别处搬来的好文.(抱歉,英文版)

vioapple

Quote from: The Piano Lessons Book, Neil Miller, author CHOOSING A PIANO TEACHER WHAT TO LOOK FOR The most important concepts you want to learn from a piano teacher: HOW TO PRACTICE. One of the questions teachers are constantly asked during interviews with new students is "How much should I practice?" It's not how much you practice, but how well you practice that really counts. A student playing a piece of music over and over again making the same mistakes is hardly getting more than increased circulation in their fingers. The student who works over small sections, perfecting the sound of each phrase while studying their own physical motions, is improving their playing of a particular piece as well as improving their overall musicianship. Practicing is work, but if organized properly, it is enjoyable and soulfully rewarding. PROFICIENT SIGHT READING (the strange term used to describe playing from printed music) is one of the most important skills a musician develops. First, it allows one to perform unknown music with a decent degree of fluency — normally, such a performance can be brought off proficiently if the music requires less than the technical level the pianist has attained. Second, it makes the work of learning a new piece immensely easier. DEVELOP A WORKING KNOWLEDGE OF THEORY. Integrating theoretical concepts relevant to the music being studied is essential to musicianship. Scales and chords, which are the foundation of music theory, must not be taught as isolated exercises. Balanced teaching includes introducing each element of theory as it becomes needed to help a student's understanding of how music is put together. Many "classically trained" musicians are notorious for lacking an understanding of theory due to training not received. For the most part, they are typists who can only play from the printed page in front of them, maybe with feeling, but without any knowledge of why the notes sound like music. Ironically, many classical only piano teachers degrade rock and roll musicians, but pale by comparison when it comes to playing their instrument from a knowledge of theory rather than from reading sequences of notes. MEMORIZING a piece of music and making it part of you is the goal almost every musician has towards a composition they love. The good teacher follows a comprehensive procedure for solid memorization: building a base of theory through scale recognition and chord progressions; teaching the steps and methods of memorizing; and allowing the student to experience how their ability to play by ear is developing as they bring the physical and intellectual elements together. CONCEPTS THAT GO BEYOND WHAT IS ON THE PRINTED PAGE — there are many qualities about musical sounds that are too subtle to be communicated properly in symbols, or properties of music that composers or editors leave off the score. One example is the layering of simultaneous musical lines, so that the melody is louder than the low (quieter) and middle (quietest) voices. The growth of a musician is facilitated by teaching them that there is more to creating music than playing the right notes. Getting to the spiritual core of a music composition, whether it be classical, jazz or popular, requires developing a range of physical and intellectual skills. One of the greatest joys of teaching is experiencing that first time a student changes from a player of notes into a musician. The hours of struggling finally pay off for them. They suddenly find, while playing a piece they have practiced diligently, that they hear the inside of the music. They almost feel like asking, “Was that really me playing?” To view pages, search at Amazon.com and books.google.com – Neil Miller Piano Lessons Book

田妈

看不懂。

看来要提高自己，努力学习啊

spyui

看不懂。

zh_e_mail

做上了，才发现各行如隔山，以下的翻译，谬误之处在所难免，望多多指正。

从钢琴老师那里你最想知道就是如何练习。老师们遇到新学生，其中总是被到的问题就是“我需要练多长时间？” 不是你需要练多久，而重要的是练得有多好。

学生反复拉一个曲子，重复相同的错误，除了能促进手指血液流动之外，不会有任何进展。反之学生在一小段乐曲上下功夫，力求每一小节发音能充分反映他们真实感情，那么不仅能改善某个乐段，而且能对整个的音乐表现都是一种提升。练习是挺辛苦，但如能安排得当，也能成为一种享受，以及深入内心的回报。

掌握视奏是演奏者最重要的技能之一。首先，当演奏者水平足以应付弹奏的曲子时，即便他不知道这首乐曲，视奏也相当流畅。其次，弹会一首新曲子非常容易。

丰富实用理论知识。 与所研究的音乐相关的综合理论概念是成为音乐家的基石。作为音乐理论的基础，音阶与和弦决不应被割裂出来进行教授。相反，只要一些理论要点成为了学生理解音乐构成的帮助，那么教学就应包括对这些要点的介绍。

许多古典音乐家由于受到的是机械训练而不是理解，因而有缺乏理论指导的坏名声。弹钢琴的也就是打字员，只能敲打摆在他们面前的谱子罢了，或许有些感情，但决不知道为什么音符能成为音乐。

令人感到讽刺的是，许多古典钢琴老师看不起摇滚乐手，然而一旦凭借自己的知识而不是按照印好的谱子来演奏时，他们就捉襟见肘了。

每个音乐家想记住对于自己喜欢的作品都，并想能成为自己的一部分。好的老师为达到好的记忆按照这样的步骤：通过对音阶的辨识以及和弦的进行而建立的理论基础；教授记忆过程和方法；通过把实际和理论结合在一起，增强学生听后，就能弹出来能力。

对超越谱子本身的认知。乐音许多的品质很难在音符中表述，也可以说在作曲家以及编辑留下的乐谱中还有许多财富。例如同步（同时）音乐线条的层次，因此旋律比中、低音要响。培养一个音乐家，就是让他们知道创造音乐比他们演奏的音符要复杂。理解一个音乐作品的精神本质，无论它是古典的，爵士的或是流行的，都需要具备较多实际和理论上的知识。

教学上带来的最大一种快乐是亲历将一个学生从对音符的演奏者变成一个音乐家的感受。长时间的挣扎最终获得了回报。当弹奏一个曾经苦苦练习的曲子，他们（学生）也突然发现，听到了其中内在的音乐。好像在自问：这难道是我曾弹过的吗？

hommp

楼上的真是热心人