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42.狀況好和壞的日子

42.狀況好和壞的日子


本文翻譯自網頁「shakuhachi tips」(2001.Nov)
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42篇:狀況好和壞的日子

    即使像一些不需你自己製造聲音出來的樂器,比如鋼琴,人們都會有狀況好和壞的日子。所以,在任何情況下,尺八吹奏者的情緒和生理狀態,對他們的吹奏所帶來的影響,其重要性是相當的大。

    當尺八吹奏者談到他哪天狀況不好時,他們幾乎不曾說:「我的手指操作不佳」,而是說:「我吹不出我想要的聲音」。換句話說,對尺八吹奏者來講,都是呼吸的問題。

    我認為,這是因為你的嘴唇的狀況天天變化這麼多,肇因於許多的因素,從溼度和溫度,到你當天吃了什麼東西,到普遍的生理狀況。既然這些變數本質上無法用一般的方式來談,那現在我想說的是:「如何從狀況好的日子,來看狀況不好的日子」.

    你是否曾去思考,是什麼因素讓你在「狀況好的日子」表現良好?基本上,理由是,你的氣息有效率地轉變為聲音。即使是一點小小的氣息,都可轉變為聲音,而且氣息每增強一分,聲音也以精確的比例來增強它的強度。當你能如此吹奏時,即使你的嘴唇有點緊,或是氣束有點窄,你的氣束都能擊中尺八的「甜蜜點」。

    而另一種狀況不好的情況下,你很辛苦地去摸索「甜蜜點」,且試著用你的氣息去觸擊它。然而,多半情況下,吹奏者仍然繼續以一種緊繃的氣束來吹奏,就好像他們仍處在「狀況好的日子」下。但就是這樣的錯誤,造成狀況不好的日子更加糟糕。

    當然,練習的重點之一是,把吹擊「甜蜜點」做得更好。然而,此處有一點忠告,能讓你在此情況下能有所助益,那就是:
    「即使在狀況好的日子時,也不要緊繃嘴唇,將氣束控制的太窄。」

    相反地,在任何時候,就算你確實能用一種較狹窄、較有效率的氣束來吹擊甜蜜點,也不要去戀棧它;而要去練習,用一種稍寬的氣束來吹奏。如此,即使你處在不易尋找甜蜜點的情況下,也能吹得更好。


B-42.Good & Badly days


Even with instruments which you do not need to create the sound by yourself - such as the piano – people have good days and bad days. So, the effect that the emotional and physical state of a shakuhachi player at any given time has on their playing is
of an even greater order of magnitude.



When shakuhachi players talk of having a bad day, they almost never say “my fingers won’t move well”. Instead, they say, “I can’t get the sound I want”. In other words, with shakuhachi players, it’s all about breath.


I think this is because the state of your lips varies so much from day to day,depending on factors from humidity and temperature to what you ate that day to general physical condition. Since these variables are essentially impossible to speak of in a general manner, what I would like to talk about now is how “good days” inform “bad days”.


Have you ever thought about what it is that makes your “good days” good?Essentially, the reason is that your breath converts efficiently into sound.Even a little bit of breath becomes sound, and an increase in breath results in an exactly proportional increase in sound. When you are playing like this, your breath stream hits the shakuhachi’s “sweet spot” even with tightened lips and an arrow breath stream.


On the other hand, on bad days, you have a harder finding this sweet spot and hitting it with your breath. However, more often than not, players continue playing as though they do on good days, with a tight breath stream. It is this mistake which makes bad days even worse!


Of course, one of the points of practice is to get better at hitting the sweet spot. However, here is one point of advice that can help you in the meantime:Even on good days, don’t make the breath stream too narrow (by tightening your lips).


Instead,practice hitting the sweet spot with a slightly wider breath stream, even if at any given time you can actually hit it with a narrower, more effective stream.This will allow you to play better even on those days when your condition of the moment makes the sweet spot a little harder to find.





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