发信人: henryxie.(琴佬)
整理人: bigfish(2002-01-12 14:57:13), 站内信件
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The Guitar Times:有时候我们也会听到演奏家的右手噪音。不知你是如何解决这个问题的？
Sometimes we hear guitarists that also have a noisy right hand.
How do you get rid of that kind of problem?
David Russell:这和右手指甲的形状有很大关系。通常，当琴弦在振动的时候，如果你用指甲轻轻接触琴弦，就会有吱吱的噪音，非常难听。如果你的手指是快速地离开，那么只是会有非常微小的撞击声。一般来说，手大而有力的演奏家容易在演奏时产生大的噪音原因是虽然手比较有力，但是移动速度却比较慢，于是在离弦时就会产生噪音。因此对于这样的演奏家，需要提高右手拨弦的加速度。
Sometimes it's the shape of the nail...
Usually, when a string is vibrating, if you put the nail back down slowly onto the string it will clatter, which is very noisy.
If you put it down fast, if the preparation or the plucking is fast enough, there's only going to be one tiny little click. Sometimes people with big strong hands are also very noisy players because the strong fingers are strong but they move slower. And as they go down to the string they make noise. So perhaps for those people the acceleration of the plucking has to be increased.
有的人具有很强壮的肌肉，手指端部的肉也比较硬。通常当他们触弦时，会产生噪音。我的手指端部的肉比较软，也就没有太多的杂音，这使我感到非常幸运。
Some people also have very strong flesh, on the tip of the finger the flesh is harder. Usually, when they put down the flesh, they get a noise -I have very soft flesh, so I'm lucky enough that when I put the flesh down you hear no noise.
我在解决这种问题时的方法主要就是对每一个音符都做准备，尽管有时这种准备的时间几乎为零。我非常反感上面提到的那种打弦的情况，我总是心里想着：准备/拨弦。尽管我也有其他的方法，但是对于演奏来说，准备/拨弦是最基本的方法。如果我有所准备，那么就能够得到好的声音，或是说我所想得到的声音，同时，也不会有噪音的出现。我严格做到在指肉和指甲相交的地方触弦。琴弦接触1毫米的指肉，其余部分是指甲。当我要演奏一个比较硬的声音时，就会改变右手的位置，我依然使用相同的触弦点，但是右手指甲的角度会发生变化。但是通常来说，当你要演奏一个比较硬的声音时，噪音会比较小。当你要弹奏一个比较圆润的声音时，噪音会比较大，原因是这时我们通常会将右手向琴头方向移动一点（即靠近音孔），而琴弦在这里的振动幅度要比琴桥那里的大。因此出现噪音的可能性就提高了。
One of the solutions for me is that basically I prepare every note, although the preparation is reduced to almost zero I don't think about hitting the string from above : I think about prepare/pluck. That is the basic way of playing, although of course I can also do it the other way.
If I prepare in the right spot, it will be perfect for a good sound, or for the sound I want, and also it will make no noise. I prepare exactly where the flesh and the nail meet. It touches one millimetre of flesh, and then the nail. When I make a harder sound -and change the right hand position- I'm still using the same spot although the angle of the nail is different. But usually, when you make a harder sound, it's less noisy. It's more noisy when you try to play with extra-round sound, because we usually move up a little bit and the string is vibrating wider here (more or less the centre) than the bridge. So the danger of being noisy there is greater.
对于我来说，秘密就在于手指弹拨琴弦的速度，无论你是否做准备，关键就是两点：手指的触弦速度，手指的触弦点。
For me, the secret lies in the speed with which you put the finger down onto the string, whether you go through or you just prepare : the speed you go down, and the point that you touch.
例如，当人们弹奏断奏（staccato）时，通常会在每一个音符的结尾出产生噪音。那么，这就是你需要准备的地方，你需要将噪音避免掉。
For example, when people have to play staccato they usually make noise on the end of each note ... Well, that preparation spot must be improved so that when you go back down on your staccato, you do it exactly on the spot that makes no noise.
你必须每天上午进行这方面的练习。
This you must learn to do every morning.
I teach my hand everyday where to prepare.
即使是我在弹奏连奏（legato）乐段时，依然会在头脑中进行准备。最后你会发现，那些有所准备后再弹拨琴弦的人会演奏得非常好，而那些在头脑中不做准备的人也可以弹得很好。关键就在于，如果你不练习准备，那么你如何控制音符的长度？多一些断奏、少一些断奏这些都如何来实现？我实际上是要说明，乐曲的色彩就是靠音符的长度来体现的。
Even though I want to play completely legato, in my mind there's still a preparation. In the end, the person who plucks with a lot of preparation and plays very well, and the person who in his mind has no preparation and plays also very well, are doing the same thing. The only thing is : if you don't practice preparation, how can you control the length of notes? More staccato, less staccato ... I mean, that's a whole range of colour that depends on the length of your notes.
大多数的演奏家都会这样想："这里需要用断奏，而那里不需要。"我认为这样不正确。整首乐曲有或多或少的间断，为了做到这一点，你必须控制好你要如何做准备，你的手指在两个音符之间需要在琴弦上保留多长的时间，等等。这些改变将使你的演奏产生很大的变化。
Most guitarists think : "it's either staccato or it's not" , I don't think that's right. There's a whole range of more or less cut, and to do that, you must have control over how much you prepare, over how long you stay on the string between the two notes ... it makes a big difference!
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