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國(guó)外對(duì)顫音（古典吉他輪指）的理解
2019/3/26 21:56:41
How to play great tremolo
如何彈好顫音（輪指）。
1)
What is tremolo?
什么是顫音
Tremolo is not a technique. It is an effect produced when a certain type of arpeggio is employed.
顫音不是一種技巧，只是某種的琶音的表現(xiàn)形式。
trem·o·lo
n. pl. trem·o·los
A tremulous effect(!) produced by rapid repetition of a single tone (arpeggio)
一種顫音的表現(xiàn)是通過(guò)快速的彈奏一個(gè)單音達(dá)到的效果（琶音）
Throughout this article I will treat this effect as any other arpeggio pattern. It should not be considered as else.
通過(guò)這篇文章，我準(zhǔn)備像介紹琶音一樣來(lái)介紹顫音。因?yàn)樗粦?yīng)該被認(rèn)作是其他的技巧。
2)
What is arpeggio?
什么是琶音？
Arpeggio is in essence the alternation betwen fingers plucking the strings in succession.
It is the base of RH technique, the absolute fundamental necessity for playing guitar and other plucked instruments.
琶音在本質(zhì)上說(shuō)是一種用手指在琴弦上交替彈奏的過(guò)程。它是RH技術(shù)的基礎(chǔ)（rh=右手），更加是吉他和其他彈撥樂器的必備基礎(chǔ)。
Therefore it should be practiced with fundamental care as this technique is underlying every other action performed on the guitar.
A guitarist wants to achieve skills in scales, chords, tone and arpeggio.
因此應(yīng)該用心把它作為一項(xiàng)吉他技巧中的基礎(chǔ)練習(xí)。吉他的技巧包括：音階、和弦、音色和琶音。
Speed is no technique, and shouldn't be sought after in the same way as the four base skills. Theres an article about speed in 'Guitar Classes'
速度不是一種技巧，不應(yīng)該列入以上的四種基本技巧當(dāng)中。有專門關(guān)于技術(shù)的文章在“古典吉他”中。
3)
How do I practice arpeggio (arp.)?
如何練習(xí)琶音？
By correctly employing arp. patterns and practice them daily. Easy, eh?
答案是正確的琶音形式和每天的練習(xí)。很簡(jiǎn)單，不是嗎？
Think of all the combinations you can play with your p, i, m and a fingers and multiply them with the number of strings on your guitar and then with the number of notes in succession.
通過(guò)思考多種的組合，你可以運(yùn)用你的p、i、m和a指在不同的琴弦上和不同的音符來(lái)彈奏出一系列的琶音。
Quite a few of these patterns can be discarded as useless towards the absolute most of the guitar repertoire. Some are basic exercises, which patterns concerned are to be found in most pieces and some are for the user to decide whether is relevant or not.
其中很少的組合可以作為與吉他曲目無(wú)關(guān)的組合而忽略。其他一部分與很多曲目相關(guān)的組合可以作為基礎(chǔ)練習(xí)，另外一部分可以由自己決定是否與曲目相關(guān)而采用。
Relevancy is a key question in practicing arp. Given that basic exercises are employed daily it is of the highest importance to decide which arp. patterns is the most beneficial towards current and planned repertoire. Theres no better way to waste time and effort than when playing etudes and exercises that aren't relevant to any pieces of music.
相關(guān)性是一個(gè)在練習(xí)中很關(guān)鍵的問題。如何設(shè)定琶音的日?；A(chǔ)練習(xí)形式很大程度上取決于這個(gè)形式對(duì)你正在練習(xí)的或者準(zhǔn)備練習(xí)曲目有多大的益處。把時(shí)間浪費(fèi)在學(xué)習(xí)和練習(xí)一些與樂曲無(wú)關(guān)的琶音形式上不是一種好的方法。
A good way to decide what etudes and exercises one should practice is to look for similarities in ones repertoire and the library of etudes/exercises available.
決定練習(xí)些什么的好方法是在樂曲中尋找相似的常用的內(nèi)容或者看一些有助于學(xué)習(xí)的書籍。
Setting up a 'base' repertoire for etudes/exercises is slightly harder. Here one has to apply some common sense towards what ones goal and expectations of achievement is and just go by experience. One should pay attention to which combinations that are lesser used by the RH and strengthen these. This will in turn have a great impact on your playing and general technique. I.e. the a-m-a combo often is sub par.
創(chuàng)造一些基礎(chǔ)的練習(xí)曲目有點(diǎn)困難。這里人們對(duì)于如何達(dá)到目標(biāo)有一個(gè)共識(shí)就是積累經(jīng)驗(yàn)。人們應(yīng)當(dāng)注意到一些不常用的右手組合，并且去加強(qiáng)對(duì)他們的練習(xí)。這樣的組合會(huì)對(duì)你的演奏和一些基本技巧起到很大的影響。例如a-m-a的組合。
I'm not particulary fond of giving examples on exercises, people tend to play through them and ask "whats next". Instead I want you to ask yourself "how can I use this information to improve my playing?".
我不是特別喜歡舉一些練習(xí)的范例，人們習(xí)慣于按照這些來(lái)練習(xí)，然后詢問下一個(gè)是什么。取而代之的是我想讓你問問自己“我應(yīng)該如何運(yùn)用這些信息來(lái)提高自己的演奏水平”
A good starting point would be to download Giulianis 120 Right Hand Exercises here
一個(gè)好的起點(diǎn)可以通過(guò)練習(xí)朱利亞尼的120首右手練習(xí)曲開始
Also for advanced guitarists some of the Villa-Lobos etudes are great.
同時(shí)高級(jí)學(xué)者可以學(xué)習(xí)一些維拉.羅伯茨的教材。
The size of this base exercise repertoire is subject to what one wants to achieve. Again this is something one has to experience for oneself.
這種形式的練習(xí)曲更加貼近人們想要達(dá)到的目標(biāo)。反復(fù)的練習(xí)可以積累更多的經(jīng)驗(yàn)。
Note that Giulianis and other arp. exercises are by their simplicity highly effective, and can therefore be the highway to carpal tunnel syndrome and fatigue.
要注意到盡管朱利尼亞的和其他一些琶音練習(xí)簡(jiǎn)單實(shí)用，但是容易導(dǎo)致手腕因疲勞而引起一些綜合并發(fā)癥。
A short article about tension and methods to get rid of it is on the way.
曾經(jīng)有一篇短文介紹過(guò)關(guān)于緊張和如何克服緊張，
4)
how do I practice arp. to achieve great and fast tremolo?
我應(yīng)該如何練習(xí)琶音以達(dá)到好聽快速的顫音。
Here's a recipie:
以下是一些回復(fù)：
- Build a good arp. base, Giulianis exercises will suffice
打下良好的琶音基礎(chǔ)，朱利尼亞的練習(xí)會(huì)很有幫助。
- Find or make exercises relevant to tremolo. These should cover all combinations of P, I, M and A. (e.g: p-a-m-i and rotation, p-m-i-a and rotation, p-i-m-a and rotation, p-a-m-i-m and rotations, p-m-a-m-i and rotations, and so on...)
尋找或者制定一些和顫音相關(guān)的練習(xí)。這些練習(xí)應(yīng)該包含所有p\i\m\a的組合。例如pami,pmia,pima,pamim,pmami,等等。
[Why all these combos when all you need is p-a-m-i? In order to build a proper arp. which in turn leads to tremolo you have to do combos, or else you'll invest time in some bastard technique that can't be controlled regarding tempo, tone and such. Proper arp. leads to total control and fluency of the tremolo]
為什么要練習(xí)所有組合而顫音只需要pami一種就可以了。這是為了形成一種能達(dá)到完美的顫音效果而必須去練習(xí)的琶音組合。否則你可能會(huì)把時(shí)間用在一些對(duì)顫音，音色沒有幫助的練習(xí)上面。完美的琶音才能形成獨(dú)立流暢的顫音。
-Explore proper finger movement. The most popular approach is the staccato tremolo. Playing staccato slowly when intonating the arp pattern will make you prepare the string as fast as possible, making for the potential of speed, control and fluency much greater. Pair this up with relaxation (more about that in the 'Speed' article).
探索合適的手指運(yùn)動(dòng)?，F(xiàn)在最流行的方法是斷音練習(xí)。緩慢的彈奏斷音，可以讓你在彈琶音時(shí)盡快地找到琴弦，為以后提高速度，控制獨(dú)立性和流暢性有很大的幫助。同時(shí)要注意放松自己。
- Practice these every day. Do not play with a metronome to increase speed. Instead aim to achieve full control and different palettes of tone colour. This goes for all arpeggio exercises: Never aim for speed.
每天堅(jiān)持練習(xí)。不要為了提高速度而彈琴。而應(yīng)該以控制和區(qū)分不同的音色為目標(biāo)。這是對(duì)琶音練習(xí)的建議，不要以速度為目標(biāo)。
Tremolo is no great technique, it's just an effect that every other guy with some discipline and knowledge towards his exercises can get.
顫音不是什么了不起的技巧，它僅僅一種每個(gè)人都可以根據(jù)一些規(guī)則和知識(shí)練習(xí)并掌握的彈奏效果。
以下是對(duì)文中關(guān)于斷音的一些解釋：
staccato is when you play notes separate from each other... it's the oposite of legato ... legato=conected (laaalaaalaaalaaa)... staccato=separate(la la la la)...
斷音就是當(dāng)你彈奏音符時(shí)要把他們分開，和連奏正好相反。連奏的感覺是(laaalaaalaaalaaa)... 斷奏是(la la la la)...
We use staccato in tremolo to ensure that the right hand fingers is properly prepared on the string before the next stroke. The choppiness will disappear when the tremolo is sped up.
我們?cè)陬澮糁惺褂脭嘧嗍菫榱舜_定手指在彈奏下一次時(shí)在琴弦上已經(jīng)做好準(zhǔn)備。這樣波浪感就會(huì)在加快速度時(shí)消失。
英文內(nèi)容摘自http://www.delcamp.net/forum/en/ ... bac8f0adf25b382d282
這是一個(gè)很好的古典吉他論壇，翻譯的多有不當(dāng)請(qǐng)指正，只是希望能把自己看到不錯(cuò)的東西和大家分享
作者：fling_dream
如何彈好顫音（輪指）。
1)
What is tremolo?
什么是顫音
Tremolo is not a technique. It is an effect produced when a certain type of arpeggio is employed.
顫音不是一種技巧，只是某種的琶音的表現(xiàn)形式。
trem·o·lo
n. pl. trem·o·los
A tremulous effect(!) produced by rapid repetition of a single tone (arpeggio)
一種顫音的表現(xiàn)是通過(guò)快速的彈奏一個(gè)單音達(dá)到的效果（琶音）
Throughout this article I will treat this effect as any other arpeggio pattern. It should not be considered as else.
通過(guò)這篇文章，我準(zhǔn)備像介紹琶音一樣來(lái)介紹顫音。因?yàn)樗粦?yīng)該被認(rèn)作是其他的技巧。
2)
What is arpeggio?
什么是琶音？
Arpeggio is in essence the alternation betwen fingers plucking the strings in succession.
It is the base of RH technique, the absolute fundamental necessity for playing guitar and other plucked instruments.
琶音在本質(zhì)上說(shuō)是一種用手指在琴弦上交替彈奏的過(guò)程。它是RH技術(shù)的基礎(chǔ)（rh=右手），更加是吉他和其他彈撥樂器的必備基礎(chǔ)。
Therefore it should be practiced with fundamental care as this technique is underlying every other action performed on the guitar.
A guitarist wants to achieve skills in scales, chords, tone and arpeggio.
因此應(yīng)該用心把它作為一項(xiàng)吉他技巧中的基礎(chǔ)練習(xí)。吉他的技巧包括：音階、和弦、音色和琶音。
Speed is no technique, and shouldn't be sought after in the same way as the four base skills. Theres an article about speed in 'Guitar Classes'
速度不是一種技巧，不應(yīng)該列入以上的四種基本技巧當(dāng)中。有專門關(guān)于技術(shù)的文章在“古典吉他”中。
3)
How do I practice arpeggio (arp.)?
如何練習(xí)琶音？
By correctly employing arp. patterns and practice them daily. Easy, eh?
答案是正確的琶音形式和每天的練習(xí)。很簡(jiǎn)單，不是嗎？
Think of all the combinations you can play with your p, i, m and a fingers and multiply them with the number of strings on your guitar and then with the number of notes in succession.
通過(guò)思考多種的組合，你可以運(yùn)用你的p、i、m和a指在不同的琴弦上和不同的音符來(lái)彈奏出一系列的琶音。
Quite a few of these patterns can be discarded as useless towards the absolute most of the guitar repertoire. Some are basic exercises, which patterns concerned are to be found in most pieces and some are for the user to decide whether is relevant or not.
其中很少的組合可以作為與吉他曲目無(wú)關(guān)的組合而忽略。其他一部分與很多曲目相關(guān)的組合可以作為基礎(chǔ)練習(xí)，另外一部分可以由自己決定是否與曲目相關(guān)而采用。
Relevancy is a key question in practicing arp. Given that basic exercises are employed daily it is of the highest importance to decide which arp. patterns is the most beneficial towards current and planned repertoire. Theres no better way to waste time and effort than when playing etudes and exercises that aren't relevant to any pieces of music.
相關(guān)性是一個(gè)在練習(xí)中很關(guān)鍵的問題。如何設(shè)定琶音的日?；A(chǔ)練習(xí)形式很大程度上取決于這個(gè)形式對(duì)你正在練習(xí)的或者準(zhǔn)備練習(xí)曲目有多大的益處。把時(shí)間浪費(fèi)在學(xué)習(xí)和練習(xí)一些與樂曲無(wú)關(guān)的琶音形式上不是一種好的方法。
A good way to decide what etudes and exercises one should practice is to look for similarities in ones repertoire and the library of etudes/exercises available.
決定練習(xí)些什么的好方法是在樂曲中尋找相似的常用的內(nèi)容或者看一些有助于學(xué)習(xí)的書籍。
Setting up a 'base' repertoire for etudes/exercises is slightly harder. Here one has to apply some common sense towards what ones goal and expectations of achievement is and just go by experience. One should pay attention to which combinations that are lesser used by the RH and strengthen these. This will in turn have a great impact on your playing and general technique. I.e. the a-m-a combo often is sub par.
創(chuàng)造一些基礎(chǔ)的練習(xí)曲目有點(diǎn)困難。這里人們對(duì)于如何達(dá)到目標(biāo)有一個(gè)共識(shí)就是積累經(jīng)驗(yàn)。人們應(yīng)當(dāng)注意到一些不常用的右手組合，并且去加強(qiáng)對(duì)他們的練習(xí)。這樣的組合會(huì)對(duì)你的演奏和一些基本技巧起到很大的影響。例如a-m-a的組合。
I'm not particulary fond of giving examples on exercises, people tend to play through them and ask "whats next". Instead I want you to ask yourself "how can I use this information to improve my playing?".
我不是特別喜歡舉一些練習(xí)的范例，人們習(xí)慣于按照這些來(lái)練習(xí)，然后詢問下一個(gè)是什么。取而代之的是我想讓你問問自己“我應(yīng)該如何運(yùn)用這些信息來(lái)提高自己的演奏水平”
A good starting point would be to download Giulianis 120 Right Hand Exercises here
一個(gè)好的起點(diǎn)可以通過(guò)練習(xí)朱利亞尼的120首右手練習(xí)曲開始
Also for advanced guitarists some of the Villa-Lobos etudes are great.
同時(shí)高級(jí)學(xué)者可以學(xué)習(xí)一些維拉.羅伯茨的教材。
The size of this base exercise repertoire is subject to what one wants to achieve. Again this is something one has to experience for oneself.
這種形式的練習(xí)曲更加貼近人們想要達(dá)到的目標(biāo)。反復(fù)的練習(xí)可以積累更多的經(jīng)驗(yàn)。
Note that Giulianis and other arp. exercises are by their simplicity highly effective, and can therefore be the highway to carpal tunnel syndrome and fatigue.
要注意到盡管朱利尼亞的和其他一些琶音練習(xí)簡(jiǎn)單實(shí)用，但是容易導(dǎo)致手腕因疲勞而引起一些綜合并發(fā)癥。
A short article about tension and methods to get rid of it is on the way.
曾經(jīng)有一篇短文介紹過(guò)關(guān)于緊張和如何克服緊張，
4)
how do I practice arp. to achieve great and fast tremolo?
我應(yīng)該如何練習(xí)琶音以達(dá)到好聽快速的顫音。
Here's a recipie:
以下是一些回復(fù)：
- Build a good arp. base, Giulianis exercises will suffice
打下良好的琶音基礎(chǔ)，朱利尼亞的練習(xí)會(huì)很有幫助。
- Find or make exercises relevant to tremolo. These should cover all combinations of P, I, M and A. (e.g: p-a-m-i and rotation, p-m-i-a and rotation, p-i-m-a and rotation, p-a-m-i-m and rotations, p-m-a-m-i and rotations, and so on...)
尋找或者制定一些和顫音相關(guān)的練習(xí)。這些練習(xí)應(yīng)該包含所有p\i\m\a的組合。例如pami,pmia,pima,pamim,pmami,等等。
[Why all these combos when all you need is p-a-m-i? In order to build a proper arp. which in turn leads to tremolo you have to do combos, or else you'll invest time in some bastard technique that can't be controlled regarding tempo, tone and such. Proper arp. leads to total control and fluency of the tremolo]
為什么要練習(xí)所有組合而顫音只需要pami一種就可以了。這是為了形成一種能達(dá)到完美的顫音效果而必須去練習(xí)的琶音組合。否則你可能會(huì)把時(shí)間用在一些對(duì)顫音，音色沒有幫助的練習(xí)上面。完美的琶音才能形成獨(dú)立流暢的顫音。
-Explore proper finger movement. The most popular approach is the staccato tremolo. Playing staccato slowly when intonating the arp pattern will make you prepare the string as fast as possible, making for the potential of speed, control and fluency much greater. Pair this up with relaxation (more about that in the 'Speed' article).
探索合適的手指運(yùn)動(dòng)?，F(xiàn)在最流行的方法是斷音練習(xí)。緩慢的彈奏斷音，可以讓你在彈琶音時(shí)盡快地找到琴弦，為以后提高速度，控制獨(dú)立性和流暢性有很大的幫助。同時(shí)要注意放松自己。
- Practice these every day. Do not play with a metronome to increase speed. Instead aim to achieve full control and different palettes of tone colour. This goes for all arpeggio exercises: Never aim for speed.
每天堅(jiān)持練習(xí)。不要為了提高速度而彈琴。而應(yīng)該以控制和區(qū)分不同的音色為目標(biāo)。這是對(duì)琶音練習(xí)的建議，不要以速度為目標(biāo)。
Tremolo is no great technique, it's just an effect that every other guy with some discipline and knowledge towards his exercises can get.
顫音不是什么了不起的技巧，它僅僅一種每個(gè)人都可以根據(jù)一些規(guī)則和知識(shí)練習(xí)并掌握的彈奏效果。
以下是對(duì)文中關(guān)于斷音的一些解釋：
staccato is when you play notes separate from each other... it's the oposite of legato ... legato=conected (laaalaaalaaalaaa)... staccato=separate(la la la la)...
斷音就是當(dāng)你彈奏音符時(shí)要把他們分開，和連奏正好相反。連奏的感覺是(laaalaaalaaalaaa)... 斷奏是(la la la la)...
We use staccato in tremolo to ensure that the right hand fingers is properly prepared on the string before the next stroke. The choppiness will disappear when the tremolo is sped up.
我們?cè)陬澮糁惺褂脭嘧嗍菫榱舜_定手指在彈奏下一次時(shí)在琴弦上已經(jīng)做好準(zhǔn)備。這樣波浪感就會(huì)在加快速度時(shí)消失。
英文內(nèi)容摘自http://www.delcamp.net/forum/en/ ... bac8f0adf25b382d282
這是一個(gè)很好的古典吉他論壇，翻譯的多有不當(dāng)請(qǐng)指正，只是希望能把自己看到不錯(cuò)的東西和大家分享
作者：fling_dream
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