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  • Jones: Welcome to the trombone master class

    Jones:歡迎觀賞 YouTube 交響樂團

  • for the YouTube Symphony Orchestra.

    長號大師講座

  • My name's Katie Jones,

    我是 Katie Jones

  • and I'm the co-principal trombone

    目前擔任倫敦交響樂團的

  • of the London Symphony Orchestra.

    長號手副首席

  • The first excerpt we're going to talk about today

    我們今天所要介紹的 第一個樂段是

  • is Wagner's "Ride of the Valkyries,"

    華格納的 《女武神的飛行》

  • taken from his opera "Die Walkure."

    取自華格納的歌劇 《女武神》

  • This has been set for auditions for me personally,

    這是我個人最鍾愛的 試奏曲目

  • from school age right through to my professional career.

    從學生時期到職業生涯, 都沒變過

  • He's one of the earlier composers to use the trombone

    華格納是最早在樂章旋律中

  • in a melodic context

    使用長號演奏的作曲家之一

  • and not just in a scared or choral fashion.

    當時只有在恐怖音樂或唱詩班中 才會使用長號演奏

  • Here are some thoughts on how to approach the excerpt.

    在此提供你一些建議, 幫助你熟悉這個樂段

  • Listen to a few recordings if possible.

    如果可以的話, 請聆聽幾段演奏錄音

  • Work out how the trombone

    熟悉長號如何融入

  • fits into the overall orchestration.

    交響樂團的整體演奏

  • The strings have a lot of running semiquaver passages

    在這段音樂演奏過程中, 弦樂部分有許多

  • during this music,

    快速的十六分音符樂段

  • so there's no room for maneuver

    因此曲調中沒有任何

  • or any vibrato in our tune.

    多加裝飾或揉音的空間

  • Keep a good, full sound

    請保持飽滿、完整的音色

  • without getting brittle or hard,

    避免出現尖銳或沈重的聲音

  • and articulate that lower semiquaver well,

    而較低音的十六分音符, 也要運舌清楚

  • because it won't come across over the orchestration.

    因為這並不會和 整體樂團演奏有所衝突

  • [Ride of the Valkyries]

    [女武神的飛行]

  • And if you're wondering how you can possibly try

    此外,如果你想要多方嘗試

  • and improve on the way you're playing it

    並改善你的演奏方式

  • or, indeed, the way I've been playing it,

    或是想要學習我的演奏方式

  • try subdividing the rhythm.

    請試著細分節拍

  • Try playing it all in semiquavers.

    試著吹奏出所有十六分音符

  • For instance...

    例如...

  • [playing semiquavers]

    [吹奏十六分音符]

  • So that the rhythm-- you're making sure

    就是這樣的節拍

  • you move your slide really quickly

    請務必在附點八分音符 和十六分音符之間

  • between the dotted quaver and the semiquaver.

    快速移動拉管

  • Also, you can try this tune in 3/4 time signature.

    你也可以試著以 3/4 拍的節奏 吹奏這段曲調

  • [playing Ride of the Valkyries in 3/4 time]

    [以 3/4 拍吹奏女武神的飛行]

  • And that puts an emphasis

    這樣會凸顯樂句中

  • on a different note in the phrase,

    不同的音符

  • which means you can really hear how the tuning is settling.

    代表你可以清楚聽見 曲調的轉折

  • If you've got trouble coordinating your slide

    如果無法順暢地協調 拉管和運舌的節奏

  • and your tongue, try it really slowly

    請試著放慢吹奏速度

  • just with air attack with the instrument,

    用樂器進行吐氣練習

  • or you can try singing it through.

    或是直接唱出樂曲

  • For instance... [rhythmic puffing]

    例如... [節奏吐氣練習]

  • That makes sure you're using air

    這樣可以確保

  • right at the start of the notes,

    在音符開頭時運氣

  • and the tongue is absolutely right on the button.

    並且讓舌頭抵住吹管底部

  • The next excerpt I'm going to talk about

    接下來所要介紹的樂段是

  • is Berlioz' "Hungarian March" from "The Damnation of Faust."

    白遼士的《匈牙利進行曲》 取自《浮士德的天譴》

  • Apparently, Berlioz had already written

    顯然白遼士先譜出

  • this "Hungarian March"

    這段《匈牙利進行曲》

  • previous to writing "The Damnation of Faust,"

    之後才創作 《浮士德的天譴》

  • which is why "The Damnation of Faust"

    這也是 《浮士德的天譴》

  • is set in Hungary from the start.

    開場位於匈牙利的原因

  • Now, Berlioz would have been used to using

    白遼士當年在法國作曲時期

  • smaller trombones in France at the time of his composition

    所使用的長號比當時

  • than in Germany,

    德國的長號來的小

  • and probably than you're playing on now.

    甚至可能比你現在吹的長號還要小

  • Sometimes it can be good to play Berlioz

    有時使用小型樂器吹奏

  • on a small instrument.

    白遼士的樂章也不錯

  • I did this with "Symphonie Fantastique"

    我在今夏稍早時就如此吹奏

  • earlier in the summer.

    《幻想交響曲》

  • Though Berlioz apparently

    不過白遼士顯然

  • was not really a fan of the alto trombone,

    不怎麼喜歡使用中音長號

  • saying that actually most competent players

    他認為真正稱職的演奏家

  • could get the notes on a tenor,

    可以吹奏初次中音的音符

  • and he much preferred the sound of the tenor.

    而且他十分喜愛次中音的音質

  • This excerpt is all about subdivision.

    這個樂段的菁華之處 完全在於細分音符

  • Not being late off the tight notes

    請跟上緊密音符的節拍

  • and really looking after the tuning,

    並確實融入曲調

  • the difference between the semitones

    用心體會半音和全音

  • and the whole tones.

    之間的差異

  • [Hungarian March]

    [匈牙利進行曲]

  • You can, again, take this piece,

    你也可以比照上一段 華格納的樂章

  • as same as we talked about with the Wagner,

    將這個樂段單獨抽離

  • out of rhythmic context.

    整體樂章旋律

  • This really shines a light on, as I was saying,

    這樣就能特別清楚我所說的

  • the difference between the semitones

    半音和全音

  • and the whole tones.

    之間的差異

  • For instance, try playing it in this rhythm.

    例如,您可以用這樣的節拍吹奏

  • [slower rhythm]

    [慢板節拍]

  • Two semiquavers, then a quaver.

    兩個十六分音符 然後是一個八分音符

  • And you can reverse that rhythm exactly the same--

    你也可以倒著吹奏同樣的音符

  • quaver, then two semiquavers--

    八分音符,然後是兩個十六分音符

  • or play it all in a triplet fashion.

    或者,全部用三連音的節拍吹奏

  • And this is just to shine a light

    這可以有效改善

  • on your--on any poor tuning that's happening.

    任何音準問題

  • I've certainly used this in my practice

    我在今天的演奏中也有

  • for this performance today.

    運用這項技巧

  • You must also really hear the rest of the orchestra

    你也必須在你的小節休息期間

  • during your bars rest.

    仔細聆聽樂團其他部分的演奏

  • Playing an excerpt with bars rest is always tricky.

    吹奏的樂段如果有好幾個小節休息, 向來需要較高的技巧

  • Really keep that pulse going in your head.

    必須在腦中持續打拍子

  • I'd just like to say a few words

    我想要談論一些有關

  • about the Ferdinand David.

    Ferdinand David 的注意事項

  • Many editions exist of this piece,

    這段樂章有許多不同版本

  • and the rhythms are somewhat controversial.

    各版本的節拍有些歧異

  • Please state on your video which edition you are using

    請在你的影片中註明採用的版本

  • just so that we know.

    讓我們知悉

  • This piece is your chance to shine musically,

    這段樂章是你展現音樂長才的契機

  • say something interesting.

    請試著發揮創意

  • Remember, all music is either going to somewhere

    所有音樂靈感都是福至心靈

  • or coming away.

    但也稍縱即逝

  • Really hear the accompaniment in your head,

    請確實在腦中想像伴奏的旋律

  • because you won't have an accompanist, I'm sure.

    我想應該不會真的有人幫你伴奏吧!

  • And don't just keep playing this piece through

    此外,練習時請不要呆板地

  • when you're practicing it.

    吹奏這段樂章

  • Take the harder bars out of context

    請單獨練習

  • and practice them in isolation,

    難度較高的小節

  • perhaps changing the rhythms

    或許可以試著吹奏不同的節拍

  • to trick yourself into hearing things in a different way.

    以不同的方式聆聽樂曲 激發靈感

  • Now, the final excerpt we're going to talk about today

    我們今天所要談論的 最後一個樂段是

  • is Schumann's Third Symphony.

    舒曼的第三號交響曲

  • I always prefer to play this on the alto trombone,

    我一向喜歡用中音長號吹奏這段樂章

  • but if you don't have one, you will not be penalized

    如果你沒有中音長號的話

  • for playing it on a tenor.

    其實用次中音吹奏也沒有關係

  • Schumann was apparently inspired by scenes

    舒曼在創作第三號交響曲時

  • right along the Rhine River

    顯然是受到

  • when he was writing his Third Symphony,

    萊茵河畔的優美景致激發靈感

  • and the fourth movement in particular

    據說第四樂章就是特別

  • is said to depict the beautiful Cologne Cathedral.

    描述美麗的科隆大教堂

  • This would be very apt, because in the 1800s,

    這是很有可能的,因為十九世紀時

  • trombones were very much used to depict sacred music

    長號經常用於演奏莊嚴音樂

  • and in a choral fashion.

    和唱詩班的音樂

  • All of the individual parts of the trombone section

    所有長號部分的個別樂段

  • are more or less within a vocal range,

    大致上都在音域範圍內

  • and the prevailing harmony

    而且主旋律

  • is contained within the trombone section.

    也包含在長號部分中

  • Obviously, you have to look after your individual pitch,

    當然你必須注意自己的音準

  • but once you get into the orchestra,

    不過一旦融入樂團中

  • you really have to listen to the rest of the section as well

    你也必須確實聆聽其他部分的演奏

  • and where your note lies within the chord.

    以及你的音符在合音中的位置

  • Play this excerpt as smoothly as you possibly can.

    儘可能平順地吹奏這個樂段

  • Keep notes right to their full length

    完整吹奏音符的長度

  • before moving the slide.

    再移動拉管

  • And try not to focus on the top E flat.

    此外,試著不要凸顯最高的降 E

  • It's not the climax of the phrase.

    這並不是樂句的高潮

  • [Schumann's Symphony Number Three]

    [舒曼的第三號交響曲]

  • When I'm going to be playing this piece,

    每次要吹奏這段樂章

  • or the Tuba Mirum from Mozart's "Requiem,"

    或是莫札特《安魂曲》中的 神奇號角時

  • I always try and practice them

    我總是用

  • even slower than you think

    非常慢的速度練習

  • you're going to have to play them

    超乎你所想像的慢

  • and even quieter than you know

    並且用比樂團演奏時

  • you're going to have to play them in the orchestra.

    更小聲的聲音練習

  • This takes you out of your comfort zone,

    這樣可以增加吹奏的難度

  • and so once you get into the orchestra,

    希望可以幫助你融入樂團演奏時

  • hopefully, it feels easier.

    感到駕輕就熟

  • Thanks for watching this master class

    感謝你觀看這段 YouTube 交響樂團的

  • for the YouTube Symphony Orchestra.

    大師講座影片

  • I hope you found even one small part of what I've said

    希望我的教學內容對你有所啟發

  • of used to you in preparing your auditions.

    能在試奏的準備上助你一臂之力

  • I'm really looking forward to seeing the videos

    我由衷期盼在不久的將來

  • in the near future,

    能夠欣賞到參賽者提交的影片

  • so good luck in your application.

    祝你雀屏中選

Jones: Welcome to the trombone master class

Jones:歡迎觀賞 YouTube 交響樂團

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B1 中級 中文 音符 樂段 樂章 演奏 節拍 匈牙利

LSO大師班-長號 (LSO Master Class - Trombone)

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    林家禾 發佈於 2021 年 01 月 14 日
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