麥浪

本文翻譯自網頁「shakuhachi tips」（2003. Aug）
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32篇：就像騎腳踏車一樣

    每個人都聽過這樣的說法：「就像騎腳踏車一樣！」。

    一旦你學會騎腳踏車後，若是隔一兩年沒騎，並不意味著，下次你要再騎時，會有困難。

    然而，如果你騎腳踏車尚不熟練，然後一整年都沒練習，那麼下次你就必須從新開始學習。換句話說，那句話「就像騎腳踏車一樣！」，僅僅適用於當你已經抓到騎腳踏車的竅門時。

    同樣的道理也適用在尺八曲目的練習上。如果你在某個時期，專注於你的練習，且在特定的歌曲上能有所突破（若是能夠在許多人面前順利地吹奏演出，會對此有所助益。），那麼你就不需要用固定練習的方式，來維持住你的吹奏水準。

    一旦你能有所突破時，你可以一年多不去吹奏這首歌曲，然後可以在差不多你所放下的地方，重新找回它。但是，如果你並未達到那個突破點，那麼，若是一段長時間不去練習的話，將會促使你得去修補許多退步的地方。

    對本曲來講，這點是特別的真切。因為曲子是一整套特定的韻律組成，而且你必須全心地跟隨它。要維持住該曲子的感覺，不只非常重要，也非常地困難。而且，本曲有著不可理解的「間」（ma）（絕對的間歇，或是兩個音符之間的間隔時間），你必須要能善於掌控它，以便能吹奏出讓人印象深刻的曲子。

    它就像騎著腳踏車時，為避免撞到東西而突然轉彎，然後再回到平衡狀態一樣。這種事，並沒有時間讓你考慮要怎麼做，它必須是憑直覺本能去做的。同樣的道理，也適用在本曲的「間」。

    要達到這種地步的最好方法是什麼呢？

    就是：「學習靠著記憶吹奏！」。


B-32. It’s like riding a bike

Everyone knows the expression “It’s like riding a bike”. Once you learn how to ride a bike, not getting on one for a year or two doesn’t mean you’ll have trouble the next time.


However, if you still haven’t mastered riding a bike, then don’t practice for a year, you‘ll have to start over from scratch. In other words, the phrase“It’s like riding a bike” only holds once you’ve already gotten the hang of it.


The same thing can be said of practicing songs on the shakuhachi. If you concentrate your practice during a certain period and make a breakthrough(often a successful performance in front of a lot of people will help with this) on a given song, you will no longer have to practice consistently to maintain your level at it.


Once you make this breakthrough, you can not play this song for years and then pick up practically where you left off. If you haven’t reached the point of breakthrough, though, leaving off practice for such a long period will force you to make up a lot of lost ground.


This is particularly true of honkyoku. For songs where there is a set rhythm and all you have to do to follow it, maintaining the “feel“ of the song is neither very necessary or vary hard. Honkyoku, however, have an elusive ma(“absolute timing”, or “the space between the notes”) that you need to have a good handle on for the song to be effective.


It’s like swerving suddenly on a bike to avoid something and then just barely regaining your balance. It’s not something you can think about – it must be instinctive. The same thing can be said of “ma” in honkyoku.


What’s the best way to achieve this?

Learning to play songs by memory.

dedu

文慶

親竹

小莊