国外对颤音（轮指）的理解——译得不好请见谅

fling_dream

How to play great tremolo   

如何弹好颤音（轮指）。

1)
What is tremolo?
什么是颤音
Tremolo is not a technique. It is an effect produced when a certain type of arpeggio is employed.
颤音不是一种技巧，只是某种的琶音的表现形式。
trem·o·lo
n. pl. trem·o·los
A tremulous effect(!) produced by rapid repetition of a single tone (arpeggio)
一种颤音的表现是通过快速的弹奏一个单音达到的效果（琶音）
Throughout this article I will treat this effect as any other arpeggio pattern. It should not be considered as else.
通过这篇文章，我准备像介绍琶音一样来介绍颤音。因为他不应该被认作是其他的技巧。

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.
琶音在本质上说是一种用手指在琴弦上交替弹奏的过程。它是RH技术的基础（rh=右手），更加是吉他和其他弹拨乐器的必备基础。
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.
因此应该用心把它作为一项吉他技巧中的基础练习。吉他的技巧包括：音阶、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'
速度不是一种技巧，不应该列入以上的四种基本技巧当中。有专门关于技术的文章在“古典吉他”中。

3)
How do I practice arpeggio (arp.)?
如何练习琶音？
By correctly employing arp. patterns and practice them daily. Easy, eh?  
答案是正确的琶音形式和每天的练习。很简单，不是吗？
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.
通过思考多种的组合，你可以运用你的p、i、m和a指在不同的琴弦上和不同的音符来弹奏出一系列的琶音。
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.
其中很少的组合可以作为与吉他曲目无关的组合而忽略。其他一部分与很多曲目相关的组合可以作为基础练习，另外一部分可以由自己决定是否与曲目相关而采用。
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.
相关性是一个在练习中很关键的问题。如何设定琶音的日常基础练习形式很大程度上取决于这个形式对你正在练习的或者准备练习曲目有多大的益处。把时间浪费在学习和练习一些与乐曲无关的琶音形式上不是一种好的方法。
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.
决定练习些什么的好方法是在乐曲中寻找相似的常用的内容或者看一些有助于学习的书籍。
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.
创造一些基础的练习曲目有点困难。这里人们对于如何达到目标有一个共识就是积累经验。人们应当注意到一些不常用的右手组合，并且去加强对他们的练习。这样的组合会对你的演奏和一些基本技巧起到很大的影响。例如a-m-a的组合。
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?".
我不是特别喜欢举一些练习的范例，人们习惯于按照这些来练习，然后询问下一个是什么。取而代之的是我想让你问问自己“我应该如何运用这些信息来提高自己的演奏水平”
A good starting point would be to download Giulianis 120 Right Hand Exercises here
一个好的起点可以通过练习朱利亚尼的120首右手练习曲开始
Also for advanced guitarists some of the Villa-Lobos etudes are great.
同时高级学者可以学习一些维拉.罗伯茨的教材。
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.
这种形式的练习曲更加贴近人们想要达到的目标。反复的练习可以积累更多的经验。
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.
要注意到尽管朱利尼亚的和其他一些琶音练习简单实用，但是容易导致手腕因疲劳而引起一些综合并发症。
A short article about tension and methods to get rid of it is on the way.
曾经有一篇短文介绍过关于紧张和如何克服紧张，

4)
how do I practice arp. to achieve great and fast tremolo?
我应该如何练习琶音以达到好听快速的颤音。
Here's a recipie:
以下是一些回复：
- Build a good arp. base, Giulianis exercises will suffice
打下良好的琶音基础，朱利尼亚的练习会很有帮助。
- 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...)
寻找或者制定一些和颤音相关的练习。这些练习应该包含所有p\i\m\a的组合。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]
为什么要练习所有组合而颤音只需要pami一种就可以了。这是为了形成一种能达到完美的颤音效果而必须去练习的琶音组合。否则你可能会把时间用在一些对颤音，音色没有帮助的练习上面。完美的琶音才能形成独立流畅的颤音。
-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).
探索合适的手指运动。现在最流行的方法是断音练习。缓慢的弹奏断音，可以让你在弹琶音时尽快地找到琴弦，为以后提高速度，控制独立性和流畅性有很大的帮助。同时要注意放松自己。
- 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.
每天坚持练习。不要为了提高速度而弹琴。而应该以控制和区分不同的音色为目标。这是对琶音练习的建议，不要以速度为目标。
Tremolo is no great technique, it's just an effect that every other guy with some discipline and knowledge towards his exercises can get.
颤音不是什么了不起的技巧，它仅仅一种每个人都可以根据一些规则和知识练习并掌握的弹奏效果。

以下是对文中关于断音的一些解释：
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)...
断音就是当你弹奏音符时要把他们分开，和连奏正好相反。连奏的感觉是(laaalaaalaaalaaa)... 断奏是(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.
我们在颤音中使用断奏是为了确定手指在弹奏下一次时在琴弦上已经做好准备。这样波浪感就会在加快速度时消失。

英文内容摘自http://www.delcamp.net/forum/en/ ... bac8f0adf25b382d282
这是一个很好的古典吉他论坛，翻译的多有不当请指正，只是希望能把自己看到不错的东西和大家分享。

cyberninja

支持翻译, 造福英文不太好的朋友

刻骨铭心

支持楼主！希望有更多更好的文章！

flli883

颤音的理解是一样的,本来轮指就是颤音的一种演奏手法. 其他好象也没更深一点的见解.

fling_dream

这里面要表达的意思主要是不要把轮指作为一种技巧来对待，而吉它的基本技巧只有音阶、和弦、音色和琶音。只要把这些东西掌握好了，轮值水到渠成。至于更深的见解没有太多意义，外国的教材很少把一个简单的东西说到云里雾里。

flli883

实际上这片文章让我看了就是云里雾里,楼主的解释更让我迷惑.对技术(technical)的定义也模糊了,轮指是琶音的范畴里面,琶音是技术,可轮指不是如何解释啊?再说很多大师的轮指比这里的一些网友还差,是否他们没有练好基本的音节,和弦和琶音啊?

fling_dream

吉他的技巧包括：音阶、和弦、音色和琶音。
轮指只是一种表现方式，琶音的一种结构之一。很多人对它的追捧是为了通过高速色弹奏来表现高超水平。却忽略了它的实质是要通过清晰的表达每一个音符从而体现一首乐曲的意境。
大师之所以是大师在于它对吉它对音乐的理解上，并非完全在技巧上出神入化。同时一个大师的成名还在于对吉它的贡献上。陈志大师就是如此，手下的弟子技术都很出色可是距离成为大师还有很长的路。
一点拙见，见笑。

flli883

大多数人并非想成为大师,所以追捧一下高超的水平也不是什么坏事,成志是教学的,非演奏的,我们更多的人想踢球,不是当教练.当好教练不一定非要踢好球,每个人的追求不同的.目前的现状是学吉他就是走教学的职业,这种状况不时一种健康的状况.唯一一个比较健康的就是杨雪菲,她的演奏就是靠技术.很少有人能及.若是对音乐的理解,是一个缥缈的东西,不是苦练能出来的.不知道学小提琴的人对吉他音乐是否理解. 我只知道喜欢和不喜欢,喜欢就弹,不喜欢就不弹.

辛德勒的名单

看得头很晕 , 轮指总是练不好...