請選擇 進入手機版 | 繼續訪問電腦版

曉彤口琴網

 找回密碼
 註冊
搜索
查看: 5797|回覆: 4

世界大師Franz Chmel的口琴教學

[複製鏈接]
admin 發表於 2012-9-10 20:46:54 | 顯示全部樓層 |閱讀模式
一份口琴人必睇既docment
Franz Chmel既國際口琴大師班課程

小弟的口琴心得有一半來自Harp On, 40%來自此document

請各位細心欣賞!



by kenny

本帖子中包含更多資源

您需要 登錄 才可以下載或查看,沒有帳號?註冊

x
 樓主| admin 發表於 2012-9-10 20:47:46 | 顯示全部樓層
Tongue block vs Puckering

I think Kenny should open a course specifically on the technique of tongue block and it's application.

Tongue block is by far the most common method in Europe.

The sound is much smoother than puckering.  

Most harmonica associations in Hong Kong (e.g. King's and YMCA) only play by puckering.

Tongue block will be the speciality of Haletone Orchestra in the future!!

I can mainly open the right side.  Being able to open both side is certainly advantageous, especially stretching across an octave.

A very useful link:

http://www.angelfire.com/music/HarpOn/

Pls comment.

by Shing
 樓主| admin 發表於 2012-9-10 20:48:20 | 顯示全部樓層
"吞卜"vs"豬咀".... 很難抉擇.... 各有好處吧....

我吹慢歌時會用"吞卜", 吹快歌時會用"豬咀"....

暫時我也只能用"吞卜"吹單音.......

by Rainlpw
 樓主| admin 發表於 2012-9-10 20:48:24 | 顯示全部樓層
Dear Kenny and Shing,

Thanks for your expertise sharing.

I have read section 4.1 "Tongue blocking vs Puckering".  
Franz Chmel strongly recommends to use tongue blocking technique and emphasizes that “the only reason to use the puckering technique is when sometimes dealing with very short staccato 斷音 passages”.

As you know, I am just a beginner in chromatic harmonica.  It is really a very interesting topic to me.

I find that some articles are more objective in introducing these two different techniques, such as the following document which is taken from “黃石口琴網 ”:
『半音階口琴的單音吹奏,雖然有單孔含法及多孔含法的區別,但到底何時該用單孔含法,何時又該用多孔含法,在吹奏上並沒有硬性的規定,這完全要看當時所用的技巧及個人對曲子詮釋的手法來加以考慮。吹奏功力深厚的人,用單孔含法顯然可以把樂曲表現的很柔美、圓滑,反之亦然。因此,在吹奏上,不要偏重於某一奏法,而忽略了另一奏法,應儘量採用同步之練習,達到兩種奏法都熟練的程度。至於運用手法的高竿與否,就純為個人的功力問題了。』
《原載於台灣「黃石口琴網」www.yellowstone.idv.tw

This is for your reference please.

[ Last edited by williamkwwong on 2005-12-28 at 17:51 ]
 樓主| admin 發表於 2012-9-10 20:48:39 | 顯示全部樓層
「在吹奏上,不要偏重於某一奏法,而忽略了另一奏法,應儘量採用同步之練習,達到兩種奏法都熟練的程度。至於運用手法的高竿與否,就純為個人的功力問題了。」<==贊成

我認為每個專家都有自己的一套看法,這些看法未免會流於主觀。

由於每個人都能力和偏好都不同,要建立個人風格便需要長期練習和揣摩,然後選擇一種適合自己的吹奏方法。

我想藝術根本沒有絕對的對與錯吧~!

by Rainlpw
您需要登錄後才可以回帖 登錄 | 註冊

本版積分規則

手機版|委員|曉彤口琴網

GMT+8, 2021-5-7 14:24 , Processed in 0.066565 second(s), 22 queries .

Powered by Discuz! X3.1

©1999-2014 Haletone Philharmonic 曉彤愛樂口琴樂團

快速回覆 返回頂部 返回列表