昨天上课被Mark骂了

原因是他要求我演奏乐队片段就像现场演出一样，所有细节都要到位，所有休息、速度、力度、风格都要在上课前弄得相当清楚.

我没做到,虽然也做了准备,但是是按“老办法”准备的。所为老办法就是，把曲子拆成一段一段的。在国内通常考乐队片段只考一个月曲中最困难的那几小段，所以我们练习时也只练那几段。这样问题就产生了，由于对整个乐曲没有全面了解，每“段”的衔接就会产生问题，比如说中间休息多长时间、拍子在哪变化、力度在哪变化、速度在哪变化……

我当时就是这个情况，本以为他也是一段段择着听呢。我演奏时，他一直在默默打拍子，在“段”里还没什么问题，可一到衔接的地方，我就有些慌了，毕竟没从头到尾串过，有好几次没进对，还有好几次速度不对……

 

我感觉你并没准备好上今天的课。

知道吗，在浪费我时间！

你觉得乐队片段对你没什么吸引力？还是你不想和我上乐队片段？

没看出来，想上就准备成这个样子？告诉我你为什么要学乐队片段？

既然要学，为什么不做好准备？

重要的？为什么只着重练那几段，你觉得那几段很好听吗？我不这么认为，我对这几段都没什么兴趣，我觉得最重要的是了解整个音乐，去心去爱这部交响乐！去图书馆借总谱，借录音拿来对着学习，要了解曲子每个细节，不单单是哪进哪出，其他声部在做什么，力度、调性和声、节奏、色彩变化你都要搞清。这才是学习乐队片段！这周按我的要求回去练，我三周之后检查你！华，你知道吗，我今天之所以生气是因为从你的表现来看我完全相信你完全有能力做到但却没有做到。回去好好准备吧！

 

其实我挺感谢他骂我的，他骂我，表明他重视我，对我的学习有所期望，说明我还是有些能力的，这是件好事。同时他指出了我学习中的不足，使我明确了今后努力的方向与方法，这更是件大大的好事。他的话比较直白，直接刺激到我了，激发了我的斗志，没有比这再好的事了！

这顿骂，骂得值。

骂得我挺开心的……

Thanks, Mark!

 

说真的，我从来没见Mark David笑过

 

 

好长时间没写东西了。

最近比较忙，没完的排练、演出。还有就是每次演出结束之后必被拉去喝酒，社交应酬也真不少。外国人就是这样，不论再累，只要聚一聚，喝一喝，绝对神清气爽，无比快活。

 

简单介绍一下学习情况：

现在同时和三个老师学习，

James Watson, 乐队片段和独奏作品

系主任，曾任英国皇家爱乐乐团、皇家歌剧院交响乐团及伦敦爱乐乐团及Philip Jones铜管重奏乐团首席小号，他擅长启迪你的音乐思维，通过各个角度帮助你理解作品。而且课上穿插大量的重奏，视奏，有利于学生综合素质的提高。较着重歌唱性作品与现代作品及乐队片段。（上完课还会请客喝啤酒！）

 

Robert Farley, 巴洛克及古典小号演奏

著名巴洛克小号演奏家，精通各种你见过的、没见过的小号的演奏。课上大量阅览（吹奏）巴洛克及古典小号文献。掌握不同时期，不同地域，不同作者作品的演奏方法。演奏当代、现代作品也是拿手好戏！

 

Mark David, 乐队片段

爱乐乐团首席，海量的片段积累，超丰富的经验，暴实用的演奏技巧，神牛X的音色及技术，没什么好说的了，一个字 强！

 

Howard Snell 原伦敦交响乐团首席

Derek Watkins 神牛X的爵士小号演奏家，教育家

 

圆号：

Michael Thompson 神牛X的独奏家
Richard Watkins 另一个神牛X的独奏家

Richard Clews 皇家歌剧院首席

David Pyatt 伦敦交响乐团首席

 

Dudley Bright, 伦敦交响乐团首席

Robert Hughes，伦敦交响乐团的bass长号

Keith McNicoll, 皇家歌剧院的bass长号

大号：

Patrick Harrild，伦敦爱乐首席

Oren Marshall，LONDON BRASS的大号，神牛X的大号独奏家

 

 

 

 

 

今天在网上看到一篇文章：

在美国乃至当今全世界（除了英国，德国及一些东欧国家）交响乐团中广泛使用的是C调小号，是谁引领了这个风潮呢？答案是Georges Mager ，他是20世纪20年代美国波士顿交响乐团的首席小号演奏家。他确立了C调小号在交响乐团中的位置。之后受前纽约爱乐乐团首席William Vacchiano与前芝加哥交响乐团首席Adolph Herseth等大师的影响，C调小号逐步替代降B调小号成为交响乐团中的标准配置。（奥地利与法国素来就有使用C调小号的传统，与这股风潮无关，而英国由于该国具有铜管乐团传统，并且受到Ernest Hall, George Eskdale和Harold Jackson等大师的影响，而且因为降B调小号拥有圆润、浑厚、丰满的音色，且更易于与其他乐器相容的特点，所以至今仍在继续使用）……

 

By the end of the 19th century the modern Bb trumpet had replaced the longer F trumpet as the standard orchestral instrument. While the passing of the old F trumpet timbre was lamented by many(1), trumpeters were confronted with parts of increasing difficulty from composers such as Strauss and Mahler, and the new instrument proved more tractable in meeting these demands. The popularity of the Bb cornet also contributed to the change, since many orchestral players also played the cornet and were accustomed to the technical advantages of an Instrument in Bb.  Trumpets in C also made their appearance about this time and became particularly well established in France and Austria. 

The present widespread acceptance of the C trumpet in orchestras can be traced to the appointment in 1920 of Georges Mager  as principal trumpet of the Boston Symphony. A first prize winner at the Paris Conservatory and one of this century's greatest players, Mager used the C trumpet as his primary instrument during his 30-year tenure in Boston. He led a section of C trumpets (unknown in orchestras of the time) and established the pattern that has become standard in American orchestras today.

Among the first major figures beyond Boston to adopt the C trumpet was William Vacchiano, solo trumpet of the New York Philharmonic, 1934 - 1973.  The worldwide influence of American brass playing, particularly that of Adolph Herseth, principal trumpet of the Chicago Symphony(2), is responsible for the present trend toward the C trumpet. (The use of C trumpets in France and Austria has continued independent of this influence).

The trend is not universal, however. British trumpeters following in the great tradition of Ernest Hall, George Eskdale and Harold Jackson have maintained their allegiance to the Bb, preferring its rounder tone and blending qualities. The Bb has to some extent retained its position in German and Eastern European orchestras as well.

1. See, for example, the discussion Of the horn and trumpet by Ralph Vaughan Williams in The Making of Music (Ithaca, N.Y. : Cornell University Press, 1955), p. 29.

2. Adolph Herseth is a former student of Georges Mager.

In bands, the Bb remains the primary instrument due to its fuller timbre and greater ability to blend within an ensemble of wind instruments. The literature for band is almost entirely written for the Bb instrument and would have to be transposed if C trumpets were used.  Another area in which the C trumpet has failed to gain a foothold is in the jazz and studio fields. The C trumpet's timbre and playing characteristics do not seem to be particularly adaptable to the musical requirements of jazz performers.

Given the trend toward C trumpets in orchestral playing, it is important to emphasize that trumpeters are in agreement that students should begin and play through their formative years on the Bb instrument. In this way a good tonal concept and tone production will be firmly established.

It would be well to consider what specific advantages the C trumpet has to offer the orchestral player. The primary factor underlying the trend to C trumpets is related to the nature of orchestral playing with its long periods of rest. The response of the C seems to be better suited to making "cold" entrances than the Bb, and it provides a greater feeling of security and control.  This feeling is augmented by its being in the same key as the string section. The C also seems to be more compatible with the range in which the first trumpet plays and the extreme dynamic contrasts required. The timbre of the C carries well, and this allows the player to project the sound with slightly less effort than that required by the Bb.

C trumpets are now available with a number of leadpipe and bell combinations and these have contributed to an improved instrument. American orchestral players generally prefer a large bore C, and a medium-large Bb.

The parallel use of Bb and C trumpets is likely to continue indefinitely.  By having two primary instruments available, the player is afforded maximum flexibility in adapting to the requirements of the part to be performed. There has been superb orchestral playing on the Bb trumpet as well as the C. How to utilize these instruments to best advantage ultimately remains a matter of individual choice.

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