查看完整版本: A-49.Your Demeanor on Stage 台風(End)

A-49.Your Demeanor on Stage 台風(End)

[font=Helvetica, sans-serif][size=14pt]"shakuhachi tips"
[/size][/font][b][font=新細明體, serif][size=14pt]原作者：柿堺香老師[/size][/font][/b][b][font=LYJ_JianPU][size=14pt] ([/size][/font][/b][font=Arial, sans-serif][size=14pt]Kaoru Kakizakai[/size][/font][b][font=LYJ_JianPU][size=14pt])[/size][/font][/b]
[b][font=新細明體, serif][size=14pt]英文翻譯[/size][/font][/b][b][font=Helvetica, sans-serif][size=14pt]: Zachary Braverman[/size][/font][/b]
[b][font=新細明體, serif][size=14pt]進階篇[/size][/font][/b][b][font=Helvetica, sans-serif][size=14pt]49.[/size][/font][/b][b][size=14.0pt][size=14.0pt]March 2000[/size][/size][/b][size=14.0pt][/size]

[b][size=14.0pt][size=14.0pt][/size][/size][/b][b][font="][size=14.0pt]A-49.Your Demeanor on Stage [/size][/font][/b][b][font=Verdana][size=14.0pt]台風(End)[/size][/font][/b][b][font="][size=14.0pt][/size][/font][/b]


[font="][size=14.0pt]It is possible to get a general idea of someone’s skill at the shakuhachi just by viewing the way they hold themselves on stage. How to hold yourself on stage is what I would like to discuss this month.[/size][/font]


[font="][size=14.0pt]The first point is the delay between when you raise the shakuhachi and start blowing. Some people take a very long time once they are holding the instrument in place before they start the piece. One thing they may be doing is adjusting the shakuhachi on their chin and making sure it is positioned just right. [/size][/font]


[font="][size=14.0pt]What they don’t realize, however, is that this places a burden on the audience, who starts feeling a little nervous because they don’t know quite what is going on and when the performance will actually start. Think of it as breathing out,raising the shakuhachi, breathing in quietly, then, on the next out breath,begin playing.[/size][/font]


[font="][size=14.0pt]If you are playing with other instruments and the shakuhachi has a break, it is not good to either prepare the shakuhachi too early, in which case the audience will wonder what you’re doing, or prepare it in a hurry, in which case you will seem rushed. [/size][/font]


[font="][size=14.0pt]It is the nature of shakuhachi to feel somewhat unsure about the first note that will issue from the flute. That’s why some people tend to spend so much time preparing and finding exactly the right position for it on their chin. To get rid of this habit, you need to practice finding a point that will result in a decent if not perfect sound with little or no adjustment.[/size][/font]


[font="][size=14.0pt] This becomes especially hard to accomplish if you play with much tension in your lips or with your lips pulled back tightly.If you get to the point where you are comfortable with your ability to blow a good first note, your stage demeanor will improve dramatically. [/size][/font]


[font="][size=14.0pt]To help achieve this, try various patterns in your daily practice of blowing Ro. Don’t settle into a rut, but try various ways of blowing various kinds of Ro’s. If you experiment and improvise, you will eventually become able to produce sounds freely. When you do, you will be able to hit the note you want right off the bat without worries. [/size][/font]


[font="][size=14.0pt]Another important point is what you do once you finish playing. Some people lower shakuhachi practically the instant the last note ends. This is a huge mistake,for removing the shakuhachi too soon will demolish the lingering vibrations that are present in their air and in the listener’s minds even breaths past when the note has actually disappeared. This is something to be preserved. [/size][/font]


[font="][size=14.0pt]Instead,what you want to do is wait at least one full breath after the final note fades before slowly and calmly lowering the instrument. (Sometimes koto players will bow right after playing their last note, even though the koto note is still in the air and the shakuhachi player is actually not done playing the last note.This makes things difficult for the shakuhachi player.) [/size][/font]


[font="][size=14.0pt]Part of this is blowing the final note in such a way that the listener isn’t sure exactly when the sound actually fades. Part of accomplishing this is your daily Ro practice. Pay special attention to the tails of the notes. Blow them without vibrato so that the note dies off in a stable way. [/size][/font]


[font="][size=14.0pt]Also,pitch tends to drop at the ends of these notes, so you will have to raise your chin (“karu”) a little bit to keep the pitch true. [/size][/font]


[font="][size=14.0pt]Finally,impart to the note that feeling of not being able to tell when it ends.In other words, a key factor in your onstage demeanor is how freely you can produce notes, and with what degree of confidence. For this blowing Ro daily is key.[/size][/font][size=14.0pt][/size]





[size=14.0pt][/size]

柿堺香老師的"尺八小常識"基礎篇和進階篇英文版
於今日全部上傳完畢
提供尺八同好參考
因個人尺八造詣不足
無法翻譯進階篇
請同好包容見諒

期待有緣的學長
能將進階篇英文版翻譯成中文
以造福廣大尺八學習者

最後
再次感謝柿堺香老師及英文翻譯 Zachary Braverman
兩位尺八先進的授權支持。

:)0 :)0 :)0

感謝麥浪兄的分享與辛勞
從2013年2月至今共2年7個月
每周提供尺八常識與技巧造福大家
相信有上協會網站的尺八友都受益良多
每篇都值得大家好好珍藏
也許有的人因學習尺八時間不長
對於某些技巧無法體會
但只要有心繼續學習
相信有朝一日終能了解

進階篇確實有難度
文中專有名詞及技巧解說
若無ㄧ定的尺八基礎
單有英語上的優勢是無法全貌呈現原意
翻譯工作正在進行中
完成後會裝訂成冊免費提供給協會會員

回復 2# 的帖子

:)0

:)0 :)0