本文翻譯自網頁「shakuhachi tips」（2000.Apr）
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43篇：從錯誤中成長
我知道這是一種追求進步的奇怪方式，但是，它並非錯誤的方式。事實上，我想此種情況是經常發生的。
當你練習時，有一些棘手的樂句，使得你遭遇挫折，必須要一再地練習，直到吹奏正確順暢為止。一般情況下，這是在相同速度下完成的。在練習四五遍後，最後終於搞定它，然後再往下段吹。這種狀況，聽起來，是不是蠻熟悉的？
這樣的狀況，的確有一些錯誤的地方存在。理由是：雖然你的大腦，能夠分辨出正確地吹奏與錯誤地吹奏的不同，但是你那雙操作指法的雙手則不然。你的大腦或許能夠記住某些地方聽起來應該要如何，但是你的雙手，卻僅僅記住他們所重複操作的肌肉動作。
在上面的例子裡，你的雙手所記住的是，那四五次(或更多)，你試圖讓樂句演奏正確時的動作，而不是單單你正確吹奏的那一次。你的雙手重複一個動作越多次，它們會更加牢記，而不管那些動作是有害或是有益於你的吹奏。
因此，如果你在吹奏樂句時，失敗了許多次，而僅成功一兩次，雖然你的大腦或許會很高興你最後終於成功了，但是下一次你練習時，你的雙手有可能記住失敗的次數，會比記住成功的次數來得多。這種壞習慣的增強作用，就是為何我要說「從錯誤中成長」的緣故。
要避免掉入這種困境的方法就是，將這些困難的樂句吹得夠慢，那麼你就能夠在相對較少的次數下，正確地吹出。如此之下，錯誤吹奏習慣的增強作用，將不會超過正確吹奏的，而且你的雙手在下次循環時，將會記住正確的動作。
一旦你已做到此一地步，當你需要加強你的雙手速度時，將會變得相對較簡單了。如果不是較簡單，那麼原因就在於，壞習慣的一再重複，讓它變得根深蒂固了。
當然，我們都希望能以實際演奏時的速度，來練習新技巧和樂句。抑制速度會比較缺乏趣味，而且也需要投入訓練。但是，無論如何，這確實是，能掌握困難樂句的一條捷徑，且儘可能讓你的雙手，不受既有惡習的約束。
B-43.Getting Better at Playing Badly
I know this is a strange way of putting it, but no, it’s not a mistake. In fact,I think it happens fairly often.
When practicing, there are likely to be difficult phrases that you stumble on and have to practice over and over again until you get it right. Usually this is done at the same speed. After playing this phrase 4-5 times, you finally get it right, then move on. Sound familiar?
There is actually something very wrong with this picture. The reason is, although your brain is able to distinguish between playing something correctly or playing something incorrectly, your hands – which do the actual fingering – are not. Your brain may remember how something sounds, but your hands remember only the muscle movements they repeat.
In the above scenario, what your hands remember is the 4 or 5 (or much more!)times it took you to get the phrase right rather than the 1 time where you actually did play it right. The more times your hands repeat a motion, the better they remember it, whether that motion is harmful or beneficial to your playing.
Thus,if you play something wrong many times and then correctly only a few times during any given practice – even though your brain may be happy you finally got it right – the next time you practice it is the mistakes that your hands will be likely to remember rather than the successes. This reinforcement of bad habits is what I call “getting better at playing badly.”
The way to avoid this trap is to play these problematic phrases slowly enough so that you can play them correctly after relatively few repetitions. That way,the reinforcement from the incorrect playing will no longer outweigh that of the correct playing, and your hands will remember the right movements the next time around.
Once you have reached this point, it is a relatively simple matter to increase the speed of your hands to where you want it. What is NOT a simple matter is fixing bad physical habits once they have become ingrained through repetition.
Of course, we all want to practice new techniques and phrases as fast as they should be played during an actual performance. Holding back is no fun, and requires discipline. However, this is actually a shortcut to mastering difficult phrases, and keeping your hands as free as possible from acquiring bad habits.
