EricJohnson吉他大師教你吉他把位變換入門指南

1、換把！Eric Johnson 教你吉他 把位變換入門指南By Eric Johnson翻譯：Little E我時(shí)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(gè)獨(dú)門“招式”一一我的音色僅僅只是老式的“反復(fù)實(shí)驗(yàn)”的產(chǎn)物。 但愿我能給你一個(gè)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(gè)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(shí)沒錯(cuò)，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(dá)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(gè)很重要的工具或說是方法。Permutation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(gè)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 C

3、amels 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(gè) solo直到得到我想要的音色?？上攵堑没ㄙM(fèi)多久的時(shí)間！當(dāng)我即興創(chuàng)作的時(shí)候，我沒有“綁定 （ married ）任何一個(gè)特定的和弦“指型”或把 位音階。我覺得依賴某個(gè)特定的指型或“盒子（ box） ”會把你局限在這個(gè)特定區(qū)域的音符 和句式里面。你得學(xué)著傾聽各個(gè)音符在音階或樂句里面各自的音效特點(diǎn)，能夠在聽見它們的時(shí)候即在整個(gè)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，“我該換到哪個(gè)把位？”“我該落在哪個(gè)音

4、上面？”或“我該從現(xiàn)在把位的哪個(gè)音過渡到下個(gè)把位？”這將妨礙你自然地去詮釋你的solo o （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。FIGURE 1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(diǎn)”。全部的秘訣皆在不偏不倚地看待每一個(gè)“盒子”，將鄰近的指型模塊 看成一個(gè)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(gè)盒子切換到另一個(gè)盒子時(shí)，我會使用某些手指作為“樞紐”。X di * h mVFIGURE 2IIIe乂*例3是一個(gè)幫助你進(jìn)行五

5、聲音階換把思考的入門練習(xí)。注意：在每次演奏一個(gè) 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。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(jī)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(shí)的“樞紐指”。LL 虹EM1111練到最后，這個(gè)方法應(yīng)該就能把你從只會單獨(dú)演奏一兩個(gè)“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(yùn)藏的旋律潛能。下個(gè)月的教學(xué)中， 大家將看到我是如何把這

6、一方法運(yùn)用到我的一些solo作品里的。到時(shí)候見！Down Shift!An Introduction to Shifting PositionsI often get asked how I get my solos to sound the way they do, as if there were some sort of trick involved. I dont think I ever consciously sat down and worked out a specific technique-my sound came about using nothing but old-

7、fashioned trial and error. I wish I could give you a quick and easy way to develop your sound, but unfortunately, 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,

8、 your guitar or your rig. Thats true to a certain degree, but in my opinion, the finger you fret with and the string you use will also drastically affect your tone. I like all the notes in my lines to have a certain cohesiveness of texture. To that extent, I constantly work out my fingerings, using

9、any and all permutations I can to play my lines. If necessary, I will skip around the strings in order for a passage to maintain tonal consistency; thats why I might make some fingering choices that seem odd, illogical or simply more difficult to the average guitarist.I always sacrifice ease of exec

10、ution for better tone. For example, on Camels Night Out (Venus Isle), which well cover next month, I played the same solo using eight different fingerings until I got the tone I wanted. You can imagine how long that must have taken!When I improvise, Im not married to any one particular chord grip or

11、 scale position. I feel that relying on one specific fingering pattern or box really limits you to just the notes and phrasing inherent to that particular pattern. You should learn how the individual notes sound within the scale or phrase, be able to find them anywhere on the neck when you hear them

12、, and play them using whatever fingering it takes. If youre in the middle of a solo and you have to stop and think, What position do I shift to? What note should I land on? or Where do I go from here?, its going to hurt the spontaneity of your solo. You have to hear what youre going to be playing ne

13、xt a split second ahead of time and adapt your fingers to it.FIGURE 1I rely a lot on the pentatonic scale for my soloing ideas, but I use the five pentatonic box patterns (Figure 1) only as a taking-off point. The whole trick is not to favor one box overanother, but to see the adjacent patterns as o

14、ne interconnecting scale that runs along the length of the fingerboard, as depicted in FIGURE 2. I use a horizontal approach to playing pentatonic ideas-I use certain fingers as pivots to shift positions as I move from box to box.FIG麻 2A仇MLp皿的成 儂1t ADO乂 3DOX EIIIIE 口乂4FIGURE 3 is an exercise to help

15、 get you started shifting pentatonic 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 index or ring finger (refer to the tablature for the left-hand fingering). As you can see, shifting positions in this manner enab

16、les you to cover a lot of ground on the neck very quickly.Once you get FIGURE 3 under your fingers, try coming up with similar patterns and play them on other groups of strings. Then work on combining them, as I did in FIGURE 4. Again, refer to the left-hand fingering for the pivots when shifting positions.FirUPE 4