中文版肉丝波顿FUNK吉他教材~连载1（建议加精）

cy6666

FUNK~~~一直都是国外乐手作为节奏学习的一门必修风格，你可以在很多他们的音乐中感觉到FUNK元素，从流行到摇滚，到HIP HOP。但在国内~~能弹好FUNK\能弹出正宗FUNK感觉的吉他手~少之又少。甚至很多想学的朋友想找一本比较有指导性的教材都很困难。（有人会说汶X的FUNK教材不错，俄....我在书店里翻倒第5页就没想再看下去了...）。
本人在下了一大堆FUNK教材后~发现了此本FUNK教材非常易学易懂，在练习了一段时间后（半年左右，练的比较慢）~节奏感明显增强，反拍~附点的时值都能准确把握，有些以前弹不了的段子~~现在只要抓住律动感~~都能轻松弹奏~就连扫弦的感觉也是从来没有过的好。
所以现在为了论坛里想弹好吉他~学好吉他的兄弟姐妹,本人现在开始不定期翻译连载肉死波顿的FUNK教材。鉴于本人E文水平比较低劣~~~初中水平，以及3流的乐理知识，难免有不足之处，望各位看完帖子的觉得有意见的多多留言~~也可加QQ交流：180288318。好了~废话够多了~下面是教材正文。
（PS：我把E文教材原话都直接放出来了~E文好的朋友可以参考着看）

Introduction

前言

Welcome to the world of funk rhythm guitar! This style of guitar playing is a must for any serious musician wanting to improve his or her rhythm guitar skills.

欢迎来到疯克节奏吉他世界！任何态度严谨的音乐人都会通过学习FUNK吉他来提高自己的节奏吉他技术。

Generally, good funk players have learned their craft by taking down parts form recordings or directly from other players. Now, with this video we offer you a clear, concise method that not only provides all the basic techniques for beginners, but will also challenge the most experienced professional.

通常好的FUNK吉他手会通过扒歌或者面授的途径来学习技巧。但是现在，通过本教学录影带，我们将提供给你一个简单易学的方法来学习FUNK吉他，并且适合各个层次的吉他手，不单单只是刚刚入门的吉他新手

Let’s begin with some fundamentals:

好了，让我们开始吧：


Right Hand Technique:

右手技巧

Your right hand is the timekeeper. This hand is constantly moving in time with the music; two up and two downstrokes for each beat(one stroke for each 16th-note subdivision). There are some exceptions to this rule, however if you are new to this style remember that it is very rare that you would stop your right hand while playing a funk guitar part. keep your arm and wrist loose. Never “fix” your wrist or hand to the guitar. Also avoid “dragging” your pick across the strings. Instead, try to make it sound as if you are striking all of the strings simultaneously. Example 1 shows the fundamental right-hand rhythm pattern:

在弹奏FUNK节奏吉他中，你的右手就是你的节拍器；它必须时刻保持着稳定的音乐节拍在每拍中都要进行2次下拨和2次上挑（就是弹16分音符….）。当然也有例外，但如果你是一个刚开始学习FUNK的新手，请记住，在弹奏FUNK吉他时需要停下右手的情况是很罕见的。在弹奏时保持你的手臂和手腕放松，不要把你的手臂或手腕“钉”在吉他上。同时；也不要让你的弹片在拨弦时粘在“弦”上，你应该很快速的去拨弦，尽量让琴弦同时发声。练习1是一个基础的右手节奏练习：

Ex. 1
练习1
（注：把每下都弹的平均，尽量不要有明显的重拍或轻拍，所有的弦应尽量同时被弹响，不要慢慢的刷琴弦~要快、干净，音符的时值准确）

[ 本帖最后由 cy6666 于 2009-1-20 09:42 编辑 ]

摇滚心

这个教材很不错~~~

到后面的话最好配上音频····嘿嘿

cy6666

妈的~~附件一次只会传一张~~下面是连载1第2段

it’s important that you memorize the location of the up and down strokes in the bar. They will always fall in the same place, unless indicated otherwise. With this in mind, up and down strokes will not be indicated in subsequent examples.

请大家牢牢记住这个谱例中上拨和下挑标示的位置和规律，除特殊情况外，以后需要按这种方式进行上拨和下挑来弹奏的谱例中，都将不再重复进行上拨和下挑的标注了。

Left Hand Technique:

左手技巧

Your left hand controls the articulations of the notes or chord begin played. The rhythm pattern, percussive scratches and duration of the notes are completely controlled by damping or depressing the chord with your left-hand movement is kept to minimum – be efficient!

你的左手在演奏中必须能准确清晰的按出单音或者和弦。在节奏模式中，闷音扫弦和音符的时值都要靠左手最小幅度的对和弦闷或按的控制来完成。

Synchronizing the Hands

双手的协调

Isolating the Sixteenths:

独立你的16分？？

Being able to isolate the 16ths is probably the most important fundamental that you must develop as a funk guitarist. All of the rhythm parts in the video are derived from this basic skill. Remember to use steady, even strokes while simply “bouncing” your left hand on the appropriate 16th-note subdivision. Don’t exaggerate the attack with your right hand. Use “tight,” short attacks on each of the 16ths and really try to “lock in” with the metronome or drum machine.

做为一个FUNK吉他手，能够将你的16分音符独立出来是一项你必须发展的重要基本技巧。所有在本教学录影带中的节奏部分都是从这个技巧为基础衍生的。




EX2-5

cy6666

配一张EX2-5的E9和弦图

cy6666

2楼的也太快了吧~~靠~~~

摇滚心

帮你顶一下··这个教材我觉得是最好的FUNK教材~~~~

从最基本的节奏开始讲起········一步一步的教你如何分配节奏，切音···

尤其到中期有一个地方，把普通的一拍四下均匀切音的地方跟一拍四下每拍之间都是切分的那个音频做比较···真的很妙~~·····从此我对FUNK的看法完全就不一样了···说实话，弹好了弹准了···真的是不容易的事情。。。。

cy6666

楼上说的那个是SWING FEEL吧~~就是BLUES 型节奏?也叫夏佛节奏那个??~不过那个其实是3连音的切分...
那个我觉得是最难的地方了~~呵呵~~要弹出那味~~~真要的好练了

摇滚心

SWING FEEL 估计就是你说的那种正宗的感觉，曾经练到自己感觉自己在抽风~~哈哈

史蒂芬@周

确实好东西，楼主再接再厉，都翻译完

sevenxsj

感觉不错～～～～下来练练看！汶X的还没开始看～～～LZ尽快完成后续～支持技术贴！版主加精啊！

zhangdakai

好东西，就是太少了

ilieh

LZ能发英文文本给我吗？我可以帮忙翻译文字部分。本人乐理也不是很好，不过英文还过得去。其实我都是看英文教学视频或者教材的。。。。吼吼

发我ilieh@163.com

老庄77

no1990

我擦，版主一定要给加精，楼主你要挺住，我们很看好你哦。

老乔迷

顶！！！！

feng_2long

86230727@qq.com

焦点反弹

也发俺一份吧，谢谢！jiaodianfantan@sina.com

ilieh

补充，在VeryCD找到的相关视频：
http://www.verycd.com/files/29e6 ... 7e94c09f51181291648

cy6666

留信箱干吗~~我又没说我会发教材给你们~~~
那个E文很好的朋友~~方便加QQ说话么?

ilieh

PDF版英文原文(通过Google获得)：
http://www.thegreatvoid.net/Web/ ... Rhythm%20Guitar.pdf

ilieh

亲爱的，我通过字符识别软件把PDF转成文本了（搞IT就是有这个好处），现在开始动手了

cy6666

字符软件用的什么???

ilieh

靠，我一激动从头开始翻了。。。。您都翻到第二页了啊。。。。。那我从第四页开始番。。。。。。。。。

ilieh

原帖由 cy6666 于 2009-1-20 13:43 发表
字符软件用的什么???

专门的字符识别软件，一家澳大利亚公司叫Esker出的，是用来识别传真上字符的。正版的。。。没办法发给您。。。。没有安装包

cy6666

那好吧~~麻烦你直接把转好的文本发给我么??

ilieh

请注意，此段落不是和楼主上边的部分相连的，需要等楼主补全当中的部分。具体请参见原PDF英文版。
同样，那些谱例我都没有抓图，请各位直接去PDF中找。

Half-Step Slide

The half-step slide is a very common device used in funk rhythm

guitar playing. Notice that your right-hand must float on the up-

cycle (second 16th note) of these patterns while the left-hand

articulates the slide. It's very important to play the slide in time

with your left-hand keeping pressure on the fret board so that the

chord sustains throughout the slide. Examples 11 through 13

demonstrate variations on a simple one-beat slide pattern. Feel

free to either scratch or float the right-hand on beats 2 and 4

(indicated as ghost notes):

半音阶滑奏

半音阶滑奏是Funk节奏吉他演奏中最常用的一种技巧。请注意你的右手必须在左手清晰地完成这个滑动（第二个16分音符）的同时，悬空上扫(不要扫到弦)。在滑动时，你的左手必须按紧指板并快速的滑动这样才能保持发音。下边的示例11到13演示了几种单滑乐句中的常见变化。你的右手可以随意选择在那些标有幽灵音的音符是扫弦还是空扫。

Ex. 11--Ex. 13

Combining the Techniques:

Here are four short rhythm patterns that combine all four 16th-note attacks with a half-step slide in either a straight or swing feel:

综合练习：

这里有4个由16分音符4连音滑奏技巧组成的短乐句，使用扫弦或者空扫

Ex.14—Ex.17

Chords

Much has been written on the subject of chords - far more than we could possibly hope to

cover on this video. However, what we will do is take a look at some of the more commonly

used chord shapes in funk music. Specifically, these are dominant and minor chords.

You'll notice that funk guitar chord inversions typically occur on the top four or five strings

because the lower strings tend to get lost in the mix. Be sure to practice these inversions in

different keys.

和弦：

关于和弦已经有太多太多可写，多到远远超过我们这个视频所能够包含的。然而，我还是要向大家介绍一些我们再Funk音乐中最常用的和弦。明确地说，就是属音和弦与小调和弦。

你会发现，在Funk演奏中这些和弦典型的出现在上4或5根弦上(应该是指3456或23456弦)。因为那些高音容易在混音中被吃掉。练习中请注意以下要点

Dominant Voicings

The term "dominant" applies to the family of chords consisting of a major triad and a low-

ered seventh (root, 3rd, 5th, flatted 7th). Some of the following chord shapes also contain

"extensions" such as the 9th and 13th. Examples 20 through 22 will help you apply the

chord shapes (which may be unfamiliar at this point).

属音

属音是指一个主3和音及其低7度(即3，5，降7)的音阶。以下的这些和弦型也包括一些扩展，比如低9度和13度的音阶。示例20到22会帮助你理解属音和弦(有些是扩展的，如上所述)

Ex. 18--Ex. 22

Tricks with Dominant Chords

We can isolate just a few notes out of these chords to create some interesting sounds.

Examples 23 and 24 approach the "tritone" interval (3rd and flatted 7th of a dominant

chord) from a half-step below:

属音和弦的一些窍门：

我们可以从和弦中分离一些音符以产生极有趣的声音

示例23和24演示了如何在3个全音中演奏属音和弦中的滑音(属音中的低3度和降7度)

Ex. 23--Ex. 25

Minor Voicings

The minor chord shapes in this section are very similar to the dominant chord shapes on

page 6. The only difference is that the 3rd has been lowered (root, flatted 3rd, 5th). The

major sixth (or 13th) interval in examples 27 and 28 is very typical of "old school funk"

(i.e. early James Brown).

小调：

小调同属音和弦非常相似，唯一的区别就是低3度的音（即根音，降3和5）。下边示例27和28中的第6处(或13)间隔是老派校园Funk中的典型用法。

Ex. 26--Ex. 29

Example 30 is typical of an Earth, Wind & Fire rhythm guitar part. Notice that the

scratches are very pronounced all the way through this example.

示例30是典型的”地，风，火”节奏吉他的部分。请注意在此示例中所有的扫弦都是发声的

Ex. 30

Example 31 requires a "shake" on the last chord. Lay

your first finger down on the 8th fret across the 2nd, 3rd

and 4th strings. Using your thumb for leverage on the

back of the neck, push and pull on the strings in a "fan-

ning" motion (a.k.a. B.B. King vibrato). Technically, the

"shake" in this example will extend the last 16th of each

bar into the begining of the next measure (be sure to

float your right hand for the first two 16ths of each bar).

示例31要求在最后的和弦上“抖”那么一下子。把你的食指放在第8品的234弦上，用你的大拇指在琴茎的背后作为杠杆，做电风扇动作(就是大神BB King的颤音)。从技术上讲，本例中的这个“抖抖”会让小节中的最后一个16分音符延伸到下一个小节(记住要在下一个小节的前2个16分音符空扫)

Ex. 31

ilieh

这是当中缺的那段英文，给楼主
Synchronizing the Hands
Isolating the Sixteenths:
Being able to isolate the 16ths is probably the most important fundamental that you must
develop as a funk guitarist. All of the rhythm parts in the video are derived from this basic
skill. Remember to use steady, even strokes while simply "bouncing" your left hand on the
appropriate 16th-note subdivision. Don't exaggerate the attack with your right hand. Use
"tight," short attacks on each of the 16ths and really try to "lock in" with the metronome or
drum machine.
Ex. 2--Ex. 5
Combining the Articulations:
Now we'll combine all of the individual attacks into two short rhythm parts:
Ex. 6
The "Swing" Feel
A swing or "hip-hop" feel is difficult to describe in musical terms. The feel is accomplished
by delaying the second and fourth 16th of each beat. It's not really possible to musically
notate this feel because the amount of swing can vary from one groove to another. In
terms of actually playing a swing feel, your downstroke will remain essentially the same, but
the upstroke should be slightly delayed.
Ex. 8
Playing Longer Tones
Now we'll combine longer tones together with the shorter attacks. To play long tones, your
right hand should still move in the constant 16th-note pattern that we've established as our
foundation. However, instead of actually striking the notes, we'll float over the strings
allowing them to ring. Many guitar players have a tendency to stop their right-hand when
playing these longer tones. This is a bad habit because it interrupts the physical flow of
your right-hand which in turn can throw off your time feel.
The example below demonstrates the difference between the constant scratch and this
"floating" right hand. Ex. 10 incorporates this technique into a simple one-bar rhythm part.
Ex. 10

636

确实好东西，ilieh和 楼主都是好人啊

我专来挑毛病的

期待看到一些更高级的内容。以证实这本教材的优越性。

ilieh

Single-Note Parts
Playing single-note lines is another way to embellish a rhythm track. Coming up with an
effective line can be a real challenge, as well as a test of musical maturity. Single-note
parts are generally quite short and use very few notes.
单音符
演奏单音符的旋律线是另外一种修饰节奏的方法。(给节奏)接上一段有效的旋律线绝对是非常有挑战的，也是对于编曲能力的很好的测试。单音符的部分实际上非常非常短的，使用非常非常少的音符
Muted/Open Picking
"Muted" picking (a.k.a. "bubble picking" due to it's percolating sound) requires a strong
picking motion, while at the same time muting slightly with the palm of your right-hand next to the bridge. "Open" picking simply means that you allow the notes to ring as you play.
闷音/开放音
闷音拨弦(也叫“泡泡音”拨弦，因为听上去像)要有很强力的拨弦动作，同时右手又要在靠近琴桥的地方轻柔的闷音(各位老大都知道怎么闷音的对吧)。而开放音就是不制音，让音符一直响下去。
Ex. 32-Ex. 34
Skank
Skank parts are the most aggressive of the single-note lines. This harsh, percussive style
really cuts through when the band gets going. It is also the most difficult style to master
because it requires that you isolate a single note while simultaneously muting the adjacent
strings with your left-hand. The result is a strong, solid tone along with the percussive
attack of two or more strings scratched with the right-hand.
减幅(wikipedia: The technique of muting some strings yet playing the strings adjacent to the unmuted strings, typically on the offbeat and played by rhythm guitar and/or piano in ska music and its offshoots such as reggae来自维基百科关于Skank的解释：这是一种在演奏中把靠近发声弦旁边的弦闷音的一种技巧。典型应用于不规则的节奏。常用于SKA-一种牙买加音乐当中的节奏吉他或钢琴)
减幅是单音符演奏中最有侵略性的一种技巧。这种粗糙的拍打风格真的有种在乐队进行中一下子就冲过去的那样的感觉。此技巧是极难掌握的因为它在你在某根弦上演奏单音符的时候用左手闷掉相邻的弦。于是你就在强烈的敲击中得到强有力的立体感的声音。
Ex. 35--Ex. 39
Putting it all together...
Now we'll combine chords and single-note lines to create some very interesting rhythm
guitar parts.
Note: Up to this point scratches have been indicated to help you understand the break-
down of each beat. More specifically, the scratch indications defined the location for each
up and down stroke (as outlined in Example 1). Now we'll move into standard notation
where scratches are replaced with the appropriate rest values. It's important that you make
this transition. Hopefully the previous examples will help you visualize where the scratches
should fall. Feel free to rewrite the parts with scratches if necessary.
把以上的部分技巧合起来(英文有时候真是好用，all in one翻成中文就好长)
现在我们把前边学到的和弦与单音符旋律线合起来已创作一些非常有趣的节奏吉他乐句：
注意：在这一点上，扫弦前的某些征兆将让你更理解在每一拍中的停顿。更典型的，这些征兆将有助于你判断到底是上扫还是下扫(就像示例1中指出的那样)。现在，我们来看这些标准的符号，即在什么地方空扫可以让你获得适当的休息。这点转变是非常重要的。希望前边的那些示例已经让你直观的懂了什么时候应该空扫。当然，请随意把那些空扫的地方扫下去，只要你觉得必要。
Ex. 42
Double-Stops
The term "double-stop" simply refers to playing two notes at the same time. The tech-
niques for playing double-stop parts are basically the same as playing single-note lines:
the most important of which is to keep your pick moving! When coming up with your own
double-stop parts it helps to have a good harmonic understanding of the fret board.
双停
双停这个词非常好懂，就是同时弹响2个音符（这哪是双停，明明是双响）。演奏双停的技巧同演奏单音符的技巧基本一样，即不要停下你的拨片。等你自己能弄出自己的双停乐句时，你会更好的理解指板上的那些和声。
Ex. 43
Example 44 is a "New Orleans"-style shuffle part (a la "The Meters"). This example moves
around a lot and would be considered a "featured part" rather than supportive rhythm-
section line. It combines double-stops with a muted single-note line at the end of bar two.
Even though scratches are not indicated, feel free to scratch on the 16th-note subdivisions
(wherever it feels right) in place of the rests. In this example I tend to scratch the last two
16ths of bar one, and the third 16th in the first beat of bar two.
示例44是一段“新奥尔良”风格的慢速段落(叫什么”The Meters”)。此例是如此的丰富以至于与其说是给人伴奏的节奏线，更像是一段有风格的独奏。在第二小节的结尾，结合了双停和闷过了的单音符(让我想到WOW中的闷棍)。即使这样，谱中并没有标出哪里应该扫弦，所以请在你认为应该扫的16分音符部分随意的扫。在这个例子中，我个人倾向于扫第一小节的最后2个和第二小节第1拍中的第3个16分音符。
Ex. 44--Ex.45
Playing and listening to funk guitar will make you appreciate the "Art of the Groove." To
really understand what makes a track "groove" you need to become an intelligent listener.
Listen to all the instruments on the track - not just the guitar. Does the track swing or is it
straight? If it does swing, is it just a little or a lot? Often on a single track you will find that
some players swing, and some don't! Listen for subtleties in the time feel. Is the band
playing ahead of or behind the beat? Most of the time we listen to music for fun, but as a
musician you need to ¡earn what to listen for. You can learn as much from listening as you
can from playing.
演奏或者倾听funk吉他会让你赞叹：“真她妈棒”。而要想理解一首曲子为啥那么“棒”你必须成为一个好的听众。听清楚曲子中的所有乐器，而不只是吉他。这曲子“抖”起来了吗？还是直来直去的？如果“抖”了，那“抖”的利害吗？通常同一首曲子，有的人能“抖”起来而确实有些人“抖”不起来。仔细听那些精妙的地方。乐队是在拍子前还是拍子后来一下？多数时候我们听音乐只是好玩，但是作为一个玩音乐的你要知道你为什么要听。你在听曲子中绝对不会比你自己弹的时候学得更少。
16th-Note Triplet
The 16th-note triplet is an easy way to add some flash to your playing. In the following
example we've put the 16th-note triplet at the end of the bar. Notice that after playing the
triplet you're left playing an upstroke at the beginning of the next bar. This interruption of the
16th-note strumming pattern can be corrected by suspending your right-hand on the second
16th and returning to a down stroke on the third 16th.
16分音符3连音
演奏16分音符3连音是给你的表演制造闪光点的一种简单方法。在下边的示例中我们会在小节末放入16分音符3连音。请注意奏过一个3连音之后的下一个小节的开头，你错过了一个上扫。这个错位可以通过让你的右手停在第二个16分音符，然后在第三个16分下扫来得到纠正。
Ex. 46--Ex. 47
Applying the Techniques
In this section we'll combine some of the previous examples to show how they might be
used together in song form. Section [A] of Ex. 48 is based on Ex. 28 (in D minor instead of
G minor). The [B] section is Ex. 41, however in the last bar of this section we've added an
A9 chord as a "turnaround" (a turnaround is simply a short passage that leads back to the
beginning of a song).
技巧应用
在这个部分，我们汇总前边那些段子来看看怎么弄成一首完整的曲子。示例48的A部分是由示例28变化而来的(D小调替代了本来的G小调)，B部分是由示例41变化而来的，虽然我们在结尾加了一个A9和弦来作为连接桥段。(连接桥段是一种能够把曲子带回开头的小段子)
Ex. 48
In this piece, section [A] is based on Ex. 38 with an A minor triad added at the end of each
two-bar phrase. The [B] section is based on Ex. 14 (in D9 rather than E9). The "turn-
around" passage ends with a 16th-note triplet on the second half of beat 3, leading into
beat 4.
在下边这个段子中，A部分是示例38中每2个小节的结尾添加一个A小调3和音得到的。而B部分就是示例14(把E9改成D9)。连接桥段在第3拍得后半拍用一个16分音符3连音带入到第4拍
Ex.49
Conclusion
The examples in this video are primarily based on traditional funk parts. While much care
was taken to be as complete as possible, there is no substitute for listening and becoming
familiar with the artists who define the style. Your own repertoire of creative rhythm guitar
parts can best be developed by having a solid frame of reference. Hopefully, after working
through this method, your desire to explore the world of groove music is stronger than ever.
With this in mind, I have put together a short discography of some suggested listening
(in no particular order):
总结：
本视频中的这些例子主要是基于传统funk。由于主要把精力放在尽可能完整地介绍，所以并没有介绍某一位艺术家或者某一种风格。要想创造自己的风格，请全方位参考各种风格的演奏。希望通过这次学习，让你更坚定的去探索这种很“棒”的音乐。出于这种考虑，我在下边推荐一些值得听的东西（排名不分先后）
James Brown 20 Greatest Hits, Star Time (Box set), both on Polydor. It all starts right here. No funk
collection would be considered worthy unless it contained one of these discs.
Sly and the Family Stone Anthology, Greatest Hits, both on Epic. Loose, fun party music. Sly was and
continues to be a big influence on other artists.
Parliament/Funkadelic Tear off the Roof (Double CD, Greatest Hits collection), Polygram. Like Sly, the
vibe is loose and crazy. This music isn't for everybody, but some of the grooves are amazing.
Tower of Power In the Slot, Urban Renewal, Back to Oakland, all on Warner Bros. This is "sophisti-
cated" funk. These recordings have it all: super-intricate rhythm section grooves, incredible horn parts
and great ballads. It doesn't get much better than this.
Earth, Wind & Fire All 'n All, I Am, Gratitude and The Best of Earth wind & Fire, Vol. 1, all on Columbia.
Everything written for Tower of Power applies to this band as well. By the mid seventies these guys set
a standard for other bands to live up to. Al McKay's rhythm guitar playing is simply brilliant.
Average White Band: Best of 1974-80, Rhino. This disc is full of great rhythm guitar ideas. It's also a
good example of some great arrangements for two guitars.
Ruf us: Stompin'at the Savoy, Warner Bros.
Chaka Khan: What 'Cha Gonna Do For Me, Warner Bros.
Both of these selections feature amazing guitar work by David Williams; in my opinion, one of the best
rhythm guitarists working today.
Prince: Hits/B-Sides (3 disc set; especially disc #2), Warner Bros. While most people are aware of his
music, many don't realize what an outstanding rhythm guitarist he is.
This is by no means a complete list, but it represents a good cross-section of the major
artists. There is also a multi-disc series entitled In Yo'Face (Rhino Records; discs in this
series are sold separately) that features great tracks from many different artists. Also, a
"greatest hits" package from any of the following bands would be worth your consideration:
Kool & the Gang (early years), Cameo, Ohio Players, Con-Funk-Shun, Graham Central
Station, Bar-Kays.
这不是一个完整的该听的列表，但是包含了主要的艺术家们。*（——（）—（）*—（）后边我不翻译了可以吧？就是些介绍谁谁谁的
It's truly been a pleasure sharing my love for this style of music with you. Good luck on
your musical journey!
能够和你们分享我对于这种音乐(funk)的爱是我最大的荣幸。祝你们在音乐的路上一切顺利
Ross Bolton
肉丝波顿

ilieh

除了27楼留给楼主的部分，其他的都搞定了。由于本人对于音乐专业词汇方面的匮乏，可能有相当一部分翻译的词不达意，也希望各位大大帮忙指正。

最后谈一下本人的感想：funk真她妈难啊。。。。。。。16分音符的节奏对于我这种节奏感巨差的人来说真的是恶梦。。。。。。。虽然我通篇读了一遍，当时我敢说那些谱例最简单的我都不一定能练下来。。。。。哎，好痛苦。。。。

希望大家技术日进，对音乐的理解也能每日有所提高，多谢

diandianlaru

感谢各位大侠的翻译

ilieh

下班了。。。。。。。今天下午没干别的就翻译这个了。。。。。。。顶一下让更多人看到

瞎弹琴

期待完整版

st-xiaojia

好东西要顶·

1213147

能不能。。两位整理一下。。

ilieh

鉴于LZ没啥反应，并且本帖过于混乱。。。。。本人完成了全部章节的翻译并另外开贴发布，请有兴趣的同学移步到：
http://bbs.guitarschina.com/thread-755025-1-1.html

cy6666

汗~~你真迅速~~~~哈哈~~~把我的活都干了~~大家都直接点ILIEH的连接吧

tutu21

感谢分享教材！

liying250

感谢！！！！！！！！！！！