EricJohnson吉他大師教你吉他把位變換入門指引

1、換把！Eric Joh nson 教你吉他把位變換入門指南By Eric Johnson翻譯：Little E我時常被問及我是如何使我的 solo聽上去就是“它們的味道”，好像其中隱藏著什么 秘訣。我想自己不曾久久“打坐”，然后弄出一個獨門“招式”一一我的音色僅僅只是老式的“反復(fù)實驗”的產(chǎn)物。 但愿我能給你一個高效便捷的方法來提升你的音色質(zhì)量，但遺憾的是，沒有捷徑可圖。簡而言之，擁有絕妙音色的秘訣就是勤學(xué)苦練。我總是想“萃取”每個音符的最佳音色。吉他手們常說，你的音色來源于你的技術(shù)，你 的吉他或你的設(shè)備配置。在一定程度上，那確實沒錯，但依我來看，你按弦的手指以及你所用的琴弦，都會對你的音色產(chǎn)生

2、很大的影響。我希望自己樂句中的所有音符都能緊密地凝聚為一體。為了達到這一步，我不斷地編排自己的指法，使用任何（所有）我能想到的“排列 組合” （permutations ）來演奏我的樂句。（譯者注：permutation，它是即興演奏中的一個很重要的工具或說是方法。Permutati on的本意是數(shù)學(xué)中的排列置換，在即興演奏中它表示和弦音的排列組合，也就是按照和弦音的不同順序來演奏和弦。）如果必要的話，我會在琴弦間“穿梭”以使一個段子保持音色的一致性，那就是為什么我會采用一些另類、不合理（或簡而言之）與別的吉他手相比而言難度更大的指法。我總是為了更好的音色而犧牲演奏技巧的“簡易性”。比如說，在

3、 "Camel's Night Out" （Venus Isle）里面（我們下月的課程，也會涉及此曲），我用八種不同的指法，彈奏同一個 solo直到得到我想要的音色。可想而知，那得花費多久的時間！當(dāng)我即興創(chuàng)作的時候，我沒有“綁定” （ married ）任何一個特定的和弦“指型”或把 位音階。我覺得依賴某個特定的指型或“盒子（ box）”會把你局限在這個特定區(qū)域的音符 和句式里面。你得學(xué)著傾聽各個音符在音階或樂句里面各自的音效特點，能夠在聽見它們的時候即在整個指板上摸清它們的位置，并且不惜任何指法將其演奏出來。如果你正在演奏一段solo，而你卻不得不停下來左思右想，

4、“我該換到哪個把位？”“我該落在哪個音上面？”或“我該從現(xiàn)在把位的哪個音過渡到下個把位？”這將妨礙你自然地去詮釋你的solo。（使你的solo顯得很被動）你得在“下手”前的瞬間，預(yù)先聽見你將要彈奏的東西，并根據(jù)演 奏需要調(diào)整好你的手指。M也u：k IFIGURE 1血 mioorpenT口 nk? box paUanO= A rvctl7fr我的solo構(gòu)思很大程度上都依賴于五聲音階，但我僅僅只是將五聲音階的五組“指型 盒”作為“起飛點”。全部的秘訣皆在不偏不倚地看待每一個“盒子”，將鄰近的指型模塊 看成一個貫穿指板的聯(lián)合音階，見例2圖示。我使用的是一種“橫向的”的五聲音階演奏法一一當(dāng)我從一個

5、盒子切換到另一個盒子時，我會使用某些手指作為“樞紐”。FIGURE 2A diI A dxiDIII例3是一個幫助你進行五聲音階換把思考的入門練習(xí)。注意：在每次演奏一個 D弦和G弦上的四連音lick之后，我立即用我的食指/無名指切換到了毗鄰的指型盒（參見譜例下 方的指法提示）。如你所見，以這種方式變換把位，可使你在指板上快速、大范圍地移動。FIGURE ?一旦你掌握例 3之后，試著在類似的樣式模塊上舉一反三，并用其他的琴弦組合演奏 它們。然后試著將它們有機結(jié)合，就像我在例4中所作的那樣。同樣，參見左手指法，注意換把時的“樞紐指”。FIDJPE 4lAm)a|盤¥y d g舊 IF l

6、bIT17It 17JZinin1? U14 l*bhFUHr£lLN1 氣1 TP 止1 JL匕t J1 K JTTJF|TO *7-H MIV FLLaarHDw15131 J 141練到最后，這個方法應(yīng)該就能把你從只會單獨演奏一兩個“指型盒”的狀態(tài)中解放出來,幫助你真正去挖掘（五聲音階）這一用途廣泛的音階所蘊藏的旋律潛能。下個月的教學(xué)中， 大家將看到我是如何把這一方法運用到我的一些solo作品里的。到時候見！Dow n Shift!An Introduction to Shifting PositionsI often get asked how I get my solos

7、to sound the way they do, as if there were some sort of trick involved. I don't think I ever consciously sat down and worked out a specific "tech niq ue"-my sound came about using nothing but old-fashi oned trial and error. I wish I could give you a quick and easy way to develop your s

8、ound, but unfortun ately, there is none. The secret to a great sound is simply hard work.I always want to squeeze the optimum tone out of each note. Guitarists often say that your sound comes from your technique, your guitar or your rig. That's true to a certain degree, but in my opinion, the fi

9、n ger you fret with and the stri ng you use will also drastically affect your ton e. I like all the no tes in my lines to have a certa in cohesive ness of texture. To that extent, I constantly work out my fingerings, using any and all permutations I can to play my lin es. If n ecessary, I will skip

10、around the stri ngs in order for a passage to maintain tonal consistency; that's why I might make some fingering choices that seem odd, illogical or simply more difficult to the average guitarist.I always sacrifice ease of execution for better tone. For example, on "Camel's Night Out&qu

11、ot; (Venus Isle), which we'll cover next mon th, I played the same solo using eight differe nt fin geri ngs un til I got the tone I wan ted. You can imagi ne how long that must have take n!When I improvise, I'm not married to any one particular chord "grip" or scale position. I fee

12、l that relying on one specific fingering pattern or "box" really limits you to just the notes and phras ing in here nt to that particular patter n. You should lear n how the in dividual no tes sound with in the scale or phrase, be able to find them any where on the n eck whe n you hear the

13、m, and play them using whatever fingering it takes. If you're in the middle of a solo and you have to stop and think, "What positi on do I shift to?" "What note should I land on?" or "Where do I go from here?", it's going to hurt the spontan eity of your solo. Y

14、ou have to hear what you're going to be play ing n ext a split sec ond ahead of time and adapt your fin gers to it.F1UURE1uI rely a lot on the pen tat onic scale for my sol oing ideas, but I use the five pen tat onic "box patter ns" (Figure 1) only as a taki ng-off point. The whole tri

15、ck is not to favor one box overano ther, but to see the adjace nt patter ns as one in terconn ect ing scale that runs along the length of the fingerboard, as depicted in FIGURE 2. I use a "horizontal" approach to play ing pen tat onic ideas-I use certa in fin gers as "pivots" to

16、shift positi ons as I move from box to box.HGUIft 2A DLinaL-petiuidhk 畑Im A 3IIII陽絮2的刖FIGURE 3 is an exercise to help get you started shift ing pen tat onic ideas. Notice that after playing a four-note lick on the D and G strings, I immediately shift to the next box pattern using either my in dex or

17、 ring fin ger (refer to the tablature for the left-ha nd fin geri ng). As you can see, shift ing positi ons in this manner en ables you to cover a lot of gro und on the n eck very quickly.them on other groups of stri ngs. Then work on comb ining them, as I did in FIGURE 4.Aga in, refer to the left-ha nd fin geri ng for the "pivots" whe n shift ing positi ons.