Name: 來自 Garrick Ohlsson 的十條鋼琴技巧建議 (Ten piano technique tips from Garrick Ohlsson)
Uploaded: 2024-08-19T06:22:00.000Z
Duration: 14 min 51 s

Practice is something we do lots and lots and lots and lots of.

練習是我們要做的事情，而且要做很多很多。

未來簡單式

I think I've been learning all my life how to practice, and I think I do it better than I used to do it, and I think I'll probably do it better in five years.

我想我這一生都在學習如何練習，我想我比以前做得更好，我想五年後我可能會做得更好。

Few pianists know their instrument the way that Garrick Olson does.

很少有鋼琴家能像加里克-奧爾森那樣瞭解自己的樂器。

One of the most legendary living pianists today, his immense musical wisdom is inspiring not just in his concerts and recordings, but in his teaching as well.

作為當今最具傳奇色彩的在世鋼琴家之一，他無窮的音樂智慧不僅體現在他的音樂會和錄音中，也體現在他的教學中。

Because very often people give up from difficult things because it's not convenient, it doesn't feel good, it's not easy, it doesn't go well.

因為很多時候，人們會因為不方便、感覺不好、不容易、不順利而放棄困難的事情。

Learn to do what doesn't go easily, because in learning all that you're going to learn a lot of basic principles.

學會做不容易做的事，因為在學習這些的過程中，你會學到很多基本原則。

Principles that will serve you for the rest of your life and everything else you play.

這些原則將在你的餘生和其他一切遊戲中為你服務。

Today this master of the piano is going to give us ten specific technical tips from his lessons on tone-based premium on works by Chopin, Brahms, and Rachmaninoff.

今天，這位鋼琴大師將從他的肖邦、勃拉姆斯和拉赫瑪尼諾夫作品的音色基礎高級課程中，為我們介紹十個具體的技術技巧。

These are tips that you can already start using right now in your practicing.

這些技巧您現在就可以在實踐中開始使用。

It's just like in the gym, if you want to press 100 pounds, you don't start with 100 pounds, you start with 20 and see how you can build up your muscles and learn good form.

這就像在健身房裡，如果你想按 100 磅，你不會從 100 磅開始，而是從 20 磅開始，看看如何鍛鍊肌肉，學習良好的姿勢。

Whereas if you just try harder, you can actually damage yourself.

而如果你只是更加努力，實際上會傷害到自己。

Same thing with piano playing, where you have to use your small muscles.

彈鋼琴也是一樣，你必須用到小肌肉。

To watch the full version of all these lessons and much, much more content by Olsen and many other pianists, be sure to check out Tone-Based Premium, the platform that makes videos like this possible.

要觀看所有這些課程的完整版，以及奧爾森和其他許多鋼琴家的更多內容，請務必訪問 Tone-Based Premium，這個平臺讓這樣的視頻成為可能。

And if you're interested in more enlightening piano content, be sure to like and subscribe to the channel.

如果您對更多有啟發性的鋼琴內容感興趣，請務必喜歡並訂閱該頻道。

Just you wait, you ain't heard nothing yet.

等著吧，你還什麼都沒聽到呢。

Irma Volpe, one of my other teachers, always said, only we pianists are afraid of a distance that big, but we do get afraid of it.

我的另一位老師伊爾瑪-沃爾佩（Irma Volpe）總是說，只有我們鋼琴家才會害怕那麼大的距離，但我們確實會害怕。

Sometimes if it's a jump, which I was afraid of when I was young in the Chopin First Concerto.

有時，如果是跳躍，我年輕時在演奏肖邦第一協奏曲時就很害怕。

Because that leap of the 10th, has to be free, it can't be.

因為第 10 次飛躍必須是免費的，不可能是免費的。

And I smudged or something, and Irma said, it's really not that far.

我弄髒了還是怎麼的，厄瑪說，其實沒那麼遠。

If you just play it as an octave, it's quite easy.

如果你只把它當做一個八度音來演奏，那就非常簡單了。

Then just leave out the top note, and then the bottom note.

But in other words, and I have a big hand, I can even do it like that.

但換句話說，我的手很大，我甚至可以這樣做。

But the gesture of the music is not uh-uh, it's a...

但音樂的姿態不是 "嗯"，而是...

You want that freedom, that balletic grace to it.

你想要那種自由，那種芭蕾舞般的優雅。

When you're on a black note, and you have to hit it with your thumb, I don't know if you can see it there, I actually open the thumb so that you have more flat surface to hit on.

當你演奏一個黑色音符時，你必須用拇指擊打它，我不知道你是否能看到，我實際上是把拇指打開，這樣你就有更多的平面可以擊打。

And same thing with the fifth finger, I don't hit with the tip, I hit with the side.

五指也是一樣，我不用指尖擊打，而是用側面擊打。

這樣，你錯過的可能性就更小了。

Same thing in Beethoven's Appassionata at the climax of the first movement.

貝多芬的《熱情》在第一樂章的高潮部分也是如此。

It's actually much easier with the thumb, but not this way, just with the side of your hand.

實際上，用拇指要容易得多，但不是這樣，只是用手的側面。

Position, because then you don't have to, I've seen people too worried and playing wrong notes and so on.

我見過有人因為太擔心而彈錯音符，等等。

Part of piano playing is percussion, and you have to learn how to be really secure.

鋼琴演奏的一部分是打擊樂，你必須學會如何做到真正安全。

Whenever you have ba-bum, it's not bum-bum, it's ba-bum.

只要你有 ba-bum，那就不是 bum-bum，而是 ba-bum。

Or in the Schumann Concerto, it's not, because as they used to joke at Juilliard, nobody's going to buy a ticket to hear that.

舒曼協奏曲則不然，因為茱莉亞音樂學院曾開玩笑說，沒人會買票去聽這首曲子。

You need to practice it as a single gesture, with freedom, but don't aim for the downbeat, aim for the upbeat.

你需要把它當作一個單一的手勢來練習，自由發揮，但不要瞄準下拍，要瞄準上拍。

That's where you need to put an accent, because if you are firm there, in the middle of it of accent, the downbeat will get an accent anyway, you don't ...

這就是你需要重音的地方，因為如果你堅定地站在那裡，在重音的中間，下拍無論如何都會得到重音，你不...

你看，我是衝著第一個音符去的。

If I go for the second note, it sounds uncoordinated and effortful.

如果我彈第二個音，聽起來就會不協調、費力。

By the time you get to much more difficult pieces, such as the Wilde Jagd Transcendental Study of Liszt, where you're playing ...

到了難度更高的曲目，如李斯特的《Wilde Jagd Transcendental Study》時，您演奏的...

You're going to get stuck, so each one of those is ...

你會被卡住，所以每一個都是 ...

It's that relaxation response I've spoken about in other places.

這就是我在其他地方說過的放鬆反應。

It also occurs at a moment, you know something's very difficult, it's very intense, the hand is busy.

它也會出現在一個時刻，你知道事情非常困難，非常緊張，手忙腳亂。

I think too many people go too fast when they start, including me, when I was younger.

我認為很多人在開始時都走得太快了，包括我年輕時。

You want to go from the first note and show how spectacular you are.

你要從第一個音符開始，展現你的精彩。

Now, most people play 1-5-2-3-5-1-5-1-5, which is very fine.

現在，大多數人都玩 1-5-2-3-5-1-5-1-5，這非常好。

The opening and closing of the hand is very important.

The moment you get up to the five, don't leave your thumb down there, so you have to jump.

當你爬到五樓的那一刻，不要把拇指放在下面，這樣你就必須跳下去。

Let it get lazy and move up here, so that you're actually a little bit ahead of yourself with the thumb.

讓它偷個懶，移到這裡來，這樣你的拇指就會比自己早一點。

Or, you can do my fingering, which is similar to the one I just gave you for the soft spot. 1-5-1-2-4, and then 1-5-1-5.

或者，你也可以按照我的指法來做，和我剛才給你的軟點指法類似。1-5-1-2-4，然後是 1-5-1-5。

I don't know why, it's more secure for me.

不知道為什麼，對我來說這樣更安全。

The last thing you can control is when the key goes down and the hammer clicks up and hits the string and the sound happens.

你能控制的最後一件事是，當琴鍵向下時，琴槌點擊琴絃併發出聲音。

Once again, and since you have the advantage of the pedal, you're free to go have a cup of coffee if you like, but it's going to stay there for you.

再說一次，既然你有腳踏板的優勢，你可以隨意去喝杯咖啡，但它會為你留在那裡。

It doesn't help to put all of your emotion into your body and hold onto the piano, because no matter what I do, once that's happened, but once you've hit that, you need what I'm now notorious for calling the relaxation response.

把所有的情緒都投入到身體裡，緊緊抓住鋼琴是沒有用的，因為無論我怎麼做，一旦發生了這種情況，你就需要我現在聲名狼藉的 "放鬆反應"。

You need incredibly sharp attack, and you need your tension and your focus in the attack, but not in between, because obviously you can't play this piece if you do that.

你需要令人難以置信的犀利攻擊，你需要在攻擊中保持緊張和專注，但不要在攻擊之間，因為如果你這樣做，顯然無法演奏這首曲子。

You know, I could play this without changing my hand position very much, because I'm within an octave, but look at all that jumping, and you want to hear a steady stream of notes.

你知道，我可以在不改變手的位置的情況下演奏這首曲子，因為我在一個八度的範圍內，但看看那些跳躍，你想聽到的是穩定的音符流。

You can't hear, obviously, I mean, that's ridiculous.

你顯然聽不到，我是說，這太荒謬了。

It's not only a study of expansion of the hand, it's a study of contraction, which isn't so obvious, because we pianists see in blocks, physical blocks of notes, we see the four chord, which is repeated, so we see this big stretch, and our first instinct is to try to accommodate the stretch.

這不僅是對手部擴展的研究，也是對手部收縮的研究，這一點並不那麼明顯，因為我們鋼琴家看到的是成塊的音符，是有形的音符塊，我們看到的是重複的四和絃，是以我們看到的是巨大的伸展，而我們的第一本能就是努力適應這種伸展。

You can't play this piece without also accommodating the contraction.

在演奏這首曲子時，您不能不考慮到收縮的問題。

At the very least, when you hit the fifth finger, you have to at least be back where you're starting.

最起碼，當你彈到五指時，你必須回到起點。

所以，好吧，我們有一個音符。

所以我們有一個音符，鋼琴和慢板。

Now, I've got a very big hand, but look, my second finger is now on the G, and I have to get to the C, so I have to do something with my fourth finger, so I have to stretch it out a little bit.

現在，我有一隻很大的手，但是你看，我的二指現在在 G 琴上，我必須彈到 C 琴，所以我必須用我的四指做點什麼，所以我必須把它伸長一點。

In stretching it out, rather than stretching it out in a stressed way, look how it's trembling from stress, and I'm a pretty strong pianist, but it doesn't work.

在拉伸的過程中，而不是以受力的方式拉伸，看看它是如何因受力而顫抖的，我是一個相當強壯的鋼琴家，但它不起作用。

You actually have to let your hand go, you have to let that thumb go, and move your hand up there.

實際上，你必須放開你的手，你必須放開拇指，把你的手往上移。

So you almost get the second one just by moving your fourth finger to the C.

是以，只要將第四個手指移到 C 琴鍵上，就幾乎能彈出第二個音。

雖然不是字面上的意思，但你也有點明白了。

I mean, look, there's my fifth finger all stretched to hit the E, and it's trembling because it's under great stress.

我是說，你看，我的五指伸得老長，就為了彈 E 音，它在顫抖，因為它承受著巨大的壓力。

The tendons don't like it, the ligaments don't like it.

So I'd have to move my hand up to get up there.

所以我必須把手抬起來才能上去。

How am I going to get from four to five, and then back to one?

我怎樣才能從四變為五，再變回一呢？

Well, if I just open the hand again, the fourth finger will come up, and then I'm in a position to do the whole thing over again.

好吧，如果我再次張開手，第四根手指就會豎起來，然後我就可以重新做一遍了。

Now, I promise you, that's not the way I'm thinking while I'm playing this piece.

現在，我向你保證，我在演奏這首曲子時並不是這麼想的。

When I was very young and played it anyway pretty well, that's not what I knew, but I've sort of learned it later.

在我很小的時候，反正我彈得也不錯，但我並不懂這些，不過後來我也算是學會了。

In other words, it's an art of applied movement.

換句話說，這是一門應用運動的藝術。

You have to figure out each one at a time.

Okay, now I'm playing kind of slow and kind of weak.

好吧，現在我彈得有點慢，有點弱。

Then now you can add your strength as you practice.

那麼現在，你可以在練習時增加自己的力量。

If you want to do more with your fingers, it's fine, as long as you...

如果您想用手指做更多的事情，也沒問題，只要您...