练习克莱采尔第2首练习曲的练习要点
想知道练习克莱采尔第2首练习曲的要点，老师只是叫我看谱去。我应该注意什么呢，免得被老师“笑话”。 把弓拉直就可以了。 [b][size=4][color=black]林耀基老师的克莱采尔教学光盘,可以学到很多方法!建意一看!另外可以找一找这一课有多少换弦.八度模进换把.一把位的4指等等等等......[/color][/size][/b][[i] 本帖最后由 violinjkn 于 2008年5月31日 21:54 编辑 [/i]] 拉练习曲首先要注意音准、节奏、速度，然后是指法和弓法，初学的朋友有相当多的都不注意按照谱上的要求（无论是作曲家的还是老师的）来练习，以为只要拉得有点儿像老师的示范就可以了。其实这是学不到啥的。 我觉得这一课是练习跳弓很好的教材，里面的内容也很丰富。有换把，快速的转弦。
也是练习无穷动的基础。
这一课，我每天10几遍，练了1年 Krutzer #2 is a great place for the teacher and student to really focus on both intonation, and bowing. In terms of intonation, the focus should be on sympathetic vibration (d's ring with the open d, a's with open a, etc)
This is also a good etude to really discuss auxilliary-note-shifts and confirm that the student really understands them.
There are many variations you can use for bowing. I agree that the best method is to start practicing the etude very slowly (listening for ring, no vibrato) until it is thoroughly learned, then go back and practice 2 notes to a bow, then 4, then 8. (graduallly increasing the tempo) You can also practice in rhythms. (use a dotted-eigth followed by 16th note pattern throughout, then switch to a sixteenth followed by dotted eighth).
I never let a student continue with other Kruetzer etudes until he or she has completely mastered #2 at multiple tempi, with 8 notes slurred, and completely reliable intonation. Sometimes that takes quite a while. :)
回复 6楼 Brandon 的帖子
谢谢Brandon教授的提示，真的太好了，我们可以看到中西方小提琴教师对同一个教材的不同观点和意见，这些都是极其宝贵的。不过得翻译一下。哈哈。 Haha... so Brandon can read Chinese fluently as well? Impressive!
谢谢楼上Vs的翻译。
补充一下：括号里（use a dotted-eigth followed by 16th note pattern throughout, then switch to a sixteenth followed by dotted eighth）的意思是：先用八分附点跟16分音符的节奏型练习：[attach]3286[/attach]
然后转过来先16分音符后8分附点：
[attach]3287[/attach]
我们做的就是改变节奏型，使平均的节奏变奏成为“长－短”模式和“短－长”模式的附点练习法。看来它已经成为了一种国际通行的法则了。
[[i] 本帖最后由 lowendal 于 2008年6月6日 16:30 编辑 [/i]]
回复 5楼 zhangmengpaga 的帖子
回zhangmengpaga ：有点儿像古代师傅教学生们《三字经》，是最经典的作品。记下来就会背了，不会忘掉。这首曲子被我的一位老师称为小提琴“阿司匹林”，包治百病，灵丹妙药。关键看你如何运用。auxilliary note shifts.
Wow. thanks Sophy! Maybe after this next visit to China my Chinese will be good enough to describe these things in Chinese.An auxilliary note shift is s sometimes called a 'russian shift' or 'old bow shift' and is when you slide on the old finger and old bow into the new position, where the old finger plays a 'ghost' note, then the new finger comes down on the note you really want. I have my students practice this kind of shift with a glissando from the old note to the 'ghost' note (playing both notes plus the slide so you can really hear the intonation) then adding the new note all under a slur. The 'ghost' note (auxilliary note) is placed rhythmically between the two written notes as if it were a grace note. This simulates the timing of the actual shift in performance.
So if you were shifting from 1st position on the A string, 2nd finger (C) to third position on the A string, 3rd finger (F) you would slide on the 2nd finger from C to E. E is the 'ghost' or "auxiliiary' note. I'm sure there is a word for this in Chinese.
回复 12楼 Brandon 的帖子
哈哈，这就是“对话”和“交流”吸引人们的魅力之处！Brandon博士所说的“Ghost”很有趣，中文里似乎没有一个专门的术语来描述这个对象。据我所知，中国的教师们可能会使用“辅助音”或者“过渡音”来表示这个意思（'ghost' note or auxilliary note），但是这样的描述方法很有吸引力。我们为什么不选择这样生动描述的方式来教学呢？auxilliary note shifts. 首滑音
Wow. thanks Sophy! Maybe after this next visit to China my Chinese will be good enough to describe these things in Chinese.An auxilliary note shift is s sometimes called a 'russian shift' or 'old bow shift' and is when you slide on the old finger and old bow into the new position, where the old finger plays a 'ghost' note, then the new finger comes down on the note you really want. I have my students practice this kind of shift with a glissando from the old note to the 'ghost' note (playing both notes plus the slide so you can really hear the intonation) then adding the new note all under a slur. The 'ghost' note (auxilliary note) is placed rhythmically between the two written notes as if it were a grace note. This simulates the timing of the actual shift in performance.
So if you were shifting from 1st position on the A string, 2nd finger (C) to third position on the A string, 3rd finger (F) you would slide on the 2nd finger from C to E. E is the 'ghost' or "auxiliiary' note. 对，应该翻译为“首滑音”。但是在换把中，往往会把这个“滑音”去掉，在这个时候，就成为辅助音。 谢谢各位老师，我真不敢相信自己的眼睛了！这是我的帖子吗？？？我让我的小老师看了这个帖子了，她说没有想到我的问题成了“国际”大师班。好多国内外的老师们给我上课呢！
开心啊！:lol 感动。。。 我就是通过这一课学会无穷动的跳弓的。而且其中充满了无穷动跳弓中需要运用的各种技法：转弦，相邻弦的转弦，相邻弦只有一个音的转弦，换把。很多慢练的时候看似简单的办法，到了无穷动中，都变得不那么简单了。
在自然跳弓中，掌握放松和紧张的关系，如何能够很好的放松右手臂，手肘，是转弦的关键。
其实建议拉完整本克莱采尔和费奥里罗以后，再练这一课的自然跳弓，也许会好一点。 现在的论坛竟然还会有这样深度的交流，这里真是一方圣土啊！
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