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VALUABLE JAZZ INFORMATION 一些关于爵士乐的有价值概念（信息）
The basic ingredients in music are SCALES,CHORDS, MELODY, RHYTHM, and HARMONY. Jazz education’s purpose is to give youthe basics you need in learning to play jazz or to improvise. The jazz musicianis an instant composer! The melodies which come from their instruments areconceived in their mind just before they play them. The difference between theimproviser and the traditional composer is this: that the “jazzer” has noeraser to instantly correct mistakes. They practice long and hard trying tomake their physical body and their mental frame of mind an appropriate vehicleto execute the ideas formulated in their mind. 音乐的基本元素是音阶，和弦，旋律，节奏以及和声。爵士的教学目的是给你一个用于学习如何即兴演奏的基础。爵士音乐家们都是即席作曲者。从他们的乐器演奏出来的旋律都是他们在演奏前的瞬间构思出来的。同传统的乐曲创作不同的是：爵士乐手们没有办法去更改那些瞬间构思的乐曲和即兴演奏过程中产生的错误，而传统的音乐写作可以反复修改再付诸实施。爵士乐手们长期刻苦的练习以期能使自己的身体机能，演奏所需的所有肌肉运动能习惯于即兴演奏的需求，并在即兴构思完成的瞬间立即将对乐曲的思维转换为琴弦上的各种演奏动作。
The GOAL of every jazz musician is to play ontheir instrument (or vocally sing) what is heard in their mind. Practicingscales, chords (arpeggios), exercises in all keys will help gain facility whichwill help unlock the ideas that are now being held prisoner in your mind. Assoon as possible, try playing what you HEAR mentally in your head! In otherwords, sing a short melody mentally, or sing with your mouth, and then playthose exact pitches and rhythms on your instrument. This is the same procedurethe jazz player uses when improvising. 每个爵士乐手(歌手)所要达到的目标都是将脑海里“听到”的音乐演奏出来。 音阶练习，琶音练习，在各个调上的练习都是为了将音乐思维到演奏动作灵巧的转换过来，从而激发音乐的灵感。通过聆听你自己的乐思，并积极的演奏，迟早你会完成这个转换。 当然，你也可以通过演奏你用人声演唱出来的乐句，准确的将这些乐句在你的乐器上表述出来，包括音高，包括节奏，分毫不差的演奏出来。这同样是爵士乐手用于即兴练习的要效方法。
To play requires discipline. It is good toestablish a practice routine. Improvisation should be a part of your dailypractice. Play whatever you hear in your head. It could be something from TV,radio, or just some melodies that you hum to yourself. This is also a form ofEAR TRAINING. You are training your inner ear to direct your fingers to thenotes it hears, instantly. Gradually train your ears to really HEAR music andall of the components that make the final product. Listen carefully to anyoneplaying jazz or improvising. You can learn much from live performances as wellas recordings. Start a collection and listen to what has been recorded over thepast 80 years. 遵循一些演奏的规则，是建立练习规范的路径。即兴演奏应该是你每天的功课。你需要去演奏你听到的所有音乐元素。可能是从电视机，收音机，或者就是你自己哼出来的一小段乐句。 这同样是一种听力练习。你需要指导你的手指去立刻演奏/触发指板上的音符以重现你“听”到的音乐。通过逐步的练习，你将听到一个完整的音乐作品，并听到这里面包含的所有音乐元素。仔细聆听那些即兴演奏的音乐片段。你可以从现场和录音作品里学习各种即兴。尝试去收集和聆听过去80年间的录音作品吧！
The old myth that says, “You either have itor you don’t,” is strictly a myth founded on ignorance and the inability (orunwillingness) of those who can play to share what they do verbally with thosewho think they can’t learn. 有个古老的说法是这样的：“手中有琴，心中无琴”。那些无知而无畏的演奏者们自欺欺人的演奏着所谓的爵士乐，而对这样的演奏冠以爵士是神秘而不可捉摸的神话。
The mind is the originator of ALL musicalthoughts. The mouth (singing) usually can approximate the pitches, rhythms, andnuances of what the mind hears better than actual instruments (sax, trumpet,etc.) can do. Since the instrument we have chosen is a learned device, it isthe least able to reproduce the musical thoughts of our mind. It stands toreason that the person who is better equipped technically will come closer toplaying on their instrument the thoughts of their mind.
思维是所有音乐的源泉。用人声比用实际的乐器（萨克斯风或者小号）能更好的完成乐思中对音高，节奏的细微的演绎。因为我们选用人声其实是一个训练过的乐器，人声具备重现音乐思维最好的条件及最大的可能。一个训练有素的演唱者，可以媲美于那些精于演奏的乐手用乐器表现出来的乐思。
One of the reasons the jazz greats sounddifferent than you is the fact they have so many sounds (scales, chords,patterns, ideas) at their disposal. The SCALE SYLLABUS can help you uncover newsounds. Practicing, using the exercises found in this booklet or in Vol. 1 “HowTo Play Jazz And Improvise” will give you a good foundation to play ANY styleof music. 爵士如此美妙的一个原因是因为这种音乐具有如此丰富的音符排列，其中包括音阶，和声，乐句以及乐思。通过音阶列表你可以找到答案。保持练习的习惯，利用第一册里的练习示例。通过“如何演奏爵士和进行即兴”可以为你演奏各种音乐提供一个良好的基础。
“JAZZIS FREEDOM!” Thelonious Monk said this. Too often we refuse to take advantageof an opportunity which will allow us a measure of growth and freedom in ourmusical expression. Listening to jazz greats is inspirational and rewarding.Keep this in mind: practicing exercises, patterns, licks, scales, and chordsshould lead to more expressive creativity, not boredom. “爵士就是自由” 塞隆尼斯孟克如是说。但是我们经常拒绝去利用这个机会来提升和释放我们音乐自由表达的机会。聆听大师的作品可以给予我们灵感，并有益于我们的演奏提升。 记住：练习乐句，片段，音阶，和弦应该是为了增加我们的表达方式和激发我们的创造力，而不是一种令人厌倦的过程。
HOW DO YOU BEGIN IMPROVISING? Many peoplebegin by playing by ear (letting their inner musical ear guide their choice ofnotes and rhythms). This is a hit-or-miss process that most jazz players(before 1965) had to use to learn their trade. However, this method strengthensthe player’s ear and is extremely valuable. Everyone should spend time each dayplaying by ear. The sooner you train your ears to discern, the sooner they canHELP YOU in making music. By using your ear, and knowledge of the needed scalesand chords, you will feel much more comfortable with beginning improvisation. 如何开始你的即兴？很多人的即兴演奏都是从耳朵开始（也就是用心去聆听然后去选择和构思音符和节奏）。 这是一种漫不经心的演奏方式，很多老的爵士乐手（1965年以前）不得不习惯的一种演奏方式。然而，这种方式强化了演奏者的耳朵，并使即兴演奏变得非常有价值。每个人都需要每天进行聆听-演奏，你的聆听-演奏训练进行的越好，它对于你的音乐即兴就越有帮助。通过聆听-演奏，再加上你对音阶和和声的认知，你就能越感觉到即兴是容易而舒适的。
IMPORTANT: Don’t get hung up practicingexercises and more exercises without ever attempting to improvise. Avoidbecoming a person who plays great exercises, but delays using their creativeenergy until tomorrow. DO IT NOW! IMPROVISE. Even if you only use a few notesof the scale, begin there. START! Don’t put it off until tomorrow or until youhave the scale under better control. DO IT NOW! The longest journey begins witha single step. Today is the first day of the rest of your life. The longestmusical phrase begins with a single note. 重要提示：不要被练习禁锢住，而不去尝试即兴。要避免成为一个狂人的练习者，而非一个有创造力的演奏者。从现在开始，进行即兴吧！哪怕你只能演奏音阶中的几个音符，也要努力去尝试。开始去尝试！别等到明天的明天的明天，等到你飞快的开始一个固定音阶模式，而形成了手癖。现在就开始！千里之行，始于足下。今天是你开始即兴的开始，你的一生将因此而不同。一个华丽而绚烂的即兴是从一个简单的音符开始的。
Just because you practice scales, chords,patterns, and exercises doesn’t mean you will sound stiff and mechanical, ORthat you will become a jazz great! But it’s a means to an end. More than anyother ingredient, the JAZZ TRADITION is based on LISTENING. Listening to jazzecords/tapes should be part of every musicians daily routine. Not only is itfun to listen to, but you can absorb many musical ideas and incorporate theminto your own solos. Recorded music contains most answers you seek. 不要让音阶，和弦，乐句，练习的演奏听起来是呆板和机械，你可以成为一个优秀的爵士乐手。爵士的传统是聆听-演奏。每天的聆听那些爵士大师的作品是你成长的必然过程。聆听不仅仅是有乐趣，你还需要从中吸取音乐元素并将这些元素运用到你自己的独奏里去。录音作品里有很多你寻找的答案。
Having “good ears” means having the abilityto hear the roots to the various chords or scales that are being played; havingthe ability to hear the quality of the chord or scale--major, minor (what kindof minor?), pentatonic, dim.whole tone, etc.); it means having the ability totell what tone of the scale or chord is being played at any point in thesolo--”ah, that note was a #4 resolving to the 6th and then resolving to the5th!”; it means hearing the piano, bass, soloist, drums, etc. individually aswell as collectively. 有一个好的“听力”意味着你有辨析复杂和声的根音和旋律的能力，你能辨别出来什么音阶类型，大调，小调(哪种小调)，五声音阶，减音阶，全音阶等等；你能辨别出特定的音符在音阶和和声中的位置，比如：“那是#4向6度进行，然后向5度进行”； 不论是单独演奏还是合奏，你都能辨别出钢琴，贝司，独奏，鼓等乐器。
There are many levels of hearing. Some peoplehear. Other people can really HEAR! And some can seem to hear and identifyalmost anything that is being played. They can seem to sing or play backportions of solos right after the performer has played. How can they HEAR, andwe can’t seem to find the roots, scale, qualities, or what time signature thepiece is in? They have worked hard at identifying all the various sounds theyhear daily. Since they want to improvise, they take the time to apply on theirinstrument the things they are hearing. 聆听有很多层次，有些人能听到，有些人却不能。有些人甚至能听到演奏中的任何元素。他们似乎能马上演唱或者演奏出背景音乐部分或者独奏部分的乐句。他们是怎么做到的。我们似乎无法分辨这些根音，音阶，属性，或者很明显的音乐片段。正是因为他们想要去即兴演奏，他们花了很多的时间去分辨这些不同的声响，音乐，并将这些东西应用于他们的乐器上面。
They also use their mind and their free timeto figure out things harmonically, melodically, and rhythmically. Using a smallchromatic pitch pipe is real helpful in identifying pitches when you are not ata piano or don’t have your instrument. You can carry it with you and train yourear “on the go.” 在空余的时间里，他们也利用思维的方式去构建和声，旋律和节奏。当你手中没有乐器的时候，用一个半音阶小吹管可以帮你辨析音高，你可以方便的携带。 No one knows or could truly imagine theamount of thought each jazzer has put into their art/craft. 没有人能够真正的统计出来每个爵士乐手到底在音乐构思上投入了多少！！！
PRACTICE SUGGESTIONS 练习的建议 1. Play with good sound/tone. Wind players --support your sound. Don’t play staccato.
演奏的时候音色要好，吹管乐器不要断断续续
2. Make phrases flow naturally; even whenplaying scales and exercises.
乐句要流畅自然，即使在演奏音阶和其他练习时。
3. Mentally sing the exercises, scales,patterns as you play them.
当你演奏的时候在脑海中演唱这些练习，音阶，乐句
4. If an exercise is hard, slow it down. Thengradually increase the tempo.
如果练习有难度，把速度降下来。再逐步提高演奏速度。
5. Listen to every note you play. Match yourmind’s ideas.
聆听你演奏的每个音符，和你构思的音乐去对照。
6. Be patient. You’re not the first to makemistakes.
保持耐性，你不是第一个演奏出错的人。
7. Use jazz articulations on exercises andscale/chord practice.
利用爵士的处理方式来连接音阶和和声练习。
8. Improvise some every day. That’s the REALYOU. Play what you hear in your head.
每天都进行即兴练习，那是真实的你，演奏你从脑海里听到的音乐。
9. Make a habit of practicing in all twelvekeys. Volumes 21 and 24 are excellent. 在所有的12个调里进行练习是一个良好的演奏习惯。
10. Learn the Blues in Bb & F concertkeys.
学习降B调和F调的布鲁斯传统练习
11. Memorize everything you can. Know what itis you are trying to play.
记住你能记住的所有东西，了解你自己想要演奏的东西。
If we all waited until we were perfectmusicians before we played an instrument, there would be no music in the world.Play on the best instrument you can afford and study with the finest teachersavailable who will give you guidance in jazz and traditional music. 如果我们总是等到能够很好的驾驭音乐的时候才开始演奏乐器，这个世界上将没有音乐。 尽量用好的乐器，找一个好老师来指导你学习爵士乐和传统音乐。
Use your imagination. Experiment- takechances! You deserve to be creative! Treat yourself. 运用你的想象。我的经验是，把握机会，激发你的创造力，善待自己！ | 
发表于 2013-4-10 12:39:54
