整理人: bigfish(2002-01-12 14:57:13), 站内信件
|The Guitar Times: 当你听一个学生演奏时，首要关心的事情是什么？
When you listen to the pupils, what's the first thing you concentrate on?
David Russell: 这要根据不同的学生而定。有一些学生我在以前就已经认识了，因此当他们再来找我的时候我知道他们已经对我比较信任，这种情况下就比较好办，我可以对他们谈出我的真实感受。如果我不认识这些来找我的学生，这是一个专业秘密！如果我能够很快发现他们的一两个小问题，并且可以在短时间内非常轻松地让他们有所提高，那么我会去试一试。即使问题可能并不是那些非常重要的，但是这样可以让学生对我的教学建立起信心。因此，如果我能够帮助他们解决一些小问题，或是让他们的某一段音乐听起来更好，那么我认为我们就可以进入到一些比较难的部分的学习了。
It depends on the pupil... Some of them I know as people before, and perhaps if they have come back several times I know they have confidence in me, so there is no problem and I can say what I feel exactly. If I don't know them -this is a professional secret!- , if I can find one or two small things that I can make better very easily and very quickly I will try to do that first. Even if it's not a very important thing, it gives them confidence in my teaching. So if I can give them a small solution, or make a small part of the music sound better, once there, with me, we can get into the more difficult things.
Sometimes perhaps I may have to change quite a lot of the ideas of the pupils, which is difficult because sometimes the pupils will resist -it's normal- because they have their ideas and I have mine. I'm going to try to convince them if I think my idea is better. To do that it's no good just destroying theirs. They have to come round to my way, and to do it they need to have confidence in my thoughts.
So that's the way I like to work. I feel that generally I'm very gentle with students because I think the time when Grand Masters would be very aggressive is finished. The students are much more grown-up, much more adult -even the young eighteen-year olds are much more adult than when I was eighteen, and even more I'm sure than in the fifties. Things are different now and people have more world.
So you must treat the students as adults.
Personnaly, I know how I work. If you give me a lesson and you say: "your slurs are very bad and your tremolo is fantastic, so you must practice your slurs", I know I will go home and practice my tremolo!
So sometimes you can get more by encouragement than by crucifying, than by showing what is wrong. You must find a way to where they still know what's wrong but you must not kill their enthusiasm by making them feel bad about that.
So, as a master-class teacher, or a workshop teacher, my situation is perhaps a little different from the teacher who is giving lessons every week. I feel that perhaps in one or two hours I can't really resolve a problem. I can maybe sometimes, with some of the students, give them a certain direction, but generally I want my students to get a feeling of inspiration. If they come to me and they come out of the lesson wanting to practice again, then I've done a good job. Even if I haven't given them any detail, or if I haven't given them any general information, they leave with a feeling that playing guitar is good, and it's fun and worthwhile, then I've done a good job. If I see a pupil leave and I know he doesn't feel good I don't think I've done it right.
So this is my general philosophy, if you like, about how to do a master-class.
我对于开办大师班具有很大信心，因为我从其他的大师班上学到了许多。在我上过的大师班中，有三位大师的课程我认为是最好的：第一位是Turibio Santos，他的确非常伟大！我仅仅和他学习过一天，那真是太精彩了。上John Williams的大师班也是非常让人激动的，部分原因是因为他是John Williams，但是他的大师班的确非常精彩。另外我还多次参加Jose Tomas的大师班。
I have a lot of confidence in master-classes because I have learnt so much through them. I went to master-classes, and three people were really good: the first one was Turibio Santos, and he was great! I was only with him one day and it was fantastic. John Williams was really inspiring -partly because he is John Williams, but also he was exciting and great. And then I went many times with José Tomás, always in master-classes, I followed him around and he was fantastic.
So I feel that it's possible once you have reached a certain level to get that extra-continuation with master-classes.