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世界权威弦乐杂志——Strad 总结了十位国际大师对于弦乐音阶练习的建议 让我们一起用心去感受 音阶练习
Boris Kuschnir ▶︎Many students practise scales first, then arpeggios, and only after that double-stops, for which they often don’t allow enough time. In Elizabeth Gilels’ system double-stops immediately follow the scales, and only after that come arpeggios and chromatic scales. This helps to remind students to play double-stops and to allow time for it. It is very important to play octaves, 10ths and fingered octaves every day, from as young an age as possible. They should all be practised in a slow tempo, then medium, and it is also important to play them fast, even though sometimes intonation suffers. As a rule, I recommend playing all scales without vibrato. 许多学生先练习音阶，然后再练琶音，在这之后才开始练习双音，因此通常学生不会有足够的时间进行完整的练习。 在伊丽莎白吉莱斯的系统性学习中，音阶一结束就会练习双音，然后才会练习琶音和半音阶。 这有助于使学生记起双音，并为双音的演奏留足时间。 尽可能的从小时候开始，每天演奏八度，十度和换指八度双音音阶对于学生来讲是非常重要的。 它们应该先以慢节奏练习，然后是中等速度练习，即使有时候声调会受到一些影响，要适当的进行快速度的练习。 作为一项规定，我建议在练习所有的音阶时不要揉弦。
Simon Fischer ▶︎This method of tuning scales was taught by Dorothy DeLay. Before playing complete scales, tune each note in the following order: * Begin with the ‘skeleton’ of the scale, the notes of the perfect intervals: first, fourth, fifth and eighth; * Then add the tow ‘leading’ notes: the third and seventh; * Then add the second and sixth notes to give the complete scale, tuning both these notes in relation to the third and the seventh. Dorothy DeLay教授了这种调教音阶的方法。 在演奏完整音阶之前，请按以下顺序调整每个音符： *从概略的范围开始，找出完美间隔的音符：第一，第四，第五和第八; *然后添加两个起主导作用的音符：第三和第七; *再然后添加第二和第六个音符来组成完整的音阶，按照第三个和第七个音符再来调整其他这些音符。 王健 ▶︎ This is how I think you should practise scales: * Start with two notes per bow very slowly, avoiding open strings as much as possible. Otherwise you will only remember first position and in a concerto or sonata we generally don’t use open strings. * Play four notes per bow so that the bow is moving at the same speed as before but the left hand is going twice as quickly. Again avoid open strings. Play as many octaves as possible. * Increase the speed to eight notes per bow with a slightly faster tempo, then 16 notes, and finally the whole scale in one bow. Use one bow up the scale and one bow descending. It helps to play really softly. 这是我认为你应该练习音阶的方法： *以一弓两个音符开始，尽量放慢速度，尽可能避免空弦。 否则你只会记住第一个音符的位置，而且在协奏曲或奏鸣曲中我们通常是不会使用空弦。 *一弓拉四个音符，拉的速度和之前的一样，但左手的速度会提高两倍，也要避免空弦。 尽可能的多练习八度音阶。 *速度增加到一弓八个音符，速度稍快一点，然后再是一弓16个音符，最后一弓拉整个音阶。先上弓后下弓，这有助于更加轻松地发挥。 Mats Lidström ▶︎Some musicians look at scales as warm-up material. This is a misjudgement. You should be properly warmed up even before starting to play them, in order to execute the stretched positions and double stops with a balanced left hand, and to play string-crossings with a bow that can respond to every type of contact with the string. The bow arm’s importance when practising scales should never be underestimated. Commitment with the bow gives the scale direction and pulse, shifting our attention to how it sounds and away from the area that is usually perceived as more difficult. With the introduction of stretching, or extension, technique, the great cellist Pablo Casals created the illusion of a shorter fingerboard: he effectively made the instrument smaller. His new ideas helped minimise and in some instances eliminate shifts. Shifts that are not part of an interpretation, in the form of articulation or a beautiful glissando, must not be audible. This is especially apparent with scales. 一些音乐家把音阶看作是一个热身，这其实是不对的。你应该在开始演奏音阶之前就进行适当的热身，以便左手能稳定的伸到各个位置，更好的完成双音和换弦，这可以更好的映出各个弦之间的联系。在练习音阶时，永远不要低估弓臂的重要性。拉琴时弓的稳定保证了音阶方向和脉搏，将我们的注意力转移到它的声音和通常被大家认为更难的地方。 随着手臂拉伸的采用，伟大的大提琴家帕布罗卡萨尔斯创造了一个较短指板的错觉：他有效地使乐器变小。他的新想法有助于一些指法减少并在某些情况下得以消除或者转变。滑音不是一场演出的一部分，是在为了更好的与曲调结合或者是以单独一个完美的滑音而存在的，不是一定要被听到。这在音阶上尤为重要。 Bruno Giuranna ▶︎A teacher who is convinced that scales practice is important will inspire their pupils to study them properly. You should tell students that a significant part of the Russian school is based on scales, and the results of that are not bad! Easy scales can be used at first to develop an idea of what it means to play them ‘well’. Students should get some decent fingerings and learn them thoroughly. But my theory is that anyone who needs to read music to practise scales will have problems playing in tune by memory. 一位重视音阶练习的老师会鼓励他们的学生正确学习音阶。 你应该告诉你的学生，俄罗斯的大多数学校都把音阶看作是基础是，他们教学的结果也非常不错！ 极速赛车信誉群最初可以使用简单的音阶来使学生明白练习好音阶的意义。 学生应该学习到一些相当好的的指法，并且要熟记于心。 但我的理论是，任何需要通过背谱子来练习音阶的人都会遇到因为记不住而忘记曲调的问题。 Paul Harris ▶︎ Scales improve technique, but not just by paying them lip service. Simply playing through a couple of scales during a practice session will have very little impact on a pupil’s technical development. ‘Slim-o-Food will only help you lose weight as part of a calorie-controlled diet’, the ads tell us. Similarly, scales will only affect technique if they are part of a holistic approach to teaching. Time and concern must simultaneously be put into posture, arm positions, precision of finger movement and positioning. In addition, it is essential that the many connections with aural work are brought to the fore. 音阶提高拉琴的技术，但不仅仅是表面文章。在练习期间简单地演奏几段音阶对学生的技术发展影响很小。 广告告诉我们，“减肥产品只会帮助你减肥，这是卡路里控制饮食的一部分”。 同样，如果音阶是整体教学方法的一部分，那么音阶只会影响演奏技术。 必须把时间和关注度同时投入到姿势，手臂的位置，手指的移动和指法的准确中去。 此外，必须把手和耳朵的配合放在首位。 分分彩微信群Heinrich Schiff ▶︎ These are the rules I follow: Play scales to the end of your life! Practise slowly. Don’t play loud and fast. Control your body. Think like a singer and feel the breath from your stomach. And finally, be patient and don’t give up. 这些是我遵循的规则：练习音阶直到你生命的尽头！ 要慢慢练习。 不要拉的太大声或者太快。控制你的身体。 像歌手一样，思考并用腹部呼吸。 最后，要有耐心，不要放弃。 Michael Frischenschlager ▶︎Scale practice is as important for the right hand as for the left. The first thing is to achieve a beautiful detaché, whether you are using slow or fast bows. Play both as loudly and as quietly as possible in order to learn how to achieve the best bow speed and sounding point without sounding scratchy. Practise scales and arpeggios for at least one hour every day, working on the right and left hands equally; then spend another hour on other technical elements such as double-stops (3rds, 4ths, 5ths, octaves), bowing, shifting and trills. After that, work on your repertoire – always a piece of Bach or Paganini alongside as many other works as you want. 音阶练习对于右手和左手来说同样重要。 无论你用慢弓还是快弓，首先要有完美的分弓。 尽可能的练习高昂的以及平静的曲调，以便学习如何获得最佳的运弓速度和节奏点。 每天练习音阶和琶音至少一小时，左右手都要练习到; 然后再花一小时在其他专门的基础练习上，如双音（三度，四度，五度，八度），弓法，换把，揉弦。之后，继续练习你的曲目——你练习的曲目中一定要有巴赫和帕格尼尼的作品。 Molly Gebrian ▶︎Instead of working through the circle of 5ths in your scales and arpeggios, try using random practice. Make little cards, each labelled with a different key, and put them in a bag. Then, make other cards labelled with different tempos and put those in a different bag. Finally, make cards specifying different bow strokes or bowings and put those in a third bag. Every day, pick out a key, a tempo, and a bow stroke and make this the subject of your day’s scale practice. 不要在你的音阶和琶音中按顺序练习，而是尝试随机练习。 制作小卡片，每张卡片用不同的音调标记，然后放入袋子里。 然后制作标有不同节拍的其他卡片，并将其放入另一个的包中。 最后制作指定不同弓法的卡片，并将它们放入第三个袋子中。 每天挑选一种音调，一种节拍和一种弓法，使这成为你一天音阶练习的主题。 Alexander Sitkovetsky ▶︎Using the method that I was passed down from my teachers, I like to start a four-octave scale in a slow tempo, one note per bow, four beats to a note. I do this both with and without vibrato. This allows me to practise my bow speed, distribution and control, and also to find comfort in my posture and left hand set up. Then I move to two notes per bow, still in a very calm tempo. Then it is on to four notes to a bow, then eight, 16, and finally 32. Each step doubles the speed, moving from a lyrical scale to a virtuoso one. I like to do this in all keys, beginning with G major and up to C sharp major. If I don’t have much time, once I have played the first scale in all variations, I will play the other ones at a fast tempo only. 分分彩微信群使用我从老师那里学来的方法，我喜欢以慢拍开始四个八度音阶，一弓一个音，一个音四个节拍。 无论是否使用揉弦，我都会这样做。 这使我能够练习弓速，运弓的分配和对弓的控制，也能使我的姿势更舒适，更能保持左手的姿势。 然后我一弓两个音，仍然以非常平稳的节奏练习。 然后是一弓四个音，八个音，16个音，最后是32个音。每次速度都会增加一倍，从抒情的意境到激昂的意境。 我喜欢在所有的调中都这么做，从G大调一直到升C大调。 分分彩微信群如果我没有太多时间，一旦我在所有变奏曲中演奏了第一个音阶，我将以快节奏演奏完其他音阶。 如果你也是古典音乐的爱好者 不妨关注我们 古典音乐世界的大门向你敞开
上海巴罗克室内乐团 The Shanghai Baroque Chamber Orchestra |
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来自： 昵称60951885 > 《音乐世界》
