音階練習方法

最近整理了一些資料，有關於練習音階的方式給大家參考~~
音階練習研討班開始招生~~XD

以下看能不能投票:
時間: 星期一到五 六 日
地點: 有什麼建議?邊吃飯也是可以
主題: 最主要是音階練習，但是要是有什麼主題相關的請建議。

Mozart Violin Concerto No 5

學生的另外一個老師希望在她拉完第三號後，拉完Rondo，現在又開始第五號。

第五號是在很久以前學的，舊的譜已經弄丟，只好今天又再重新注釋一份。我有一點驚訝，大家很喜歡拉莫札特，但是不知道為什麼大家對於莫札特的拉法不太熟悉。

說真的當老師很麻煩，學生不多，需求又很不同的時候，都要花時間做整理，那個時間花的不太有效率。

現在考慮要不要錄影，放在我的影音專區給大家參考一下...

第二小提琴

有個記者訪問世界知名的交響樂團指揮伯恩斯坦：「請問，您認為在ㄧ個交響樂團裏，哪個位置最重要？」 

伯恩斯坦想了一下，然後回答說：「第二小提琴。」這個答案出乎所有人的意料之外，只見伯恩斯坦不疾不徐地繼續說下去：「我可以找到很多人擔任第一小提琴的位置，但是要找一個人願意擔任第二小提琴的位置，卻是很不容易。第二小提琴的技巧，可能和第一小提琴相當，但他要能夠配合首席，又要能呼應整個樂團；這個人不僅要琴藝佳，還要能不強出風頭，和眾人有美好的配搭。」 

伯恩斯坦深知，當人人都想要居首位的時候，交響樂團是無法臻至高峰的，只有當每個人盡心持守在自己的位置，並顧全大局之時，才能演奏出完美的樂章。 

在團隊中，每個人都有一份特長，然而唯有彼此幫補、互相成全，才能發揮最大力量，獲致真正的成功！

簡單的雙音預備練習(給右手mostly)

國文老師最痛苦的事－ 改作文

1．他讀了很多書，很會打電動，也很孝順，所以能跟我做朋友是他的福氣。
　（我以為你稱讚的是你朋友…）

2．自從認識他以後，我的人生有了三百六十度的轉變。
　（沒變就是了…）

3．我的夢想就是過著貧蛋無味的生活
　(該如何過起可以教我嗎…)

4．俗話說:一寸光陰一寸精，寸精難買寸光陰。
　（你的句子讓老師有點害羞…）

5．交朋友最重要的事，就是確定他很正常。
　(所以要去醫院檢 查…?)

6．我不能沒有朋友！不能！不能不能不能！
　(好好好…老師知道你的悲憤了…）

7．怎麼判斷對方是不是不良少年呢？最重要的是，先確定他是不是都待在陰暗的地方。
　（所以晚上工作的人都是不良少年…?）

8．世界上有很多種朋友，有好的朋友，壞的朋友，高的朋友，矮的朋友，聰明的朋友，笨的朋友，男的朋友，女的朋友，不男不女的朋友，真的朋友，假的朋友，老的朋友，死的朋友，其中我最欣賞的就是會畫畫的朋友。
　（...老師有合理的理由懷疑你的分類是在混版面，而且你的“其中”不是從你之前舉的例子舉出來的！）

9．如果對方作了十惡不赦的事情，我們就要和他斷交。比如說，上學遲到、作業沒交、掃地不認真…
　（原來在你的世界裡，這樣就十惡不赦了…）

10．俗話說：三人成虎，所以朋友多真的很重要。
　(不是有數字就代表多人…不然…老師有點想把你五馬分屍)

11．他總是能適時的生出他的手幫我。
　(請問怎麼"生"？…)

12．我對朋友的要求沒有很高，只要他願意跟我一起花他的錢就好！
　(有這樣的朋友記得介紹給我…)

13．我朋友很討厭，每次都把他的弟弟交給我保管。
　（需要保險箱嗎？）

14．我朋友家開早餐店，我每次去他家，他都會吹包子給我吃。
　（看了半天才知道是台語的蒸包子）

15．我幫助朋友總是不求回抱
　（的確是不用這麼激情…）

16．中國有句老話說：朋友，就只是朋友；不是朋友，就不只是朋友。這句話真有道理。
　（真的有這句話嗎？…）

17．我都和我的朋友去八方雲集看舞蹈表演。
　(看鍋貼跳舞嗎？…)

老外翻譯的三字經 (爆笑!)

人之初： At the beginning of life.
性本善： Sex is good.
性相近： Basically, all the sex are same..
習相遠： But it depends on how you do it..
苟不教： If you do not practice all the time,
性乃遷： Sex will leave you.
教之道： The way of learning it
貴以專： It is very important to make love with only one person.
昔孟母： Once a great mother, Mrs Meng
擇鄰處： Choose her neighbor to avoid bad sex influence.
子不學： If you don't study hard,
斷機杼： Your Dick will become useless.
竇燕山： Dou, the Famous,
有義方: Owned a very effective exciting medicine.
教五子: All his five son took it.
名俱揚: And their sexual ability were well-known.
養不教： If your children don't know how to do it,
父之過： It is all your fault.
教不嚴： If they had lots of problems with it,
師之惰： Their teacher must be too lazy to tell them details on sex.
子不學： You may refuse to study this.
非所宜： But that is a real mistake.
幼不學： If you don't learn it in childhood,
老何為： You will lose your ability when aged.
玉不琢： If you don't exercise your dick,
不成器： It won't become hard and strong.
人不學： If you don't learn sex,
不知義： You can by no means enjoy its sweetness.

24H Rule

當有很intense的練琴之後，建議不要在24小時內再拉很拼的樂曲/練習。
有一些人可以繼續下去，有一些不行。不過要考慮到一般的狀況。

還有我開始在練琴前後做stretching 的動作，發現真的相當的有幫助。本來還是有左肩因為不自覺而用力過度造成一點酸痛，做Stretching之後就沒有問題了。以後會考慮將stretching 納入課程的一部份。

Simon Fischer's Workshop Is Online!!!

"Basics" and "Practices" are equivalent to 小提琴的百寶箱，什麼都有。作者 Simon Fischer 最近有很多東西都在 youtube 上面。最主要是在澳洲的workshop。請大家自己去看一下，過一陣子我會把那些連結放上來，加一點中文注釋，方便對英文不是很熟悉的同好。



=============Part 1 - 音準的四個階段===============


音準有四個階段

1. 結構性音準: 具有一致性，聽起來是完美沒有問題的，像是海飛茲的錄音。
2. 結構性音準但是有錯誤: 具有一致性，但是會有錯。
3. 無結構性音準: 音會不準，但是還具有一致性。
4. 無結構性音準但有錯誤: 就是亂七八糟。

要是從階段3-4 到 階段2，其實就只有幾個小時的練習就夠了(只要練習的方法對了)，但是 階段1 會需要一輩子。


=============Part 2 - Acoustic Beating and Tunning===============


這個真的要仔細聽，基本上音不準的時候(一度五度八度)會有pulsing/beating。調音的時候就是要把那個beating弄不見。調音的時候是先調A，在把其他的弦對著A調。

=============Part 3 - Tunning===============


在不確定音到底準不準的時候，把手指放到被調整的弦上，稍微提高一點。要是聽起來比較好，那就是音太低，反之那大概就是準的了。


=============Part 4 - 持琴的高度===============


琴要與地板平行。當琴與地板平行的時候，弦已經微微的朝下，當琴持的太低的時候，弓會一直滑開到指板的地方。拉琴的感覺是 "抱著琴橋" 拉琴。
==========================================

有人已經寫出來了~~


Simon Fischer Intonation Workshop Four Levels of Intonation

Structured and unstructured intonation represent four levels of intonation. Intonation in this spirit is not only playing in tune, but producing resonant singing notes. There is very interesting math and even physics in the relationship between notes and the quality of the tone produced that is common to all instruments in some way, 'but especially important to bowed string instruments'.

Level 1: Structured--all notes related to each other--consistent, holds, no mistakes. Heifetz shows nobody plays in tune when slowed down to half speed--many notes are out of tune, but it give the impression of playing in tune. That is level 1 intonation. Is Heifetz level 1, or level 2?

Level 2: Structured with mistakes--mom doesn't notice but you do. It's still good very, because we are human. We don't want to be machines anyway. Fischer takes us to level 2.

Level 3: Unstructured: In a major arpeggio, maybe high then low c#'s in the arpeggios. Still ok, but heading in the wrong direction.

Level 4: Unstructured--with mistakes--it's all over the place. To go go from unstructured on this level to structured level 2, one can do in hours rather than years; and is, the topic of this workshop.

Getting to perfect structured (level1), can take years, but to get to level 2, it simply takes hours. "If one spends 10 minutes 3-4 times/week one is minutes away from structured intonation".



Simon Fischer Intonation Workshop Acoustic beats and tuning

Lesson Number one for students: Tune the violin. The first thing Fischer shows anyone is "acoustic beats". If you have one 'a' tuned at 440, and play another a-beside it the tones are in synch. If one is 440 and the other 438, it creates the "acoustic beat".

An acoustic beat is a dissonant pulsing that is easiest heard by experimenting by playing octaves 'barely' out of tune. "When we tune, we are getting rid of the beat". We must learn, to listen. Listening becomes the subject from the very very beginning. What does this mean to unstructured and structured intonation above? Later we will see it actually means a lot. The violin (and bowed stringed instruments in general) have a relationship between the notes and strings, whereas a singing resonant note is actually effected by adjacent strings. This becomes very important in intonation..


Simon Fischer Intonation Workshop Tuning Continued

Previously Fischer talked about getting rid of the acoustic beat. In this video he shares his trick for truly hearing if the acoustic beat is gone. One can lightly (very lightly) press the adjacent string when using 5ths by ear, just at the front of the nut to fine tune. Very lightly. The result is that it makes the two strings different in very subtle ways where one can hear if an acoustic beat is present.


Simon Fischer Intonation Workshop Angle of the Instrument

This video is Simon Fischer's remarks on holding the instrument up just a little to keep the strings parallel to the floor; and, on good posture as an aside. But this posture, nearly as physics-bound as sympathetic vibrations we will hear about in a minute, and the acoustic beat gets into the effect of being relaxed with strings parallel on intonation--and I find it very true. And part of this posture, besides straight back and neck, is a relaxed center-line up the neck, not scrunching, and while not being stiff at all as we will learn later, it does mean conserving motion.


Simon Fischer Intonation Workshop Concept of a note

Perlman asked about the difference between Galamian and De Lay:

Galamian would say: "Sharp! Flat!"
De Lay: "What's your concept of a note?"

The point: Leading edges of notes when playing for doubles stops as the example, shows that the third note in a double stop is movable. And the spirit of the law again, per both Fischer and Perlman, is listening to one's self.

Fischer goes on to illuminate the nature of sympathetic vibrations, and implies how this can improve one's listening to their playing. So to apply what I learned from Fischer in this, I created a little exercise using the Children's Song "Chopsticks" on open A and D-stopped, or other strings if wished. This really illuminated those half-steps.

Sympathetic vibrations is the fact that if I play G on D string, my G string vibrates in different sections of the string on it's own. And if I play A on G string, my A string vibrates along in a single place along the string. This nature of bowed-string instruments to 'excite' other strings is important to intonation, and I think understanding this is probably what is getting 'me' there in these ways--you can hear what he says here with just a little work.

The spirit::Mr. Fischer makes an important point unrelated to the "concept of a note" in this video. He tells the story of someone asking "why do we need to know all of those things". Is listening not enough? He continues telling that he later had a conversation with Dorothy Delay, that explained 'clearly' why details are important.

'Every technical exercise, and every detail are opportunities to refine one's playing. I will not debate the idea of not working on being knowledgeable, and focusing on small details. And I will be bold enough to say, it is simply true. Even beyond basic general competency which is a world of work of itself, is a journey towards improved and never ending artistry. And ironically, it still gets back around to listening'. (Fiddler at the Cove)



Simon Fischer Intonation Workshop Cause and Effect:

Make simple changes to improve steadily. Listen to yourself(causes), make simple changes for better intonation and tone(effect). Both teachers and students--do whatever is necessary, if repeated fifty times, to break those things causing unacceptable results. 'If you are a beginner, it feels like forever being able to even understanding what cause is effecting, but it gets a little better over time'. 'This is so very true.'



Simon Fischer Intonation Workshop Expressive Intonation

This important video brings everything Fischer has talked about so far, in improving intonation. From acoustic beats in tuning, to sympathetic vibration, one learns that many of those dead sounding notes are not a flaw in the instrument, but a flaw in finger placement; and, Fischer relates this to sympathetic vibrations both above and below the stopped(pressed) note.

Open strings and their stopped counter-parts creates the first part of a framework to improve intonation when used with the idea, actually physics of sympathetic vibrations.
Fischer gets to the heart of defining Expressive intonation based on the observation of Casals the great cellist.

The principle is that on piano a-flat is a-flat, and g-sharp. On violin and string instruments a-flat can be played lower, and g-sharp higher(leading edge). But Fischer notes that we cannot always play with expressive intonation, based on the venue such as string quartet, or maybe with a piano and so on.

Fischer goes on to fill in the framework mentioned by showing how to get at a-flat by feeling (not forcing) the finger against the nut. But the real point in this is that sharps
lead up and flats lead down. So it only reasons that a-flat would be played on the lower edge from the center of the note, and g-sharp on the higher(or leading) edge from the center of the note.

As he began in the beginning of this workshop, expressive intonation is all about measuring the relationships between notes and their respective or related notes, and applying these distances well and appropriately. But it goes somewhat deeper than this. Intonation in the spirit of this workshop, has a direct impact on the quality of a single, and nearly every note.

Finally, using the techniques Fischer shared, he reminds again, that anyone can get to a solid level 2 structure of intonation in minutes a day, rather than years.

練習單

這個是很久以前就有的，後來發現原來 violinmasterclass 也有，看來大家的方法都一樣，看看參考參考~

2009年長榮交響樂團小提琴音樂營-帕格尼尼大賽四位首獎得主大師班

話說，有人有打算去看嗎?

台北大師班：
活動時間：2009/07/31(五)~08/07(五)
活動地點：張榮發基金會大樓 (台北市中山南路11號11樓國際會議中心)
活動聯絡電話：02-2351-6799*623
詳細活動簡章下載
台南大師班：
活動時間：2009/08/01(六)
活動地點：奇美博物館 (台南縣仁德鄉三甲村59之1號 演奏廳)
活動聯絡電話：02-2351-6799*623
詳細活動簡章下載
明日之星-學生成果發表音樂會：
活動時間：2009/08/08(六) PM2:30
活動地點：張榮發基金會大樓(10048台北市中山南路11號11樓國際會議中心)
演出人員：08/02~08/07台北舉辦大師班期間，每日將由旁聽學員票選，本團於08/07大師班結束後統計由累積最高票前8名聯合舉辦。
演出曲目：將於8/7晚間於本團網站上公佈
票價：不分位置一律300元，請至年代售票系統購買或下載訂票單。
活動聯絡電話：02-2351-6799*623