Musical Diction
音乐语言
Music evokes feelings; it does not communicate information.
乐谱可制定出感觉；但它却不能传达信息。
The language of music differs from other languages; unlike verbal
languages, it does not have precise means for dealing with facts,
objects, and abstract concepts. We cannot say in music: "Today
the temperature is eighty-two degrees, and the air is very humid."
We cannot use it to communicate facts or convey ideas. What music
can do is generate and communicate moods-the emotional responses
that accompany facts and ideas. In a rather mysterious way music
can represent and evoke emotions that correspond to circumstances,
events, and actions that have not even taken place. A direct and
immediate connection exists between certain combinations of sounds
and certain feelings.
音乐语言同其它的语言不同，它不像口头语言，没有精确的方法来表达事实，物体和抽象概念。我们不能用音乐说：“今天的温度82度，空气和潮湿。”
我们不能用音乐交流和传达事实，音乐所能做的是产生和交流对事实和观念情感的反应。以一种相当神秘的方法，音乐代表和激发对事件行为的情感，有时甚至这些事件和情感并没有发生。这种直接和知觉的联系产生了某种声音和感觉的组合。
When we hear Beethoven's "Moonlight Sonata" or Debussy's
Clair de Lune we do not actually have to see the moon, but we
can perhaps feel its presence and respond emotionally to the mood
created by moonlight!当我们听贝多芬的"月光奏鸣曲"或德彪西的“月光”时，事实上我们并不必去真正地看到月亮，但或许我们能感受到它的存在并将这由心境创造出的月光反应到情绪上来！
We may feel elated at some parts of the Eroica Symphony and depressed
by its "Funeral March" without knowing what actually
"happened."即使事实上我们不知道“发生”了什么事情，但当我们听到贝多芬的＜＜英雄交响曲＞＞的一部分时，我们会感到兴高采烈的；而当听到他的＜＜葬礼进行曲＞＞时，就会感到很沮丧。
Actually, nothing "happened."事实上什么事情都没有“发生”。 The authenticity
of the plot that inspired Beethoven is of no importance.得到灵感的情节的真实性，对贝多芬来说并不重要。
When Beethoven got disillusioned with Napoleon, who originally
inspired him to write the Eroica Symphony, he simply substituted
him with another, imagined hero, who remained nameless, but evoked
the same heroic and dramatic moods.当贝多芬对最初鼓舞着他去写＜＜英雄交响曲＞＞的拿破仑贝变得幻灭时，他只是用另一个设想的的英雄来替代，仍然是无名的，但同样激起了英勇的和生动的情绪。
Music will circumvent events, communications and information,
and will evoke emotional responses by direct aural contact, whether
they are stimulating, soothing or depressing.乐曲能阻遏通信和信息事件的发生，而且，无论这些通信和信息是令人兴奋的还是令人抑郁的，它都能通过直接的听觉的接触，唤起情感的反应力。
Unquestionably sound alone can represent and affect the entire
human emotional gamut.毫无疑问，仅仅声音就可表达和影响整个人的情感的全部。
Notation is rudimentary注释是（最基本）初步的
The scope of this book does not permit us to go into detail concerning
the why and how of all this; however, consonances, dissonances,
and harmonic overtones that blend or clash do have the role of
creating tension and release. 书的范围不可能使我们深入到细节中去关注为什么和怎么样；然而，协和音程、不谐和音以及混和或撞击声的调和的泛音，确实有使人产生绷紧张力和释放的作用。
The subject of musical diction-the means by which music communicates-can
be very controversial.由乐曲来表达的音乐主题的措辞可以是很有争议的。 Nonetheless we can
set certain norms about this important area concerning interpretation.尽管如此，对于一些重要的注释范围我们可以设定某些标准。
First, it is clear that musical notation is rudimentary: it is
rigid and imperfect as to shadings, flexibilities and freedom
of phrasing, rhythm, dynamics and pedaling.首先很明显乐谱是基本的：对于表现方法、适应性和乐句的灵活性以及节奏、力度强弱和踏板来说，它是僵硬的、不完善的。
Pianists are less flexible than other instrumentalists.
钢琴演奏者不如其他乐器演奏家灵活。
Also, singers, string players, and wind players are much freer
in their interpretation of notes and especially in metric values
than pianists.同样，歌手、弦乐演奏者和风演奏者，他们在音符注释尤其在度量音长上比钢琴演奏者要自由得多。 Their
instruments are more expressive and sensitive than ours, and through
bowing and breathing they can make much more use of slight delays,
suspenses and accelerandos. 他们的乐器比我们的钢琴更富于表情，更灵敏，通过弓法和呼吸，他们可以更多的利用微小的延迟、悬念和渐速音。
Keyboard musicians deal with mechanically regulated pitches; they
tend to articulate evenly, instantly, and precisely; unfortunately
their diction also tends to be monotonous, square, and lifeless.键盘音乐家机械地调节处理音调；他们只是注意到音发出的清晰、平均、及时和准确；但不好的是，他们的措辞是单调的、突兀的、枯燥无味的。
However, pianists should not merely rattle off the notes; they
should be as flexible on their instruments as those who achieve
subtlety with breathing or bowing in other words, they should
be musicians.然而，钢琴演奏者不应只是急促地背诵那音符；他们在钢琴上的灵活性应象歌手和弦乐演奏者能很微妙地运用呼吸和弓法一样，换句话说，他们应该是音乐家。
They too can find the meaningful notes in the score and emphasize
them; their use of emphasis determines whether their musical diction
is convincing and beautiful or dull and artificial.他们也可以在乐谱中发现那富有意义的音符并加以强调；运用“强调”的目的就是确定哪些音乐语言是有力的、优秀的或单调的、不自然的。
Downbeats and upbeats; the mazurka强拍和弱拍；玛祖卡舞
Most music is divided into bars, and within the bars the notes
are grouped into cyclic patterns of heavy and light beats.大部分乐曲被分成各个小节，每小节内部的音符形成大量的循环模式伴有轻柔的节拍。
No matter how many beats there are in a bar (and some pieces have
continually changing numbers of beats in the bar, while other
pieces have no barlines at all), certain notes need emphasis.不管一小节里有多少节拍（有些乐谱在一小节里有许多变化的节拍，而有一些乐谱根本就没有小节线），某些音符需要去强调。
The obvious note of emphasis in each measure is the downbeat,
the first beat of the bar.很显然，每一小节的第一拍都是强拍。 In a four-beat measure
the third beat is the second-heaviest one, while the second and
fourth beats are lighter.在以四拍为一小节的乐谱里，第三拍是第二重拍，而第二拍和第四拍是较弱的。 In
a three-beat measure the downbeat is the emphasized note, and
the second and third beats vary in intensity.在以三拍为一小节的乐谱里，第一拍是强拍，而第二拍和第三拍在强度上有变化。
When measures are syncopated, the upbeats are emphasized.当有切分音的小节里，重音在弱拍上。
In mazurkas, for example, the emphasis may be on any beat of the
bar; the melody may have its own accent on the first and third
beats, and the accompaniment may have several voices, each with
its own accents.例如玛祖卡舞曲，重音可在小节里的任何一拍上；曲调也许在第一和第三拍上已经有它自己的加重音符号，而且伴奏也许已经有了几个声音，并且每个伴奏音也都有自己的加重音符号。
(Contrary to popular belief the mazurka does not always have an
accent on the second beat; although the second beat is often important,
there is no hard-and-fast rule for its accentuation, and many
mazurkas don't even have a note on the second beat!) （与通行的观念相反的做法是玛祖卡舞曲并不总是在第二拍上标有加重音符号；尽管第二拍通常来说很重要，但为了加强它，仍没有硬性规则，而且许多玛祖卡舞曲甚至在第二拍上没有符号！）No
matter how many beats there are in a measure, other notes besides
the downbeat may be important for melodic, harmonic, coloristic,
or rhythmic reasons; and any of them may have free rubatos too!在一小节里不管有多少拍，除其它音符外，第一拍对曲子的旋律、和声、色彩或节奏的选择可能最重要的；而且它们也可以是自由奏！
As a matter of fact, in the mazurka the metric length of some
notes must vary too, not only their volume.事实上，玛祖卡舞曲的音符的度量长度也一定是变化着的，并非只是他们的音量在变。
Means of emphasis强调的手段
Certain types of notes by their nature should be very lightly
played.某些类型的音符应自然地非常轻轻地弹奏。 They include passing notes, some grace
notes, notes that fill in an interval, and ornamental notes. 他们包括补足（短暂）音、一部分装饰音，填充音程的音符和装饰的音符。Emphasis
can be given to a note by an added length of time we hold it;
accented notes are likely to be slightly longer than unaccented
ones.如果我们在一个音符上增加一点持续时间，这个音符的音就会被加强；加重音的音符只是比无重音符号的音符稍微持续时间长一点儿就行。
It is impossible to list the innumerable species of notes; all
I wish to say is that in music some notes are more important than
others.不可能将所有数不清的音符类型都列举出来；我所想说的是在乐曲中有一部分音符比另一些更重要。 Our musical
diction will not be right unless we register these differences
in our performances.我们的音乐表达不一定是正确的，除非我们在演奏中记录下了这些差异。 Some performers
can emphasize instinctively; others proceed in a more deliberate
fashion.有的表演者可以本能地强调某音；而其它的表演者则更多的是思虑传统方法。 The way that we emphasize
is also an individual matter; we may call attention to a note
by playing it louder or softer or by slightly prolonging it or
delaying it.我们将音符加重的方法也是一个别情况；我们还可以注意到在演奏时可以将某一音符弹奏地更响亮些、柔和些或轻徽地延长或使之延迟。
We can make it stand out by applying a different touch staccato,
pear to be accenting the weak part of the bar; melodies played
this Maintaining the same dynamic level for an entire group of
notes legato, portato, or tenuto.我们可能通过不同的触键断奏使音符显得突出，在一个小节的薄弱部分加重音符号使得音清亮圆润；这些保持同样活力的曲调的演奏是为了与一个运用连奏、断连奏或持续的演奏法的整个音符群等同。
Besides the addition of ornaments (which was general practice
during the Baroque period) or an octave or two (upper or lower),
one may add other harmonies also or shift register.此外，附加的装饰音（巴洛克式时期在练习曲中很普遍）或一个八度音阶或二八度音阶（向上或向下的），人们同样可以增加其它的和声音或变换音域。
The score also includes marcatos, sforzatos, subito pianos, etc.乐谱同样包括突出的、加强的、突然的钢琴等等。
Besides these, our musical sensitivity and spontaneous reactions
will find their way to give subtle meaning to certain notes.除此之外，我们对音乐的灵敏度和自发反应力，将能引导我们找出赋予音符细微意味的方法。
Flexibility机动性
Because the piano, unlike the organ and the harpsichord, responds
to “touch” we need not depend on extreme agogy or rhythmic freedom
the way harpsichord players often do.因为钢琴与器官和大键琴不同，大键琴的演奏者经常是依赖触键时的极度兴奋或是节奏上的灵活性，但钢琴演奏者不必这样。
On the other hand, our rhythm should be flexible and free; we
should not be slaves to the notated rhythmic values.另一方面，我们的节奏应该是灵活的和自由的；我们将不会被那有节奏音长的注释所奴役。
Some music is meant to be motoric (for example, certain toccatas
and etudes), but in general one never should play with inflexible
evenness.一部分乐曲的用意是指肌肉运动（例如，某些托卡塔和练习曲），可是通常讲甚至演奏都不应是僵硬的。
The most important factor in musical diction on the piano is the
nature of the sound of the piano itself.钢琴音乐语言最重要的因素就是钢琴它自身发出的自然声音。
After the hammer has struck the strings, the intensity of the
sound immediately diminishes whether we played loudly or softly.
自琴槌击打琴弦后，无论我们高声地或静静地演奏，钢琴发出的声音都会立即减少。If we want to connect the
second note of the bar to the downbeat that preceded it, we must
realize that this second note is an upbeat - that is, it occurs
in a weaker part of the bar than the note on the downbeat. 如果我们想从小节的第一拍连接到第二拍的音符，我们一定会认识到第二拍音符是弱拍，也就是说它在小节中比第一拍的音符处的位置要弱。
Therefore the second note should have less volume than the downbeat.所以第二拍音符要比第一拍的音量小。
Also, because of the decrease in intensity of the piano sound,
this lesser volume note must be geared to the volume the first
note has at the moment when the second note is about to sound.
同样，由于钢琴在发出声音强度上的减小，与此同时，当第二个音符将发出声音时第一音符的音量一定会被传递到。This means
we must use still less volume when connecting upbeats on the piano
than on other instruments with better sustaining powers.也就是说，我们依然利用较少的音量，在钢琴上连接弱拍时比在其它乐器上都能保持较好的能量。
Maintaining the same dynamic level for an entire group of notes
为整个音符群保持同样的活力
If we play upbeats with the same intensity as downbeats, we appear
to be accenting the weak part of the bar; melodies played this
way sound syncopated. 如果我们演奏弱拍时与第一拍的强度一样，看来我们是要加重这一小节中的弱拍；用这种方法演奏发出的声音是切分音。If
we ignore this fact, at best we project a series of clearly articulated
sounds, not a melody; at worst we have a series of unrelated,
poorly articulated notes.如果我们忽视这些事实，最多我们弹奏出的是一系列清楚的清晰的发音，而不是曲调；最差劲的是，我们只是弹出了一系列独立的、贫乏地清晰发音音符。
Since each note on the piano decays rapidly, upbeat notes can
be connected satisfactorily only if the dynamic level of the attack
of subsequent notes is lower than the dynamic level of the previous
note was at its inception.因为在钢琴上的各音符的声音很快地衰退，如果起后面音符弹奏时的敲击力度比前面音符的敲击力度要小，那么弱拍音符的连接还是令人满意的。
Equal emphasis on the second (lighter) beat produces a crescendo,
if the next downbeat is played louder than the first one was.如果第二个强拍比第一个强拍演奏的要响亮，那么在第二拍（弱拍）用同等的强度弹奏出的声音渐强。
A decrescendo on the piano is easier to produce: the next downbeat
will have to be softer than the previous one was. 渐弱音在钢琴上可较容易弹奏出来：后面音的弹奏比前边的音弹奏得较为柔和。These
slight alterations in dynamic level can ensure continuity in the
melodic line:这些在击键力度上的微小的变化，可以确保旋律线的连续性：
First note second note third note fourth note
第一音符 第二音符 第三音符 第四音符
(依次渐弱，见原稿P201)
Dynamic manipulation of melody图56 曲调弹奏力度的强弱
You will notice that the third note starts on a higher dynamic
level than the end of the second note. 你可能注意到，第三个音符开始时的敲击力度比第二个音符结束时的力度要高。The
flow of the melody is not obstructed by this change because the
third note is the next – heaviest beat after the downbeat, and
it lends itself to more emphasis than the second or fourth beat
of the measure.那涌流出的曲调是不会被这些变化而受到妨碍的，因为第三个音符是继第一个强拍后的第二强拍，它比这一小节中的第二拍和第四拍能给自已提供更多的强度。
Crescendo 声音渐强
This formula is rather primitive, but it works.这些规则过于简单，但仍起作用。
If we want to give the impression of playing four notes on the
same dynamic level, we have to play the second and fourth notes
softer than the first note, and the third note nearly as loud
as the first.如果我们想得到的效果是以同样的力度敲击这个四个音符，那我们必须在弹奏第二和第四音符时比弹奏第一音符的力度要柔和些，而且第三音符的响亮度要与第一音符的一样。
In other words, the downbeat usually dominates the measure, both
harmonically and melodically.换句话说，第一拍通常支配整个小节的协调音和旋律两个方面。 Because
the downbeat receives more emphasis, it unifies the whole measure.因为第一拍得到更多的加强，它使整个小节得到统一。
We only play the upbeats as loud as the heavy parts of the bar
if we intend to give the impression of a crescendo; in this case
the next downbeat is actually played louder than the preceding
one.如果我们想产生一个渐强的效果，我们只不过弹奏弱拍时与同一小节中的重拍的响亮一样就行了；在这种情况下，接下来的强拍要比头一个强拍弹奏得还要响亮。
Upbeats are lighter than downbeats.弱拍比强拍要轻。
The next formula for achieving continuity with dynamics is simple
indeed; if a melody starts on an upbeat, or if a note that preceded
it is a long note, its dynamic level must be much lower than the
downbeat's.下一个规则，运用动力达到连续性确实很简单；如果一个曲调由弱拍开始，或者一个音符的前一个是个长音符，它敲击的力度一定比第一拍的弱得多。
There is an inherent, slight crescendo in such passages that start
in an upbeat and lead to a downbeat.在这样的小节中有一个内在的、微小的声音渐强，它从弱拍开始，通向强拍。
Example 125. Bach, Well-Tempered Clavier, book2, Prelude No.8
in E Flat Minor （P201）Lento moderato徐缓的中板的
"Negative accents""无意的加重音符号"
Such crescendos are often marked by the composer, but sometimes
they are not.象这样的声音渐强的符号经常由作曲家标示出来，但有时他们也不标出。 Occasionally we
find a certain indication quite characteristic of Beethoven-an
upbeat crescendo ending with an unexpected piano on the downbeat.往往我们发现某些标记相当有贝多芬的特色－一个渐强的弱拍出乎意料地结束在强拍上。
Here the emphasis to the featured note is given by a "negative
accent": it is quite legitimate, since the “subito piano”
calls attention to the note. 由"无意的加重音符号"产生的加强，对音符起着很重要的作用。
Example 126. Beethoven, Sonata, opus 31 no. 2, second movement
Positive (convex) and negative (concave) climaxes积极的（凸的）和消极的（凹的）极点
The device of calling attention to a note by using less rather
than more volume is justified, especially in gentle, lyrical passages;
it is just as convincing as the conventional loud accent.要想使一个音符得到关注，尤其是在轻柔、抒情的一节中，实践证明，使其音量小些要比音量大的效果更好些；它如同常规的响亮的重音符号一样有力。
In a more aggressive, virile kind of music, however, melodic and
harmonic climaxes are better served by a positive accent.在强有力的这类乐曲中，存在着更多的冲劲，但是，旋律美妙与和声是通过明确的重音符号才能起到较好的作用的。
Obviously there are many ways to call attention to meaningful
moments in music, and personality and temperament are the qualities
that determine our means of expression.很明显，在乐曲中对富有意义的瞬间要在多方面提起注意，而且那具有个性和气质的音色确定了我们的表达意思。
Actually, the highlights and climaxes of certain melodies can
be emphasized in totally opposite ways.事实上，某些曲调的重点与极点完全可以用相反的方式强调出来。
The plasticity in a bas-relief is such that the features of a
face in it can be prominent in both a convex and concave manner;
what matters is that the extreme features are emphasized. 在一个可塑性的浅浮雕中也是如此，在那上面起着重要作用的脸部可以是凸的和凹的两个风格；所有起着极度重大作用的实质是强调音。
It seems to be an oversimplification to say that the positive
emphasis (convex) is masculine, while the negative emphasis (concave),
with a decrescendo toward the climax, is feminine.如果很明确地说加强（凸的）是强壮的，而那不加强（凹的）同时用渐弱音趋向顶点是柔弱的说法似乎是过于简单了。
In today’s “unisex” and “chauvinistic-versus-liberated” societies
such a statement may seem provocative.在当今以自由开放为背景的社会中将表达中性和盲目爱国心看成是激发感情的方式。
Nevertheless this diagnosis of masculine-feminine approaches toward
a musical climax is not totally out of place! 不过这些判断强壮－柔弱的方法对于音乐朝着达到高潮的方向发展并不是不适宜的！In
any case, what matters in music is the sum total of tension and
release; everyone is entitled to a personal interpretation as
long as it is sound and convincing and based on sufficient knowledge
and good taste.在任何情况下，绷紧张力和放松占据了整个乐曲；每个人都有个性化解释的权力，只要它是声音，能使人信服，而且它有充分的理论根据和很好的品味。
Ornamental passages: less volume装饰性小节：音量较小
We often find ornamental passages-turns, trills, grace notes,
and so on-within a melody; many of them appear in small print.在乐曲当中，我们经常发现装饰小节：转动、颤音、装饰音、等等；它们中的大部分以小字体印刷出现。
It is quite safe to play these notes with less volume than the
main notes whether or not they appear in small print.不论它们是否用小字体印刷，用比主音较小的音量去演奏它们是相当稳妥的。
Example 127. Chopin, Concerto No.2, opus 21, second movement
装饰音
The role of these notes is to connect and feature the main notes,
to prolong their sound, and to delay their entrance slightly;
in this way they call attention to the main note.这些音符的作用是连接和特写主音，并使其声音延长，而且轻微地延迟他们的加入；用这样的方法对主音给予注意。
Since they are not organic to the melodies, they should be played
unobtrusively, gently, and flexibly, and their dynamic level should
always be somewhat lower than that of the main notes.因为它们对曲调来说并不是有系统的，它们的演奏应是不突出的、轻轻的和柔软的，而且它们的击键力度比主音来说也是比较弱的。
We find many of these embellishments not only in Baroque but also
in Classical and Romantic music.我们发现这些修饰中有许多不只是在巴洛克时期音乐中运用过，就是在经典的和浪漫派音乐中也有。
Actually, some of the most beautiful melodies of Chopin are essentially
elaborate fiorituras (or embellishments); by expanding them and
filling them with chromatic and transient notes of all kinds,
Chopin managed to write sublime music.事实上肖邦的一些极其优秀曲调的装饰音（或修饰）实际上是精心制作的；肖邦设法通过利用各色的半音阶和瞬变的音符，写出了卓越的乐曲。
Obviously these "emancipated" embellishments that have
been transformed into such expressive melodies must be treated
more emphatically than simple ornamental notes.很显然，象这样已经转换成富于表情曲调的“自由”修饰，一定比简单的装饰音付于了更多的强调。
However, many of them are subject to the same interpretative principles
we have mentioned.然而，它们中的大部分是我们以前提到过的用同样的解释原则来诠释的主题。
The physical means for holding these melodies together is the
legato technique, which was described in chapter five.我们在第五章里描述过，实际上连奏的演奏技巧是为了使这些曲调能一起持续发声。
Appoggiaturas倚音
Appoggiaturas are essentially dissonances that resolve on the
following note.倚音实际上是不谐和音，它溶解了后面的音符。 They always should be emphasized
because of their harmonic function.因为它们的和声作用，所以它们总是被强调。 Appoggiaturas
must always receive a positive accent, never a negative one; accentuate
the first note and play the resolution with less volume.倚音一定总是有明确的加重音符号，决不会不加重；用较小的音量来演奏和强调第一音符。
Example 128. Mozart, Sonata in A Minor, K. 310, second movement
(P204)
Example 129. Beethoven, Sonata, opus 2 no. 1, second movement
(P204)
There are few exceptions to this rule, and sometimes a crescendo
is marked after an appoggiatura or dissonance; usually this dynamic
is indicated in the text.对这些规则有少数例外，有时在一个倚音或不谐和音后面标一个渐强记号；通常击键的力度也标明在乐谱上。
Example 130. Beethoven, Sonata, opus 10 no. 2, second movement
(P205)
Example 131. Beethoven, Sonata, opus 81a, first movement (P205)
Consonant grace note never to be emphasized; main note receives
its full value.和谐优美的音符从不必加强；主音能发出自己全部的音长。
A widespread, glaring, and most unmusical mistake is often encountered
in the execution of consonant grace notes.在和谐装饰音的演奏技巧中遇到极其非音乐的错误是很普遍和突出的。
It is common knowledge that grace notes are to be played on the
downbeat simultaneously with the bass.装饰音在强拍用低音演奏这是常识。 However
this doesn't mean that they should be accentuated and featured.然而这并不是说它们应该被强调和起重要作用。
Their role is to call attention to the following note by slightly
delaying its appearance and, of course, it is the main note-never
the grace note-that is emphasized.它们的作用是通过略微地延迟它的出现，而使后面的音符得到注意，当然，被强调的是主音而不是装饰音。
As a matter of fact, the grace note must be played considerably
softer than the main note, and, even more important, the main
note must be held for its full metric duration.事实上，倚音比主音演奏地一定很柔和，更主要的是，主音一定持续了它自己全部的音长。
We must never deduct the metric value of the grace note from that
of the main note and shorten it; instead we should add the value
of the grace note to the value of the beat.我们决不从主音中扣除倚音，而且也不将其缩短；相反，我们还要增加倚音拍长的时值。
The fact that it extends the metric value of the bass is no cause
for alarm; this effect may be exactly what the composer intended
and the reason he uses the grace note.事实上，延长了低音的音长并没有引起恐慌；这些音乐效果证明，作曲家的意图和运用倚音的理由是正确的。
One should not be a slave to “counting” at the expense of musical
content; instead one should base one’s rubatos and agogic accents
on the live pulsation of the music, especially in slower music.人们将不会辛勤努力地计算在音乐内含上所付出的代价；相反，人们将依据生动节奏的乐曲确定人们的自由节奏和延音重音，特别是在缓慢的乐曲里。
When string players and singers interpret meaningful passages,
they are usually flexible and free of metronomic rigidity that
affects pianists.弦乐演奏者和歌手解释富有意义的一节乐曲时，通常他们是灵活的不象钢琴演奏者那样受固化了的节拍器影响。
Only an unmusical violinist would arpeggiate the opening of Beethoven’s
“Kreutzer” Sonata in such a way that the top A loses some of its
value:只有对音乐不感兴趣的小提琴家可能以琶音弹奏法弹奏贝多芬“kreutzer”奏鸣曲的开头部分，用这种方法，最高音部分将失去它的一部分音长：
Example 132. Beethoven, Sonata for Piano and Violin, opus 47 (“Kreutzer”),
first movement (P206)
Yet when pianists encounter the same problem, as we do in the
third movement of Beethoven’s Sonata, opus 109, we seldom hear
the correct solution.然而，当钢琴演奏者遇到那同样的问题时，当做我们弹奏贝多芬奏鸣曲，作品109的第三乐章时，我们很少听正确的弹奏方法。
Example 133a shows the opening of a slow, expressive phrase as
it was notated by Beethoven.见例子133a，表示开头部分是缓慢的，把它当作由贝多芬注明了的富于表情的乐句。
Some pianists interpret this measure as indicated in example 133c,
and the least musical perform it as it appears in example 133d.一部分钢琴演奏者对这些小节的解释当作简要地说明标明在例子133c中，这些小节最少用的弹奏表演方法标明在例子133d中。
The correct way to play it is shown in example 133b; the high
B receives its full value as a half note.其正确的演奏方法标明在例子133b中；高音Ｂ作为二分音符得到它的全部音长。
Example 133. Beethoven, Sonata, opus 109, third movement (P206)
This musical anomaly stems from the valid rule that grace notes
are to be played on the beat and not before it so that the value
of the note that precedes the grace note is not shortened.这些音乐的破例发生于与节拍同步的正确规则的装饰音上而并不是早于节拍。
But it is also necessary that the grace note not disturb the melodic
flow, and the main note should certainly not be cheated of its
full metric value, especially since it is considered important
enough to merit the adding of an ornamental tone.但它同样要求装饰音不能干扰主旋律的涌出，而且主音的音值长度绝不能缩短，特别是当它认为增加一装饰音的音调特别重要时，主音的音长更不能缩短。
The solution is to play a soft, unobtrusive grace note on the
beat and a main note with its metric value intact.解决的办法是在一拍里弹奏一个柔和的、不突出的装饰音而且必须确保主音的音值长度的完整。
A slight flexible extension of the entire beat will sound fine.整个节拍如果有一个细微的灵活的延伸可能发出的声音会很美好。
Dissonant grace notes不和谐的装饰音
Dissonant grace notes, the most common of which are appoggiaturas,
are played on the beat; they should be emphasized, they add spice
to music, but the degree to which they are emphasized is subject
to the discretion of the performer.不和谐的装饰音，极为普遍的是倚音，是与节拍同步的；它们应该是被强调音，它们给乐曲增加了香料，但它们被强调的程度，对于演奏者来说这是一个自行决定的主题。
Example 134. Mozart, Sonata in A Minor, K. 310, first movement
(P207)
Two types of grace notes二种装饰音
A distinction must be made between the two types of grace notes-the
ones that pertain to the beat and the ones that connect two notes.二种装饰音之间一定有区别，一个附属于节拍，另一个连接二个音符。
A grace note that belongs to a beat is usually characterized by
a slur tying it to the next note; a grace note that connects two
notes is printed between them, usually without a slur and sometimes
before the bar-line.属于节拍的装饰音其表征是用连线将下一个音符系在一起；连接二音符的装饰音是在两音符之间印刷好了的，通常没有连线，有时在小节线以前。
While the former is played on the beat, the latter is played between
the beats.如果前者在节拍上演奏，那么后者就在节拍之间演奏。 The notation of the first type
of grace note varies greatly; in Baroque and Classical music some
of these notes are slashed to indicate that they are short, while
those without a slash are held to their full printed value-sometimes
even longer.第一种类型的装饰音的注释变化极大；在巴洛克式和古典乐时期，这些音符中一部分被猛烈地削减直到它们标明地很简短，而没被削减的音符则要按它们全部印刷的长度发声－有时甚至时间更长些。
This notation is not consistent, however, and the performance
of these notes is open to debate.然而这些注释并非一致，而且这些音符的演奏被公开去辩论。 Some
grace notes without a slash are abbreviated, while other slashed
grace notes (especially appoggiaturas) are given their full value,
or even double their value.没有被削减的一部分装饰音被缩写了，而其它被削减的装饰音（尤其是倚音），付与了它们全部的音长，甚至是它们双倍的音长。
In the Baroque period connecting grace notes are often marked
by a thin diagonal line indicating a glissando-like connection.在巴洛克式时期，连接装饰音经常是由微弱的对角线标明滑奏法-如同连线。
Example 135. Prokofieff, Sonata No. 4, first movement (P207)
Example 136. Different types of grace notes (P208)
Ritardando and accelerando徐缓和渐快
Composers most frequently use the terms ritardando and accelerando
to introduce rhythmic flexibility into their music.大部分作曲家经常运用徐缓和渐快术语来引进有节奏的灵活性从而变成他们的乐曲。
As in all interpretive matters, the manner in which these tempo
changes are applied determines their artistic validity.就象全部解释的问题一样，这些速度变化的方式适用于确定他们自己艺术的正确性。
The word ritardando (ritenente or ritenuto) implies a slowing
down. 徐缓这个词（突慢地或突慢的）意味着减速。 But with all such directions, the problem
is how much, when, and at what rate?可是，就是用这种方法，问题也是很多的，什么时候、用多大的速度？
When there is a series of ritardandos in the course of a phrase,
they should not be treated in the same way: the ones that occur
in the middle of the phrase should be less pronounced than those
at the end of the phrase.在乐句弹奏过程中，有一系列渐慢的乐句，它们将会被用不同的方法来弹奏：在乐句中间出现的渐慢应该比在乐句结尾时的渐慢的声音要小。
Structural considerations should guide us.结构的因素将指引我们。 An indication
can be interpreted in many different ways, and we possess much
leeway in the evaluation of the text.标记可以许多不同的方式来解释，在评鉴乐谱中我们具有许多的误差。
Even articulation vs. expressiveness
One actor may say the same words as another, but he will bring
out their meaning in his own way.一个演员可以象另一个演员一样说同样的话，但他用自己的方法来显示他自己的意思。
His diction is different.他的措辞是不同的。 The volume of his voice, his
pauses, and his use of emphasis all differ from those of the other
actor.他的音量，他的停顿民，以及他运用强调语气，完全不同于另一个演员。 As different as these two
actors may be, if they are good actors, they have one thing in
common: they do not recite the text mechanically or in a clearly
enunciated but noncommittal way.可以与这两位演员一样有所不同，如果他们是好的演员，他们有一共同的特征：他们并不是机械地叙述原文，也不是用只有清晰的发音而对内容却不负责任的方法表演。
Instead they emphasize the meaningful portions of the text positively
or negatively and play down the unimportant ones.相反，他们强调和肯定原文中富有意义的部分，或是否定和贬低其中不重要的东西。
It is frustrating to listen to an articulate, note-perfect performance
that lacks flexibility and imagination.当听到清晰发音、音符-完美，而缺乏灵活性和想象力的演奏是无益的。
The essentials are not emphasized, the right mood is not created,
and the entire performance amounts to little more than a succession
of pleasant sounds.强调不是最主要的，正确的情绪不是创造出来的，在演奏的整个过程中，发出连续性的愉快的声音的时间是很短的。
A flexible, imaginative performance requires a minute but continuous
modification of the metric values printed in the music; it includes
color gradation and variety in the use of dynamics, pedaling,
and rubato, elements that are indicated in the score only rudimentarily.灵活的、富于想象力的演奏只是一瞬间，但印刷在乐谱里的音量长度却是在不断地修改；它包括音色的渐变，以及使用力度强弱、踏板和自由节奏时的多样性，乐谱中所标明的基本动作是最初步的。
The intangibles难以确定的
Musical diction involves the many tangibles and intangibles that
allow us to fashion our own mode of musical speech.音乐措辞包括许多确定的和不确定的东西，这就给我们提供了用适合我们自己的方式进行音乐演说的机会。
We must learn to call attention to the heavy beats and to treat
nonharmonic tones effectively. 我们一定要学会注意繁重的节拍，并学会有效地处理非调和音。 All
altered chords, like the Neapolitan-sixth, the diminished, and
augmented chords must be recognized and treated according to the
tension they represent.所有改变了的和弦，如同拿波里六和弦，都是被缩减了的，而且增音和弦一定是已被公认了的，他们在阐述处理绷紧张力的意见上是一至的。
Notes that have auxiliary roles should be played unobtrusively.起辅助作用的音符在弹奏时，不要将其突出。
These notes of lesser importance include consonant grace notes,
upbeat figures, passages that start as upbeats, the short notes
in dotted figures, notes printed in small type, and connecting
notes, resolutions of dissonances, accompaniment figures in general,
and arpeggio figures that lead to a principal note.下面列举的这些音符是不太重要的：和谐的装饰音、弱拍音型、弱起小节、断奏音型、音符印刷地很小而且用连接符连接着、不谐和音的转化、一般的伴奏音型、导向主音的琶音音型。
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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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
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