|
協會會員
|
1#
大 中
小 發表於 2013-3-2 20:44 只看該作者
13.支撐的拇指
本文翻譯自網頁「shakuhachi tips」（1998. Sep）：
http://www.kotodama.net/shakuhachi/tips.html
原作者：柿堺香
英文翻譯: Zachary Braverman
中文翻譯: 麥浪
中文校稿: 琰烺（陳佩筠）
版權所有：國際尺八研修館---柿堺香老師
基礎篇---第13篇：支撐的拇指
你支撐尺八的下手拇指是否曾經結過繭？有一些人支撐尺八的拇指結了蠻大的繭。你的拇指結繭，意味著你的手，有著過多的壓力存在。
請試著將你的中指跟拇指貼合在一起（就好像要做出影偶戲的狐狸影像一樣），你是否能夠自在地移動食指和無名指呢？現在試著盡量放鬆你的手，然後再移動你的手指看看，是否有比較容易了呢？讓你的手免除多餘的壓力，必然能夠讓你按孔的兩隻手指較容易移動。
如果你的手有著過多的壓力（尤其已多到可以讓你的拇指結繭），那麼恐怕就沒辦法讓你的手指自在且快速的移動。這或許就是你無法吹好koro-koro(註釋)技法的原因之一，雖然此技法決不會被其所限制。
有許多的方法可以來緩和你的手的壓力。
此處列出一些方法：
1、在尺八樂器上黏貼某些東西，以防止你的拇指滑動。
＊橡皮片
＊皮革片
＊三味線演奏者置於膝蓋的橡皮墊
＊地墊
＊防水砂紙
2、貼一些東西，使得你的尺八變厚些。
3、貼一些突出的東西，在擺放尺八時用。
關於第1項，我曾經聽說過，某些八孔直笛吹奏者，利用砂紙來防止樂器滑動。利用雙面膠帶和600-1000號的砂紙。請注意要用防水砂紙，以避免很快就損壞了。
關於第2項，尺八都設計有一種理想的厚度，以適合每一個人的手去握持。如果某支尺八對你來講是瘦小了些，那麼你會使用過多的壓力來握持它。在你的拇指握持尺八處，黏貼上某些東西來增加厚度，將有助於解放你額外的壓力。
第3項是針對長管尺八特別有用。有些人利用L形金屬棒，搭配特殊的木質螺栓，提供給豎笛吹奏者使用。
如果你握尺八的手，存在著一些壓力，試試看上述的一些方法，並看看哪一種方法對你是有效的。第2種方法或許因此會改變你握持尺八時的角度，那也可能是一件好事。
今天我們所吹奏的尺八，是數世紀以來前人的試驗結果。停止這樣的試驗，並不代表就能保留住傳統。持續的創新，本就是傳統尺八本身一個重要的部分。
註釋:(此註釋由一位尺八學長所提供)
"koro-koro":
是一、二指快速交替連打的技巧，普遍使用於古曲中,現代曲中也常被使用,演歌中的自由前奏也常被拿來用,都山流則稱為haroharo,琴古流中最具代表性的經典曲目,如<鶴之巢籠>,<古傳巢籠>,曲中大量使用此技法,搭配<俯仰>,<玉音>,<氣息強弱>,<其他額外增減指法>...等等技法,讓曲目呈現非常特殊風格變化. 不同流派有些許差異,也造成音色上的不同,琴古,明暗,都山...都有些許差異,即使相同流派中的不同分支,也有所不同.
B-13.Supporting Thumb支撐的拇指
Do you by any chance have a callous on your bottom thumb, the one which supports the flute? Some people have a very big callous where they hold the flute up. Having a callous on your thumb means there is too much tension in your hand.
Try placing your middle finger and your thumb together (as though making a shadow puppet fox). Can you move your index and ring fingers freely? Try relaxing your hand as much as possible, then moving your fingers again. Is it easier? Without excess tension in your hand, it should be much easier to move the two fingers which cover the holes.
If you hold too much tension in your hand (especially enough to develop a callous on your thumb), the fingers which need to move freely and rapidly won't be able to do so. This may be one reason why you are having trouble with techniques like koro-koro, although it is by no means limited to that.
There are many ways to ease tension in your hand.
Here are just a few:
1.
Put something on the flute to keep your thumb from slipping:
o
Rubber sheet
o
Leather
o
Rubber webbing shamisen players use on their knees
o
Carpet pad
o
Sandpaper (waterproof)
2.
Attach something to make that part of the flute thicker
3.
Attach something protruding to rest the flute on
As for number 1, I've heard that some recorder players use sandpaper to keep their flutes from slipping. Use double-sided tape and 600-1000 sandpaper. Make sure to use waterproof sandpaper to keep it from deteriorating quickly.
As for number 2, there is an optimum thickness of flute for everyone's hand to hold. If the flute is too thin for your hand, you will end up using extra tension in holding it. Attaching something to the part of the flute where your thumb sits to increase thickness can help release this excess tension.
Number 3 is especially useful for longer flutes. Some people use L-shaped metal bars made for clarinet players that are attached with special wood screws.
If you have tension in your hands, try these techniques and see which work for you. Number 2 may change the angle at which you hold the flute (which could be a good thing).
The shakuhachi we have today is the result of centuries of experimentation by others. Ceasing this experimentation is no way to preserve tradition.Continuing innovation is a very part of the shakuhachi tradition itself.
|
