Five-fingers, scales, arpeggios
五指、音阶、琶音
In the free fall the role of the fingers was minimal; they acted,
mainly as a recoil mechanism.在自由下落动作中手指是最小角色；他们的动作主要是在键上产生反作用力。
Now, however, we are going to examine the characteristics and
functions of the fingers carefully.然而现在我们将要仔细地检查手指
的这种特性与功能。 Their role is of foremost importance and they must be
coordinated with, and helped by, the entire playing apparatus
and the force of gravity.它们的角色最为重要而且它们必须协调，并在各运动器官帮助下与地心引力协调一致。
They are extremely important both in their active and passive
roles because they are the "executioners": they alone
are in touch with the keys.因为它们是动作的“执行者”，所以无论他们的动作是主动还是被动的，都极为重要：只有它们实际触键。
Actually all our arm and body motions serve no other purpose than
to help and to cooperate with the fingers. 事实上我们整个手臂和身体的运动除了帮助和协调手指外没有其它的目的。
Fingers: extension of forearm muscles 手指：前臂肌肉的延伸
It is most important that we regard the fingers not as isolated
units but as the extension and continuation of the forearm muscles
and tendons that move them.我们把手指的运动看做是支配它们的前臂肌肉与肌腱移动的延伸与延长，而并非是孤立的，这一点很重要。
I would like to make this point very clear: no finger exercise
will ever give us true independence of the fingers unless each
finger is helped by the proper placement and adjustment of the
forearm and upper arm.我希望这一点是很清楚的：如果我们的手指不是处在前臂与上臂的正确位置上，手指的练习不会有真正的自由。
True independence can be achieved only by cultivating interdependence
with the forearm and upper arm muscles and not by maintaining
a fixed hand (or wrist) position that brings the fingers into
a forced, unnatural situation.只有使前臂和上臂肌肉相互依赖才能够达到手指的真正独立，而并非要手（或腕关节）保持固定的位置，迫使手指处于一种不自然的状态。
In the long run these fixed positions will cause tension, fatigue,
pain, and acute or chronic ailments.这些固定的位置最后将导致肌肉紧张、疲劳、疼痛和急性或慢性病痛。
Worst of all, they produce a poor piano sound. 最糟的是它们奏出的声音很是乏味。
Adjustment of arm for each finger; flexible wrist
为每个手指而调节手臂；灵活腕关节
Although the fingers are different in size, shape, and (in the
case of the thumb) even in anatomy, we strive for evenness of
sound in playing and practicing our scales and arpeggios.虽然手指在大小、形状、（比如拇指）在骨骼上都不相同，但我们在演奏和练习音阶与琶音时，我们要争取使得声音均匀。
If we assume fixed hand and wrist positions and don't accommodate
each one of the fingers, the unevenness of the fingers manifests
itself in a most pronounced way: the short and thin fifth finger
and the bulky, two-phalanxed thumb will never sound the same.设想如果我们固定手和腕关节位置，它们就不会协调每个手指，手指的不平衡会显露出来，但那短而弱小的小指与那粗大的、两指骨的拇指弹出的声音决不会一样。
We can force them to behave in a similar way but we will have
to keep on forcing them to do so all our life; they will never
sound identically with a fixed wrist.我们可以强制它们表现的相同，那我们就得一直使用平生的力气去弹奏；如果腕关节固定，它们奏出的声音永远不会一样。
Instead of a uniform, fixed hand position, the fingers need continuous
adjusting motions by the wrist, the forearm, and the upper arm
to accommodate the fingers and enable them to move freely, without
hindrance and forcing, to produce the kind of motions that these
components are capable of making.不是统一、固定手的位置，手指在腕关节、前臂、和上臂不断地调节中自由地运动，在不受任何阻力与外力的情况下，使它们有能力做出各种动作。
Anatomy of the fingers; the thumb is different.
手指的解剖；拇指的不同
The thumb differs greatly from the other four fingers; it has
only two phalanxes, while the others have three of them.拇指与其它四指截然不同，它只有两个指骨，而其它的指头则有三个指骨。
It is the strongest and most agile finger; it can move alongside
the hand and pass under the other fingers, and it is much more
independent than the others.它是最强壮最灵活的手指；它可以横靠在手的旁边运动也可以在手的下方穿过，它比其它四指更独立。
Its metacarpal bone is free from the other bones and is not tied
to them by ligaments.它的掌骨与由于不受韧带的束缚，是与其它指骨分开的。 The vertical motion
of the other fingers originates where their first phalanx hinges
on the metacarpal bone, but the thumb moves vertically from the
point where its metacarpal bone is attached to the wrist (see
figure 29).其它手指能从掌骨第一节指骨的关节点垂直运动，但是拇指的垂直移动要从附属于腕关节的掌骨的关节点开始（参见图29）。
Always lower the wrist for the thumb.
腕关节总是较低于拇指
The obvious consequence of this anatomical difference is that
when the thumb moves vertically, it requires a different wrist
position: the wrist must be placed considerably lower.从解剖上看明显不同的结果是当拇指垂直地移动时，它要求腕关节处于不同的位置：腕关节必须是相当低的。
If the wrist remained in the higher position suitable for the
other fingers, the thumb's vertical motion would consist of an
outward arch instead of a perpendicular one (see figures 30-33).如果腕关节保持在相对于其它手指来说适当的高位置，那么拇指的垂直运动将用会向外成拱形曲线而不是垂线方向（参见图30
- 33）
We must enable every one of the fingertips to descend vertically
because the keys themselves move exclusively in a vertical direction.我们必须使每个指尖垂直下落，因为键本身的移动全部在垂直方向。
Therefore any diverted and slanted direction of the fingers toward
the keys is uneconomical.所以任何使手指对琴键来说转移和倾斜方向的奏法都是不正确的。
Horizontal adjusting motion
水平协调运动
There are two equally indispensable adjusting motions of the arm
and wrist that enable them to collaborate with each of the fingers;
they are (1) movement in the vertical plane and (2) movement in
the horizontal plane.手臂和腕关节有两同等重要的不可缺少的调节运动使能够协调每一个手指的；它们是（1）垂直运动和（２）水平运动。
Since we want to place the fingers in line with their respective
forearm muscles (the flexors and extensors), there will be a slight
lateral (or horizontal) change in the position of the wrist and
forearm for each finger (see figure 34).因为我们想将手指分别放在符合它们各自前臂肌肉（屈肌和伸肌）的地方，所以，对控制每个手指的腕关节和前臂来说它们的位置就会要轻微的有些横向（或水平向）的变化。
Both the vertical and horizontal alignings (adjusting) should
be continuous and precise: overdoing them would put the finger
out of line again (Page 55).垂直和水平运动的调节（调整）应是连续的、精确的：如果将它们做过了，就会不协调了（55页）。
Figure 35. shows lateral views of the horizontally adjusted position
for each finger.图35显示的是每个手指调整后的水平侧视图。 In figure 35e, the arm assumes
the proper position for the fifth finger; that causes the thumb
to find itself away from the keys, which is correct.图35e呈现的是为了适合小指手臂应采取的适当的位置。
Figure 36. provides an overhead view of these horizontally adjusted
position.图36提供的是水平调整后的俯视图。
Vertical adjusting motion
垂直协调运动
Whenever the thumb plays, the wrist should be lowered.拇指弹奏时，腕关节都应下降。
When we proceed to the second finger we raise the wrist slightly,
because the second finger's first phalanx and metacarpal bone
join at a higher point than the place where the thumb's metacarpal
bone and wrist meet.当我们用第二指时我们要稍微提高一点腕关节，因为第二手指的第一节指骨和掌骨关节比拇指的掌关节和腕关节的交会处要高。
The thumb and the second finger can only execute their vertical
motions from these points.拇指和第二指能够使他们从这些交会点垂直运动。 In the ease of
the third, fourth, and fifth fingers the wrist and forearm continue
to rise, reaching their highest positions with the fifth finger.*不费力的是，第三、第四、和小指以及腕关节、前臂继续抬高至与第五一样高的位置。
(Remember that a horizontal adjusting motion is also continuously
occurring.)（记住水平的调节运动也同样是连续的动作）。 Both vertical and horizontal
adjustments are essential, and the fingers should always be aligned
with their respective higher or lower wrist positions with the
thumb at the lowest point and the fifth finger at the highest.垂直和水平调整是本质的东西，手指和相应的腕关节的位置保持一直，拇指处在最低点而小指在最高点。
If both horizontal and vertical adjustments are accomplished,
the fingers will be in their optimal positions.如果完成水平和垂直的调整，那么手指将会处于最佳位置。
It is impossible to move the thumb vertically from the point
where its first phalanx and metacarpal bone meet: it can move
only horizontally (that is, toward and away from the palm).从第一指骨和掌骨的结合处的关节点上拇指不可能垂直运动：它只能水平运动（也就是向或背向手掌运动）。
Its vertical motion is executed from the point where its metacarpal
bone joins the wrist, and therefore we must lower the wrist when
the thumb plays.垂直运动是从掌骨与腕关节关联处开始的，所以当我们用拇指弹奏时，必须将腕关节下降。
Although we need not become experts in anatomy and physiology,
we should know something about the structure of the equipment
we use constantly the fingers, hand, forearm, and upper arm.虽然我们不必在解剖学和生理学上变成专家，但我们要知道一些关于我们经常用到手指、手、前臂和上臂等器官的构造。
This knowledge will help to clear up fundamental misconceptions
and will bring common sense into the nebulous world of the "art
of piano playing."这些知识将帮助我们清除基本错误并能够获得对朦胧"钢琴演奏艺术"的常识。
Remember that musical interpretation is an art but piano playing,
per se, is not an art but a skill!记住只是钢琴弹奏对音乐的诠释才是艺术，但一组音响不是艺术只是技术。
There are too many false traditions, taboos, and fetishes, too
many do's and don'ts, most of them based on anatomic nonsense
and they impede the development of the skill of piano playing.在钢琴弹奏中有许多错误的陈规节律和迷信崇拜，太多的“该做”与“不该做”，这些说法都是根据解剖学上一些误解，它们阻止了钢琴弹奏技巧的发展。
Thumb; never under the palm
拇指从不在掌下
One of the most damaging technical errors is the habit of placing
the thumb under the palm.一个有破坏性弹奏技术的错误是拇指总习惯于低于手掌。 It is usually
done when playing scales and passages.这种情况常发生在音阶弹奏和拇指从手掌下穿过时。
This widespread and erroneous routine causes most of the problems
in piano playing.这个普遍和常规的错误导致了钢琴弹奏的许多问题。 Uneven passage-work,
involuntary accents, a cramped feeling in the hand, and clumsiness
and unsureness are caused by the fact that once the thumb is placed
under the palm it is not only in an uncomfortable position but
it simply has no equipment, no muscles available to bring it down
vertically (see figure 37).不均匀的弹奏、无意识的强音、感觉痉挛疼痛手、笨拙不协调、没有自信，这些事实都是由于拇指放在了低于手掌的地方引起，那不仅仅是一个不舒服的位置，很简单，它说明你的拇指没有就位、没有肌肉拉动使它能垂直向下。（参见图37）
You have to press, to push it down with the wrist or perform rapid
shifts with the forearm, and inevitably there's the bump -- the
accent and uneven notes!你不得不去挤压，不得不去向下用力推腕关节或者用前臂快速地改变速度，这样不可避免地就会有颠簸－强音和不均匀的音调！
How can one play an even effortless scale when one of the fingers
is cramped or needs so many extra motions?当人们用痉挛的手指弹奏或是手指必须要做许多额外的动作时，怎么可能不费力地、均匀地弹奏音阶呢？
This strenuous situation can be avoided altogether simply by not
ever permitting the thumb to go under the palm.这个紧张的情形是可以避免的，总而言之，并不是简单地说使拇指总是低于手掌弹奏造成的。
It must function in an unhindered way and be free to fall vertically;
this is possible only if it is kept alongside the hand, out of
the palm, and the wrist is lowered to accommodate it (see figure
38).拇指的弹奏必须是不受阻碍而且能垂直自由下落；只有当它保持在手掌外面、横靠在手的旁边并且依靠下降的腕关节来调节，这个可以做到的。（参见图38）
Characteristics of the fingers
手指的特性
Before we describe scale playing in detail, let us examine the
rest of the fingers individually.在我们详细描述音阶弹奏以前，让我们来一个一个地研究一下其余的手指。
While the other four fingers differ distinctly from the thumb,
they also vary among themselves.当其它四手指与拇指截然不同时，这四指自己同样也有许多不同的变化。
They differ in shape and size and, although they have adequate
muscles, they are not equal in strength.他们的形状和大小都不一样，尽管它们都有足够的肌肉，但它们的所具有的力度却不相同。
The fourth finger, in particular, feels weak, but not because
it lacks strong muscles.第四指很特别，感觉无力，但不是因为它的肌肉不强壮。 However its
flexors and extensors are wrapped together with the third finger's
muscles: hence these two fingers tend to contract and extend together.然而它的屈肌和伸肌是被第三指的肌肉捆扎在一起的：所以这两手指趋向于一起收缩和伸展。
The fourth finger cannot be totally independent of the third.第四指不能完全独立于第三指。
But it is possible to make the horizontal and vertical adjusting
motions so precise, so accurate that the activation of the fourth
finger can be done effortlessly.但是第三指有可能调节水平和垂直的运动，可以精确地毫不费力地激活第四指。
Without these adjustments the fourth finger is indeed handicapped.没有这些协调，第四指确实就是个残废。
Contrary to common belief the fifth finger is one of the stronger
fingers.与人们共同认为的相反，小指是较强壮的一个手指。 It is true that it is the smallest
one, but, in addition to the forearm muscles it has a special
set of strong muscles at the outer side of the hand These muscles
can develop substantially and give added power to the “pinky”.确实它是最小的一个手指，但除去前臂肌肉外，在手的外侧生长着一个特别的强壮肌肉群，这些肌肉可以结实地生长并给小指增加了力量。
It certainly needs this strength since most of the fundamental
bass notes are played by the left, and the melodies by the right
hand's fifth finger, as well as most of the "virtuoso"
octave passages.它确实需要这个力量，因为大部分基本低音由左边小指弹奏，主旋律在右手小指一边，也还包括“艺术大师”的八度节。
Lack of adjusting motions causes friction.
缺乏调整的动作会引起冲突。
The forearm muscles that move the fingers are relatively small
compared to the upper arm, shoulder, and chest muscles.移动手指的前臂肌肉相对于上臂、肩和胸肌肌肉来说相对小些。
Hence, if they are not utilized effectively－if they cannot transfer
their full energy to the respective fingers－they tire quickly.因此，如果他们不是有效地利用这些肌肉，如果他们不能将它们的能量完全地分别传递到各指尖，它们很快就会疲劳。
If the fingers are not placed to form a fairly straight, continuous
line with their forearm muscles and tendons, there is unnecessary
friction alongside the tendons.如果手指放置的形状不是与它们的前臂肌肉和肌腱形成连续的较直的线，那就不会与旁边的肌腱产生冲突。
Energy is wasted because the contracted muscles pull the finger
sideways instead of directly.能量的浪费是因为收缩的肌肉不能直着而是向两边拉动手指。 In order
to achieve this close-to-straight line between the fingers and
the elbow, the adjusting motions of the wrist should not be excessive;
otherwise a bent line occurs again.为了在手指和肘关节间获得近似的直线，那就得调节腕关节的动作使之不至于过份；否则曲线就又产生了。
Incidentally, these slight changes in the position of the arm
are good, not only because they line up the fingers, but also
because the slight but continuous changes prevent fixation and
stiffness in the wrist.顺便说一下，手臂位置的轻微变化是好的，不仅仅因为它们使手指排列起来，而且还因为轻微连续变化可以防止腕关节的僵硬和僵化。
Thus we continually employ fresh, unused muscles and fibers.因此我们不断地使用新鲜的、不用的肌肉和纤维。
Distinct positions
清晰的位置
Each finger has its optimal position when it is properly lined
up with its muscles.当手指与它的肌肉协调一致时，各手指处在它们自己的最佳位置。 However what
is ideal for the thumb is way off for the fourth or fifth finger.然而拇指距离第四指和第五指多远才是最理想的呢？
Actually we must think in terms of five slightly different "ideal"
positions one for each finger.事实上我们必须考虑到对于每个手指的“理想”位置稍有不同。 We
find, for instance, that when we are in the fifth-finger position,
the thumb is actually removed from the keys (see figure 35e).我们发现，例如，当我们处于第五指位置时，事实上拇指已从键上离开了（参见图35e）。
Here the upper arm moves away from the body slightly; this motion
brings the forearm and wrist slightly up, creating the fitting
position for the fifth finger and displacing the thumb.这时上臂稍微离开身体；这个动作使得前臂和腕关节稍微向上，给小指创造一个适合的位置并且转移拇指。
When we use the thumb, the opposite happens; the arm and wrist
are low, and the fifth finger is displaced.当我们使用拇指时，那么相反的情况就会发生；臂和腕关节都放低而且转移小指。
The point is that we should establish an ideal position for each
finger.关键在于那我们应为每一手指建立一理想位置。 If we play several notes at the same
time, the position of the arm and wrist should be central: that
is, it should be halfway between the extreme fingers.如果我们同时弹几个音符时那么手臂和腕关节将放在中央位置：也就是说应将它在两个最外端手指间一半的位置(?)。
For example, if we use the thumb and the fifth finger at the same
time the arm position will be that of the third finger, and for
a combination of the third and fifth fingers the arm will be in
position for the fourth finger.例如，如果我们同时使用拇指和小指，那么手臂的位置将是第三指，如果要将第三指和第五指联合起来弹，那手臂的位置将是第四指。
Third adjusting motion in and out, for white and black keys
第三调节运动进与退弹奏白和黑键,。When the wrist is adjusted for the use of the
fifth finger, its upward motion is the consequence of the upper
arm being moved away from the body.当调节手腕来利用第五指时，由于上臂向离开身体的方向运动，结果出现了向上运动。
The upper arm also aids in shifting levels from white to black
keys and from black keys to white.上臂同样协助手指从白键到黑键和从黑键到白键的水平位移。
This is the third adjusting motion, of the in-and-out dimension
(in depth), which together with the horizontal and vertical adjustments
sets up the fingers for their optimal functionings, relieving
them from excessive work.这是第三种进退（深度上）的调节运动，为使手指发挥其最佳功能、减轻它们过度的工作，上臂要进行水平或垂直方向的调整。
All nonplaying fingers slightly raised
所有不在弹奏的手指稍微举起It is imperative that fingers that are not playing
be raised slightly from the keys.至关重要的是暂时不弹奏的手指要稍微从键上抬起。 They
should not be pulled up too high and strained, and they should
be ready to come down from a slight distance as soon as the arm
and hand are lined up for the next finger's action.它们不要抬起的过高和拉紧，只是与键稍微有点距离，一旦手臂和手准备为下一指去弹奏而向上做直线运动时它们就应准备好触键。
There are two important reasons for lifting the inactive fingers.将不弹奏的手指稍稍抬起，有两个重要的原因。
First, the actual weight of the finger, no matter how small, can
be utilized only if it is set in motion from a certain distance
from the key.第一、不管手指的实际重量有多小，如果要调动它，只有它距离琴有某一距离时才可有效。 Once the
finger rests on the key, the force of gravity cannot pull it down
because it is down already.一旦手指在键上静止，那么地心引力就不能拉动它，因为它已经在按下。 Its
action must then be generated purely by the muscular energy stimulated
by the tactile nerve endings of the fingertips It is true that
when our fingers rest on the keys, they have a relaxed sensation
in them, and it is also true that if we feel the keys, we won't
play wrong notes.它的动作必须只由指尖的触觉神经末梢去刺激肌肉能量产生的，事实的确是这样，当我们将手指在键上静止时，它们就有一个松弛的感觉，而且如果我们去触键，也不会弹错音。
But a slightly raised finger is secure and it feels under control
too.但是手指的稍微举起是安全的而且它的触键也好控制。 Moreover it is ready to act effortlessly
with the combined help of the force of gravity and the muscles.此外在地心引力和肌肉的配合下，它可毫不费力地准备弹奏。
When the finger is slightly raised, it is possible to alternate
contractions between the flexors and extensors, and the slightly
raised fingers can receive any added throwing motion by the hand
and arm that accelerates their speed by the vertical adjusting
motions much more effectively than the motion of a finger touching
the key.当手指稍微举起，屈肌和伸肌有可能交替收缩而且稍微举起的手指可以接受任何附加的下投动作，因为手和手臂促进了它们的垂直调节运动，使手触键变得更加有效了。
(For a further discussion of throwing motions see chapter seven.) （将进一步讨论下投动作，见第七章。）
The "feelers"
触觉
The "feelers," those pianists who like to stay close
to the keys at all times, usually produce sounds that are never
too harsh, but their playing hardly goes beyond mezzo forte."触摸"，那些喜欢总是一直“触摸”着键的钢琴家，他们弹出的声音从不刺耳，但他们的弹奏几乎不超过中强。
For them volume can be increased only by forcing, mainly because
the force of gravity has been mostly eliminated.因为他们增大弹奏音量仅是靠力气，因为地心引力已消失了。
Furthermore, the tone quality tends to become rather bland and
dull.此外，那音质也趋于太缓和太柔和。 Another drawback to constant contact with
the keys is the tendency to press.另一个缺点是由于总是与键接触，有挤压键的倾向。 When
we press the keys, extended contraction of certain muscles occurs;
this contraction causes stiffness, and besides it is totally unnecessary.当我们挤压键时，肌肉必然的就要伸展与收缩；这个收缩将引起僵硬，此外这时肌肉的伸展与收缩全都是不必要的。
Because the pressure is continuous, one tends to pull the elbows
(and the upper arm) toward the body.因为连续挤压，人们往往是向身体方向拉动肘关节（和上臂）。
Thus one immediately creates an obstructed hand position characterized
by excessive pronation, a severe handicap that causes unnecessary
tension and fatigue in the forearm.因此人们就立即过分地将手掌向下，来阻止手的位置，这样就引起了前臂的紧张与疲劳，又产生了一个更大的障碍。
The only justification for "feeling" the keys is in
pianissimo and legatissimo playing--but I wouldn't use it then
either.为“触摸”键仅有的理由是它触键很轻，好弹连奏－－但是我不会采用它。
Again the thumb
再谈拇指
I have emphasized the importance of not placing or squeezing the
thumb under the palm.我已经强调不要将拇指低于手掌或是挤压拇指。 When playing scales,
also, we must raise the thumb alongside the hand while turning
the elbow outward; then we must immediately lower the wrist in
order to arrive at the position the thumb should be in before
it descends on the key (a position in which the wrist is low).当弹奏音阶，同时肘关节也随之向外时，我们也必须抬起拇指使其横靠在手的旁边；而后为了达到拇指以前应触的键的位置我们必须立即降低腕关节(腕关节处于低位置)。
In this way we can avoid pulling the thumb under the palm.这样我们可以避免使拇指低于手掌的拉动。
This motion is slightly bigger when the thumb passes under the
fourth finger.当拇指从第四指下穿过时，这个动作要稍大一点。 Also the size of this motion
decreases as the speed increases because the down motion of the
wrist (before the thumb plays) helps to throw the thumb, instead
of placing it, toward the correct position for its descent.同样，当速度加大时这个动作的幅度要减小，因为腕关节的下降动作（在拇指弹奏以前）有助于甩投拇指，而不是放置，朝着它的正确的位置下落。
It is helpful to place the third or fourth finger toward the back
area of the keys when it is played before the thumb so that the
elbow doesn't have to move too far out and the thumb can be placed
more easily.当拇指弹奏在后，这有助于第三或第四指趋向键的后部，所以肘关节无须向外移动的太远，而且拇指也可以被置于很容易弹奏的地方。
Guidelines
指导方针
1. The finger that plays should be in a straight line with its
flexor and extensor muscles.弹奏的手指应沿着它的屈肌和伸肌形成的直线弹奏。
2. The hand, wrist, and arm should slightly adjust within the
vertical and horizontal planes to place each finger in the position
where its muscles can contract effectively and where the hand
and arm are in equilibrium over the finger that plays.手、腕关节和手臂应在内部稍微调整每个手指所在位置的垂直和水平面，这样，它的肌肉可以有效地收缩而且手和手臂可以在弹奏的手指上面保持平衡。
3. This slight change of position eliminates any fixed, tense
situation in the joints and muscles and guarantees their readiness
to be put to use again.这个轻微的变换位置解除了关节和肌肉的固化和紧张局势并保证它们准备好继续进行的弹奏。
4. Any change of position enables the hand and arm to transmit
a throw to the fingers, thereby allowing them to augment their
speed and power.任何位置变换都能使得手和手臂相对手指产生落差，从而能有空间使手指增加速度和能量。
5. The location of the forearm for double notes and chords is
somewhere in the middle, between the extreme fingers.为弹双重音高与和弦的前臂的位置应在与两个外端手指间某处的中部。
6. When you play on the black keys, your upper arm should assume
a slightly higher and more forward position so that the hand,
wrist, and fingers can maintain the same relative position as
on the white keys.当你在黑上键演奏时，你的上臂将采取稍微高些或更向前位置，以便手、腕关节和手指可以保持同样相对位置去弹奏白键。
The wrist should be in a normal position; it is the arm, not the
wrist, that is higher than normal.那腕关节将应在正常位置；是上臂而不是腕关节应处在比平常高些的位置。
7. When you change the arm position, under no circumstances should
you use any rotary motion of the forearm.当你变化手臂的位置时，你决不能使你的前臂作任何回转运动。
This type of motion is used amply in other technical patterns,
but not in five-finger, scale, or arpeggio movements.这类动作将会充分地用在其它的弹奏模式上，而不在弹五指的音阶和琶音的动作上。
8. Fingers should always be slightly raised before they play;
they have to share the work with the rest of the equipment.手指在弹奏前应总是稍微举起；他们必须去分担其它器官的工作。
However, the arm's adjusting motions are intended not to take
over the fingers' work but to assist it.然而，手臂的调节运动不是去替代手指的工作而是去辅助它弹奏。
One of the most common mistakes is to use either the fingers alone
or only wrist and arm motions.一个普遍的错误是只是单独地用手指去弹，或只用腕关节和手臂的动作。
Fingers and arms are supposed to complement, not to substitute
for, each other.手指和上臂应该是互补关系，而不应是彼此代替。 Obviously relying on the
fingers alone causes overwork in the forearm muscles, while the
use of only the wrist and arm produces sloppy, inaccurate, and
inarticulate playing.很明显单独依靠手指会使前臂肌肉过度疲劳，当只利用腕关节和上臂将会使得弹奏变得稀松、不准确和发音不连贯。
9. Each finger must encounter, acquire, and ingrain the specific
finger-hand-forearm-upper arm line-up unique and characteristic
to that particular finger.对某个特定的手指而言，每个手指必须经过，获得和掌握这样一个唯一特定协调的顺序：手指－手－前臂－上臂，When
you play, each finger endeavors to assume, or to approximate,
that particular position.当你弹奏时，要设想使你的每个手指努力能达到或是尽力达到精确的位置。
Scales and arpeggios 音阶与琶音
We have determined that specific conditions are characteristic
for each finger and that the fingers must be coordinated and lined
up with the muscles that place and move them.我们已经确定了每个手指的特性，而且手指必须是协调的而且和支配它们的肌肉一致。
When we play scales and arpeggios, we try to establish or to approximate
these optimal positions, modifying them according to specific
conditions.当我们弹奏音阶与琶音时，我们设法确定或近似确定这些最佳的位置，按照特定条件来调整它们。
From the point of view of piano technique we group scales and
arpeggios together, since arpeggios are essentially magnified,
amplified scales.从论钢琴弹奏这个观点来看，因为琶音从本质上来说是基础的放大，是放大了的音阶，所在我们将音阶与琶音放到了一起。
The only difference between them is that in arpeggios the intervals
between the notes are larger than the intervals in scales.它们之间仅有的差异是琶音中的音符间隔比音阶中的音符间隔大。
The technique is identical, but the connecting and adjusting motions
between the notes and fingers are larger and wider in arpeggios
than they are in scales.弹奏方法是一样的，但弹奏琶音时，在音符与手指之间的连结和协调动作比弹奏音阶时要大而宽。
Toward the extremes of the keyboard: right-hand-upward and left-hand-
downward scales. More on thumb!对于键盘的两端：右手-向上和左手－向下的音阶。更多的拇指弹奏！
Compared to the five-finger activities previously described, scales
and arpeggios are complicated by the role of the thumb after the
use of the third and fourth finger in right-hand-ascending scales
and left-hand-descending scales and by the use of the third or
the fourth finger after the thumb in right-hand-descending scales
and left-hand-ascending scales.比较以前描述的五个手指的活动，在利用第三和第四指弹奏右侧的-上升音阶和左手的-下行音阶后，还有通过利用第三或第四指，拇指右侧的下行音阶和左手的上升音阶，音阶与琶音对于拇指来说很复杂的。
Here again I must set a negative goal: we have to avoid placing
the thumb under the palm of the hand at all costs.这里我必须再肯定这一负面的目标：我必须不惜任何代价避免拇指低于掌。
Unfortunately placing the thumb under the palm is the most widespread
method of teaching scales; we must protest against it vigorously.不幸的是，拇指低于手掌的音阶弹奏教学方法非常普遍；我们必须有力地抵制这种教法。
The thumb is our strongest and best-equipped finger, that has
a special, husky extra muscle that pulls it toward the palm.拇指是我们最强壮和最好的手指，它有额外的特别强健肌肉拉向手掌。
But once it is pulled under the palm, it lacks the equipment to
pull its second phalanx downward.但，一旦它被拉入掌下，它就没有能力将第二指骨向下拉动。 Although
it is most agile and can move in any direction while it is alongside
the hand, the thumb is totally handicapped and cramped when it
is pulled in.尽管它非常灵活，当它在手掌的旁边它可以向任何方向运动，但它一旦被拉进掌下，它就毫无用处变得痉挛。
In no way can it match the other four fingers in their freedom
to move downward from their respective knuckles.它决不可能与其它四手指相比，能自由地从各自的关节向下运动。
Since we want our scales and passages to be even and effortless,
we should never create a situation where one of the fingers is
severely restrained.因为我们想要我们的音阶、乐曲小节弹奏得均匀和毫不费力，我们就应永远不要让手指出现严重受到抑制的情形。
This is exactly what happens to the thumb when it is forced under
the palm.有时正巧拇指被迫低于手掌，这也是事实。 As I have mentioned before, the thumb
always needs special attention and even when it is alongside the
hand, it requires a lowered wrist position to descend on the key
vertically and to function within its central area.就象我以前提及的拇指总是需要特别的注意，而且甚至当它就在手的旁边时，它也需要降低腕关节的位置垂直地击到键上并发挥其中心区域的功能。
If we force it into that unnatural and tight position (under the
palm), we practically incapacitate it, and we lose all hope of
achieving even, fluent playing.如果我们迫使它处于那不自然的和受禁锢的位置（低于那手掌），事实上我们是在削弱它的能力，因此我们也就不可能实现弹奏达到均匀和流利的希望。
Once it is in that awkward, impossible position, the only way
to bring it down is to push the whole wrist down and pretend that
the inevitable clumsy, bumpy accent did not happen.一旦它处于不灵活的难以忍受的位置，那它必定会向下推动着整个腕关节向下，如果这样，就不可避免地弹奏出笨拙的、强弱不均匀声音了。
You may try to camouflage it with a cautious, extra motion, but
this motion would also interfere with the fluent motions of the
other fingers.你可能设法谨慎地、用额外的动作去掩盖，但这谨慎的、额外的动作也将有可能影响到其它手指的动作。 This
is no way to play scales this is no way to play the piano!这样没办法弹奏音阶，这样没办法弹奏钢琴！
No wonder that practicing scales becomes such an unpleasant, frustrating
chore, both for children and adults.怪不得练习音阶对孩子和成人来说变得让人不愉快和厌烦无奈。
The solution is natural and effortless.解决的办法是应是自然的和不费力的。 When
a child or an untaught adult attempts his first scale, what does
he do?当一孩子或一个无知的成年人努力尝试第一次弹奏音阶，他该怎么做？ First he sticks out his
elbow and tries to reach the note with his thumb sideways.第一他将他的肘关节伸出去，并且试着用拇指侧着去触键。
But then, he will be told, disciplined, cajoled, or beaten into
the habit of raising his wrist up, pressing his arm down, and
forcing his thumb into that nasty little nest that the palm of
the hand becomes.不过他被调教，引导或甚至受到惩罚来养成这样的习惯，抬高腕关节和向下挤压他的手臂，使得手掌形成一个讨厌的小窝。
It is much better to allow the elbow to swing out and the thumb
to reach its note in an unrestricted way than to restrain it by
forcing it under the palm.允许肘关节摇摆出去，而且能用自由的方法使拇指达到它想弹奏的键，比抑制它、强迫它处于低于手掌的位置弹奏要好得多。
When the critical moment comes for the thumb to follow the third
or fourth finger, let us anticipate the event with a slight outward
motion of the upper arm (and elbow), a slight lift of the thumb
alongside the hand, a slight lowering of the wrist in preparation
for the thumb, and then a quiet descent of the thumb to the next
note.当拇指过来紧跟第三或第四指时，应预先考虑到其结果是：上臂将有一个轻微的向外的动作（和肘关节），拇指旁边的手要轻微的举起，轻微下降的腕关节为拇指作准备，最后是拇指从容地降落到琴键上。
The size of these individual motions is minimal.每个动作的幅度是最小的。 This
preparation is a perfectly natural, easy motion to execute, and
there should be no problem with the timing of all the described
activities.这个准备是一完美的自然的和舒适的动作，而且肯定没有那种描述过的调整时间的问题。
The body helps身体辅助
Also there is nothing wrong with a slight motion of the body in
the direction of the scale: it accommodates and reduces the elbow
motion.同样轻微运动着身体弹奏音阶，这也不算会错：它可以调节和减少肘关节的动作。 As you can see, it
is better to mobilize the entire human apparatus than to isolate
its components and force them!如同你看到的，调动人体所有器官来参与比用某一孤立的器官并给它们施加压力地弹奏要好得多！
We encourage the participation of as many components as necessary
to save the thumb from being immobilized.我们鼓励尽可能多的部位来参与弹奏，调动起拇指。
Further, the more we can distribute the motions amongst the components,
the more reduced they will become in size until they are practically
invisible.进一步说，我们越将动作分解到各器官中去，我们就越能减小动作的幅度，以至于达到几乎看不出来的程度。 We
cannot give precise measurements of the size of the motions; we
can only indicate their direction.我们不能给出动作大小的精确幅度；我们只能指出它们的运动方向。
But as long as total coordination exists, the individual motions
may be only millimeters in size.但是只要总的协调存在，那么个体动作可能仅是一毫米大小。
The thumb: used on a white key after a black key and on a white
key after a white key拇指：用于白键而后黑键和白键而后白键
The topography of the keyboard must be considered too.键盘的构形也必须要研究。
It is always easier for the thumb to play on a white key when
the previous finger has played on a black key'.前面的手指弹奏一黑键，那么对拇指来说弹奏白键就比较容易。
Since the white key is lower, a lowered wrist position for the
thumb comes about quite naturally.因为白键较低，降低腕关节的位置能使拇的指转向相当自然。
It is harder to move with the thumb from white key to white key
and even more difficult to move from white key to black key.拇指从白键移到白键很困难，而且从白键移到黑键甚至有更大的难度。
But these moves can be simplified if we use the simultaneous motions
described.如果我们将所描述的动作同时来做，那这种移动将会单一。 It is easier to play a D,
A, E, or B major scale than the C major scale because the former
scales allow the thumb to play a white key after a black key.弹奏A、E、或B大调音阶比弹奏C大调音阶要容易，因为前几个音阶给拇指弹白键而后弹黑键提供了方便。
We use the same motions in fast scales, but there these motions
are reduced, and we throw the fingers instead of placing them.我们同样的动作快速弹奏音阶，但这样就会减少很多动作，我们用抛掷手指来代替“放置”手指的弹奏法。
Still, small as these motions are, we need the participation of
every component.尽管如此，这些小的动作我们仍需要各个部位来参与。
Toward the center of the keyboard: right-hand-downward and left-hand-upward
scales键盘中心：右手向上和左手向下的音阶。
So far we have described the thumb's role in the right-hand-ascending
and left-hand-descending scales.至此为止，我们所描述的拇指在右手上行的和左手下行音阶的角色：
In scales that move from the extremities of the keyboard toward
the center we encounter a different situation.在从键盘的两端向中心区弹奏的音阶中，我将遇到不同的情形。
When the third or fourth finger follows the thumb, it tends to
reach over it, cramping the thumb under the palm of the hand.当第三或第四指跟在拇指后面时，它趋向于越过拇指，低于手掌的拇指就会痉挛。
This happens inevitably when the upper arm remains close to the
body.如果上臂仍旧紧靠身体，这种现象是不可避免。 When you play a descending scale with
the right hand or an ascending scale with the left hand, the solution
is simply to hold out the upper arm (and elbow).当你用右手弹下行音阶或用左手弹上升音阶时，只不过是向外伸出上臂（和肘关节 ）问题就解决了。
This way the third or fourth finger reaches over the thumb comfortably.用此法，第三或第四指就可以很舒服地越过拇指了。
The upper arm stays out, and the wrist moves down and up continuously,
to accommodate the thumb (down) and the third and fourth fingers
(up).上臂向外伸出，腕关节连续地下降或上升，以便调节拇指（向下）和第三、第四指（向上）。 Do watch that the
thumb is raised both before and after playing!事实证明，拇指在弹奏中起着承前续后的桥梁作用！
When the upper arm is lifted, all the fingers, including the thumb,
will be parallel to each other.当上臂被举起后，全部的手指，包括拇指，彼此都将是平行的。
上臂在音阶弹奏中的功能
Let us summarize the ground rules for scale playing.让我们概述一下音阶弹奏的基本规则。
In scales that move toward the extremes of the keyboard, the upper
arm, forearm, and wrist go down when the thumb is used and up
when the other fingers are used.当音阶弹奏的走向趋于键盘两端时，上臂、前臂、和腕关节向下沉，拇指也习惯于向下，另外的手指习惯于向上。
The fingers are always slightly raised when they are not playing.暂时不弹奏的手指总是稍微抬起的。
In scales that move toward the center of the keyboard, however,
the upper arm must stay out continuously, and only the forearm
and wrist go up and down, according to the fingers used.然而,当音阶弹奏的走向趋于键盘中心部位时，上臂必须不断地向外伸出，而且根据参与手指的习惯，前臂和腕关节上上下下地运动。
Motions of the body in scales身体在音阶弹奏中的动作。
Do not mix the two motions: the role of the upper arm is totally
different in each.不能混淆的两个动作：上臂的角色在各个方面都不相同。 In scales toward the
extremes of the keyboard the upper arm uses small, pendulumlike
motions while the body moves forward; in scales toward the center
it will stay out at all times, away from the body as far as necessary
while the body leans backward.向键盘两端走向的音阶弹奏不太利用上臂，当身体向前运动时有点钟摆式的动作；音阶走向键盘中心弹奏时，上臂一直向外伸出，当身体向后倾斜时，上臂需要尽可能远离身体。
Activating the upper arm is the only way to accommodate the fingers.激活了的上臂就是为了去调节手指。
Obviously the same rules apply to arpeggio playing, where the
motions are slightly magnified.很明显这一切规则也适合琶音的弹奏，但那些动作是要比弹音阶的动作稍微放大了的。
If the upper arm stays out for an extended period, and it will
during the above scales, the shoulder muscles need relief; they
find it by occasionally lowering the arm toward the torso.如果上臂向外伸出持续了一段时间，就象上边说的音阶的弹奏一样，肩的肌肉必须调整；有时偶而靠近身体下降手臂。
If both hands start from the opposite extremes of the keyboard,
the body must lean forward to accommodate the arms; then, as we
proceed toward the center, the body leans backward.如果双手从键盘相反的两端开始弹起，身体必须探身过去调节上臂；然后，当我们的双手从中心向键盘两边弹奏时，身体则向后倾斜。
This forward-and-backward motion is the usual adjustment of the
body; it moves to keep the arms from a stretched or overly bent
position.这个向前和向后的运动通常是身体的调整；它运动的目的是为了避免上臂处于过度伸展或弯曲。
Symmetrical vs. parallel motions对称与平行运动
We see now why symmetrical motions are easier to execute than
parallel ones: in symmetrical passages the motions of both arms
are, identical; in parallel ones we must synchronize two distinct
motions.现在我们看一下，为什么对称运动比并行的运动容易做：两上臂的对称动作是同一的；并行的动作是，我们必须同步做两个截然不同的动作。
Furthermore in parallel passages the body has to move sideways,
not backward and forward, according to the location.此外并行弹奏进，根据手的位置的不同，身体不得不横向移动，而并不是前后地动。
This sideways motion often causes an imbalance of the body, too.这个横向动作经常引起身体的不平衡。
Adjusting motions to aid the fingers调节运动的目的是为了帮助手指
The adjusting motions of the hand, arm, and body serve exclusively
to help the fingers.手、手臂和身体的调节运动专门帮助手指。 They are called upon depending
on which finger is to be used and where it plays: the black keys
or the white keys, the, extremities of the keyboard or its center.手指将习惯于依靠它们的帮助去弹奏：黑键或白的弹奏，键盘两端或中心区域的弹奏。
The direction of the motions we described as horizontal, vertical,
depth, forward and backward, circular, and rotary motions.我们所描述的水平的、垂直的、纵深的、正向和反向、圆形的、和回转运动的方向。
Most components act simultaneously; therefore, although the size
of each motion is minimal, their synchronization is sufficient
to accomplish the task at hand.大部分的器官同行动；所以，虽然每个动作的幅度很小，但他们足能同步完成自己的任务。
Central areas中心区域
Preferably, each component should be used within the central area
of its range, not at its extremes.最好是，各器官应习惯于它中心区域内的音域，而不是键盘两端的。
We constantly refer to these central areas because this is where
all the components function with no strain or excessive muscular
tension and are easy to coordinate.我们总是提到这个中心区域，因为在这里所有的器官都不会拉紧或过度地肌紧张而且很容易协调。
It is this type, of activity that serves our aim: to make piano
playing a perfectly coordinated, totally effortless, and natural
activity.正是这种活动类型符合我们的目标：使钢琴弹奏成为一种完美的、协调的、全部地不费力的和自然性的活动。
Arpeggios琶音
The motions described pertain to arpeggios as well.描述的这些动作也适合于琶音。
In arpeggios the distances are wider and the adjusting motions
are somewhat larger.琶音的距离比较宽，调节运动稍大些。 Interestingly enough, the
advocates of the thumb-under-the-palm cause less damage here.非常有趣的是，这里提倡拇指放入手掌下面而不会有什么不好。
Because of the larger intervals, it is unrealistic and less tempting
to squeeze the thumb under.因为较大的间隔使它们用较小的动作穿过拇指不太切合实际。 The forced
motion is usually replaced by a quick lateral shift with a fixed
hand position.用强迫力弹奏的动作通常由固定手位的快速横向位移来代替。 This type of motion
is less damaging, but it is not the right solution either.这类动作损害较少，但是它也不是正确解决问题的办法。
The sudden shift tends to create an accent; furthermore it obstructs
the flexible flow of movement, no matter how cleverly it is camouflaged.突然变速趋向于使音调加重；此外，不管它如何聪明地去掩饰，它也妨碍了灵活的流畅的弹奏运动。
Also, it makes no sense to practice sudden shifting in slow tempo.同样，在练习过程中突然将速度变慢也是讲不通的。
There should be no sudden motions in slow practice, ever; how
can you later accelerate an already fast motion?在练习过程中，永远不能有突然放慢的情况出现。你怎么能够加快一个后来已经快速的动作呢？
Anyway, no need exists for a sudden shift, since we have a smooth,
well-synchronized upper arm-forearm-wrist-finger motion for any
of these passages.无论如何不需要突然变换，因为对于弹奏任何动作我们有平滑的、同步很好的上臂-前臂-腕关节-手指。
Shifts for wide skips大跨度跳越变换。
Incidentally we do use sudden shifts for wide lateral skips under
special circumstances but we don't use them for ordinary scale
and arpeggio passages.顺便说一下，只有在大跨度的横向变换弹奏的特殊情况下，我们才使用“突然变速法”，但我们决不在一般的音阶和琶音中使用。
Grouping of notes; legato playing组音符；连奏法
Thus far we have established a few pianistic concepts and have
described certain positions and technical patterns as accurately
as possible.至此，我们建立了一些钢琴演奏家的概念并且尽可能精确地描述了某些位置和弹奏模式。 We must now
introduce a formula that is of the utmost importance; we will
refer to it continually.现在我们必须知道一些极为重要的规则；我们可以不断地参照它。 It concerns
the grouping of notes, both musically and technically.它包括音乐上和学术上的一组注解。
Its validity is such that it supersedes any other formulas that
may seem to be in conflict with it.它的正确性足以取代那些看来与它有冲突的形式。
Groupings, musical and technical群组，音乐和技能This unpretentious word,
grouping, applies to many areas of piano playing.这个谦逊字，群组，适用于钢琴弹奏的许多范围。
It has to do with legato playing, with phrasing, and with the
execution of groups of motions (or technical formulas).它必定与连奏、乐句和完成那些运动群（或技能形式）有关。
It affects the position of the hand, wrist, forearm, and upper
arm, and it is analogous to string players' bowing and singers'
and wind players' breathing.它影响到手、腕关节、前臂和上臂以及与它类似的弦乐演员的运弓，歌手和管乐演员的呼吸。
It is an extremely meaningful activity for pianists, since the
piano, essentially, is a percussion instrument and notes tend
to sound isolated from one another.对钢琴家来说它是一极其有意义的活动，因为从本质上来说钢琴是一种打击乐，而且声音趋于彼此相互孤立。
The grouping of notes is vitally important, both musically and
technically.群组音符在音乐和技巧上是非常重要的问题。
The piano has another disadvantage compared to other instruments;
its tone decays rapidly.另外，钢琴有比其它乐器有一个弱点；它的音量消失得很快。 The volume
of a note or chord can be crashingly loud at first impact, but
soon it is barely audible.在手指刚一触键时那声音大的音调或和音声音绝对地大，但没过多久几乎就听不到了。
To connect notes that by their nature represent instantaneous
decrescendos, to shape melodic lines, to sustain intensity, and
to produce a series of sounds that we hear as one phrase is an
art in itself (see chapter sixteen).用钢琴声音自然的即时渐弱的表现去形成连贯的旋律，使它们保持音量的强度，从而产生出我们所听到是有艺术性的连贯乐句。（见第十六章）。
The technical solution for legato playing and grouping notes can
be as well defined as the problem itself; it consists of an easily
executed set of motion patterns.解决连奏和音符组合弹奏技能也可以阐明问题的本身；它可构成一系列容易弹奏的动作。
Incidentally we must distinguish between technical and musical
groupings, for the two groupings do not necessarily coincide.顺便说一下，我们必须区别技能和音乐的不同的类别，因为这两类不一定是一致的。
By technical grouping I mean the connection of several notes in
one motion, while the musical phrase sometimes doesn't end with
the completion of the technical motion but continues on.在我说的技术上的群组是一个动作相联的几个音符，而音乐上的不是技术动作的完成，而是音乐乐句的继续。
Legato markings连奏记号
Grouping is often indicated in the score either directly or indirectly.群组常在乐谱中直接或间接的显示。
Most of the time we see a slurtying two or more notes together;
sometimes the word legato is written.时常我们看到连线标记，将两个或更多的音符连接在一起；有时写着“连奏”。
Sometimes nothing is written, but we recognize easily the technical
and musical groupings of the notes.有时什么都不写，除非我们很容易认出那些音符是技能类的，那些是音乐类的。
Technique of legato playing技术连奏
Legato playing is one of the mysteries of piano playing.连奏是钢琴的一种神秘的弹奏法。
Almost everybody knows the objective, but there are many theories
about the best way to achieve a true legato.几乎人人都知道这个事实，但是有好多理论指导你如何最有效的获得真正的连奏。
The mind, inspiration, and imagination have much to do with it,
but the actual legato effect must be accomplished by physical
means .By "physical means" I don't mean by the fingers,
and certainly not by the fingers alone.精神、灵感和想象力都与连奏很有关系，除非实际上连奏效果必须通过身体的手段来完成。我说的"身体手段"并不是指手指，当然不是仅指手指的弹奏。
There is no wayto play a real legato by the fingers alone!仅仅手指是无法弹出真正的连奏！
No matter how tightly one grips the keys, trying not to release
one note before the next is played, an imperfect legato results.不管你如何紧紧地抓住键，在弹奏下一个键音符之前，试图控制一个音符会使得连奏不完整。
Actually, if one note slightly overlaps the next (this is how
legato is attempted by many), a series of short, instantaneous
dissonances results; melodies very often consist of a sequence
of scalelike notes, and these overlapping intervals of seconds
are dissonances.事实上，如果前一音符稍微重叠那么下一个（有许多方法弹连奏），就会造成一系列短的、即时的不协调的结果；曲调经常由模糊的音调和有片刻音调间的重迭，那这就是不协调。
A real legato, a real grouping of notes, can be accomplished only
by a unifying motion of the arm (that is, of the forearm and upper
arm).真正的连奏，真正的音符组合靠手臂的统一动作可以完成（也就是前臂与上臂的联合）。 When we see a slur,
or assume the presence of one, we begin the phrase with a relatively
low wrist position and end it with a somewhat higher wrist.当我们看到一组连音，或想象着是连音时，那么我们对这一乐句的弹奏法应是以相对低的腕关节位置开始，以相对稍微高些的腕关节结束。
By low or high wrist I imply a low or high forearm position that
often involves the upper arm too.说到低或高的腕关节，其实我指的是低或高的前臂位置，经常也包括上臂。
The fingers act in their usual manner; they are slightly raised
before and after playing.手指通常用一般的弹奏方式；它们在弹奏前后稍微抬起。 Let us take
a group of two notesor a group of three notesand apply any kind
of fingering (1-2, 2-3, 3-4 or 3-2-1, 5--1-3, 2-3-4, for example).让我们分别选取适合任何指法的一组二音符或一组三音符（如：1
-２、２-３、３-４或３-２- 1、５- - 1 -３、２-３-４）（见原著67页）。 Regardless of which
finger plays, always initiate the group with a relatively low
wrist position and move gradually higher until the last note of
the group has been played!不管哪个手指弹奏，它总是以相对低的腕关节位置逐渐向腕关节高的位置移动，直到弹完这组的最后一个音!
In our examples the highest wrist position is on the second note
in the two-note group and on the third note in the three-note
group (when I say "highest," I mean a slight elevation).在我们的例子中，最高的腕关节位置在第二组音的第二个音符上，而后延续到第三组音符的第三音上（我所说的最高，是指比一般的音高稍高些）。
We must avoid an extremely low or high wrist position.我们必须避免腕关节极端低或极高位置。
The fingers move up and down with slight motions, and extremes
should be avoided for them as well.手指应轻微的上下的运动，也要避免过大的动作。 When
we combine motions, which we do all the time, each motion must
be reduced to its minimum.当我们将动作联合起来弹奏时，在我们弹奏的任何时间里，要将各个动作压缩到最小。
If we raise the fingers slightly and if we apply the usual horizontal,
vertical, and in-depth adjusting motions of the arm and wrist,
we can easily obtain a perfect legato.如果我们将手指稍微抬起，如果我们运用手臂和腕关节的通常水平的、垂直的和深度的调节运动，那我们就可以很容易地将连奏弹好。
A seeming contradiction
似乎互矛盾
You may have noticed that there seems to be a contradiction between
our latest formula (raise the wrist at the end of a group) and
the rule that the wrist must be low whenever the thumb plays and
higher whenever the fifth finger plays.你也许已注意到在我们的最后的规则（在组音的最后抬高腕关节）中与以前所说的无论何时拇指弹奏时腕关节都要放低和小指弹奏时腕关节都要抬高的规则相矛盾。
There is indeed a contradiction, because we just said that in
legato the wrist must be low at the beginning of the group and
high at the end, regardless of the finger in use.确实存在过矛盾，因为我们只是说在连奏开始时腕关节必须是低位置的，而在结束音群时腕关节要高，没有考虑手指的利用。
Does this rule mean theft if the phrase begins with the fifth
finger and ends with the thumb, the wrist will be in a higher
position for the thumb than for the fifth finger?如果乐句以小指开始以拇指结束，那么拇指弹奏时腕关节的位置就要高些，而小指时就要低些，这个规则是不是有漏洞呢？
Yes, this is exactly the case!这正好与事实相符! And, as I said before,
this latter rule supersedes the first one (see figures 42 and
43) However, the first rule is still valid.就象我以前说的后面的这个规则取代了第一个（参见图42和43），然而第一个规则仍然是有效的。
Considering that the thumb is more comfortable with a lower wrist
and the fifth finger with a higher wrist, the upward motion of
the wrist is definitely influenced by the former "thumb"
rule; the relative height of the wrist at the ending of the group
is a little lower than it would be if the phrase had ended on
the fifth finger.考虑到拇指适合较低的腕关节和小指适合较高的腕关节，那么腕关节的向上运动明确地受前边“拇指”规则的影响；如果乐句结束在小指上，那么在音群的最后，腕关节位置要相对高些。
As an example let us compare two phrases: one ends on the thumb,
the other on the fifth finger.让我们举例来比较两个乐句：一结束在拇指上，另一个结束在小指上。
The phrase that ends with the fifth finger will have a somewhat
higher wrist position than the phrase that ends with the thumb.结束在小指上的乐句要求腕关节位置比结束在拇指上的乐句的腕关节位置要高些。
Thus, although we do accept the rule for grouping notes (with
the wrist raised at the end of the phrase), we also respect the
primary need of the thumb for a relatively lower wrist position
than that required by the other fingers.因此，虽然我们确实接受了弹奏一组音的规则（腕关节在乐句末端抬起），我们同样也要注意拇指的基本要求，因为拇指比任一手指都更需要腕关节处于较低的位置。
So much for the seeming contradiction.这就是看起来矛盾的地方。
I suggested before that the fingers alone can never produce a
true legato.我以前说过，手指决不可能单独弹连奏。 Legato demands that a note must
blend into the next note without a break or any overlapping.连奏要求音符必须和下一个音符相结，音符间无间断或无任何重叠。
The break does not occur when we hold over the previous note,
but overlapping does occur.当我们延长前面的音符时，乐句是不会中断的，如果是重叠现象发生，就会出现中断。
Since overlapping causes a trace of' dissonance in scale wise
motion, a better solution must be found.因为重叠表示在音阶弹奏中有动作方式不协调的痕迹，我们必须找到较好的解决方案。
We'd prefer the previous note to fade away when the following
note came into existence and blend into it.我们更倾向于在前边的音量逐渐消失中，后面的音符已奏响而且与前面的余音融为一体。
The first note must cease sounding in due time, but not in a sudden,
brusque manner, because suddenness in itself is contrary to the
character of legato.第一个音符要在适当的时候，而不是以突然间唐突的方式停止，因为“突然”的本身，与“连奏”的特性要求相反。
Role of the damper in legato playing制音器在连奏中的角色
At this point, it is necessary to examine the essential role of
the use of the damper in legato playing in producing the fading
or blending effect I mentioned above.就此，如我上面提到过的，研究在连奏中如何通过利用制音器弹奏出减弱的或是混合音的效果很有必要。
The damper (or sordino) is the mechanism that was affixed to the
overgrown length of the piano strings during the second half of
the 18th century.制音器（或是弱音器）是个机械装置在十八世纪下半叶附加在过长的钢琴弦上。 Its role
is to stop the excessive reverberation of these longer strings.它的作用就是个阻止这些长弦音的过度回响。
Before Mozart there was no need for the damper because the strings
were shorter, the sound weaker and one didn't mind a little extra
reverberation.莫扎特以前不需要制音器，因为简单地说，那时钢琴声音很弱，人们不介意稍有点额外回响。 Actually,
it made the sound of the old instruments richer, because it incorporated
the harmonies of all the strings.事实上，过去钢琴声音更丰富，因为在所有的弦乐中它是协调一体的。
But the piano soon reached adolescence and then developed into
the Lisztian and contemporary nine- to ten-foot concert grand.但是不久钢琴就迅猛发展，于是就发展成李斯特风格，以及同时代的九到十英尺的平台大钢琴。
Now the damper became a must, a life saver!现在制音器变成必需设备，救助器！ Imagine
how a concert grand piano would sound without that safeguard to
stop its unwanted vibrations (for a further discussion of the
pedal and pedal effects see chapter twelve).设想这么大的一平台式大钢琴，没有那阻挡设施，怎么能去消除那不必要的共鸣呢？（稍后将讨论踏板和踏板的作用，见第十二章）。
Let us return now to the damper's role in legato playing, and
to the role of the fingers in manipulating it. 让我们现在讨论制音器在连奏中的作用，以及手在指巧妙地利用它时所起的作用。
The speed with which the damper falls back on the string to stop
its vibrations results from the speed with which the finger abandons
the key; that is, if we raise the finger abruptly, the damper
drops abruptly and stops the sound instantaneously.制音器依靠弦来终止它振动的速度，就会产生一个手指离开键盘的速度；也就是，如果我们突然抬起手指，制音器就会突然地落下使得声音即刻停止。
By the same token, if we leave the key slowly, the damper halts
the strings gently and gradually, and the sound seems to fade
away.还有，如果我们慢慢离开键，那么制音器也会轻轻地和逐渐地停止，声音听起来也会逐渐消失。 Therefore we have
to cultivate a technique of abandoning the key gradually.所以我们不得不致力于一种让手逐渐地离开键的方法。
Since legato playing requires that notes blend into one another,
we must rely on the mechanical device that can help to achieve
this blending.因为连奏要求音符彼此合成为一体，所以我们必须依靠这机械装置去使之达到混为一体。 As you will
see, a combination of the damper, the fingers, and the arm is
needed to enable us to play a real legato.当你看到制音器、手指和上臂需要一齐启动弹奏时，那才是真的弹连音。
This approach to legato playing is not yet understood and people
seem to be too concerned with the activities of the fingers only.用这个方法去弹连奏，还没有被人们所了解，而且人们好像太关注手指的活动。
Technique of manipulating the dampers用巧妙的方法处理制音器
Our goal is to let the fingers abandon the keys slowly, but this
task is a difficult one for the fingers alone; it is hard to raise
one finger slowly and lower the next one at normal speed.我们的目标是让手指慢慢地离开键，但这一任务单就手指来说非常困难；在正常的速度中慢慢地抬起手指而后再低于另一手指是很难的。
The solution to this problem is to raise the arm slightly.解决这个问题的办法是稍微举起手臂。
This arm motion gently lifts the finger that has just played,
and the slow abandoning of the key retards the damper, which thereby
halts the sound gently.手臂将刚刚完成弹奏的手指轻轻地举起并且为让声音逐渐消失，手指缓慢地离键以推迟制音因素起作用。
By this gradual fading away of the previous note one creates not
an illusionary but a true legato.这时，前边音符的音量逐渐地逐渐地消失，这不是人们在创造幻觉，而是是真正地弹连奏。
If the next note enters gently, it will blend easily with the,
previous note.如果那下一个音符轻轻地进入，它会容易地同前边的音混合在一起。 Therefore do not
attempt legato playing with inhibited, repressed finger motions
alone or with a motionless and fixed arm and wrist.不要企图阻止连奏，不要抑制独立的手指的动作或是使腕关节静止和固化。
Avoid large circular "relaxed" motions of the whole
arm on each note too; they will have the effect of isolating,
not connecting, notes.也要避免整个手臂在每一个音符上作大的园形"放松"动作；这样弹奏只得使音孤立而不是相互相联。
Instead guide smooth and slight finger motions with a smooth,
unifying, and slightly upward motion of the whole arm.而应以整个平滑的、统一的和稍微向上运动的手臂代替平滑和轻微的手指动作。
Remember, there is only one upward arm motion for the entire group
of notes!记住，只有一个手臂向上运动才适合弹奏一组音符！ No pressure is required, and
no excessive finger or arm activities are needed, just a slight
lifting of the arm toward the end of each group is all that is
necessary.没有压力，手指或手臂的活动不能挤压、不能过度，但需要将手臂趋向于各音群结尾的方向轻微地抬起。
Why upward?为什么向上？
Why is the arm moved upward rather than downward?为什么手臂向上移动比向下好？
The reason is that a quietly tapered phrase ending is achieved
by lifting the weight of the arm rather than by lowering it into
the keys.其理由是逐渐减弱的乐句完成通过提高手臂的重量比下降手臂的重量传送到键上要好。 The upward arm
motion retards the fall of the damper and slows down the finger,
while a downward arm motion would accelerate it. 上臂向上的动作延缓了制音器的作用，也使手指缓慢下来，可当手臂向下运动时，反而促进了制音器的作用。
Phrase endings: touchstone of musicianship乐句结尾：音乐技巧的标准
If we acquire this easy, smooth technique of combining fingers,
arm, and damper during and at the end of a phrase, our musical
diction will improve significantly.在乐句结尾时，如果我们能轻松地将手指、手臂的动作以及使制音器延迟等方法平稳地结合在一起弹奏，我们弹奏音乐的声音就会有很大地改善。
One of the telling earmarks of good musicianship is the manner
with which one ends a phrase: does the performer end the phrase
gently or abruptly, does he use suitable or excessive motions
?能弹奏出悦耳的音乐声音取决乐句结尾的弹奏方式：弹奏者是轻轻地还是突然地结束乐句，他的动作是适当的还是过度的？
Tense playing affects tone quality too.紧张的弹奏也影响音质。
Some may think that it is easier to achieve control with tensed-up
muscles and with fixed hands and fingers, but under these circumstances
not only the flow of music suffers, but the tone quality as well.人们认为紧张肌肉和固定的手和手指比较容易控制，可在这种情况下，不但音乐的流畅性遭到破坏，而且音质也将会很差。
We must be aware of the fact that in piano playing, just as in
science, poetry, or sports, the ultimate can be achieved only
by utmost economy and purposefulness, with no waste of the media.我们必须在钢琴弹奏中意识到这样一个事实，我们弹奏就如同科学、诗歌、运动一样，要达到最终目的就要采用最简练的、有目的性的、最有效的手段。
In a well-coordinated system of music making, the fingers work
together with the arms, the arms work with the body, and they
all mesh with our breathing.在良好的音乐弹奏配合系统中，手指要与上臂合作，上臂要与身体合作，所有弹奏动作都要与我们的呼吸相吻合。
Occasionally we associate upward motions with inhaling and downward
motions with exhaling.有时，我们吸气时作向上的运动，呼气时作向下的运动。 Breathing affects
phrasing, and this is what interpretation is mostly about: how
to phrase music!呼吸影响乐句，主要就是说：怎么表达音乐！ The mechanical, respiratory,
and interpretative activities must be completely integrated.机械的、呼吸的和解释的活动必须是完全融为一体。
If our efforts and motions are continuously shared by the active
but minute participation of the entire apparatus, only then can
we develop a totally effortless technique, and our own, unmistakably
individual tone quality.如果我们的努力和动作是连续地、积极地分配到各个器官上，我们就能够形成一个毫不费力的演奏方法，以及自己所特有的音质。
Guidelines for five-fingers, scales and arpeggios五指、音阶和琶音的指导方针
To sum up, here are a few guidelines for five-fingers, scale and
arpeggio playing: 总之，这里是为五指、音阶和琶音总结的弹奏方法：
1. Each finger has its own characteristics.各手指有它自己的特性。
2. Each finger is to be helped by the rest of the playing apparatus,
which assumes a corresponding position suitable to that particular
finger.各手指将在其余弹奏器官帮助下，找到适合于手指特性的适当的位置。
3. The need for changing positions for each finger results in
continuous adjusting movements of the arm.连续调整上臂的运动对每个手指的位置变化很有必要。
4. In general, the wrist is at its lowest point when the thumb
is used and at its highest point when the fifth finger is used.通常，拇指习惯于腕关节处于较低的位置，而小指则习惯于腕关节处于较高的位置。
5. Guideline 4 is modified when grouping of notes is involved;
in groups the lowest wrist position is assumed at the beginning
of the phrase, no matter which finger plays, and the highest position
is assumed at the end of the phrase However the relative height
is influenced by guideline 4.当弹奏一组音时，方针４是要变更的；在一组音符中，乐句开始时腕关节位置较低，而在乐句结束时，无论哪个手指弹奏，腕关节都要抬高一些。然而那相对高度是受方针４影响的。
6. When we play scales, we should avoid placing the thumb under
the palm; instead we should place it alongside the hand. A combined
finger-wrist-arm motion prevents a cramped and uncomfortable position
for the thumb.我们弹奏音阶时，要避免拇指低于那手掌；要将其放在手的旁边。联合手指-腕关节-上臂的动作以防止拇指处于狭窄的、不舒服的位置。
7. Whenever the hand is in the playing position, we should avoid
an extreme pronation of the radius and ulna (of the forearm) by
slightly raising the upper arm.每当手处于弹奏位置时，我们都应避免由于上臂稍微抬起，极度地旋转桡骨与尺骨（前臂）。
8. The technique for scales and arpeggios is fundamentally the
same, except that in arpeggios wider intervals are covered with
slightly larger arm motions than those used in scales.音阶与琶音的弹奏方法从根本上说是一样的，只是琶音音符间隔较宽，手臂动作的幅度比音阶弹奏时要大。
The height of the upper arm should be modified for playing on
black keys or white keys: it should be higher on black keys and
lower on white keys. Thus we can maintain exactly the same position
for the wrist, hand, and fingers in both situations.在弹奏黑键或白键时上臂的高度应有所调整：弹奏黑键时位置高些，而白键时则要低些。因此在这两种不同的情形中，我们都要保持好腕关节、手和手指的位置。
9. When the speed of playing increases, the size of the motions
decreases.当弹奏速度加快时，音阶的动作的幅度就会缩小。 The types of motions, however,
remain unchanged.但动作的类型仍保持不变。 In a slow tempo we place the fingers
in their proper position: in a fast tempo, we throw them toward
the desired position.在缓慢的弹奏速度中我们将手指“放置”在适当的位置：在速度加快的弹奏中，我们将手指"抛"向正确的位置。
It is with this throw that the fingers can reduce their motion
and achieve the in creased speed, balance, and volume of sound
even though the distance from which they approach the keys may
be small. However, we cannot throw slowly, so in a slow practice
we must place them in position. 就“抛指”这个动作来说，即使手指距键的距离很小，它也能缩小手指的动作幅度而达到流畅地、平衡地和大音量地弹奏。然而我们不能慢慢地“抛”指，所以在缓慢的练习中，我们必须将手指“放置”在适当的位置。
10. In order to facilitate the passing of the thumb it is advisable
to let the third or fourth finger play closer to the back of the
key.为了使拇指弹奏流畅，最好让第三或第四指紧靠键的后部弹奏。 In this way the upper arm can
move less and still keep the thumb outside the palm of the hand.这样上臂的动作就可减少或能静止，就能确保拇指位于掌心外面。
Exercises for five-fingers, scales and arpeggios为五个手指、音阶和琶音的练习
Exercises serve to ingrain the appropriate arm position for each
finger为巩固每个手指和上臂的适当的位置所提供的练习。
The five-finger exercises given here should make the fingers independent,
not from the arms, but from each other!这里所提供的是使五指彼此相互独立的练习，不是为手臂的！
By insisting on a specific position for each finger and collaboration
with its equipment, we will establish conditions for each finger's
independence and, at the same time, for being interdependent with
the arm.由于强调明确各手指的特殊性和它们的合作性，我们要为各手指的独立创造条件，而同时，还要让它们与手臂相互依赖。
Therefore these exercises are intended to activate the finger
not in spite of its mobilizers but in conjunction with them.所以这个练习是用来激活手指，就是说是活动手指的，不是为联合它们的。
All the fingers should be lined up with their respective forearm
muscles by using the adjusting motions.各手指都应与调节它们运动的前臂肌肉连接在一起。
The following simple set of exercises serves to bring about typical,
characteristic constellation of the finger, arm, forearm, upper
arm, and torso position that is unique for each finger.下列一套简单的练习，为手指、手臂、前臂、上臂的一组典型的练习，还有专门为每个手指位置设计的一些练习。Each
of the fingers will assume and ingrain its own distinct arm position,
and whenever and wherever any of the fingers play, we will have
to bring about this particular position automatically.每个手指固有自己独特的手臂的位置，而且无论在什么时候什么情况下使用任何一个手指，我们要自动地达到这个独特的位置。
The slight changes that bring about these conditions for each
finger, the adjusting motions, are in the horizontal, vertical,
and depth dimensions.这些变化和调节动作在水平的、垂直的和深度范围内产生，它们为手指更好地弹奏创造了条件。
The process of establishing and ingraining the quality, size,
and timing of the motions must be very carefully controlled.方法的确立、音色的质量以及动作的大小与定时都要小心地控制。
In a nutshell, when we move from the thumb toward the fifth finger
and back, there is a gradual and precisely measured change laterally,
vertically, and in depth in the arm position.简言之，当我们向着小指和后部运动时，手臂的位置有一个横向地、垂直地和强度上的逐渐的精密的有规律的变化。
The value of these exercises lies not so much in what we play
as in how we play.这些习题的价值，在于告诉我们弹什么以及我们应该怎么弹。 Therefore the following
few notes suffice for our purposes:所以下不多的音符足以满足我们的目的：
Example 15. Five-finger exercises on any keys (page 72)
例15：五个手指在键上的练习 （72页）
You may add a sharp or flat to any of the notes (as indicated),
thereby creating different situations for each finger.你可以在谱子上增加一个高音或一个低音（如果需要），从而使每个手指可变换不同的位置。
As you know, the general position of the arm and body should be
altered when you play on the black keys.你知道，当你弹奏黑键时，一般说来，手臂与身体的位置都应改变。
It is important that you do not practice the exercises mechanically.重要的是禁忌你机械地练习。
With the conscious control of the mind you can establish and ingrain
these rather complex motions quickly and effectively.有意识的用心的练习你就能快速有效地建立和掌握相当复杂的动作。
Once you have mastered these motions don't bother practicing exercises
any more: go right on to the repertoire.一旦你掌握了这些动作，仍还要继续练习下去，直到你掌握了全部的技能。
The reason why I have not submitted here the usual, copious assortment
of exercises (see Cortot's edition of the Chopin Etudes) is because
they might induce mechanical practicing, which is mostly a waste
of time. 这就是为什么通常我们不建议大量的各种各样的练习（看Cortot版本的肖邦练习曲），因为它们会导致机械的练习，时间都浪费掉了。
The exercises in example 16 include the same notes as before;
however here they are grouped in various ways.在练习例16中包括与以前的音符一样，然而这里他们用多种方法被集合在一起了。
It is these grouping signs that indicate the differences in the
technique employed, in the position of the wrist and arm.就是这一群符号，标明了弹奏方法在运用过程中的差异，以及腕关节和手臂的不同位置。
We must begin each group with a lower wrist position and end with
a relatively higher one, regardless of which finger plays.不管那个手指弹奏，每一乐句的开始我们必须将腕关节位置放低，乐句结束时腕关节位置比较高。
It is as simple as that.它就是这简单。 Again we don't need different
sets of exercises; all we need is to alter the slurs, to tie notes
in various combinations, and to use combinations of black and
white keys to form smaller and larger intervals, using this one
group of notes.再一次阐述，我们没必要做不同的成套的练习；所有我们必须做的是去修改连音，练习各种音符组合，利用黑键和白键形成的大小间隔形成的音符组。
Help yourself: the idea is, not to practice exercises for their
own sake, not to "practice" but to master the motion
itself; once you have mastered this technique, apply it to the
repertoire.你自己要灵活运用：不能因自己的兴趣而不去作练习，不能只是“练习”，要真正掌握那动作的本身；一旦你掌握了这个弹奏技能，就能将其运用到所有动作当中去了。
We must avoid mechanical practicing, even if conscious practice
is more strenuous on the mind: we are concerned with avoiding
strain to the muscular system --not to the mind!我们必须避免机械的实习，即使有意识的练习也还要多思考一下：我们关心的是避免肌肉系统的紧张—而不仅仅是心理上的
Examples for five-fingers, scales and arpeggios五个手指、音阶和琶音的练习
The list of all symbols used in the musical examples is given
again here so that you may become familiar with them.这个序列表里的所有符号被用于乐曲的例子里，这里再一次列出目的是为让大家熟悉它们。
Symbols符号
A free fall 自由下落
B five-fingers, scales and arpeggios 五个手指、音阶和琶音的练习
C rotation旋转
D staccato断奏
Ethrust推力
Low wrist 低的腕关节
High wrist 高的腕关节
B indicates the type of motion treated in this chapter.在这一章里B指出那种类型的动作应该怎样做。
Free fall (A) was discussed in chapter four.自由下落（A）在第四章里论述。 Since
rotation, staccato, and thrust have not yet been described, concentrate
mainly on A and B in examples 17-28.因为旋转、断奏、和推力还没有讲述，在例17－28中主要说的是A和B。
On Piano Playing: Motion, Sound, & Expression
谈钢琴演奏：弹奏，音色与表现
Written by Gyorgy Sandor
Published by Wadsworth Publishing (September 1995)
ISBN 0028722809
Price $58.95
Customer Reviews （读者评论）
This is an exceptionally useful book on piano playing (这本书谈钢琴演奏，你会受益菲浅。).
Mr. Sandor is himself a virtuoso and has helped many gifted pianists
develop virtuoso technique over the years（桑德尔先生本人是位钢琴演奏名家，而且多年来帮助了许多天才钢琴演奏家提高了他们钢琴演奏技巧。）.
The writing in the book is simple and clear（此书简单明了）. The book
is organized quite logically（这本书逻辑性强，组织严密）. The book is in three
parts（本书分三个部分）. The first discusses the facts of the piano mechanism
and what can and can't be done at the piano （第一部分讨论钢琴的构造和功能。）.
Mr. Sandor also discusses the physiology of the parts of the human
body that go into piano playing from the fingers through the back
(and the feet for the pedals)（桑德尔先生也讨论了人体的生理和钢琴演奏，从手指到背部（到踩踏板的脚。）.
What I like about his descriptions is his emphasis on coordinating
the various elements without strain, pressure, or awkwardness（我喜欢他书中对协调性的描述，各个部位轻松自如，有机配合。）.
The second part introduces Mr. Sandor's own notation for marking
up scores in relation to technique（第二部分介绍桑德尔先生自己有一套独特的符号来标记演奏技巧。）(which
I found surprisingly helpful in understanding his concepts（我惊奇地发现这些符号对理解他的思想很有帮助。）.
He also introduces the various means of playing（他也介绍各种弹奏方法。）.
Some people like what he says here, some reject this or that（一些人赞成他书中所说的，也一些人不接受他的一些观点。）.
What I like most is his way of helping the pianist gain the maximum
ability to play the piano by getting out of his own way（他能帮助钢琴演奏家走出自我，最大限度地提高他们弹奏的能力，这一点是我最欣赏的）.
Mr. Sandor simplifies things so you don't waste time trying to
do things from awkward positions or through impossibly contradictory
methods（桑德尔先生将事物简单明了化，所以你不会因方法不当而浪费时间）. You will find this skill
common to all great instructors trying to teach students.（你会发现这种技能是很通用的，有助于导师教好学生。）.
So much can be gained by just being coordinated and efficient
But what seems simple after the instruction was hopelessly obscure
before the master showed you the simple way（只要你有效合理地运用这些技巧，就会从中受益，觉得如此简单容易，但没得到大师的教诲前，你会感到不知所措，无从下手。）. The
third part of the book is about taking these techniques and applying
them in making music.（书的第三部分是关于这些演奏技巧在音乐当中的应用。）The author addresses
how to recognize when to use the various patterns - how to combine
them（本书着重写在不同时候采用的不同的弹奏模式，并如何将其结合起来运用。）. He discusses pedals,
practicing, memorization, and performance tips（他论述有关踏板、练习、记谱、表演技巧）.
He is always so supportive of the student（他总是为学生着想。）. For example,
in memorization,（如，在记谱子方面，） he discusses that this is a legacy
of Liszt and that many wonderful pianists use the open score in
performance and it is quite often used in making recordings（他说，许多优秀的演奏家在演奏和录音时都看谱演奏，李斯特也一贯倡导这个。）.
He also says that simply because you might have a memory slip
does not indicate that you don't know the piece（他解释到，这是因为你的记忆有可能出现小小的失误，但这并不表明你不理解这首曲子。）.
It is a human frailty to get distracted and that you should simply
get back to it and work a little more without becoming discouraged（我们有时很难全神贯注，这就要我们尽力全身心地投入。）.
Really, I enjoyed this book quite a bit and found some things
that are helping me and I think you will be able to find things
that will help you（真的，我从此书中受益匪浅，而且还发现了对我很有帮助的东西。我想你也将在书中发现对你有用的东西。）.
I am an organist（我是个风琴弹奏者）. Nevertheless, I found this book profoundly
helpful in developing a good keyboard technique（可我发现这本书对于提高键盘演奏技巧很有帮助。）.
While it won't help the organist with pedalling（虽然它不能帮助风琴演奏者用踏板，）
(you would have to consult Gleason on that one!), it will help
you develop a solid and flawless keyboard technique（但它将帮你提高完美的键盘演奏技巧。）.
The organist must base his or her organ technique on a good piano
technique（风琴演奏者的演奏技巧必须以好的钢琴的演奏技巧为基础。）. Even though the fingering
is slightly different from the piano to the organ, much can be
gained from Sandor（即使风琴和钢琴的手指力度不同，但也能从桑德尔这本书中可获得很多有益的指导。）. I would
highly recommend this book to any organist or pianist（我向所有的风琴和钢琴演奏家极力推荐本书）.
It is a good, common sense guide to piano technique（它通俗易懂指导人们钢琴演奏技巧。）.
Gone are Hanon and Czerny!（哈农、车尔尼的时代已过去了。） I believe Mr. Sandor's
(pronounced SHAHN-dor, BTW) book to be the best book on piano
technique out there（我坚信桑德尔先生这本关于钢琴演奏技巧的书是最好的。）. It's a bit pricey,
but worth it（书的价格贵些，但值。） Mr. Sandor was a student of Bartok and
is an award-winning concert pianist（桑德尔先生是巴托克的学生，是钢琴音乐会大奖获得者。）.
I'm a physician with an engineering background（我是一个有着工程学背景的内科医师）,
and I can tell you that Mr. Sandor also has an exceptional understanding
of the piano mechanism and of the dynamics of the human body,
*and* is a very clear writer（桑德尔先生是一位杰出的懂得钢琴内部机械和人体动力学的人，也是一个有条理的作者。）.
He explains not only the proper physical technique to get the
sounds you want（桑德尔先生解释说，不仅仅用身体的演奏技能去弹出你想听的声音效果）, but also explains
from a musical standpoint what sound you should be striving for
and why （而且还要从音乐的本身考虑，你应弹出什么样的声音，为什么要这样的声音。）, as well as including
many useful tidbits along the way, such as the proper timing of
grace notes（也同时包括一些学习的小点子，比如：装饰音的正确计时）. Mr. Sandor explains why
many of the popular (and painful!) techniques and exercises are
not only unnecessary, but harmful both physically and musically（桑德尔先生也解释了为什么许多流行的演奏方法不仅仅是多余的，而且对身体和音乐都是无益的。）.
Mr. Sandor himself is the best testimony to the validity of his
methods（桑德尔先生本人就是对自己教法正确性的一个最好的证明。）. I had the privilege of hearing
him play at age 89（我有幸聆听了他在89岁时的演奏）, and of hearing his remarkable
sound unfettered by a long lifetime of wear and tear on his joints
and muscles（也听到了他的非凡音乐，无拘无束的演奏，这是经过他一生身体关节和肌肉长期磨练的结果。）. This book
would be of most benefit to a budding professional classical pianist（这本书有益于培养专业的古典钢琴演奏家,）,
serious young student（最重要的是年青的学生。）, or professional piano pedagogue（或者专业教师）,
but is also very helpful to a not-very-good amateur such as myself（但它对那些象我这样的业余爱好者也有很大的帮助。）.
All in all, it is a very solid, sensible work.（总起来说，它是一本好书。）
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On piano playing
Motion, Sound and Expression
论钢琴弹奏 动作声音与表现
Gyorgy Sandor
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