The Piano
钢琴
The piano: the most complete instrument钢琴：最完美的乐器
As a solo instrument, the modern piano its second to none.作为独奏乐器，现代化的钢琴是手屈一指的。
Even if its expressive qualities don't match those of some of
the string instruments or of the human voice, its range of pitch,
dynamics, and coloring make it the most complete instrument. 虽然它的音色同那是一些弦乐或人的噪音所不能相比的，但它的音程排列、力度强弱、演奏风格使得它成为最完美的乐器。
Because of its harmonic capabilities and its large, all other
solo instruments enlist its services most of the time. 由于它有很好的和声性能以及宽厚的音域，许多时候其它独奏乐器演奏都需要它的配合。
Seldom do composers write for any other instrument alone, without
the accompaniment of the piano. 作曲家很少为其它乐器写没有钢琴伴奏的曲子。 Its repertoire
is enormous, composed for it during the past tw0 hundred years
or so. Not all of this music is of the best quality, of course,
but many of the greatest composer overwhelmingly favored the piano
to other solo instruments. 在过去约200年期间它的保留曲目的数量是巨大的，不仅是因为它的乐曲质量是最好的，当然，也还因为同其它乐器相比，许多钢琴作曲家对它情有独钟。
Its forerunners: harpsichord and clavichord
它的前身是：大键琴和大冀琴
Of the piano's predecessors, the clavichord is the closest to
it. 作为钢琴的前身，大翼琴可以说是最接近的了。The clavichord produces a sound that
can vary in dynamic level and color according to the player's
touch. 大翼琴发出的声音根据同水平和风格的演奏者的弹奏可以自由改变。 The volume of the clavichord,
however, is maintained and unsuitable for most concert halls today.
然而翼琴的保留下的音量对当今多数音乐厅来说很不适宜。The piano has maintained and developed
the first two characteristics of the clavichord (its ability to
vary dynamics and color), but in addition its volume has grown
considerably. 钢琴保留和发展了翼琴最早的两个特点：改变力度的强弱和风格，但，另外它的声音在很大范围内有了提高。
The harpsichord cannot produce gradations of volume and color
by touch, only by mechanical manipulation, but it has much more
volume than the clavichord and can double, triple, and quadruple
its notes by using added sets of strings, thereby producing a
wider variety of sound. The piano has all the expressiveness of
the clavichord and can be louder than the harpsichord, but it
lacks the mechanical couplings of the latter instrument. 大键琴的弹奏不能展示音量的渐进过程和演奏风格，仅仅是被呆板地操作,
但是如果给大键琴增加琴弦的装置,它的音量将比大翼琴的音量高出两倍、三倍和四倍，因此它能奏出宽广、多变的声音。钢琴具有翼琴所有的一切功能，而且比大键琴的声音还要大，但钢琴缺少大键琴的机械连接器。However,
with its great pitch span and its ability to vary dynamics and
tone color, the piano is unsurpassed.* 然而，它有巨大的音程跨度和改变力度强弱、音乐风格的能力，钢琴是不可比拟的。
*There is one instrument that surpasses the piano.就有一件乐器能超越钢琴。
It is the Modr-Duplex piano, a double keyboard piano that was
invented by Emanuel Moor during the first quarter of this century.
“Modr-Duplex”钢琴。它是本世纪上叶伊曼纽尔发明的双键盘钢琴。Unfortunately it has been
totally ignored since world war II. 不幸的是，它在二战期间 完全被忘却了。 It has
the same sound and coloring possibilities as the ordinary piano,
but it also has an upper octave-coupling device (middle pedal).
它有与一般钢琴一样的声音与色彩，但它还有一个上部的八度音阶（中间踏板）装置。 Its upper keyboard sounds
an octave higher and by the simultaneous use of both keyboards
by the same hands, the reach of the hands is twice that of the
normal piano! 它上部键盘发出的声音是高一些的八度音阶，事实上两手同时弹奏所触及的范围是一般钢琴的两倍！ Also,
a chromatic glissando can be played on the lower keyboard (in
octaves, too, when the coupling pedal is activated), since the
white keys are elevated to the level of the black ones where adjacent
to the upper keyboard. 同样,半音阶的滑奏法是可以在低层键盘上演奏的（当耦合踏板被踏下时，那么八度音阶也是能弹奏的），因为这白色键的音已被升到与上层键相邻接的黑键水平了。The
technique of the Moor piano is essentially the same as of the
normal piano, but can be expanded spectacularly.“Moor”钢琴本质上和平常的钢琴一样，但它的声音能展示出宏大的场面。For
composers it has unlimited possibilities. 因为作曲家有无限的潜能。 One can
only hope that the Moor piano is merely dormant and not extinct! 所以，我们希望让它是在“休眠”，并非要“灭绝”。
Compositional devices: arpeggios, tremolos, and others
With all its wealth of sound, the piano still has certain limiting
characteristics; for example, its sound fades rapidly.尽管这种钢琴的声音很丰厚，但它仍有它的局限性，如：它的声音消失得很快。
Composers have compensated for this deficiency by developing styles
that are typically pianistic, or rather "keyboardistic,"
since the harpsichord and clavichord also suffer from the same
limitation.通过一般钢琴演奏家，或更确切地说是键盘乐器演奏家发展他们演奏风格，作曲家已经弥补了这一缺陷。其实大键琴和翼琴也同样有这样的局限性。
Since the duration of any one note is extremely short on these
keyboard instruments, the continuity in the sound has to be supplemented
by trills, tremolos, repeated notes, arpeggios, filling notes,
passagework, and pedaling.因为在键盘乐器上，任何一个音符持续时间都是相当地短，那连续性声音毫无疑问是由颤声、颤音、重复、音符、琶音、充满旋律、过度段和踏板来补充而完成的。
These devices are used both in sustained melodies and in accompanying
passages in practically all periods and styles.这些演奏技法用在持续的旋律和实际上整个伴奏过程中。
Ornaments装饰音
Another device, the ornament, was thoroughly explored and utilized
on instruments like the harpsichord and the organ. 另外一种演奏技巧就是装饰音，它能完全在象大键琴和管风琴这种乐器上充分地发挥和利用。Since
these instruments cannot emphasize individual notes within any
one given tone color and register, the only way to accent an important
note is to add a dissonance to it.因为这些乐器不能在所给的任何音色和音域范围内都强调单个音符，那么唯一的办法是给重要的音符加上重音符号，使它们产生不协和音。
Grace notes, mordents, and trills contain dissonant neighboring
notes.装饰音、波音和颤声，都包含不协和音的相邻音符。 These widely used instruments made
the ornaments very popular during the Baroque period, and their
indiscriminate use spread to other keyboard instruments, especially
to the clavichord and the piano.在巴洛克时期，这些装饰音广泛地使用在乐器演奏中，并且还毫无选择地将其用在其它键盘乐器中，特别还用在了翼琴和钢琴的演奏上。
These instruments are fully capable of accentuating, coloring,
and emphasizing any note.这些乐器本身已对加强乐曲重音、色彩、音调的能力很强了， Therefore
it is not necessary to resort to certain ornaments on them.所以不必再为它们加上不必要的装饰音。
Transcriptions改编
When Bach wrote for the violin or for voice, he seldom use a mordents
or prallers.当巴赫写小提琴曲或配乐时，他很少用波音或逆波音。 However, when he transcribed
string music for the keyboard (as in the first movement of the
Sonata for Unaccompanied Violin in C Major or the entire Partita
for Unaccompanied Violin in A Minor), he added a number of these
ornaments for emphasis.然而，当他将弦乐改编成键盘乐时，（如：小提琴无伴奏C大调第一乐章奏鸣曲或小提琴无伴奏A小调变奏曲），为强调重音，他增加了许多这样的装饰音。
(It is interesting that he used the key of G major for his keyboard
version of a C major composition on the violin, and D minor for
the A minor Partita.) （有趣的是在小提琴上，他以G大调为主音，演奏C大调键盘版本的曲子；演奏用D小调代表A大调的变奏曲。）It
is also noteworthy that Baroque composers very seldom specified
whether their keyboard music was for the clavichord, the harpsichord,
or the organ.值得注意的是巴洛克时期的作曲家很少指明他们的键盘曲是为翼琴、大键琴或是管风琴而作的。 For example,
例如，two of the best known "organ" compositions by Bach,
the Passacaglia in C Minor and the Fantasy and Fugue in G Minor,
were originally conceived for the two-key-board and pedal harpsichord;
only later were they adopted by organists. 巴赫的两个最著名的管风琴乐曲：C小调帕萨卡利亚舞曲、G小调幻想曲与赋格，最初构思是为双键盘琴和踏板大键琴所写；只是后来由管风琴弹奏者采用。The
practice of interchanging instruments was always very common in
the past.互换乐谱在乐器间的互用在过去是很普通的事。
Example l. Bach, Sonata in C for solo violin, first movementExample2.
Bach, Sonata in C for Solo Violin, transcribed, in G, for keyboard
. (See book: page 11)
例１巴赫Ｃ奏鸣曲用于小提琴独奏第一乐章。例２巴赫Ｃ奏鸣曲用于小提琴独奏，在Ｇ改为键盘乐曲。
Ornamentation varies with the instrument.
装饰音的用法随乐器的而变。
Since the choice of instruments was mostly a matter of opportunity
and convenience and since all of these instruments were strikingly
different in terms of their tone quality and technique, it is
evident that devices like ornamentation should be used according
to the needs and characteristics of each instrument. 乐器的选择主要是根据时机、便利或是它在音品与弹奏技巧上与其它的相比明显的不同之处。很明显装饰音的运用应按不同乐器的需要而定。
Common sense dictates much less ornamentation on the piano and
on the clavichord than on the harpsichord and the organ.一般来说，在钢琴和翼琴上用装饰音不如大键琴和管风琴多。
Also the type of ornament should be selected according to the
instrument. 同样，装饰音的类型也应按乐器的特点来精选。When a melody begins at the same
time as its accompaniment on the harpsichord or the organ, one
simply cannot heal the melody because it is one of the overtones
of the bass note and it is impossible to play it louder or differently.在大键琴和管风琴上弹奏的伴奏曲，人们不能简单地修复那曲调，因为它是一种低音部的泛音，所以它不可能弹奏出大声或不同的音。
Therefore a mordent or grace note is used in order to call attention
to it.之所以用波音或倚音是为了引起演奏者对它的注意。 In the case of the clavichord or
the piano, the melody can be played louder-simply by playing it
louder! 就翼琴或钢琴来说，弹奏曲子想弹大声就可弹大声。 Therefore the mordent is often
not necessary.所以波音经常不必要的。 Furthermore, the ground rule that we
know so well about trills and ornaments to start on the upper
note in the Baroque and early Classical periods needs reconsideration.此外，我们都知道颤音和装饰音的基本规则在巴洛克时期开始用在高音部，而早期古典音乐时期还需再斟酌。
This rule was necessitated by the condition mentioned above that
of the inaudibilitv of the main note when it was played at the
same time as the bass.我们上面提到当主音被当做低音弹奏时主音是听不到的，基于这个原因上述的规则还是很有必要的。
In the first place, there is no need for the mordent on the piano,
because you can emphasize the desired note; then if you still
wish to affix the ornament, it doesn't make any difference whether
you start it on the upper note or the main note.首先，钢琴不需要波音修饰，因为你可以加强某些音符而达到你所期望的声音；不过如你仍还需附加一些修饰音，那没关系，不论你是想在高音区还是在主音上都可以加修饰音。
You might as well emphasize the main note by an accent or by a
difference in shading, since the piano can do this easily. 你最好用重音符号或音的变化来强调那主音，因为钢琴很容易能做到这一点。
The validity of all the treatises and articles written about ornamentaion
is highly debatable when they are applied to the piano. 所有关于修饰音的论述和文章的观点，在将其运用于钢琴演奏中时，其正确性都有待于商榷。
To support the above argument, examine the beginnings of melodies
by Bach for strings, winds, and voice to see whether they start
with a mordent or with the main note.为了支持上述观点，看看巴赫初期为管弦或各声部所作的曲调，去看看它们是以波音开始还是以主音开始。
No matter how slow the piece is you will not find a single work
that begins with an ornament.不管怎样缓慢，你永远不会找到任何一小节曲子是以装饰音独立开始的。
On the other hand, look at the first notes of the melodies of
the second movement of the Italian Concerto, the Adagio of the
Organ Toccata in C Major, and the Toccata and Fugue in D Minor:
all of the begin with some kind of ornament, because they were
written for Baroque keyboard instruments.另一方面，看意大利协奏曲的第二乐章、C大调慢板管风琴托卡塔、D小调托卡塔与赋格的曲调的第一个音符：它们都开始于一些好的装饰音，因为他们是为巴洛克式键盘乐器所作。
When these pieces are played on the harpsichord or organ, ornamentation
should be applied, but it is not absolutely necessary when the
piano or clavichord is used.当这些乐曲在大键琴和管风琴上弹奏时，装饰音能很好地被利用，但对钢琴或翼琴的弹奏，它们就不太适用。
The span of the hand: a limiting factor手的跨度：限制性
Another limiting factor on use of the piano, in addition to the
rapid decay of its sound, is the limited span of the human hand.除了声音消失太快之外，另一个钢琴弹奏的限制因素就是手的跨度。
Since its reach usually includes nine or ten notes at the most,
most broad orchestral chords must be arpeggiated.因为它的横跨度通常最多只能够到九或十音符，而大部分管弦乐的和音必定是琶音。
This condition helped to develop compositional styles that turned
this disadvantage into an asset.这种条件促进乐曲风格的发展，将不利变成有利。 Just think
of the Chopin Etude, opus 10 no. l 试想肖邦练习曲，作品10 No.1，or his arpeggio
etude in E flat, opus 25 no. 12, 或他的降e调琶音练习曲，作品25 NO.12 ，or the
opening of the second movement of the Schumann Fantasy, opus 17.或德国作曲家舒曼的幻想曲第二乐章的开始曲，作品17。
Innumerable works are based on runs and passagework that present
and enhance broad harmonic progressions. 无数的作品都以呈现和完善声调连奏或和声的连续为基础。
The limitations of the hand also created another condition.那有所限制的那手同样可以创造出另一情景。
Composers were obliged to choose only from the notes that were
reachable.作曲家不得不只选那些手能够够到的音符。 Instead of selecting notes within
the overtone series, as they did for works for orchestra and string
quartet, they usually selected four notes for the top and four
for the bottom register.而不是选择泛音系列内的音符，因为他们为管弦乐、为弦乐四重奏所做的作品，通常在高音部选四个音，低音部选四个音来作为他们的音域范围。
(Example 3. Chord for piano and orchestra) (See book: page13)
Of course, the piano chord doesn't sound as good as the orchestral
chord: the four notes in the bass are too thick, there is nothing
in the middle register, and the top notes are too shrill or thin.当然钢琴的和声不如管弦乐的和声听起来好听：低音的和声听起来太“厚钝”，中间音域没有，而高音和声听起来又太刺耳或 “尖薄”。
We have become used to these sonorities by now (we have no choice),
but if we wanted a fuller, rounder, and more beautiful sonority,
we would need either a third hand or another instrument like the
Mo6r-Duplex piano. 到目前为止，我们已经习惯于这些声音了（因为我们别无选择），即使是我想弹出一个比较完美的、圆润的、更加美妙的声音，我们也不可能长出第三支手或象双键琴一样有另外的一组乐器。Beethoven
and other composers often employed pedal effects and shifts of
register to compensate for this limitation.贝多芬及其他作曲家经常利用踏板来产生效果、变化音域，以弥补局限性所带来的不足。
And again, this condition gave rise to a number of compositional
problems in piano writing.诸如此类的情况，给钢琴曲创作带来了很多的问题。
Black keys, white keys: shifting arm positions黑键、白键：胳臂移动位置
When we examine certain aspects of piano playing, we find that
many difficulties can be overcome if we are aware of the obvious
fact that the black keys are about two inches farther away from
us and about half an inch higher than the white keys.当我们查看某些钢琴弹奏方面的问题时，我们发现如果我们很清楚地知道黑键离我们有两英寸远且比白键高半英寸，那么许多困难是能逾越的。
In order for the hand to play on black keys with the same ease
as on white keys, the upper arm, the wrist, and even the body
must be shifted slightly.为了让手在弹黑键时与弹白键一样舒服，那么上支、手腕甚至身体都必须要轻微地上移。
When one plays on black keys, the upper arm (elbow) should move
slightly forward and up in order to create a wrist position that
is exactly the same as it is when one plays on white keys.当弹奏黑键时，上支的肘应当轻微地向前、向上，为的是能使手腕处于与弹奏白键时的位置相同。
(For a more detailed discussion of the white and black keys, see
chapter five.)（将在第五章更细地谈到白键和黑键）
Piano sound: volume and tone quality钢琴声音：音量与音品
The sound of the piano is produced when the hammer strings and
thereby brings them into vibration; thus the substance, quality,
hardness or softness, elasticity, and the state of humidity of
the surface of the hammer (which is covered with felt) influence
the tone quality.钢琴的声音是由琴锤敲击琴弦，琴弦振动产生的。因此，物体、质量、硬度、软度、弹性以及琴锤表面状态、湿度（琴锤表面由毡子包裹）都会影响到音的质量。
If these conditions are satisfactory, we are able to modify the
dynamic level and tone quality by altering the speed with which
the hammer strikes the strings.如果这个情况是令人满意的，我们能够通过改变琴锤敲击琴弦的速度来改变力度强弱的标准和音质。
All our concern with matters of weight, mass, force, strength,
tension, relaxation, fixed positions, muscles, nerves, joints,
bones, shoulders, arms, hands, and fingers is related to the skill
and technique required to set these hammers in motion with the
proper speed in order to produce the desired piano sound.为了让钢琴奏出预期的声音，在弹奏中以正确的速度敲击琴锤，我们所涉及到的物体的重量、质量、力、力量、张力、松弛、固定位置、肌肉、神经、连接、骨、肩、臂和手，这些在演奏技能和技巧上都是有关的。
While everyone agrees about the piano's capability to vary dynamics
from triple piano to triple forte, its ability to vary tone color
is a topic that is quite controversial.当人们普遍认识到钢琴变化强弱的能力能达到三倍的钢琴强音的能力时，它的音色变化的能力又成为人们争论的主题。
It has been "proven" by some "experts" that
it is only the volume of the sound that can be altered and that
altering tone quality is purely a matter of imagination.据一些专家们已证明，改变的仅是声音的音量，音质的改变那完全是种空想。
This may be true in playing one single note, but a series of sounds
in sequence is quite another matter: touch and tone quality are
most personal things, and they are clearly recognizable.在弹奏一个单音时，上述的观点也许是事实，但在弹奏一系列有序的音符时其实又是另一回事了：触键和音质是个人体会的事情，弹奏者本人可以意识到。
Even if they are hard to define, the difference in tone qualities
among certain artists undoubtedly exists and is not imagined.即使他们很难去定义，音质的差异无疑在一些艺术家中存在着，而那不假想的。
Perhaps it is caused by the rate of acceleration of the speed
of the hammers; perhaps it is the way the damper stops the sound
when it descends on the strings; perhaps it is the spacing of
notes, the agogic qualities of the playing, or the flexibility
of metric units-these and many other factors may influence tone
quality. 也许它起因于琴槌加速度的比率；也许它因断音的弹奏方式去敲击琴弦从而阻止了声音；也许还是音符的间距的问题，弹奏活跃性，或公制化的可变性－这些和那些许多因素都影响到音的质量。
But differences do exist!但存在着差异! There can be no argument that
the piano sounds different when Horowitz, Richter, Michelangeli,
or Argerich play it. 对霍罗威茨、理查德、米开朗凯利或黑格丽希弹奏的不同的钢琴声音没有任何争议。 Also
of great importance is the way the particular instrument we are
playing responds to touch. 同样极为重要的是我们在弹奏时对特定的乐器弹奏方法。 There are
many pianos that have a rather pleasant but "ready-made"
sound.许多钢琴有“现成的”相当美好的声音。 They respond only to quantitative changes
of dynamics and not to different shadings of touch, to the reflexes
of the performer.这种声音只是在强弱上有一定量的变化，不是弹奏修饰手法的改变，不是表演者自己意愿的反映。 It
would be most beneficial if all pianists could do all their practicing,
not just performing, on instrument that were sensitive enough
to respond to shadings of color as well as to dynamics.如果钢琴家们不仅仅在表演时，就是在练习时，都能对钢琴音色和声音强弱有敏感的反映，这将成为一件很有意义的事儿。
Limits to the response of the piano钢琴响应的局限
Speaking of dynamics, we must realize that the piano, like any
other musical instrument, is limited in the amount of sound it
can produce and in the responsiveness of its mechanism.谈到强弱，我们必须认识到钢琴象任何其它的乐器一样，钢琴机械装置所能产生出的声音是有限的。
It might not be as sensitive as the human voice, which simply
cracks when forced.它也许不能象人的噪音一样那么敏感，人的声音会在用力时产生。 But if the piano
is hit hard----if it is beaten by a stiff, rigid equipment----its
volume and carrying power will be impaired and its sound will
become hard and hollow.但是如果你狠狠地击打钢琴、如果你用坚硬的东西击打它，它的音量及传播能力就会消弱，而且它的声音还会变得生硬、不实。
Forcing only spoils the sound.蛮力只能损坏声音。 Under no circumstances
must one exert oneself when playing fortissimo!在任何情况下弹奏最强音时决不能用力过头。
Although the piano can produce a tremendous volume, its maximum
sonorities will come about not when the maximum amount of energy
is used, but when the limits of elasticity in its mechanism are
arrived at but not surpassed.尽管钢琴能发出具大的声音，但不必用最大的力去敲击它，当它机械装置的限弹性已发挥作用但还没有“过头儿”时，它就会发出最响亮的声音。
If one reaches the limit of elasticity in the felt, wood, and
metal, and employs the minimum effort to achieve this limit, one
gets the crashing fortissimos that may be the real climactic moments
of a performance. 如果人们能使毡子、木材、金属的弹性发挥到极致，并且用最小的努力能达到最大的功效，可能真的就在那演奏的一瞬间，人们获得的是绝对的最强音。
Spirituality not found in excessive muscular tension.肌肉过度紧张不能导致精神紧张
The lowest level of sonority, the pianissimo, must also be totally
effortless in its production.钢琴弹奏中，就是最低的音量，极弱，也必须是要在完全轻松的情况下弹奏出来的。
It is really amazing how many pianists cultivate extreme strain
and tension when they play softly.令人惊愕的是，那么多的钢琴家在弹奏温柔的曲子时，将肌肉养成了过度紧张与疲劳。
Gritting their teeth and breathing heavily, they expend enough
energy to lift the piano, even though they are playing a gentle,
soft little melody.他们咬紧牙关，屏住呼吸，耗尽自己最大的能量使得钢琴声音变响。甚至就是在弹奏很温和的、很柔美的曲调，他们也是这么费力。
Maybe they, have the idea that control can be best achieved by
tensing up various sets of antagonistic muscles simultaneously.大概他们认为，通过对收缩肌各不同位置拉紧的控制，才能很好地达到目的。Instead
of using soft equipment and minimum muscular activity, they tighten
up.所以，他们用拉紧肌肉代替了用适宜的技能和最小限度的肌肉的活动。 Worst of all, this extreme
state of muscular tension is supposed to represent a state of
sublime "spiritual" exaltation, when in reality we are
witnessing the consequences of excessive discharges of the thyroid
and adrenal glands. 最糟的是，这种肌紧张极端的状态被认为是一种卓越的精神升华，实际上，我们见证了过度地释放甲状腺和肾上腺能量的后果。
Mind you, there is nothing wrong with glandular responses to the
stimuli of music, but the question is when.提醒你，你的肾腺对音乐的刺激所做出的这种反映没有什么过错，但问题是什么时候，
Where, and how much?在哪里，影响有多大？ In any case, if we are going to
produce soft sounds, our joints and muscles must be resilient,
and they must contract and fixate gently. 无论怎样，如果我们想要弹奏出柔美的声音，我们的关节、肌肉必须有弹性，而且必须能平和地收缩与固定。
We'll discuss this further in chapter thirteen.这些我们将在第十三章中讨论。
Let us not equate inner intensity with stiff muscles.我们不能将肌肉的内在强度与僵硬的肌肉等同起来。
It is quite fashionable nowadays to over project and over intensify
musical performances.现如今相当流行的是超越计划、超越强化的音乐演奏。 This is understandable
when one considers the enormous size of concert halls, the vast
open-air spaces where outdoor concerts are given, and the huge
size of concert audiences, who may not be familiar with the repertoire.这是可以理解的，当一个人想到宏大的音乐大厅、空旷的户外的空间、庞大数量的听众，他可能不会很熟练地弹奏那些经典乐曲。
There are many pressures on pianists to impress audiences instantaneously.在一瞬间给听众感到演奏者有很大的压力。
However most music suffers by overselling.然而许多音乐被过度地夸大和歪曲。Music
should be narrated, sung, and sometimes even whispered and hummed;
seldom should it be shouted or screamed. 音乐应象讲述、歌颂、甚至有时应是均匀的耳语和哼声；而不应是呼喊或尖叫。
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。）
上一页
下一页
》》点击阅读本书全部中文翻译文稿
钢琴网 http://www.pianoweb.cn
Selected from:
On piano playing
Motion, Sound and Expression
论钢琴弹奏 动作声音与表现
Gyorgy Sandor
Schirmer books
A division of Macmillan Publishing Co., Inc.
NEW YORK
Collier Macmillan Publishers
LONDON
喜欢英语和旅游的朋友，欢迎访问我的英语比萨网 www.englishpizza.cn
和游四方网 you4fang.cn
