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爵士手册翻译3 JAZZ: THENATURAL MUSIC 爵士：一种自然的音乐 Improvising,playing jazz, is the most natural way to make music. Long before the printing press was invented peopleplayed music on various instruments and all were thought to be creativemusicians. Through the ages the art of improvising on a musical instrumentgradually lost favor to the printed page. In the twentieth century the art of improvising has been kept alive bythe jazz musician. 即兴，演奏爵士是最自然不过的音乐表达方法了。在要遥远的历史年代里，人们还没有印刷的乐谱，音乐的演奏纯粹来源于多种乐器合奏时乐手的即兴表达。然而，当印刷品出现之后，人们对即兴演奏的热度却逐渐消失了。知道二十世纪，即兴这门艺术才由爵士乐手们重现。
Today’sjazzer is not the same as the musician of the thirties, forties orfifties. The influence of jazzeducation, sound recordings, videos andjazz festivals has allowed the music to reach many more people and to beexperienced by almost anyone who is willing to give it a try. 如今的爵士乐手和30,40,50年代的那些乐手们不一样，在爵士乐教育的影响下，伴随着录音，视频以及爵士音乐节的流行，爵士音乐得以广泛传播并被更多的人知晓。
For years themyth “you either have it or you don’t” was prevalent in music circles aroundthe world. If you wanted to play jazzyou had better get adopted into a musical family or by the “luck of the draw”find the right environment for yourearly years so by osmosis you could pick up on the hot licks and at the sametime develop a great jazz ear so that when you played your instrument, you wouldsound like a jazzer. 而关于即兴的流言：“你要么是天生就会的，要么就根本不会.”也在音乐圈里广为流传。如果你想演奏爵士乐，你最好是生于音乐世家，或者运气很好，恰巧碰到了一个这样的音乐环境使得你能够从小浸润在爵士乐里，然后通过耳濡目染具备了良好的爵士乐感，以至于你的演奏总是有爵士的味道。
Time hasproven that these ideas which were very popular are not true. They never were true but many musiciansthought they were and that’s what gives an idea it’s longevity. Once people from non-musical backgrounds innon-jazzy environments began playing the music and playing it well, everyonehad to take another look at what goes on when someone stands up and improvisesa good solo over a standard chord progression such as Green Dolphin Street,Confirmation, or the blues. 然而事实证明，这样广为流传的说法是错误的。虽然如此，乐手们却认为自己确实是这样的，所以这个说法一直流传至今。一旦有人能够在没有任何音乐成长的背景，没有任何爵士学习的环境，却能演奏出漂亮的音乐，人们都会另眼相看：是什么使得他能够在一个标准的和声进行中或者十二小节布鲁斯进行中演奏出这么好的独奏。
Here areseveral ingredients that go into making a good jazz soloist/improvisor: 1. Desire to improvise 2. Serious listening to jazz viarecordings and live performances 3. A method of practice - what and howto practice! 4. A rhythm section with which topractice and improvise (via live group or play-a-long recordings) 5. Self-esteem, discipline, anddetermination. 这里有几点可以说明如何成为一个优秀的爵士乐手/即兴演奏着： 1.
有即兴演奏的欲望 2.
通过录音作品和现场演奏认真的聆听爵士音乐 3.
掌握练习的诀窍—知道练习什么并知道如何达成 4.
在练习时有一个节奏背景 5.
能自我认知/评估，有自我约束力，有明确的目的
When I was ateenager, I wondered if I’d ever be able to play on my instrument the melodiesI was hearing in my head. I didn’t havea jazz teacher so I would listen to the radio or records and try to take off theideas of the jazz greats such as Coleman Hawkins, Charlie Parker, DizzyGillespie, Sonny Stitt, Chet Baker, Sonny Rollins and many others. 当我还是少年的时候，我就在想我是否能演奏浮现在脑海中的旋律。我没有爵士乐老师，所以我只能听收音机和录音唱片。我总是试图捕捉那些爵士乐大师的音乐，比如ColemanHawkins, Charlie Parker, Dizzy Gillespie, Sonny Stitt, Chet Baker, SonnyRollins ，当然还有更多。
If I were tostart again here’s how I would do it: 我总是在想，如果是我再次开启的我的爵士学习之路，我会这样来过：
I would beginby playing on my instrument simple little melodies such as Happy Birthday,Twinkle, Twinkle Little Star, and Row, Row, Row Your Boat. I would pick a note in my middle registersay, G, and begin playing one of these songs. When I finally played it correctly ONE time, I would pick a new startingnote say, Eb and play the same song beginning on that note. Do this over and over beginning on differenttones until you can play the song starting on different notes withoutmistakes. 我会从一些简单的旋律开始，在我的乐器上演奏：生日快乐歌，一闪一闪亮晶晶，让我们荡起双浆。
我会从中选取一个调，比如G调，然后开始演奏这些音乐。当我在一个调里准确演奏了这些歌首歌曲，我会换一个调，比如Eb调，然后再来一遍。一遍又一遍的练习，从任何一个小节开始都能一个音符都不错的演奏出来。
Then try adifferent song and get so you can play it starting on any of the twelve notesof the chromatic scale. This is anexcellent way of conditioning your fingers and mind to work together to producethe sounds you are hearing in your head. It shortens the distance from mind tofingers. 然后我会尝试不同的歌曲，并在12个调里都完整的演奏出来。这是一个非常好的方法，它可以使你的手指和大脑逐渐达到统一协调的状态，让你的音乐从思维到实现的距离缩短。
Jazzmusicians have always played the music of their mind—what they hear in theirhead. They aren’t special, gifted peoplewho were born with more talent than others. They just had more desire anddiscipline than others. Their ability tomentally hear an idea and then play it comes from practice. 爵士乐手们总是演奏来自他们内心的音乐，也就是浮现于他们脑海中的音乐。他们并不是那种天赋异禀的人，他们并不比普通人更特别。他们只是比别人多了一些演奏的渴望和知道演奏的规律。他们只是能够将在平时练习中所累积下来的元素，通过条件的反射自然流露出来。
When you runout of ideas to practice you listen to other musicians. The joy of listening to others, coupled withyour imagination, will lead to fresh musical ideas. The answer to every musical question may befound on recordings. That is whylistening is so important for the beginning improvisor. 当你听到别人的演奏，你在平时练习时积累的素材会产生自然的条件反射。你的聆听，加上你的想象力，会带来新的音乐灵感，那是一种美妙的感觉。对于每个音乐“提问”的解答都可以在唱片中找到答案。所以聆听在开始学习即兴的时候是多么重要的事情。
Usually, webegin improvising on songs like blues in Bb or F, Satin Doll, Maiden Voyage, orSummertime. Songs like these don’tcontain tricky rhythms or difficult harmony (scales and chords). This makes it easier to make sense of thesong and feel relatively good about improvising over the harmony. These songs (and many more) are on the Vol.54 “Maiden Voyage” play-a-long. 通常，我们的即兴的时候都是从Bb调或者F调布鲁斯开始的。一些简单的布鲁斯音乐，没有取巧的节奏和生僻的和声（音阶，和弦）。这使得即兴相对轻松，简单。
Here areseveral exercises every professional jazz musician has probably played at onetime or another. Play these over the harmony (changes, chord/scales) towhatever song you are working on. Dothis before you try to improvise. 以下是所有专业的爵士乐手都曾经经历过的练习。练习时需要有背景音乐的伴奏，最好在你熟悉的背景音乐里练习。这些练习在你开始即兴前完成。
1. Play the first five notes to eachchord/scale.
演奏每个和弦，音阶的前五个音符
2. Play the triad (notes 1,3, and 5 ofthe scale).
演奏三和弦（音阶中的根音，三度音和五度音）
3. Play the entire scale from the root(first note) to the 9th and back down.
演奏整个音阶，从根音到九度音，上行和下行
4. Play the 7th chord up and down(1,3,5,7,5,3,1).
演奏七和弦（1,3,5,7,5,3,1）
5. Play the 9th chord up and down(1,3,5,7,9,7,5,3,1).
演奏九和弦（1,3,5,7,9,7,5,3,1）
6. Play the scale up to the 9th andthen come back down the chord.
演奏音阶上行至九度音，然后以和弦音返回
7. Play the chord up to the 9th andthen come back down the scale.
演奏和弦上行至九度音，然后以音阶返回
8. Play the scale in thirds up anddown.
演奏三度模进音阶上行和下行
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I once heardtrumpeter Woody Shaw warming up before a concert in the above manner. Itimpressed me because I thought only beginners used this type warm-up. After thinking about it, I realized it wasthe most practical way to approach anynew song. When you do this you are conditioning your mind and fingers to thescales and chords which you will in turn improvise over. It makes good sense! 我曾经听到小号手伍迪肖恩在演出前进行过以上的热身练习。这让我很惊讶，我一直以为只有初学者才这样热身。后来我认识到，这是熟悉一首新歌最实际的方法了。当你这样练习的时候，实际上是你的大脑思维和手指运动逐渐相互协调的过程，这有助于你熟悉这些音阶，和弦，而有利于你进行接下来的即兴，这确实很有效。
You should beable to do this to the chord/scale progression to any song you are going toimprovise over. This is standardpractice and has been for some time ...know your scales and chords before youplay. Memorize them, too! Memorizing melodies, scales and chords gives courageto your imagination. 你应该以这样的方式来熟悉你想要即兴的歌曲，熟悉和声进行和和弦。这样的练习是标准流程。熟悉这首歌的和声和进行，记住他们。同样记住和弦，旋律，音阶，这有助于激发你的即兴。
Now, somewill feel that to play jazz, you don’t study or practice scales and exercisesjust play.” I ask, what does thatmean? Who can “just play” over GiantSteps, Tune Up, Confirmation, Star Eyes, the blues or a thousand other tuneswith interesting chord progressions? 现在，有人会想，即兴是随性而为，不需要每天学习和练习音阶。那么我想要问一下，你是什么意思？谁能够随性的在Giant Steps,Tune Up, Confirmation, Star Eyes以及布鲁斯和无数巧妙的和弦进行里演奏？
The famousalto saxophonist Charlie Parker in his own words said there was a period of 3to 4 years where he practiced 11 to 15 hours a day. If Charlie Parker was, as many say, a genius,he got that way by practicing. 著名的中音萨克斯手Charlie Parker在他自述里谈到，有一段时间，大概3到4年里，他每天要练习11到15个小时。很多人说CharlieParker是天才的爵士乐手，如果确实如人们所说的那样，那么他的天分是从练习中得到的。
I have arecording of him saying this in an interview with Paul Desmond. I also have a recording of him saying at age16 (after having gotten laughed off the bandstand for not knowing you’resuppose to play the same song the band is playing!), “I never stopped to thinkabout there being other keys or nothin’ like that.” So, he began like most of us but eventuallydiscovered that HE was master of his own ship. He took the bull by the horns and dove into the marvelous world ofjazz—the world of improvisation, harmony, rhythm, melody, creativity,imagination and life. 在一次同Paul Desmond的谈话录音中谈到过一个事情。这个事情在我的另一个谈话录音里，他自己也提及他在16岁时演奏的经历(乐队的成员们都在嘲笑他，不知道他在演奏些什么东西，甚至是不是同一首歌曲) “
我没有停下了思考是不是在另外一个调里，就是一直不停的演奏着”。所以，他和我们的一样，刚开始的时候也是茫然无知的。但是最后他发现了自己，并开始自我认识和教育。最终，他取得了非凡的成就，在即兴演奏的世界里将和声，节奏，旋律，创造力，想象力乃至生命力发挥的淋漓尽致！
If you’veever wondered why teachers begin students with fingerings, tone production(wind instruments) and scales, I feel it’s to form a strong foundation for thestudents’ creativity. Your instrument reflects your musical personality. 如果你曾经困惑于为什么教师要对初学者强调指法，音色和音阶，我可以告诉你，那是为了发挥你的创造力打基础。你的乐器将会展现你的音乐个性。
Transcribingsolos or portions of solos off recordings is one of the best ways to find outwhat the professional is doing to make things sound so good. By analyzing a solo you can find importantfacts: 采录唱片中的独奏或者独奏部分的片段，你会了解专业乐手是如何将音乐演绎的如此美妙。 分析独奏需要注意以下几点重要事项：
1. What note of the scale do theybegin phrases with? 乐句是从音阶中的什么音符开始的？ 2. What note of the scale do theyend their phrases with? 乐句是从音阶中的什么音符结束的？ 3. Do they use a wide or narrowrange, (tessitura)? 他们是在宽音域中还是在窄音域中演奏的？ 4. Do they use chord tones in theirphrases? 他们是在和弦内音中演奏乐句的吗？ 5. Do they use scales or bits andpieces of scales? 他们是在将整个音阶都演奏了还是只演奏了部分的音阶？ 6. Do they have favorite licks thatpop up over and over? 他们演奏的片段是个人特点还是普遍的演奏？ 7. Do they use chromatics (notesoutside the basic chord/scale)? 他们使用了半音阶来过渡吗？ 8. Do they use passing tones? 他们使用了过渡音符来连接和弦吗？ 9. Repetition: do they use it andhow ...rhythmically, melodically, harmonically? 他们使用了重复的乐句吗?如何使用的?在节奏，旋律还是和声上体现了？ 10.Do they use space, rests,silence? How often? Is there a pattern? 他们使用了休止音符，空白小节吗？有多频繁？有片段吗？ 11.Do they build their solo? Does thesolo seem to tell a story or go somewhere? 他们构建了自己风格的独奏吗？这个独奏有没有故事感，有没有音乐表述的趋势？ 12.Do they tend to place chord tones(1,3,5) on beats 1 and 3 (in 4/4 time). 他们是否有意的安排了和弦内音符在1拍和3拍（4/4拍中）？ 13.Do they incorporate substitutescales over the basic chord/scales? 他们是否用替代和弦来演绎基本和声进行？ 14.Do they double-time any phrases(this usually means playing in 16th notes)? 他们是否用16分音符来演奏一些乐句？ 15.Do they use the blues scale? How often? 他们是否使用了布鲁斯音阶，有多频繁？ 16.Do they use sequences in theirplaying?
他们是否有连复段！
Having spentover 50 years working with musicians of all levels, I find that one of thefundamental needs is to express themselves in an improvisatory manner on theirinstrument. Playing jazz has been the route those musicians have taken. 在将近50年的时间里，我与不同的音乐家同事，我发现他们的一个最根本的需求是通过一些即兴的方式来表达自己。爵士乐是他们用来实现这一表达的路径。
Creativityand use of imagination is essential to our well-being as humans on the planetEarth. We are creative beings. With a little guidance everyone can learn toimprovise and enjoy the fruits of self-expression in music. There’s reallynothing to be afraid of. Life is exactly what you make it to be. 创造力和想象力是我们最基本的属性。我们是有创造力的生命体，通过一些指引，我们可以学习即兴演奏音乐的方法，并且乐在其中。没什么可畏惧的，生命本该如此！ | 
发表于 2013-4-12 11:43:07
