  situations that give 165）有时，我们不应该对自己失去耐心。
us  the opportunity to learn about ourselves and to 例如，在一个缓慢的乐章中，我们认为观众
teach at the same time.
不会保持专注，于是我们会加速。然而，如
果演奏家很放松而不是焦虑不安，那么在远
153) Study with a certain posture  (face, body...)
which is relaxed and without aggressiveness. 处的观众会更容易和冷静地聆听。

154) You have to live what you are doing.

155) We should try to listen to ourselves when we

are playing.

156) You have to be sure of yourself once you have

prepared a performance this is my way of seeing
this piece which is just as valid as that of any other
guitarist no matter how good.

157) We take small mistakes too seriously when we

are playing for someone. We shouldn‘t think that

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161) Instead of the habit of repeating by going back
a bar, every time you make a mistake, you can
practise jumping one bar ahead.

162) Perhaps what causes us to worry and get

nervous is not a small mistake but the possibility of
a mental blank. We have to practise memorising the
form of the music and to prepare points  of
reference which we can  jump  to in case of
emergency.

163) When you are a little nervous, exaggerate the

phrasing (a little rubato) which will smooth out the
tension.

164) A positive thought to counteract difficult

moments is "it's going badly but I know I have
sufficient resources to get through.

165) We shouldn't lose patience with ourselves

sometimes, for example, during  a slow
movement,  we think that the audience will not
remain attentive, and we  accelerate.However from
a distance the audience can listen much more easily
and calmly if the performer is relaxed than if he is
anxious.

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