EricJohnson吉他大师教你吉他把位变换入门指南

1、换把！Eric Johnson 教你吉他 把位变换入门指南By Eric Johnson翻译：Little E我时常被问及我是如何使我的solo听上去就是“它们的味道”，好像其中隐藏着什么秘诀。我想自己不曾久久“打坐”，然后弄出一个独门“招式”一一我的音色仅仅只是老式的“反复实验”的产物。 但愿我能给你一个高效便捷的方法来提升你的音色质量，但遗憾的是，没有捷径可图。简而言之，拥有绝妙音色的秘诀就是勤学苦练。我总是想“萃取”每个音符的最佳音色。吉他手们常说，你的音色来源于你的技术，你 的吉他或你的设备配置。 在一定程度上，那确实没错，但依我来看，你按弦的手指以及你所 用的琴弦，都会对你的音色产生

2、很大的影响。我希望自己乐句中的所有音符都能紧密地凝聚为一体。为了达到这一步，我不断地编排自己的指法，使用任何（所有）我能想到的“排列 组合（permutations ）来演奏我的乐句。（译者注：permutation ,它是即兴演奏中的一个很重要的工具或说是方法。Permutation的本意是数学中的排列置换，在即兴演奏中它表示和弦音的排列组合，也就是按照和弦音的不同顺序来演奏和弦。）如果必要的话，我会在琴弦间“穿梭”以使一个段子保持音色的一致性，那就是为什么我会采用一些另类、不合理（或简而言之）与别的吉他手相比而言难度更大的指法。我总是为了更好的音色而牺牲演奏技巧的“简易性”。比如说，在 C

3、amels Night Out（Venus Isle）里面（我们下月的课程，也会涉及此曲），我用八种不同的指法，弹奏同一个 solo直到得到我想要的音色。可想而知，那得花费多久的时间！当我即兴创作的时候，我没有“绑定 （ married ）任何一个特定的和弦“指型”或把 位音阶。我觉得依赖某个特定的指型或“盒子（ box） ”会把你局限在这个特定区域的音符 和句式里面。你得学着倾听各个音符在音阶或乐句里面各自的音效特点，能够在听见它们的时候即在整个指板上摸清它们的位置，并且不惜任何指法将其演奏出来。如果你正在演奏一段solo ,而你却不得不停下来左思右想，“我该换到哪个把位？”“我该落在哪个音

4、上面？”或“我该从现在把位的哪个音过渡到下个把位？”这将妨碍你自然地去诠释你的solo o （使你的solo显得很被动）你得在“下手”前的瞬间，预先听见你将要弹奏的东西，并根据演 奏需要调整好你的手指。FIGURE 1我的solo构思很大程度上都依赖于五声音阶，但我仅仅只是将五声音阶的五组“指型 盒”作为“起飞点”。全部的秘诀皆在不偏不倚地看待每一个“盒子”，将邻近的指型模块 看成一个贯穿指板的联合音阶，见例2图示。我使用的是一种“横向的”的五声音阶演奏法一一当我从一个盒子切换到另一个盒子时，我会使用某些手指作为“枢纽”。X di * h mVFIGURE 2IIIe乂*例3是一个帮助你进行五

5、声音阶换把思考的入门练习。注意：在每次演奏一个 D弦和G弦上的四连音lick之后，我立即用我的食指/无名指切换到了毗邻的指型盒（参见谱例下 方的指法提示）。如你所见，以这种方式变换把位，可使你在指板上快速、大范围地移动。一旦你掌握例 3之后，试着在类似的样式模块上举一反三，并用其他的琴弦组合演奏 它们。然后试着将它们有机结合，就像我在例4中所作的那样。同样，参见左手指法，注意换把时的“枢纽指”。LL 虹EM1111练到最后，这个方法应该就能把你从只会单独演奏一两个“指型盒”的状态中解放出来,帮助你真正去挖掘（五声音阶）这一用途广泛的音阶所蕴藏的旋律潜能。下个月的教学中， 大家将看到我是如何把这

6、一方法运用到我的一些solo作品里的。到时候见！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 侬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