接上期：大卫罗素的165条吉他技巧（双手协调）第二部分 音乐技巧（Musical Technique）101) Mechanical technique should not be noticed (accents produced by the mechanics of playing often contradict the accents required by the music).101) 机械式的技巧不应当被听者察觉出来（机械式演奏制造出的重音往往与音乐所需要的重音是相矛盾的）。

102) For the study of phrasing it is a good idea (especially in contrapuntal music) to study.only one voice and then one by one add the others ensuring that they all sound equally good.102）对于分句学习（特别是在对位音乐中）来说，比较好的方法是先练习一个声部，然后再逐一加入其他声部，确保每个声部都听起来一样好。

103) The best thing is to play the piece without accents (as if you were playing a harpsichord) and later decide on the accents.Practice various possibilities without jumping to foregone conclusions.103）无重音演奏作品是最好的事情（就好像你在演奏羽管键琴），然后再决定如何演奏重音。

练习各种可能性，不要过早做出结论。

104) Those intervals which are difficult to sing can be slowed down a little thus giving the sensation that they are more singable.104）很难唱出来的那些音程可以慢一点弹，这样可以给人感觉更具有歌唱性。

105) Counterpoint: give the themes personality.Pick out the melodic curve so that it will be recognisable even when it appears in a complex polyphonic section.105）对位法：给主题赋予个性特征。

挑出旋律曲线，以使主题更容易辨识，即便当主题出现在一个复杂的复调部分也是如此。

106) Baroque phrasing: the work of Bach is a balancing exercise,To succeed in it we must work in two phases:1.Put our fingers in the right places.2.Get rid of the extra accents in each voice which make uS think more in vertical than horizontal.When the phrasing is good it”sounds easy”.106）巴洛克音乐分句：巴赫的作品是一个平衡的练习，为了练好我们必须分两个阶段来进行：一是把手指放在正确的地方；二是在每个声部中去掉额外的重音，以使我们更多地从垂直思维，更少地平行思维。

当分句做好后，听起来就很轻松。

107) Baroque pieces have to be first phrased without ties in order to be able to freely project the phrases towards their final point,Later we can see if any of them are worth retaining.107）巴洛克作品首先要无连接地分句，以便能够自由地将乐句向着最后的一点推进；然后我们就可以看看其是否值得保留。

108) In Bach it is possible to introduce trills and mordents in the moments of tension or to stress important notes.108）在巴赫音乐中，在紧张时刻或强调重要的音符时，引入颤音和波音（一种装饰音）是可能的。

109) There is a way to accent without increasing volume and this is by retarding the note a little (as harpsichord players do).109）有一种方法可在不增加音量的情况下强调音符或乐句，这就是把音符延迟一点演奏（正如大键琴演奏家做所做的那样）。

110) To smooth out the gaps which are sometimes unavoidable,use a slight and subtle rubato.110）为了消除有时是不可避免的间断，可以使用轻柔而微妙的自由节奏去演奏。

111) If we have a soprano voice which has to be interrupted by frequent position changes,then attention has to be drawn towards another voice.111）如果高音部不得不被频繁的把位变化打断，可以将观众的注意力吸引到另一个声部上。

112) If there is no alternative but to shorten the sound,play the phrase in such a way that the”interruption makes musicalsense”.112）如果声音将被缩短且别无选择，可以这样来演奏：让“声音的中断更有乐感”。

113) Don’t abuse the initial accent of the bar especially in Renaissance and Baroque music as the sense of the phrase is more important than the beginning accent.For example,the notes that coincide with the beat of the bar should not be accented if they also coincide with the end of the phrase.113）不要滥用乐曲小节中的初始重音，特别是在文艺复兴和巴洛克音乐中，因为乐句感觉比开始的重音更重要。

例如，如果与小结节拍重合的音符正好也与乐句的结尾重合，那么这些音符不应当用重音强调。

114) Phrases have to have their breathing points,as if we were playing a wind instrument.114）乐句必须有呼吸点，就好像我们在演奏管乐器时需要换气一样。

115) In repetitions of the same phrase,change the accent (it’s not always satisfactory,but sometimes a subtle change adds the necessary variety).115）在重复同样的乐句时，要改变重音（这不会总是令人满意，但有时一个细微的变化会增加必要的多样性）。

116) Two successive notes played on different strings don’t give the sensation of forming a”word”.That is they don’t contribute to the phrasing unless you have sufficient techniqueto make it unnoticeable that they are on different strings.116）在不同的琴弦上演奏连续的音符时，不要给人以拼凑“单词”的感觉。

也就是说，如果你没有足够的技巧使其不易被人发现是在不同的弦上演奏，那么这些音符对分句的贡献就不会太好。

117) A phrase that has a crescendo, acceleration or both doesn’t always have to be played gradually. At times it is better to change very little at the beginning and hold back only to“speed up”at the end.117）一个拥有渐强、加速或同时渐强与加速的乐句中，不要总是逐渐加速或渐强去演奏。

优势，最好是在开始改变一点点，然后控制好只在结尾时“加速”。

118) Two secrets for when there is a pause in the phrasing: play slightly rubato in the accompaniment and reduce thevolume.118）在分句中有停顿时候的两个演奏秘诀：在伴奏中节奏略微自由，以及降低音量。

119）If we have a problem with three parts in which the tension gradually accumulate，we can play the first rubato，the second less rubato and the third with a very exact rythym.119）如果在乐句中遇到紧张状态逐渐加剧的三个部分，我们可以第一个部分节奏自由地演奏，第二个部分节奏自由收敛一点，第三部分以完全准确的节奏去演奏。

—本节由王建国翻译，未完待续—