北京G3指弹英雄吉他演奏会——转自华音
2005年06月04日下午2时，我公司于北京豪运酒吧举办了一场隆重的G3指弹英雄吉他演奏会。G3指弹英雄分别是：来自大陆内地的著名指弹吉他演奏家 高君 老师；来自台湾的，我们早已熟知的指弹吉他名家 黄家伟 老师；还有来自美国的，在世界上也是鼎鼎大名的指弹吉他大师Mr.Andy Mckee 先生。高君 老师，中国著名古典、弗拉门歌和美国指弹吉他演奏家，国内指弹吉他领域权威和声学吉他制琴权威，高君是当今亚洲首屈一指的原声指弹吉他大师。2004年，高君还协助文化部，制定了《中国吉他演奏职业标准》，并撰写相关统一材料。
高君 老师，生于西安，6岁随父亲（高思境）学习小提琴，14岁开始学习古典吉他，16岁考入四川音乐学院，1988年获得西部五省八市古典吉他第一名，同年录制发行了古典吉他专缉“西班牙小夜曲”，后巡回演出于全国各大省会城市，1990年应邀在北京大学教授吉他实验课程，并被载入《中外吉他名人词典》。1990年转攻美国指弹吉他演奏风格，次年获得美国康州的哈特福德音乐学院奖学金，10月赴美深造；93年5月回国，94年在兰州创办“高君手工吉他作坊”，96年迁至北京中国音乐学院，同年以演奏家和制作家的双重身份被载入《世界吉他人物》，1997年任北京MIDI音乐学院客座艺术指导，并编写了《美国指弹吉他教程》，1998年后隐居云南。
2001年以国内指弹吉他演奏权威和制琴权威的身份被载入《吉他500年》，手工声学吉他作品在2001美国吉布森中国区产品展示会上，博得这家全球最著名的吉他公司首席制作大师--伦.福格森先生的肯定与推崇，目前在录制专题教学片“高君指弹吉他讲座”以及电视教材和录像教材。
2003年出版出版发行了中国吉他史上的首张指弹吉他CD专辑--“最后一部蒸汽机车”。
黄家伟 老师出生在印度尼西亚,因此，他所接触到的音乐环境与内地不同，也直接的影响到他的创作。后来，黄家伟老师来到了台湾，并在台湾创建了AGTM指弹吉他俱乐部，吸引了大批指弹爱好者学员的加入，使FingerStyle吉他指弹独奏风格能够在台湾地区，甚至在东南亚华人地区广泛地推广和传播。黄老师的作品，融合了印尼和台湾两地音乐以及东南亚华人地区音乐特色，主要倾向于比较New Age一些，比较减压，比较有空间感的那种音乐，听起来会让人觉得非常舒服。他这次专程来到内地表演，为内地音乐注入了一股新鲜的血液，刮起了一股强劲的吉他指弹音乐风暴。
Mr. Andy Mckee，来自美国堪萨斯州(Kansas)年轻的木吉他演奏家，其出神入化的演奏风格让人无法相信他今年只有二十四岁而已，他过人的实力让他在2001年的 National Fingerstyle Guitar Championships 击败了全美众多高手，成为史上进入前三名最年轻的木吉他演奏家。
Andy高超的点弦、拍击技巧完美地搭配在他充满节奏感的曲子上，让你光是聆听他的音乐，绝对无法相信这纯粹是一把吉他所能发出来的乐音，会让你误以为是吉他配上打击乐器的演奏。直到你看到他的影片或是现场演出，才能体会到吉他的无限可能。
以下是Andy曾在各大赛事中获得的奖项：
The Third place winner of the 2001 National Fingerstyle Guitar Championships（2001年度国际指弹风格独奏吉他冠军赛第三名）
The First place winner of the 2003 Kansas Miscellaneous Acoustic Instrument Championships （2003年度堪萨斯州原声乐器才艺争霸赛第一名）
The Second place winner of the 2004 Canadian Fingerstyle Guitar Championships（2004年度加拿大指弹风格独奏吉他冠军赛第二名） The First place winner of the 2004 Kansas Fingerstyle Guitar Championships（2004年度堪萨斯州指弹风格独奏吉他冠军赛第一名） 演奏会即将开始，酒吧里面现场挤满了慕名而来的观众，一直排到酒吧门口。就连鼎鼎大牌儿的老大哥级别的人物，流行音乐教父 李宗盛 老师，也带着自己的经纪人等一行慕名前来观看演出。
首先出场的是 高君 老师和他的高徒。高君 老师以一曲动人的：最后一部蒸汽机车，拉开了演出的序幕。这么美妙的旋律，一下子就把我们带到了美国的乡村小路上。仿佛眼前看到了公路，汽车，小草房，牧场，以及眼前疾驰而过的蒸汽机车！真是太好听了！
后面的演出，高君 老师的徒弟，还为他的指弹独奏曲作和声陪衬，真的是一种很新颖的音乐风格，原来指弹独奏曲也可以用人空灵的歌声来做衬托！真的如同在欣赏一幅美丽的风景画！太奇妙了！
黄家伟老师第二个出场，他的演出非常精彩，悠扬的旋律仿佛把大家都带入了梦境一般的风之国度，在场的所有人都为黄老师的精湛琴技所折服，为这动人的音符所深深打动，深深着迷。
黄老师还特意为大家表演了一首比较另类演奏技巧的曲目：章鱼。真的是棒极了！曲目中使用了大量的右手点弦技巧，还用到了点指扫弦。好高深的技巧！真的是让人惊叹不已！
我们期待已久的大师Andy McKee终于被观众大声呼唤上场了。从他在调弦时候熟练的手法，就可以看出他绝对技术非同一般。音乐声一想起，马上就吸引了包括最后一排在内的观众的眼光，他们争着挤到前面，要看个究竟。因为Andy 的演奏，让人听起来，仿佛是一个乐队在演奏一般。里面既有美妙的弦乐旋律，又有激昂的打击节奏。Andy的舞台表演极具感染力，观众们不断的掌声以及喝彩声让他表演的更加投入，更加卖力！一用力竟然把吉他背带给拍断了！只好坐在酒吧椅上面为大家表演Unplugged 了！
Andy McKee的吉他演奏技术一直都在不断提高。他的左手独奏，以及反手演奏，敲击箱板的表演，已经达到了出神入化的境界。左手反手按弦演奏的时候，可以完全不看着琴，就能准确演奏出充满动感而又振奋人心的旋律来。真的是让在场的观众大呼过瘾！眼界大开！
Andy 演奏结束之后，下面的观众都几次强烈要求他再多表演一个。应大家的要求，Andy 又给大家展现了他过人的点弦，扫弦，拍泛音，以及敲击琴箱等的高难技巧，博得了在场观众一阵阵的喝彩，掌声许久不停。
演奏会结束，大家都非常有秩序地排队购买CD书籍，这三位指弹界的吉他大师都积极热情地为大家签名，并合影留念。 下面是这次G3指弹英雄会上面黄家伟老师的精彩表演：章鱼！
http://www.musechina.com/mp3/G3.wmv 唉！这文章啊，连风格都没搞清楚……那种“新颖的音乐风格”其实就是Celtic风格啊！呵呵，那来写文章的朋友有必要多了解下音乐风格的知识了…… Originally posted by wangyue1983 at 2005-10-29 08:14 PM:
唉！这文章啊，连风格都没搞清楚……那种“新颖的音乐风格”其实就是Celtic风格啊！呵呵，那来写文章的朋友有必要多了解下音乐风格的知识了……
不是我写的啊。跃斑，我都写明是转自华音的啦。
不能怪我喔。 呵呵，我没怪你，也没怪作者，就是觉得我们应该补补这方面的知识了 Originally posted by 维生素C at 2005-10-31 05:51 PM:
呵呵，我没怪你，也没怪作者，就是觉得我们应该补补这方面的知识了
是啊。首先不懂的我会想你请教的。 我的知识也极其有限啊……唉 先把你的淘空了再说。^_^ 呵呵，好啊！ 又是这段，怎么没有高君大师的
另外 斑竹实在有些吹毛求疵，即使你水平很高，也不要这样。 我什么时候说我水平高了？我什么时候吹毛求疵了？难道我的建议有问题吗？难道我让大家多了解学习下具体音乐风格有错吗？ 如果指出不足就是吹毛求疵的话，我想我就没有什么发言的必要了 没有啦。跃斑可以是个热心的大好人。
我象敬仰KotarO OshiO 那样~~~
羡慕他。呵呵 晕！我只是解释下，没必要那么捧我吧……呵呵，我可不想当芙蓉哥哥…… 黑背胡狼：你好！
押尾技巧手法大公開－－－我现在下载不了了，能传给我吗？谢谢。qq471395216 有点乱！！！！！！！ 跃版 很强的 谁把1年前的帖子挖出来了....真晕 呵呵,一年前的我不懂事,大家见谅啊! 原帖由 wangyue1983 于 2006-11-15 16:24 发表
呵呵,一年前的我不懂事,大家见谅啊!
跃版什么是Celtic啊？
请看我收藏的资料,翻译工作自己做吧!哈哈哈哈
Celtic Fingerstyle GuitarPat's Guitar Page
Celtic Music for Fingerstyle Guitar
copyright 1993, 1996 by Pat Kirtley
The playing of Celtic music, the folk and traditional music of Ireland, Scotland, Wales and Brittany, on acoustic fingerstyle guitar is a relatively recent development. The music is very old, some of it dating from the 14th century and earlier, but has not been widely played on fingerstyle guitar until the 20th century. The primary instruments involved in this music have been the harp, fiddle, flutes, whistles, button accordian, and various bagpipes (highland pipe, uillean pipes, small pipes), as well as various drum and percussion instruments. Accordingly, the sound of this music is highly flavored with the nuances of these instruments, and a challenge of playing the music on solo guitar is to retain that feel. A few performers have been more successful than others in translating this music to guitar, notably Duck Baker, Davey Graham, Martin Carthy, Dave Evans, John Renbourn, and Pierre Bensusan. With regard to the proliferation of Celtic music for guitar in the USA, no discussion would be complete without mentioning Stefan Grossman. He has been most important as a motivator in bringing the work of contemporary Celtic-style guitar artists to the attention of audiences worldwide through recordings, tablature books, and taped lessons. His involvement with Kicking Mule, Shanachie Records, and Stefan Grossman's Guitar Workshop continues to bring new work by excellent guitarists to our attention.
A Very Brief History
The traditional music of Ireland and Scotland is old, and much has been written about it in books that are more about music history than music. Some of these books are listed in the references at the end of this article. Of particular interest to we guitar players is the general development of the music, and the instruments it upon which it was developed. It appears that Irish traditional music, for instance, went for quite a long time (prior to about 30 years ago) without much change. We won't go into the concepts of why this lack of change (similar to the lack of change in Scots-Irish folk songs in the Appalachian mountains in the 17th and 18th centuries here) occurred, but the benefit is that current musicians have the opportunity, through recordings and musicians taught by traditionalists, to bring the guitar firmly into the tradition.
Where did the tradition originate? If you listen to arabic and middle-eastern music, you can hear many characteristics in common with traditional Irish and Scottish music. Particularly, in both musical traditions there is an emphasis on melody and rhythm. The complexity of both styles of music (in those areas where the music is complex) is melodic and rhythmic. Rarely do you find emphasis of the more western concepts of harmony and counterpoint. This is where the uniqueness (and the challenge) lies. As solo guitarists, we don't have a standard method to create the kind of percussive rhythm that underlies jigs and reels, nor have we (most of us!) developed the subtle melodic voicings and ornamentation of, say, the Irish fiddle tradition. If we apply the normally expected guitar-arranger treatment to this music, piling on chords, alternating bass, and harmony, we are headed in the wrong direction. To begin to understand what to do, it is absolutely essential to listen to the traditional players (not guitar players) and bands. Flatpicking guitarists can make an approach to the styles of the lead instruments (fiddle, pipes, flutes and whistles), while the adventurous fingerstylist can attempt to emulate the whole Irish band! To keep the tradition alive, always keep the tradition in mind when you arrange and perform the music.
Form
It is necessary to have an understanding of the form of Celtic tunes to begin to learn to play them. Even if you are not a player, understanding the form will increase your enjoyment of the music. In our familiar pop and country music, we have forms defined by the terms Verse, Chorus, and Bridge. Almost all popular music is structured in this way. A typical tune might have the form Verse, Verse, Chorus, Verse, Bridge, Chorus. In Celtic music, the parts, or sections, are simply described by letters of the alphabet, i.e., A part, B part, etc. A typical Irish or Scottish tune might have the form AABB or ABAB. The AABB form is very common in jigs and reels. Sometimes the tunes may have a C, D or E section. If you can find a local group playing Irish or Scottish music and hang around them awhile, you will hear this description of form used often. Sometimes the sections are strikingly different, as we would have in the pop music "verse - chorus", but in some tunes the differences between sections are subtle, almost as if the sections were simply variations on a theme. The music becomes easier to comprehend after you can mentally attach these simple letter designations to the changes you are hearing. Also, most traditional Appalachian fiddle tunes and Bluegrass tunes are structured this way.
Another concept often used is to combine tunes in sets. In Irish music, a set is two or more tunes grouped together and played as one. The origin of the set concept is probably from the tradition of dance. Many of the celtic tunes are dance tunes, and they are also very short. The way to let the dancers keep dancing is to keep playing. Since the tunes are so short, a set of three tunes is still only about 4 or 5 minutes. The choice of tunes to combine in sets is made, sometimes, for contrast, and sometimes for similarity of tempo. One of the areas of creativity for groups and individual performers is to find tunes that work together well in sets.
Types of Tunes
There are many distinct types of tunes, mostly from the Irish and Scottish traditions. It's helpful to learn their names and characteristics. The types of tunes are distinguishable by their underlying rhythmic accents, tempo, and structure. There are many types and they have descriptive names. The only way to learn these types is to listen (a lot!), but we can start by describing them in words.
1. Dance forms
Jig
This is the form with the quickest tempo, and the one most people readily identify as "Irish dance music". Time signature: 6/8 (a personal note: though jigs are notated in 6/8, I have always "felt" the time in 4/4. I am mentally counting 1-2-3-4 with triplets on top. I guess you could also say I think of it in 12/8); Examples: The Rakish Paddy, The Irish Washerwoman, The Blarney Pilgrim.
Slip-Jig
Characterized by a quick tempo and 9/8 time signature with a triplet feel. Examples: Kid on the Mountain, The Butterfly
Reel
Also a quick tempo and 4/4 time, but more of a flowing feel than a jig. If you listen to enough jigs and reels the differences become apparent, and the difference is mainly in the rhythmic emphasis. Examples: Temperance Reel, Green Fields of America, Gravel Walk
Hornpipe
This form can be found in 6/8, 12/8, or 4/4 tempos, with a different rhythmic emphasis than either jigs or reels. Examples: Sailor's Hornpipe, Proudlock's Hornpipe, The Rights of Man
Slide
Another dance form similar to a jig.
Set Dance
A more stately and sometimes classical sounding dance music. Examples: Morgan Magan, Rodney's Glory, The Blackbird
2. Melodic forms
Air
This is a slow and very melodic form. Whenever harmony creeps into celtic music this is usually the place. Examples: Pretty Maid Milking a Cow, Planxty Irwin, Skye Boat Song, Down in the Sally Gardens, Hewlett, The South Wind..
Lament
Melodic like an air, but with a definite element of sadness.
Peobracht
A Scottish piping form that is slow, long, and stately. It is usually performed solo, on highland pipes.
3. Other forms
March
Emphasis on a "drumming feel". Examples: The March of the King of Loaise, Sir Sidney Smith's March
Compositions of O'Carolan
The music of blind Irish harpist Turlough O'Carolan (1670 -1738) holds a unique position. In terms of section structure his compositions are similar to other traditional forms, but otherwise they seem have more in common with classical compositions of the Italian renaissance. O'Carolan created some of the most melodic and accessible music of Ireland. Examples: She beg an she mor, Blind Mary, Fanny Power, Carolan's Concerto.
Planxty
A Planxty is a tune dedicated to someone. It could be a patron, as in old times, or a friend, as in recent times. Planxties are not a type of tune per se; airs, jigs, reels, etc. could be given the title planxty. Examples: Planxty Kelly, Planxty Irwin.
Polka
It shouldn't be surprising that this brisk and spritely form is associated with dance. Along with jigs, reels and hornpipes, this form is found in the Irish Ceili tradition. A Ceili is kind of a "dance all night" Irish party.
Style and Ornamentation
The successful translation of Celtic music to fingerstyle guitar involves several factors. One important idea is that you are attempting to be more than one instrument. You must be able to provide the bass, rhythm and melody in many cases. Some of the slow tunes are not highly rhythmic, but require a particular style of counterpoint (interplay between melodic and bass voices) to sound correct. Another idea is that you are trying to imitate the playing styles of other instruments. A very important step to take in the beginning is simply to listen to these instruments. The need for listening to authentic Irish and Scottish musicians cannot be overstated. Nearly all of the traditional music played in the USA by even the best American players is derived from the music of the British Isles through a long process. The arrangements and styles have come down to us through years of being handed over from one player to another. While this has provided us with some interesting mutations, we need to listen to something as close to the source as possible, initially, to gain a real appreciation for the meaning of the music. Listen to an Irish band, such as Bothy Band, De Danann, or The Chieftains, for example. Listen to each instrument individually. Listen to real Irish fiddlers (i.e. Tommy Peoples or Sean Keane). Concentrate on what is unique about the instrument and the way it is played. In the case of the Irish flutes and whistles you will hear subtle vibratos and lots of sliding between notes. In the case of the harp you will notice many tones in a melody sustaining; a bell-like quality. When listening to pipes, you will hear wide trills, no stopping of the sound between notes (they can't!) and a constant droning of the lowest pipe. In the playing of the fiddlers you will hear exceptionally quick and complex bits of ornamentation, with sometimes five or more notes flying by in a tenth of a second. After lots of listening, you can expand your range of expressiveness on the guitar by emulating the styles of these instruments. Also listen to Irish and Scottish traditional musicians and bands playing live. If you want to play this music successfully and faithfully on fingerstyle guitar, this is not an option, it is essential. You will experience a new dimension to the music. Try to capture that drive and excitement in your guitar playing.
Keys
If you get together with a group of Irish music players on various instruments, you will quickly notice that almost everything they play is in the key of D, G or related cross-keys. This is because most of the other players are using modal and fixed key diatonic instruments; simple flutes, celtic harps, bagpipes, hammered dulcimers, etc. These instruments have a built-in restriction that is much like the harmonica: they favor certain keys and make it almost impossible to play in other keys. As a guitarist you may choose several strategies. One is to make your guitar into a modal instrument. DADGAD is a tuning used by many guitarists, and certainly makes the instrument favor the keys D, G and A. Another solution is simply to tune the low E down to D. Also called Drop D tuning, this allows more range and fullness of sound in the key of D. You can certainly remain in standard tuning, but the open low E string becomes much less effective. If you are tuned to Drop D and need to play something in E, you can easily capo at the 2nd fret (switching quickly between D and E by retuning is also easy with practice).
Alternate Tunings
Many of the pioneers of Celtic music on fingerstyle guitar have gravitated toward alternate tunings, and much of Irish and Scottish guitar music heard today is done in tunings other than standard. As mentioned above, D is a favored key, and the normally tuned guitar doesn't favor that key strongly. Several guitarists, such as Davey Graham and Pierre Bensusan have used tunings such as EADEAE and DADGAD which favor open 4ths, 5ths and octaves. These tunings seem to be a good basis upon which to recreate the tonalities of drone instruments. For most players the tunings will present a way to achieve these tonalities via the open strings.
Using alternate tunings is in no way a requisite for playing this music, and I believe that anyone using almost any tuning long enough can learn to play just about anything (and this includes standard tuning!). Duck Baker has been resistant to using any of the radically altered tunings, and he has given us some of the most profound interpretations of Irish music to date. For myself, the experience of DADGAD and learning to arrange the Irish and Scottish tunes have gone hand in hand. British Guitarist Dave Evans has been identified with the tuning CGDGAD, and both Martin Carthy and Davey Graham with EADEAE. Pierre Bensusan has created a complete body of work in DADGAD. Simply put, the tunings offer particular challenges and opportunities, and the results add variety to the musical experience.
The Music
There is no lack of music to choose from in this genre. One particular collection of Irish music lists over 1800 tunes! The included discography will hopefully be of help in finding tunes to play. Many guitarists are drawn early on to the music of the 17th century Irish composer Turlough O'Carolan. Very many of his tunes have been arranged for guitar and are available in tablature. His music was composed on the harp, and almost none of it exists at all today in an original written form. What is left of his music is what has been handed down through the ages, and in many cases only the bare melody is left. This is also true of other Irish melodies. For this reason you will hear the melodies harmonized in various different ways, and of course you can take your place in the process by finding your own harmonic ideas to complement the melodies. The way that you harmonize the melody becomes part of your creative interpretation. Be prepared for some criticism from the hard-core Irish players if you get too creative. The music of Ireland and Scotland can be a passage to a world that is mysterious and timeless; a place visited only recently by the guitar. There is plenty of territory yet unexplored.
Sources for Tunes
We guitarists can draw upon a number of sources for learning to play this music. A most respected source is the book compiled by Capt. Francis O'Neill in the late 19th century. O'Neill's nearly 2000 collected melodies are used by players of all instruments to this day. For fingerstyle guitarists, the basic melody and rhythm indicated in these tunes are the form and framework we can use to develop full arrangements. In this respect, it should be mentioned that music written and arranged for other instruments, such as the fiddle, can be fertile hunting ground for the guitarist in search of new material.
If you are not feeling very creative, many of the tunes have already been arranged and recorded by guitarists, and are also available in tablature. The recent Shanachie releases are notable in that most of them include tab along with the CD.
A personal perspective
For as long as I can remember, I have been attracted to music which has ambiguous tonality. By this I mean music that doesn't include enough harmonic information to let you know whether it is supposed to be major or minor, i.e. fourths and fifths but no thirds. I was first struck by that quality in medieval music and "early" music of the 13th and 14th centuries. Some later music, like Bartok's and Hindemith's, (not to mention Joni Mitchell and David Crosby!) also has this harmonic trait. Straight bagpipe music has this sound too, and when I first heard an arrangement of Irish music on fingerstyle guitar (it was John McCormick playing a particularly atonal version of The Blarney Pilgrim) I heard this sound that was old, strange, and had that ambiguous quality that I loved. From that day, I started learning to play the music, and it has been a challenging journey.
I think that we current guitarists should realize that we are maybe only the first or second generation to attempt bringing our instrument (solo) to this vast tradition of music. The pioneering steps have been made, by Duck Baker, Martin Carthy, Pierre Bensusan, Dave Evans, and Davey Graham. Other players have made significant contributions, including John Renbourn, Martin Simpson, Peter Finger, Arty McGlynn, and Seth Austen.
When I perform some the of my favorite Irish tunes for other guitarists and notice a spark of interest, I usually (only half-jokingly) apologize for "infecting" them with Irish music. For me it has become a passion that only gets deeper as I continue to explore it.
-Pat Kirtley 原帖由 robert0z 于 2006-11-15 16:23 发表
谁把1年前的帖子挖出来了....真晕
您楼上那位呗 代表性比较强的曲子或大师有没有？谢谢！文字还是不直观：） 原帖由 guolisen 于 2006-11-15 16:38 发表
代表性比较强的曲子或大师有没有？谢谢！文字还是不直观：）
Pierre Bensusan,John Renbourn…… 原帖由 wangyue1983 于 2006-11-15 16:45 发表
Pierre Bensusan,John Renbourn……
谢谢：）
页:
[1]