Printed in the United Kingdom by MPG Books, Bodmin 英国博德明 MPG Books 出版社印刷
Published by Sanctuary Publishing Limited, Sanctuary House, 45-53 Sinclaif Road, London W14 ONS, United Kingdom 由 Sanctuary Publishing Limited 出版，地址：Sanctuary House, 45-53 Sinclaif Road, London W14 ONS, United Kingdom
www.sanctuarypublishing com
Copyright: Guthrie Govan, 2002 版权所有：格思里-戈万，2002 年
Music typesetting: Cambridge Notation 音乐排版剑桥记谱法
Cover photograph Getty|Stone/Patrick Coughlin 封面照片：Getty|Stone/Patrick Coughlin
All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means, including information storage or retrieval systems, without permission in writing from the publisher, except by a reviewer, who may quote brief passages. 保留所有权利。未经出版商书面许可，不得以任何形式或通过任何电子或机械手段（包括信息存储或检索系统）复制本书的任何部分，但评论者可以引用简要段落除外。
While the publishers have made every reasonable effort to trace the copyright owners for any or all of the photographs in this book, there may be some omissions of credits, for which we apologise. 尽管出版商已尽一切合理的努力查找本书中任何或所有照片的版权所有者，但仍可能存在一些遗漏，对此我们深表歉意。
Equipment: Guthrie Govan used PRS Guitars and amplification by Cornford. Effects used were by Lexicon, Morley and Yamaha. Guthrie Govan uses and endorses Cornford Amplification. 设备Guthrie Govan 使用 PRS 吉他和 Cornford 放大器。使用的效果器有 Lexicon、Morley 和 Yamaha。Guthrie Govan 使用并认可 Cornford 放大器。
Keyboards/strings played by Phil Hilborne. Phil Hilborne uses and endorses PRS Guitars, Picato Strings and Cornford Amplification. All guitars played by Guthrie Govan. Bass on tracks 40-3,46-740-3,46-7 and 50-350-3 played by Guthrie Govan. 键盘/弦乐由 Phil Hilborne 演奏。菲尔-希尔伯恩使用并认可 PRS 吉他、Picato 琴弦和 Cornford 放大器。所有吉他均由 Guthrie Govan 演奏。曲目 40-3,46-740-3,46-7 和 50-350-3 中的贝斯由加斯里-戈万演奏。
Samples used on tracks 40-3 and 46-7 taken from ‘Retro Funk’ by Spectrasonics and Illio Entertainments, Used under licence. 音轨 40-3 和 46-7 中使用的采样来自 Spectrasonics 和 Illio Entertainments 的 "Retro Funk"，经授权使用。
FOREWORD 前言
The aim of this book and its companion volume, Creative Guitar 2: Advanced Techniques, is to help any rock guitarist who feels stuck in a rut. They field all of the most common questions and problems I’ve encountered over years of teaching guitar. They explain the nuts and bolts of theory in an accessible manner that you can actually use. They explain how to practise efficiently and diagnose what’s going wrong in your playing. They show you lots of new licks, They promote a self-sufficient approach to learning to make sure you’re well equipped to explore any aspect of playing that interests you. 本书及其附录《创意吉他 2：高级技巧》的目的是帮助任何感觉陷入困境的摇滚吉他手。这两本书解答了我多年来在吉他教学中遇到的所有最常见的问题。它们以通俗易懂的方式解释了理论的核心和关键，让你可以真正用上。他们解释了如何高效练习并诊断出你的演奏中出现的问题。他们向你展示大量新的弹奏技巧，提倡自给自足的学习方法，确保你有足够的能力探索自己感兴趣的任何弹奏方面。
whether it’s in the books or not 是否在册
In short, these two books are quite ambitious, so they can’t even pretend to constitute any kind of allencompassing guitar Bible, but my main goal was to get you thinking about your playing and point your playing in some new directions. 总之，这两本书的目标相当远大，因此它们甚至不能妄称是包罗万象的吉他圣经，但我的主要目标是让你思考自己的演奏，并为你的演奏指明一些新的方向。
I hope I at least achieved that much. Above all, I hope you enjoy working through this book and its companion. Remember, learning about your instrument should never feel like a chore: it’s supposed to be fun and rewarding! 我希望我至少做到了这一点。最重要的是，我希望你能享受阅读本书及其附录的乐趣。请记住，学习乐器永远不应该是一件苦差事：它应该是一件充满乐趣和收获的事情！
See you at the other end… 那头见...
INTRODUCTION 引言
As a guitar teacher, I meet a lot of guitarists who have reached the same roadblock in their playing: they’ve had some playing experience, they know a bit of the traditional rock/blues vocabulary, they have a grasp of the basic techniques…but they’re frustrated. 作为一名吉他教师，我遇到过很多吉他手，他们在演奏中遇到了同样的障碍：他们有一些演奏经验，知道一些传统的摇滚/布鲁斯词汇，掌握了一些基本技巧......但他们很沮丧。
Some might express this frustration as I’m sure there’s other stuff I could be practising; I wish I’d learned properly!’ or, indeed, ‘People say I play pretty well on a good night, but I feel like an impostor, because I don’t really know what l’m doing.’ 有些人可能会把这种挫败感表述为：'我相信我还可以练习其他的东西；我希望我能好好学！'或者，'人们说我在一个好的夜晚演奏得很好，但我觉得自己像个冒牌货，因为我并不真正知道自己在做什么'。
If you’ve ever felt that all you ever practise is the same old stuff, playing it faster and cleaner but ultimately not coming up with anything new or anything you can get really excited about, then you might just like this book. It attempts to show you some new avenues to explore, by explaining some important aspects of theory or technique and looking at how you can incorporate such knowledge into your own playing style. 如果你曾觉得自己练习的都是老一套，弹得越来越快，越来越干净，但最终却没有任何新意，也没有任何能让你真正兴奋的东西，那么你可能会喜欢这本书。本书试图通过解释理论或技巧的一些重要方面，向你展示一些新的探索途径，并探讨如何将这些知识融入自己的演奏风格中。
I’ve tried to arrange this information so that it can be of value to as many players as possible. Theorywise, I’ve explained things from first principles, so even if you have no grounding in theory, you’ll be able to grasp the necessary concepts without undue suffering (although some concentration might be required from time to time!). In general, whenever you think a chapter has taken you out of your depth, it’s probably best to put the book down for a while and spend some time assimilating what you’ve learned so far. This stuff is all meant to be used, so I would recommend incorporating each idea into your playing at your own pace. 我在安排这些信息时，尽量使其对尽可能多的玩家有价值。从理论上讲，我是从第一原理出发来解释问题的，因此即使你没有理论基础，也能掌握必要的概念，而不需要付出不必要的代价（尽管有时可能需要集中精力！）。一般来说，每当你认为某一章的内容超出了你的深度时，最好暂时放下书本，花点时间消化一下目前所学到的知识。这些东西都是用来使用的，所以我建议按照自己的节奏将每个想法融入演奏中。
Conversely, those of you who already have some grounding in music theory could quite happily dip into these pages at random. Bear in mind, however, that some chapters might well be worth reading even if they appear to be covering stuff you’ve already learned. It never hurts to have more than one way of looking at things, and you never know, certain concepts might turn out to be more useful and far-reaching than you thought they were, 反之，那些已经有一定音乐理论基础的人也可以随意翻阅。不过，请记住，有些章节即使看似涵盖了你已经学过的内容，也是值得一读的。多角度看待问题永远不会错，而且你永远不会知道，某些概念可能比你想象的更有用、更深远、
The book is divided into five chapters, each with a different angle: 全书分为五章，每一章都有不同的角度：
In Chapter 1, ‘General Stuff’, I’ve tried to answer all of the FAQs (Frequently Asked Questions) that keep cropping up when I teach people. Some of it might seem a little too philosophical and weird to be of immediate use to you, but trust me, it’s worth wading through, if only because it will raise some interesting questions about how and why you play certain things. There are times when simply thinking about your playing can improve it just as much as any amount of hours spent with a metronome. 在第 1 章 "一般问题 "中，我试图回答在我教人时不断出现的所有 FAQ（常见问题）。其中有些内容可能看起来有点过于哲学和怪异，对你没有直接用处，但相信我，这些内容值得一读，哪怕只是因为它会提出一些关于你如何以及为什么演奏某些东西的有趣问题。有的时候，只要对演奏进行思考，就能提高演奏水平，其效果不亚于对着节拍器练习数小时。
Chapter 2, ‘Technique’, takes an in-depth look at technique, focusing on efficiency of movement and making your playing feel as natural and effortless as possible. 第 2 章 "技巧 "深入探讨了技巧，重点是动作的效率，以及尽可能让演奏感觉自然轻松。
Chapter 3, ‘Theory Without Tears’, tries to simplify music theory, explaining some of the essential jargon, showing you how scales and chords fit 第 3 章 "不流泪的理论 "试图简化音乐理论，解释一些基本术语，告诉你音阶和和弦是如何配合的。
Introduction 导言
together and touching on the much-feared topic of sight-reading. I can’t lie to you - this won’t be a fully comprehensive sight-reading course, but it will explain the basic principles and enable you to understand all of the written music in the book. (The rest, of course, is down to practice!) 在此，我将与大家分享我的新书《视唱练耳》，并触及备受关注的视唱主题。我不能对你撒谎--这不是一个全面的视谱课程，但它会解释基本原理，让你能够理解书中的所有书面乐谱。(当然，剩下的就要靠练习了！）。
Chapter 4, ‘Scales And Chords’, translates music theory onto your fretboard, explaining a lot of the essential jargon and showing you how scales and chords fit together. 第 4 章 "音阶与和弦 "将音乐理论转化到指板上，解释了许多基本术语，并向你展示音阶与和弦是如何结合在一起的。
Chapter 5, ‘On The CD’, lets you put all of the previous ideas into practice, with the help of various 第 5 章 "在 CD 上"，让你把前面的想法付诸实践，并借助各种
backing tracks. For each track, I’ve explained the chord progression, suggested a few appropriate note choices and then basically left you to your own devices, so you can apply what you’ve learned from this book in whatever way you see fit. 伴奏音轨。对于每首曲目，我都解释了和弦的进行，建议了一些适当的音符选择，然后基本上就交给你自己处理了，这样你就可以用你认为合适的方式来应用你从本书中学到的知识。
Whenever you come across an idea, particularly towards the end of the book, you should use it as a starting point and try as many variations as possible. Try things in different keys, use different scales, experiment with different rhythms - in short, do whatever it takes to make the idea as useful as possible in your own playing. 每当你遇到一个想法时，尤其是在本书快结束时，你应该把它作为一个起点，并尝试尽可能多的变化。尝试不同的调式，使用不同的音阶，尝试不同的节奏--总之，尽一切可能让这个想法在你的演奏中发挥作用。
Right then, let’s get stuck in… 好了，让我们开始吧
1 GENERAL STUFF 1 一般事项
Goals 目标
From time to time, I get asked to take guitar workshops. I enjoy doing this immensely, as it means I get to stand up in front of a group of 20 or 30 people, trusty axe in hand, and talk about one of my favourite things: playing guitar. 我时不时会被邀请参加吉他培训班。我非常喜欢这样做，因为这意味着我可以站在二三十人面前，手持我最信任的斧头，讲述我最喜欢的事情之一：弹吉他。
At one such event a few years back, I found myself rambling about the proliferation of transcriptions and backing tracks on the market today. It’s probably fair to say that guitarists have never had it so good - whatever you want to learn, there’s probably a high-quality transcription of it floating around somewhere - but my point was that this might be creating a generation of lazy guitarists. I pointed out the importance of having a good ear - the ability to understand what you hear and replicate it on your instrument, to work out solos from records, to jam with other musicians in real time and so on - and wondered out loud if all of these great teaching products might not be impairing the listening skills of the modern guitarist. I’ve met players who know every note of Steve Vai’s monumental Passion And Warfare album but can’t jam over a 12-bar blues, and I personally find this somewhat disturbing. Are these guys (and yes, this does seem to be a predominantly male phenomenon) actually making music, or are they simply performing the guitar equivalent of typing a dictated letter? 在几年前的一次活动中，我发现自己对当今市场上大量出现的转录和伴奏音轨喋喋不休。或许可以说，吉他手从来没有这么好过--无论你想学什么，都可能有高质量的转录曲目在某处流传--但我的观点是，这可能会造就一代懒惰的吉他手。我指出了拥有一双好耳朵的重要性--能够理解你所听到的并将其复制到你的乐器上，能够根据唱片练习独奏，能够与其他乐手实时即兴演奏等等--并大声问道，所有这些优秀的教学产品是否会损害现代吉他手的聆听技巧。我见过一些吉他手，他们对史蒂夫-韦（Steve Vai）的《激情与战争》（Passion And Warfare）巨作专辑中的每个音符都了如指掌，但却无法即兴演奏 12 小节的蓝调，我个人对此感到有些不安。这些人（是的，这似乎是一种男性占主导地位的现象）是真的在做音乐，还是只是在表演相当于口述信件的吉他演奏？
Anyway, there I was at the guitar workshop, lamenting these symptoms of the modern age, when one of the students put his hand up and commented, ‘I hear what you’re saying, but I don’t think it applies to me.’ 总之，我在吉他培训班上感叹现代人的这些症状时，一个学生举起手说：'我听到你说的话了，但我不认为这适用于我。
I was intrigued. He went on to explain that he was a busy gynaecologist who had no intention of revolutionising rock guitar - indeed, he was so busy that he couldn’t even get to jam with other people on a regular basis. ‘All I want,’ he concluded, ‘is to come home after a long day at work and be able to play “Wonderful Tonight”. I don’t have the time to figure it out for myself, so without those transcriptions I wouldn’t be able to get half as much enjoyment from my hobby,’ 我很感兴趣。他接着解释说，他是一名繁忙的妇科医生，无意对摇滚吉他进行革命性的改革--事实上，他实在是太忙了，忙得甚至不能经常与其他人一起演奏。他总结说："我想要的只是在一天的工作之后回到家里，能够弹奏《美妙今宵》。我没有时间自己琢磨，所以如果没有这些转录，我就无法从我的爱好中获得半点乐趣。
Fair play. I think I was forgetting that not every guitar player has the time or inclination to spend every waking hour studying their instrument, and the above exchange served to remind me that different people play guitar for different reasons. I think it’s all valid, as long as it’s making you happy. 公平竞争。我想我是忘了，并不是每个吉他手都有时间或意愿把每一个醒着的小时都花在学习乐器上，上述交流提醒了我，不同的人出于不同的原因弹吉他。我认为，只要能让你快乐，这都是有道理的。
In terms of how to use this book, I think the moral of the above story is that it’s important to know exactly what it is you’re aiming for so that you can use your time more productively. How are you going to work towards your goals if you don’t know what they are? 关于如何使用这本书，我认为上述故事的寓意是，重要的是要清楚自己的目标是什么，这样才能更有效地利用时间。如果你不知道自己的目标是什么，又如何努力实现自己的目标呢？
If you’re happy to work through the occasional transcription of a song you like and you play mainly for therapeutic reasons, or in order to have a couple of party pieces up your sleeve, you probably don’t need any ‘new directions’, although I dare say you’ll find some aspects of guitar playing covered here enlightening. 如果你乐于偶尔抄录一首你喜欢的歌曲，而且主要是为了治疗，或者是为了准备几首派对曲目，那么你可能不需要任何 "新方向"，尽管我敢说你会发现这里涉及的吉他演奏的某些方面很有启发性。
If you’re a seasoned live player who has learned by ear, you might sound great but not know what you’re doing. Players in this category would probably get a lot from the theory section of this book. 如果你是一位经验丰富的现场演奏者，靠耳朵学习，那么你的声音可能很好听，但却不知道自己在做什么。这类演奏者可能会从本书的理论部分获得很多东西。
If you’re a compulsive shredder (Webster’s 如果你有碎纸强迫症（韦伯斯特的
dictionary defines this as a heavy metal player whose raison d’être is to cram as many notes as possible into each bar in the hope of striking fear into the hearts of his fellow men), you might have encountered a barrier in your quest for greater speeds. If you think you fall into this category, you’ll probably be interested in the section of this book that deals with technique. 根据字典的定义，重金属演奏者的存在理由是在每个小节中塞进尽可能多的音符，希望能让同伴们感到恐惧），你在追求更高的速度时可能会遇到障碍。如果你认为自己属于这一类，那么你可能会对本书中有关技巧的部分感兴趣。
Incidentally, I would never cast aspersions on this Olympian mentality regarding technique. After all, if an obsession with speed motivates someone to practise more, it can’t be all bad! However, you should consider the question ‘How do I know when I’m fast enough?’. I guess that honing your technique for its own sake is as valid a hobby as the next, but I put it to you that there’s no point in being able to play any faster than you can think. If you find you’ve reached that point, you probably need some new ideas! 顺便说一句，我从来不会对奥运选手在技巧方面的这种心态进行诽谤。毕竟，如果对速度的痴迷能促使一个人多加练习，那也不全是坏事！不过，您应该考虑一下 "我如何知道自己的速度够快 "这个问题。我想，磨练技巧本身也是一种业余爱好，但我要告诉您的是，弹得再快也没有意义。如果你发现自己已经到了这一步，你可能需要一些新的想法！
I suspect that music was invented with communal purposes in mind - ie a musician is meant to play with people and to people, communicating with fellow bandmembers and audience alike. I value that aspect of music immensely and think that a valid musical goal is to be a functional part of a gigging band. Think about it - you’re part of a team, you’re entertaining people, there’s beer to be had… If these are your priorities you might well be happy to focus on improving your interaction with the band and the audience, your timekeeping, your ability to groove and so on. Certain areas of this book will really encourage you to focus on these issues, but you’ll have to find them for yourself! 我认为，音乐的发明是为了实现公共目的--即音乐家要与人一起演奏，向人演奏，与乐队成员和观众交流。我非常看重音乐的这一方面，并认为成为演出乐队中的一个功能性组成部分是一个有效的音乐目标。想想看--你是团队的一员，你在为人们提供娱乐，还有啤酒可以喝......如果这些是你的优先考虑事项，你可能会很乐意专注于改善你与乐队和观众的互动、你的计时、你的节奏能力等等。本书的某些部分会鼓励你关注这些问题，但你必须自己去发现！
Another common goal among many guitarists is to idolise a certain player, buy the same equipment, dress the same and generally attempt to ape every nuance of their hero’s playing style. This might raise certain psychological issues - I know one player who sounds more like Eric Clapton than Eric does, and frankly it’s a little bit creepy - but in general there’s no harm in this. If it motivates you to play, why not? 许多吉他手的另一个共同目标是将某位吉他手奉为偶像，购买相同的设备，穿着相同的服饰，并试图模仿偶像演奏风格的每一个细微之处。这可能会引发一些心理问题--我认识一位吉他手，他的声音比埃里克-克莱普顿更像埃里克，老实说，这有点让人毛骨悚然--但总的来说，这并没有什么坏处。如果它能激励你演奏，为什么不呢？
Ultimately, though, I think that the most valid thing a player can do is treat this hero worship as a phase - once you’ve figured out what it is you like about a certain guitarist’s playing style, maybe you should move on and try to find your own sound. Learning from great players is invaluable - Eddie Van Halen’s playing style would have turned out very differently if 不过，我认为一个演奏者能做的最有效的事情就是把这种英雄崇拜当作一个阶段--一旦你发现自己喜欢某个吉他手的演奏风格，也许你就应该继续前进，努力找到属于自己的声音。向伟大的演奏家学习是非常宝贵的--如果不是这样，埃迪-范-海伦（Eddie Van Halen）的演奏风格就会截然不同。
he hadn’t spent his youth working out Clapton licks but if you make it your ultimate goal to sound exactly like someone else, I think that in the long run you’ll stunt your own musical growth. 他年轻时并没有练习过克莱普顿的乐段，但如果你的终极目标是听起来和别人一模一样，我认为从长远来看，你会阻碍自己在音乐上的成长。
Food for thought: wouldn’t it be great to hear someone who could emulate George Benson, Jeff Beck, Shawn Lane and Jerry Donahue all at the same time? What I’m suggesting is of course preposterous, but my point is that you should try to learn from everything you hear rather than develop tunnel vision by focusing too much on one player. In this way, you’ll end up absorbing a range of different influences and combining them in a unique way, and the results are far more likely to sound like you. 思考一下：如果有人能同时模仿乔治-本森（George Benson）、杰夫-贝克（Jeff Beck）、肖恩-莱恩（Shawn Lane）和杰瑞-多纳休（Jerry Donahue），那岂不美哉？我的建议当然是荒谬的，但我的观点是，你应该努力从你听到的每一个人身上学习，而不是过多地关注一个演奏者，从而形成隧道视野。这样，你最终会吸收一系列不同的影响，并以独特的方式将它们结合起来，而结果也更有可能听起来像你自己。
Keeping An Open Mind 保持开放的心态
The sole point of this section is to preach the tenet ‘Don’t shun forms of music through prejudice’. An aversion to heavy metal, for instance, might well prevent someone from discovering two-handed tapping, therefore missing out on a tool that can create not only Van Halen-esque histrionics but also some very distinctive keyboard-like chord voicings. In contrast, a seasoned rock player might be familiar with tapping techniques but have no knowledge of the Eastern pentatonic scales that make Marty Friedman’s style so distinctive. And if you listen to Michael Lee Firkins’ eponymous debut album, you’ll hear a predominantly rock-based player using his whammy bar to create country-tinged slide-guitar effects rather than the ubiquitous divebombs you’d expect to hear from a player in his genre. 本节的唯一目的是宣扬 "不要因偏见而回避音乐形式 "的信条。例如，对重金属音乐的反感很可能会阻碍某人发现双手拍击法，从而错过了一种不仅能创造出范-海伦式的华丽音色，还能创造出一些非常独特的键盘式和弦声部的工具。相反，一个经验丰富的摇滚乐手可能熟悉敲击技巧，但却不了解东方五声音阶，而这正是马蒂-弗里德曼风格的独特之处。如果你聆听迈克尔-李-菲尔金斯（Michael Lee Firkins）的首张同名专辑，你会听到一位以摇滚乐为主的演奏家用他的重击棒创造出乡村风格的滑音吉他效果，而不是你期望从他这种类型的演奏家那里听到的无处不在的跳弹。
I love seeing the expression on a blinkered metal player’s face the first time they hear a good recording of Paganini’s 24 Caprices for violin, or indeed Friday Night In San Francisco, an acoustic tour de force featuring Al DiMeola, John McLaughlin and Paco de Lucia. Whatever your chosen style, you’ll be pleasantly terrified by Mark O’Connor’s album The New Nashville Cats. (If Mark’s incredible fiddle playing doesn’t do it for you, you’ll at least have to admit that his pedalsteel player knows some licks that would sound great on guitar…if you could only figure out how to do them!) Meanwhile, if you’re more of an acoustic player, you should similarly be aware of the percussive 我喜欢看到一个眼花缭乱的金属乐手第一次听到帕格尼尼的 24 首小提琴随想曲时的表情，或者是《旧金山的星期五之夜》（Friday Night In San Francisco）这首由艾尔-迪米奥拉（Al DiMeola）、约翰-麦克劳克林（John McLaughlin）和帕科-德-露西亚（Paco de Lucia）共同演奏的原声巡演。无论您选择何种风格，马克-奥康纳（Mark O'Connor）的专辑《新纳什维尔猫》（The New Nashville Cats）都会让您惊喜万分。(如果马克令人难以置信的小提琴演奏不能让你满意，你至少得承认，他的踏板钢琴演奏者知道一些在吉他上听起来很棒的乐段......只要你能想出如何演奏它们！）。与此同时，如果您更喜欢原声乐器演奏，您同样应该了解打击乐器的
two-handed styles developed by the late, great Michael Hedges. 已故伟大的迈克尔-赫奇斯（Michael Hedges）开发的双手风格。
In short, listen voraciously to as much varied stuff as possible. The Dalai Lama’s ‘Instructions For Life In The New Millennium’ included the advice ‘Once a year, go somewhere you’ve never been before’, and in the same spirit, it’s good to remain open to music that has nothing to do with guitar playing, and indeed to look into forms of music about which you know absolutely nothing. (Have you ever attended a live performance by a really good orchestra?) 总之，要尽可能多地聆听各种音乐。达赖喇嘛的《新千年生活指南》中有这样一条建议："每年去一次你从未去过的地方"，本着同样的精神，对与吉他演奏无关的音乐保持开放的态度，甚至对你完全不了解的音乐形式进行研究，也是一件好事。(你参加过真正优秀的交响乐团的现场表演吗？）
One final example: you should definitely get hold of the album Jeff Beck’s Guitar Shop and cue up track 5. ‘Where Were You?’. On this track, Jeff manipulates harmonics with his whammy bar to create some of the most haunting phrases you’ll ever hear, and he swears that his inspiration was an obscure album of Bulgarian choral music. 最后一个例子：你一定要买到杰夫-贝克的吉他店这张专辑，然后打开第 5 轨。你在哪里？在这首曲子中，杰夫用他的和声棒创造出了一些你听过的最缠绵的乐句，他发誓说他的灵感来自一张保加利亚合唱音乐的不知名专辑。
Transcribing 誊写
I think it’s very helpful to keep a notebook of what you’re working on so that you can capture chord progressions and licks as they occur to you. Even if you don’t feel comfortable with music notation, you can still document your ideas in the form of tablature (the guitar-specific system of notation using six horizontal lines to represent the strings of your guitar as you look down on them from a playing position, with a succession of numbers indicating the appropriate frets). Accomplished sight-readers tend to sneer at tablature as ‘notation for idiots’, but it’s worth remembering that all of the early composers for guitar and lute used a form of tab as their standard method of notation, so I think it has a certain validity. It also has one advantage over conventional notation in that it shows you exactly where to play everything. 我认为，将你正在练习的内容记录在笔记本上是非常有帮助的，这样你就能在和弦行进和乐段出现时捕捉到它们。即使你对记谱法感到不习惯，也可以用制表法（吉他专用的记谱法，用六条水平线表示吉他的琴弦，就像你从演奏位置俯视琴弦一样，并用一连串的数字表示相应的五线谱）来记录你的想法。熟练的视奏者往往会讥笑制表法是 "白痴的记谱法"，但值得记住的是，所有早期的吉他和琵琶作曲家都使用制表法作为他们的标准记谱法，因此我认为它有一定的合理性。与传统的记谱法相比，它还有一个优点，那就是它能准确地告诉你所有的演奏位置。
This idea becomes increasingly important when you start pilfering licks from recordings by other players. It’s worth honing your transcribing skills so that you can keep a permanent record of everything you learn - after all, there’s only so much information your memory can retain. I would suggest documenting individual licks rather than trawling through a whole solo just for the sake of two bars you particularly like, and the most practical approach to this is to note down 当你开始从其他演奏者的录音中剽窃乐段时，这种想法就变得越来越重要。值得磨练的是你的转录技巧，这样你就能永久记录你所学到的一切--毕竟，你的记忆只能保留这么多信息。我建议记录单个乐段，而不是为了两小节你特别喜欢的乐段而翻遍整首独奏。
the context of each idea (ie which chord it works over) and to come up with variations of your own. Jazz players are particularly fond of the idea of building up a "lick library’ - they’ll categorise each idea in terms of the scale it uses and the chords over which it would fit. 每个想法的背景（即在哪个和弦上演奏），并想出自己的变奏。爵士乐手尤其喜欢建立一个 "乐句库"--他们会根据每个乐句所使用的音阶和和弦对其进行分类。
At the beginning of this chapter, I mentioned the concept of having a good ear and of being able to reproduce what you hear, and this is obviously of paramount importance when you’re transcribing. Developing a good ear hinges on your ability to recognise intervals (the distances between notes, in terms of tones and semitones) and rhythmic patterns. You’ll find plenty of advice on this later on in the book, so I don’t propose to go into too much detail here, but I think that a few general pointers might be helpful. 在本章开头，我提到了 "好耳朵 "和 "重现所听到的声音 "的概念。培养一双好耳朵取决于你识别音程（音符之间的距离，以音和半音表示）和节奏型的能力。在本书的后面部分，你会找到很多这方面的建议，所以我不打算在这里说得太详细，但我认为一些一般性的提示可能会有所帮助。
It’s best to start with the overall structure of a piece, mapping out the chord progressions and figuring out how long each chord lasts, in terms of beats and bars. If there’s a particularly difficult section, you would start by notating the general rhythmic outline and then marking the most prominent notes (ie those that strike you as being particularly loud or those that seem particularly high or low in pitch) and finally filling in the gaps. If you think that all of the notes in a lick come from the same scale, you should make a note of it. 最好从乐曲的整体结构入手，绘制和弦行进图，以节拍和小节为单位计算出每个和弦持续的时间。如果有一段特别难，你可以先记下总的节奏轮廓，然后标出最突出的音符（即那些让你觉得特别响亮或音调特别高或特别低的音符），最后填补空白。如果你认为某个乐段中的所有音符都来自同一个音阶，你就应该记下来。
The other skill to hone is your ability to hit the Pause button on your CD player. Every time you listen to a passage, you should be focusing on a particular note or group of notes; once you’ve heard the bit you’re interested in, you should immediately pause the music - anything you hear after that will only distract you, blurring your mental snapshot of the notes you need to know. In theory, you should be able to work out any lick using a one-note-at-a-time approach - as your ear develops, you’ll be able to assimilate the information in larger chunks. 另一项需要磨练的技能是按下 CD 播放器上的 "暂停 "键的能力。每次听一个段落时，你都应该把注意力集中在一个或一组特定的音符上；一旦听到你感兴趣的部分，你就应该立即暂停音乐--之后听到的任何东西都只会分散你的注意力，模糊你脑海中需要掌握的音符。从理论上讲，你应该能够用一次一个音符的方法弹奏出任何乐曲--随着你耳朵的发育，你将能够吸收更多的信息。
Slowing things down can be a great help, and there are now ‘phrase samplers’ on the market designed with this in mind (Akai make a popular one) which slow down the music by time-stretching it so that the pitch remains constant, regardless of the speed. If you have a computer, you might enjoy using an inexpensive and aptly named program called Amazing Slow-Downer, which does the same thing as a phrase sampler and also features a Karaoke function that uses phase 现在市场上有一些 "乐句采样器"（阿卡伊公司生产的一种很受欢迎的采样器）就是专门针对这一点而设计的，它可以通过时间拉伸来减慢音乐的速度，从而使音调保持不变，与速度无关。如果您有一台电脑，您可能会喜欢使用一款名为 "Amazing Slow-Downer "的廉价程序。
cancellation to remove the signal from a selected part of the stereo image. In English, this means that you can often make the guitar more audible by reducing the volume of certain non-guitar elements in the mix. The easier things are to hear, the better, and even if you’re using your humble hi-fi, you can still try to optimise the signals you want to hear by experimenting with the pan and EQ controls. 取消，以消除立体声图像中选定部分的信号。在英语中，这意味着你通常可以通过降低混音中某些非吉他元素的音量，让吉他的声音更清晰可闻。声音越容易听到越好，即使您使用的是简陋的高保真音响，您也可以尝试通过平移和均衡控制来优化您想听到的信号。
Having said that slowing stuff down is helpful, I should add that it’s not the solution to all of your transcribing problems. When you’re trying to figure out where a lick is played on the fretboard, it’s important to try the notes in various positions on the neck in order to hear which strings best reproduce the tone of the original, and this is far easier to do when you’re listening at the right speed. 虽然说放慢速度很有帮助，但我要补充的是，这并不能解决所有的转写问题。当你试图找出一个小技巧在指板上的弹奏位置时，重要的是要在琴颈的不同位置上尝试音符，以听出哪根弦最能再现原作的音色，而这在以正确的速度聆听时要容易得多。
By way of a simple example, try playing the open top E string, then the fifth fret on the BB string, the ninth on the G, the 14th on the DD, the 19th on the AA and finally the 24 th - if you have it! - on the low E. You’ll hear the same note every time, but the tone gets progressively woollier as you move up the neck. With a little practice, you’ll be able to tell roughly which string is being used for any given nute. Failing that, you could try the lick in several positions and determine which feels easiest - surprisingly often, this turns out to be the correct one. 举个简单的例子，试着弹奏开顶的 E 弦，然后是 BB 弦上的五音格，G 弦上的九音格， DD 弦上的十四音格， AA 弦上的十九音格，最后是低 E 弦上的二十四音格（如果有的话）！- 你每次都能听到相同的音调，但随着琴颈的上移，音调会逐渐变低。只要稍加练习，您就能大致分辨出哪个音是用哪根弦发出的。如果做不到这一点，您可以在多个位置上尝试弹奏，然后确定哪个位置最容易弹奏--令人惊讶的是，这往往就是正确的位置。
As a final note, l’d like to try to sell you the idea of using a MiniDisc player when you’re transcribing. When you’re rewinding a tape or cueing up a CD over and over again, you actually spend most of your time listening to stuff that you don’t need to hear. While MiniDisc recordings undoubtedly sound a little more plastic than CDs, they allow you to put in lots of track markers. This means that you can cue back to the right part of a piece of music with one push of a button, saving you lots of time and allowing you to get more done before you reach the limits of your attention span. 最后，我想向你推销在转录时使用迷你光碟播放器的想法。当你一遍遍地倒带或提示 CD 时，实际上你的大部分时间都在听那些你不需要听的东西。虽然迷你光盘录音听起来无疑比 CD 更有塑料感，但它们允许你放入大量的音轨标记。这意味着你只需按下一个按钮，就能返回到音乐的正确部分，从而节省大量时间，让你在达到注意力极限之前完成更多工作。
Recording Yourself Playing 录制自己的演奏
I always try to emphasise the benefits of incorporating some kind of recording device into your practice routine. If you record your playing, you can listen back and make an honest, objective appraisal of your strong and weak points. When you’re actually playing, you 我总是试图强调在日常练习中加入某种录音设备的好处。如果把你的演奏录下来，你就可以回听，并对自己的强项和弱项做出诚实、客观的评价。在实际演奏时，你
don’t always interpret what’s coming out of your amp in the same way that your audience might, because you have to concentrate on the mechanics of your playing as well as listen to it. 因为你在聆听的同时，还必须专注于演奏的技巧。
Recording yourself also provides a good means of monitoring your long-term progress. If you’re frustrated by, say, your picking hand’s apparent lack of improvement, it can be quite enlightening to listen back to what it sounded like six months ago, or even a week ago. In addition, committing your playing to tape (or whatever your chosen medium might be) can help you to become less self-conscious, which is surely a good thing - as we all know, people make more mistakes when they’re nervous! 给自己录音也是监测自己长期进步的好方法。比方说，如果你对自己的弹琴手明显没有进步感到沮丧，那么回听一下六个月前，甚至一周前的弹琴声音，会对你很有启发。此外，将你的演奏录制成磁带（或任何你选择的媒介）可以帮助你减少自我意识，这肯定是件好事--我们都知道，人在紧张时会犯更多的错误！
The other great thing about having a Record button within your reach is that you can make your own backing tracks at a moment’s notice. If you’re trying to familiarise yourself with the sound of a new scale, you could record a couple of minutes of a rhythm track using an appropriate chord progression (more on this later) and try out the notes over that backing track. You’ll learn a lot more about the inherent sound of a scale if you hear it in context. 录音键触手可及的另一个好处是，你可以随时制作自己的伴奏音轨。如果你想熟悉一个新音阶的音色，你可以用合适的和弦进行录制几分钟的节奏音轨（稍后详述），然后在伴奏音轨上尝试音符。在语境中聆听音阶，你会对音阶的内在音色有更多的了解。
Your DIY backing track needn’t be anything fancy - a mono tape recorder will do the job more than adequately - as you’ll cease to care about the production values once you start playing over it. A hissy recording of yourself strumming an E chord while your washing machine conducts a vigorous spin cycle in the background might not be the most inspirational of accompaniments, but at least it’s something to play along to, and it will make your practice routine feel a lot more like ‘real’ playing. Most importantly, it also helps to develop your understanding of how the various notes of a scale sound against appropriate chords. 你的 DIY 伴奏不需要多么华丽，一台单声道磁带录音机就足以胜任，因为一旦你开始弹奏，你就不会再在乎它的制作价值了。在你的洗衣机大力脱水的背景下，录下自己弹奏 E 和弦的嘶嘶声，这可能不是最鼓舞人心的伴奏，但至少它能让你跟着弹奏，而且会让你的日常练习感觉更像 "真正 "的演奏。最重要的是，它还能帮助你理解音阶中的各个音符在适当的和弦中是如何发音的。
If you find this kind of idea intriguing, you might want to try working with a phrase sampler like the Lexicon JamMan, the Boss Loop Station or the Boomerang. Gadgets like these allow you to loop a chord progression and then record additional layers on the top, which is very handy if you’re trying to write a song or come up with a harmony part for a solo. (Incidentally, I ended up buying a Boomerang for exactly this kind of thing. Initially, I found it hard to justify the expense, until I realised that you can make the thing 如果你觉得这种想法很有趣，不妨试试使用 Lexicon JamMan、Boss Loop Station 或 Boomerang 等乐句采样器。这些小工具可以让你循环播放和弦进行，然后在上面录制额外的层次，如果你想写一首歌或为独奏想出和声部分，这就非常方便了。(顺便说一句，我最后买 Boomerang 正是为了做这种事。起初，我觉得很难证明这笔开销的合理性，直到我意识到你可以让它
loop the chord progressions of various jazz standards while you solo over the top. A few Pizza Express-type gigs later, the thing had paid for itself, and so far it’s proved to be beer-proof and generally indestructible!) If you’re happy with half a minute’s worth of memory, you could check out something like the Line6 Delay Modeler, which weighs in at half the price of a Boomerang and also features lots of delay and echo effects. And even the Hold function found on many older delay pedals will give you a second and a half or so of sampling time - enough to capture the sound of a chord so that you can jam over the top of it. 当你在上面独奏时，可以循环播放各种爵士乐标准的和弦行进。几次披萨快餐式的演出之后，这东西就已经物有所值了，而且到目前为止，它还被证明是防啤酒和坚不可摧的！)如果你对半分钟的内存感到满意，可以考虑 Line6 Delay Modeler 这样的产品，它的价格只有 Boomerang 的一半，还具有大量延迟和回声效果。即使是许多老式延迟踏板上的保持功能，也能为你提供一秒半左右的采样时间--足以捕捉一个和弦的声音，让你可以在上面进行即兴演奏。
The logical extension of this is to get some sort of multitrack recorder and focus on your ability to write tunes. This forces you to view your guitar playing as part of the music as a whole, which is a healthy 这样做的合理延伸是获得某种多轨录音机，并专注于你创作曲调的能力。这将迫使你把吉他演奏视为音乐整体的一部分，这是一种健康的做法。
mindset to have. Also, the areas of your technique that you feel the need to work on will be dictated by the demands of each piece of music you write, so your playing will evolve in ways which complement your musical ideas rather than float off into bizarre realms of technique and theory that you might never need. 的心态。此外，你觉得有必要练习的技巧领域将由你创作的每首乐曲的要求决定，因此你的演奏将以补充你的音乐理念的方式发展，而不是飘向你可能永远用不上的奇异的技巧和理论领域。
Top tip: FINISH THINGS! Successfully writing one whole tune will be more beneficial for your musicianship than writing 20 small chord progressions and never bothering to link them together. One of the key factors in a really effective bit of music is its structure - the way in which different sections fit together and the calculated use of devices like repetition, repetition, repetition and the surprise factor! Once you start thinking about these issues, you’ll find yourself listening to other people’s music with a slightly different agenda. 小贴士：完成曲子！成功谱写一首完整的曲子，比谱写 20 首小和弦进行曲却从不费心将它们连接在一起，更有利于提高你的音乐素养。一首真正有效的音乐作品的关键因素之一在于其结构--不同部分的组合方式，以及对重复、重复、重复和惊喜因素等手段的精心运用！一旦你开始思考这些问题，你就会发现自己在聆听别人的音乐时会有些许不同。
2 TECHNIQUE 2 技术
Physical Considerations 物理方面的考虑
Some amazing things have been accomplished by guitarists suffering from physical setbacks. For instance, consider Tony lommi, the man who wrote all of those demonic-sounding Black Sabbath riffs. The man lost his fretting-hand fingertips in an industrial accident, which would have made many guitarists seriously question the future of their playing careers. Tony, however, decided to make himself some prosthetic leather fingertips, switched to a lighter string gauge and carried on making great music. 身体遭受挫折的吉他手完成了一些令人惊叹的成就。举例来说，托尼-洛米（Tony lommi）就是那个创作了所有听起来像恶魔一样的黑色安息日（Black Sabbath）旋律的人。他在一次工业事故中失去了指针手的指尖，这让许多吉他手对自己的演奏生涯前景产生了严重的怀疑。然而，托尼决定给自己做一些人造皮革指尖，改用较轻的琴弦规格，继续创作伟大的音乐。
Or take Les Paul, that Leonardo da Vinci of the guitar community who pretty much invented multitrack recording and the solid-body electric guitar, not to mention conquering the pop charts of his day and designing the classic Gibson guitar that bears his name. Les’s guitar playing has often been overshadowed by his other contributions in the field of music, but if you check out his instrumental recordings from the 1950s, you’ll hear a guitarist with great technique, an impish sense of humour and some ideas that were decades ahead of their time. The story goes that, when Les once broke his right arm in a car accident, medical experts told him that his playing days were over. Undeterred, he insisted on having his arm set at a right angle so that the plaster cast would permanently hold his picking hand in a playing position, and he carried on quite happily! 莱斯-保罗（Les Paul）是吉他界的达芬奇，他几乎是多轨录音和实心电吉他的发明者，更不用说他还征服了当时的流行音乐排行榜，并设计了以他名字命名的经典吉布森吉他。莱斯的吉他演奏常常被他在音乐领域的其他贡献所掩盖，但如果你看看他在 20 世纪 50 年代录制的器乐唱片，你就会发现他是一位技术精湛、幽默风趣的吉他手，而且他的一些想法领先于那个时代数十年。据说，有一次莱斯因车祸摔断了右臂，医学专家告诉他，他的演奏生涯到此结束。但他并不气馁，坚持将手臂打成直角，这样石膏就能将他弹琴的手永远固定在弹琴的位置上，他就这样快乐地继续弹琴！
Then, of course, there’s the case of Django Reinhardt, who, along with Stephane Grappelli, was one of the leading exponents of the gypsy jazz style and whose fiery acoustic work continues to inspire 当然，还有姜戈-莱恩哈特，他与斯蒂芬-格拉佩利（Stephane Grappelli）是吉普赛爵士乐风格的主要代表人物之一，其火热的原声音乐作品一直激励着人们
legions of imitators to this day. Django was caught in a caravan fire that left two of his fretting-hand fingers withered and virtually unusable, except to form a few chord shapes, and yet if you listen to any of his recordings he sounds more dexterous than most guitarists with their full quota of digits intact. 至今仍有大批模仿者。姜戈曾遭遇一场大火，导致他两根指法手的手指枯萎，除了能弹出几个和弦外，几乎无法使用，但如果你听他的任何录音，都会觉得他比大多数手指完好的吉他手还要灵巧。
The point is that all sorts of things are possible if you’re committed enough to your music. However, I should add that the above-mentioned players were exceptional. They all had the imagination and vision to come up with something unique in their musical output, and they all felt compelled to carry on sharing these new sounds with the rest of the world, regardless of the obstacles that they encountered. People like that are a rare breed, and indeed most of us find that our playing can be severely hampered by injuries far more trivial than the unpleasant ones described above. In other words, playing is a more enjoyable experience if you can just take care of yourself. What follows is a selection of basic selfmaintenance advice. 关键在于，只要你对音乐足够执着，一切皆有可能。不过，我要补充的是，上述演奏家都是出类拔萃的。他们都拥有丰富的想象力和远见卓识，在自己的音乐作品中创造出了独一无二的东西，而且他们都觉得无论遇到什么困难，都必须继续与世人分享这些新的声音。这样的人很少见，事实上，我们中的大多数人都会发现，我们的演奏可能会受到比上述令人不快的伤害更微不足道的严重阻碍。换句话说，如果你能照顾好自己，演奏会是一种更愉快的体验。以下是一些基本的自我保养建议。
Fingertip Injuries 指尖受伤
The most familiar form of pain to most guitarists is surely Sore Fingertip Syndrome. This rather spurioussounding medical condition (and yes, I did invent it myself) is the result of too much practice, causing your fingertips to feel so tender that it hurts just to touch a string, let alone perform a four-fret bend. 大多数吉他手最熟悉的疼痛形式肯定是指尖酸痛综合症。这种听起来颇为夸张的病症（是的，这是我自己发明的）是过度练习的结果，会让你的指尖感到非常柔软，以至于触碰琴弦都会感到疼痛，更不用说演奏四音弯了。
Bear in mind that an experienced guitarist has spent years building up the calluses (areas of abnormally hard skin) on his fingertips. If you subject your own 要知道，经验丰富的吉他手多年来一直在积累指尖上的老茧（异常坚硬的皮肤区域）。如果您自己的
fingers to the regimen of slight but constant abuse that is guitar playing, they will normally respond by toughening up, becoming a little bit more leathery, more impervious to pan and texturally more like the stuff you’d normally expect to find on the soles of your feet. However, if you make excessive demands of them, they can’t always keep up, and the result is sore, shiny red fingertips with the outer layers of skin missing and maybe even a blister or two thrown in for good measure. This can put you out of commission for quite a while and is obviously worth avoiding. Yes, there are rock martyrs out there like Ted Nugent, who claims to have spent every night of his teenage years practising until his fingers bled, and it’s a moving story. but really, bleeding fingers are not good things. Blisters are not good things - they cause you unnecessary pain, they make you sound worse and nobody’s going to feel sorry for you. If you feel any injuries of this nature coming on, you should stop playing for a day or so to give your digits the recovery time they need. If you push things too far, it could take weeks to get yourself back in working order, by which time you’ll have missed enough playing time to cancel out the benefits of that initial, fateful practice session. 在吉他演奏过程中，手指会受到轻微但持续的虐待，通常情况下，手指会变得更加坚韧，变得更像皮革，更耐磨，质地也更像脚底板上的材料。然而，如果你对它们的要求过高，它们就会跟不上，结果就是指尖酸痛、发红，外层皮肤脱落，甚至还会起一两个水泡。这可能会让你在相当长的一段时间内无法工作，显然值得避免。是的，有一些摇滚殉道者，比如泰德-纽金特（Ted Nugent），他声称自己在青少年时期的每个夜晚都在练习，直到手指流血为止，这是一个感人的故事。水泡也不是什么好东西--它会给你带来不必要的痛苦，让你的声音变得更难听，而且没有人会为你感到难过。如果你感觉到有任何类似的伤害，你应该停止演奏一天左右，给你的手指恢复所需的时间。如果你操之过急，可能需要几周的时间才能恢复正常，到那时，你已经错过了足够多的演奏时间，抵消了最初那次致命练习的好处。
The conventional way of protecting your fingertips, by the way, is by dipping them in surgical spirit, which should toughen them up quicker than the old-fashioned just-keep-playing approach. 顺便说一下，保护指尖的传统方法是将指尖浸泡在手术酒精中，这应该比老式的 "继续玩 "方法更快地使指尖变硬。
Following on from this theme of ‘prevention is better than cure’, l’d like to mention a couple of other things pertinent to the issue of callus maintenance. Firstly, it’s a bad idea to pick up a guitar immediately after your hands have been in water. After a shower or a hearty bout of washing up, your calluses are at their softest, and five minutes of normal playing can tear them to ribbons. When they dry out, you’ll find that flakes of skin are dangling from your fingers. Sadly, those flakes of skin used to be your calluses. Not good. 紧接着 "预防胜于治疗 "的主题，我还想提几件与老茧保养问题相关的事情。首先，双手沾水后立即拿起吉他是个坏主意。淋浴或洗漱后，老茧处于最柔软的状态，五分钟的正常弹奏就能将它们撕成碎片。当它们变干时，你会发现皮屑从手指上垂落下来。不幸的是，这些皮屑曾经是你的老茧。这样可不好。
Secondly, be careful if you’re thinking of raising your action or increasing your string gauge. There are some very good reasons why you’d want to do this, as you’ll see in the next section, but it does increase the amount of wear and tear suffered by your fingertips and means that they have to toughen up to a new level 其次，如果您想提高弹奏力度或增加弦距，一定要慎重。正如您在下一节中看到的那样，您这样做有一些很好的理由，但这确实会增加指尖的磨损，意味着指尖必须变得更加坚韧，达到一个新的水平。
of resilience. Remember, slowly does it - even if you’ve been playing for years, jumping up from .009gauge strings to a set of .013 s can play havoc with your hands. 的弹性。记住，要慢慢来--即使您已经弹奏多年，从 0.009 号琴弦跳到 0.013 号琴弦也会对您的双手造成伤害。
Thirdly, it helps to change your strings from time to time and also to wipe them clean after playing. Old strings get rusty and abrasive, making sliding up and down them a more painful experience than performing the same movements on a new set. 第三，时常更换琴弦并在弹奏后将其擦拭干净是有帮助的。旧琴弦会生锈和磨损，与在新琴弦上做同样的动作相比，在旧琴弦上上下滑动会更加痛苦。
Fourthly, once your fingers have developed the calluses they need to cope with your playing style, your job is to keep them there, Playing regularly is a obviously a good plan, but l admit that there are always going to be times when this isn’t possible - anything from the pleasant prospect of a holiday to the decidedly less pleasant prospect of an increased workload can interfere with your best-laid plans. If you find months cropping up in your calendar in which you know you won’t get as much time to practise as you usually do, you might want to invest in a cheap acoustic. The cheaper and more unplayable it is, the better, as playing a real dog of an instrument for two minutes can keep your fingertips in shape as efficiently as playing your favourite shred machine for an hour. (Like 98 per cent of my statistics, that one was clearly made up, but you get my drift.) 第四，一旦你的手指长出了适应演奏风格所需的茧子，你的任务就是让它们一直保持下去。定期演奏显然是一个好计划，但我承认，总有一些时候是不可能的--从令人愉快的假期前景到明显不那么令人愉快的工作量增加的前景，任何事情都可能干扰你的最佳计划。如果您发现在您的日程表中出现了几个月的时间，而您知道在这几个月中您不会像平时那样有那么多时间练习，那么您可能需要投资购买一台廉价的音响。越便宜、越难弹越好，因为弹两分钟真正的狗乐器能让你的指尖保持形状，就像弹一个小时你最喜欢的碎纸机一样有效。(和我 98% 的统计数据一样，这显然是编造的，但你懂我的意思）。
Finally, if you’re in an Indian restaurant and the waiter brings over your order on one of those sizzling metal skillets that come on wooden bases, you’d better believe him when he warns you not to touch it. I’ve known a player to have such good calluses that he unconsciously picked up one of those things with his fingers, quite happily poured some food onto his plate and felt no pain until the moment he put the container back onto the table and attempted to remove his hand from it. As you’ve probably guessed, his calluses had stuck to the hot metal (you can wince now, if you like) and it took him a long time to grow them back. 最后，如果你在一家印度餐厅就餐，服务员把你点的菜放在那种放在木制底座上烤得嗞嗞作响的金属平底锅上，你最好相信他警告你不要碰它的话。我认识一个球员，他的老茧非常厚，手指无意识地拿起一个这样的东西，非常高兴地把一些食物倒进盘子里，直到他把容器放回桌子上并试图把手从上面拿开的那一刻，他都没有感觉到疼痛。你可能已经猜到了，他的老茧已经粘在了滚烫的金属上（如果你愿意，现在可以畏缩一下了），他花了很长时间才把老茧长回来。
If you’re playing guitar for a living, slightly different rules might apply. Your duty as a professional musician is to get the show done, no matter what. After all, people have paid hard-earned shekels to come and see you, and whatever problems you might be experiencing, your audience doesn’t need to know about them. This philosophy explains such horrific- 如果你以弹吉他为生，规则可能略有不同。作为一名专业音乐家，你的职责是无论如何都要完成演出。毕竟，观众是花了血汗钱来看你演出的，无论你遇到什么问题，观众都不需要知道。这种理念解释了为什么会出现如此可怕的
sounding tales as Buddy Guy sticking pins in his fingertips to accelerate the regeneration of hard callus material (I’m not sure how good an idea this is, to be honest, but it works for Buddy) or Stevie Ray Vaughan’s infamous DIY skin graft. 巴迪-盖伊（Buddy Guy）在指尖上插针，以加速硬茧材料的再生（说实话，我不知道这是个多好的主意，但对巴迪很有效），或者史蒂夫-雷-沃恩（Stevie Ray Vaughan）臭名昭著的 DIY 植皮。
In case you haven’t heard this one before, here’s a quick bit of background. Stevie’s top E string was normally a 013, and it’s been suggested that he sometimes went as heavy as an . 018 (although admittedly this would have been tuned a little lower than concert pitch). Being a Texan blues kind of guy. Stevie used a lot of wide bends in his playing style, and you can imagine how his fingertips reacted to this insensitive treatment: occasionally, they simply couldn’t cope. Stevie’s solution was to stick his lefthand fingertips onto his right forearm with Superglue, wait for it to dry and then rip! I guess the idea was to borrow some epidermis from a part of his body that didn’t need it so much and transfer it to his fingertips. which needed all the skin they could get. (Incidentally, I believe that Superglue was invented during one of the World Wars as a quick way of sticking damaged soldiers back together in situations where there was no access to proper surgical knowhow or materials. Stevie’s use of the stuff doesn’t sound half as grotesque when you look at it from that perspective. Still, it’s a little extreme for most people.) 如果您以前没有听过这首歌，这里有一个简单的背景介绍。Stevie 的最高 E 弦通常是 013 号，有人说他有时会把弦调到 018 号（虽然这应该比音乐会上的音高要低一些）。作为一个德克萨斯蓝调音乐人。你可以想象他的指尖对这种不敏感处理的反应：偶尔，它们根本无法承受。史蒂夫的解决办法是用强力胶将左手指尖粘在右手前臂上，等干了再撕！我猜他的想法是从他身体上不太需要表皮的部位借来一些表皮，然后转移到他的指尖上。(顺便提一下，我相信超级胶水是在某次世界大战期间发明的，在没有适当的外科手术知识或材料的情况下，它是一种将受损士兵快速粘合在一起的方法。从这个角度来看，斯蒂文使用这种东西听起来就没有那么怪异了。不过，对大多数人来说，这还是有点极端了）。
Moving onto a different example, anyone who remembers the music shops of the 1980s will recall that most bass-playing patrons would make an instant beeline for any bass with no headstock, pick the thing up, adjust the strap so that it resided just below chinlevel and then commence furiously slapping it with their thumb. This was almost entirely due to the inspirational work of the bass-playing frontman of Level 42, Mark King, who took slap-bass playing to new heights of popularity and technical excellence. (Check out the live album A Physical Presence if you don’t believe me.) Constantly pummelling the low E string on a bass with the side of your thumb is about as good for your skin as playing violent blues on a guitar strung with .013 s , and Mr King found that the callus on his thumb was prone to cracking open from time to time. His solution was to wrap electrical tape around the area in question. After this, not only did his thumb stop 换个例子，任何还记得 20 世纪 80 年代音乐商店的人都会记得，大多数低音提琴演奏者都会立即冲向任何没有琴头的低音提琴，拿起琴弦，调整琴带，使其刚好位于下巴水平线以下，然后开始用拇指疯狂地拍打它。这几乎完全归功于 42 级乐队贝斯手主唱马克-金（Mark King）的启蒙工作，他将巴掌贝斯演奏的受欢迎程度和技术水平提升到了新的高度。(如果你不相信，可以看看他的现场专辑《A Physical Presence》）用拇指的一侧不断敲击贝司的低音 E 弦，对皮肤的好处不亚于用 0.013 s 弦的吉他演奏暴力蓝调，而且金先生发现自己拇指上的老茧时不时就会裂开。他的解决方法是用电工胶带缠绕有关部位。此后，他的拇指不仅不再
hurting but he actually found that he preferred the sound - the tape added a little click to the start of each note, giving his tone a percussive quality that nicely complemented his slap-intensive playing style. Now, there’s a happy ending! 但实际上，他发现自己更喜欢这种音色--磁带在每个音符的开头增加了一点咔嗒声，使他的音色具有打击感，很好地补充了他的拍击密集型演奏风格。现在，有了一个圆满的结局！
All of the above applies to minor fingertip injuries which will generally heal themselves if you just pamper them a little bit. However, there’s another kind of problem that you might encounter that’s far more serious and harder to remedy. I’m referring to tendon troubles. 以上所述都适用于轻微的指尖损伤，只要稍加呵护，一般都会自愈。然而，你可能会遇到另一种问题，它要严重得多，也更难补救。我指的是肌腱问题。
Warming Up 热身
From time to time, a student will approach me with an anxious expression and inform me. ‘I’ve decided to double the length of my practice routine. I’ve been getting some great results, but for the last week or so, I’ve felt some strange shooting pains in my forearm and wrist. Is this normal? Should I worry?’ 不时会有学生带着焦虑的表情找到我，告诉我：'我决定把日常练习的时间加长一倍。我决定把我的练习时间加倍。我已经取得了一些很好的效果，但最近一周左右，我感到前臂和手腕有些奇怪的射痛。这正常吗？我应该担心吗？
In short, yes, you should worry. If you work your playing muscles and tendons too hard, you could be inviting tendonitis or carpal tunnel syndrome, a horrible condition in which your median nerve (the one responsible for the way in which your hand feels sensation and moves) gets compressed and can’t function properly. Problems like this won’t just go away, so if you suspect any tendon crises in the making, however slight or irregular the symptoms, you should seek medical advice immediately and go easy on the playing until you’ve heard an expert’s opinion on what the trouble might be. If you’re a natural hypochondriac, bear in mind that there’s a difference between ‘good pain’ and ‘bad pain’; what you should be looking out for are irregular shooting pains or muscles locking up and not doing what you tell them rather than the slight exhaustion in your hands and forearms after a sensible practice routine. 简而言之，是的，您应该担心。如果您在弹奏时肌肉和肌腱用力过猛，就有可能引发肌腱炎或腕管综合征，这是一种可怕的疾病，您的正中神经（负责手部感觉和活动的神经）会受到压迫而无法正常工作。这样的问题不会轻易消失，所以如果你怀疑自己的肌腱出现了危机，无论症状多么轻微或不规则，都应立即就医，在听取专家的意见之前，不要轻易玩耍。如果您天生有臆想症，请记住 "好的疼痛 "和 "坏的疼痛 "是有区别的；您应该注意的是不规则的射痛或肌肉锁死、不听使唤，而不是在合理的日常练习后手部和前臂的轻微疲惫。
There are ways of keeping this sort of malady at bay. As with any physical activity, you should warm up before attempting anything too demanding so that your muscles and tendons can stretch nicely. You’ll see the same idea at work in any gym - power-lifters and the like will spend a lot of time stretching before they even start to lift anything, and when they do finally move on to weights they’ll start with moderate ones 有一些方法可以避免这种弊病。与任何体育活动一样，在尝试任何高难度动作之前，您都应该先热身，这样肌肉和肌腱才能得到很好的伸展。在任何健身房，你都能看到同样的理念--力量举重运动员等在开始举重之前都会花大量时间进行拉伸，而当他们最终开始举重时，他们会从中等重量开始。
and build up to the heavy stuff, thus protecting their muscles from any sudden, unexpected strains. In the same spirit, you’d be ill advised to pick up your guitar for the first time in several days and immediately launch into an up-tempo rendition of ‘Flight Of The Bumblebee’. Technically demanding playing feels easier and is less likely to cause you permanent damage if you prepare for it first by running through a few simple exercises, starting slowly and gradually building up speed. 这样可以保护他们的肌肉，避免任何突如其来的意外拉伤。本着同样的精神，如果你几天来第一次拿起吉他，马上就开始演奏快节奏的《Flight Of The Bumblebee》，那可就大错特错了。如果先做一些简单的练习，从慢速开始，逐渐加快速度，那么对技术要求较高的弹奏就会感觉更轻松，也更不容易造成永久性损伤。
All of this becomes even more important if your hands have recently been in the cold. Wintry temperatures make your blood retreat as far inside your body as it can possibly go, leaving extremities like your hands with a bare minimum of circulation. If your fingers are looking blue, they’re clearly not going to enjoy negotiating a marathon of chromatic scales, so you might want to consider buying a pair of gloves. OK, wearing a pair of mittens might not look particularly rock ’ nn ’ roll, but it’ll protect your hands from the shock of sudden temperature changes - and they are, after all, the only hands you’ve got. 如果您的双手最近一直处于寒冷的环境中，所有这些就变得更加重要。寒风凛冽的气温会让您的血液尽可能地向身体内部退缩，从而让手部等四肢的血液循环降到最低。如果你的手指发青，它们显然不会喜欢半音阶马拉松式的演奏，所以你可能需要考虑买一副手套。好吧，戴上一双手套可能看起来不是那么摇滚，但它能保护你的双手免受温度骤变的冲击--毕竟，它们是你唯一的双手。
Here’s a quick anecdote regarding Glenn Gould, an American concert pianist specialising in playing the challenging contrapuntal works of JS Bach. This stuff is musical maths at its most intimidating, often with four intertwined melodies going on simultaneously, and it’s enough of a challenge simply to play all of the notes correctly, let alone getting each part sounding distinct from the others, but Glenn’s ability to create independence in each part is still a benchmark for any modern pianist tackling the same repertoire decades later. Before a concert, this hugely accomplished musician would plunge his hands into a bucket of near-boiling water, claiming that it improved blood circulation, enabling him to play 30-40 per cent faster and also making his fingertips more sensitive to different dynamic levels (which, I suppose, must be one of the most important factors if your chosen field of music involves a lot of counterpoint). I admit that this method doesn’t apply directly to guitar playing - a pianist’s fingers spend their time pushing down on nice, smooth keys, whereas a guitarist’s have to push down on thin steel wires under high tension, so we need our calluses 这里有一则关于美国音乐会钢琴家格伦-古尔德（Glenn Gould）的轶事，他擅长演奏巴赫（JS Bach）极具挑战性的协奏曲。这些作品是最令人生畏的音乐数学，往往有四段相互交织的旋律同时进行，光是正确弹奏所有音符就已经是一项挑战，更不用说让每个声部听起来与其他声部截然不同了，但格伦在每个声部中创造独立性的能力仍然是几十年后任何现代钢琴家处理相同曲目的基准。在音乐会之前，这位成就非凡的音乐家会将双手放入一桶近乎沸腾的水中，声称这样可以促进血液循环，使他的演奏速度提高 30%-40%，并使他的指尖对不同的动态水平更加敏感（我想，如果你选择的音乐领域涉及大量对位，这一定是最重要的因素之一）。我承认，这种方法并不能直接应用于吉他演奏--钢琴家的手指会一直按在光滑的琴键上，而吉他手的手指则必须在高张力下按在细钢丝上，所以我们需要我们的老茧
more than they do! However, it does illustrate the benefits of warming up and generally getting the blood pumping through your hands. Indeed, Joe Satriani apparently likes to put his elbows in hot water before he plays. This might sound a little odd, but playing guitar actually uses a lot of forearm muscles. so it kind of makes sense 比他们做得更多！不过，这也说明了热身和让双手血液循环的好处。事实上，乔-萨特里亚尼（Joe Satriani）显然喜欢在演奏前将手肘浸泡在热水中。这听起来可能有点奇怪，但弹吉他实际上会用到很多前臂肌肉。
At the other end of the temperature scale, I remember reading an old interview with Jack Bruce, the bassist from Cream, who described using a Kramer bass with a VV-shaped headstock and an aluminium neck. On one occasion, he had to perform in a particularly cold part of the world and the bass had been stored at an unwholesomely low temperature. As a result, the palm of his left hand stuck to the metal on the back of the neck, much as it would stick to the inside wall of a freezer, and I really can’t imagine how he got through the gig. Fortunately, the aluminium neck has since been consigned to the scrapheap by all leading manufacturers, and there’s really no danger of you encountering this problem. (In my defence, it’s an interesting story and it’s vaguely connected with temperature, so I wanted to throw it in somewhere!) 在温度的另一端，我记得曾读过一篇对奶油乐队贝司手杰克-布鲁斯（Jack Bruce）的旧采访，他描述自己使用的是一把带有 VV 形琴头和铝制琴颈的克莱默贝司。有一次，他不得不在世界上一个特别寒冷的地方演出，而贝司的存放温度又非常低。结果，他的左手手掌粘在了琴颈背面的金属上，就像粘在冰柜内壁上一样，我真不敢想象他是怎么熬过那场演出的。幸运的是，铝制琴颈已经被所有主要生产商扔进了废铁堆，你也就不会再遇到这种问题了。(我想说的是，这是个有趣的故事，而且隐约与温度有关，所以我想把它放在某个地方！）。
In general, it’s safe to assume that your gear deserves as much TLC as your hands - sudden changes in temperature can play havoc with your tuning, with the tone of your equipment and, in some cases, its actual structure. Valve amps, for instance, don’t like being left on all night and then abruptly taken outdoors and thrown into a cold van - the sockets that house the actual valves are prone to crack if subjected to sudden changes of climate. My favourite Strat took months to recover from an outdoor festival in Houston, Texas, on a sweltering day in July with temperatures of around 110^(@)F110^{\circ} \mathrm{F} and exceptionally high humidity. After a few hours of being stored in these conditions, the guitar’s neck wouldn’t respond to any amount of truss-rod therapy - it simply didn’t work any more. Still, I felt more fortunate than the touring double-bass player who woke up in a hotel room in Brazil one morning to find the floor strewn with all the bits and pieces you might need to make a double bass after all the glue in his instrument had melted during the night. 一般来说，您可以放心地认为，您的设备和您的双手一样需要精心呵护--温度的突然变化会对您的调音、设备的音色，有时甚至是设备的实际结构造成严重破坏。例如，阀式放大器不喜欢整晚开着，然后突然被带到室外，扔进一辆冰冷的货车里--如果气候骤变，容纳实际阀片的插座很容易破裂。我最喜欢的 Strat 在德克萨斯州休斯顿的一次户外音乐节上使用了几个月才恢复正常，那是七月的一天，气温约为 110^(@)F110^{\circ} \mathrm{F} ，湿度特别高。在这样的条件下存放了几个小时后，吉他的琴颈就对任何三连杆疗法都没有反应了--它根本就不再工作了。尽管如此，我还是觉得自己比一位巡回演出的低音提琴演奏家幸运得多。一天早上，他在巴西的一家酒店房间里醒来，发现地板上散落着制作低音提琴所需的各种零碎部件，因为他的乐器上的胶水在一夜之间全部融化了。
There’s another issue that should be taken into account here: your posture when playing. Many playing-related aches and pains come from bad posture, and I think that the most important thing to bear in mind is that playing should feel natural and comfortable. If it doesn’t, you’re doing it wrong! You’ll be familiar with the general principles at work if you’ve ever sat through one of those courses that they run in offices, telling you that your computer monitor should be at eye level, your wrists should be straight when you’re typing, your chair should be at such-and-such a height, the curve of your spine should look like Figure 1, not Figure 2 and so on. 还有一个问题需要考虑：演奏时的姿势。许多与演奏有关的疼痛都是由不良姿势引起的，我认为最重要的一点是演奏时要感觉自然和舒适。如果感觉不自然，那就说明你做错了！如果你曾在办公室里听过那些课程，你就会熟悉工作中的一般原则，它们告诉你电脑显示器应与眼睛平齐，打字时手腕应伸直，椅子应保持这样那样的高度，脊柱的曲线应像图 1 而不是图 2 等等。
In guitar-playing terms, bad postural habits might be the result of lots of playing while slumped in front of the TV, staring too intently at your fretting hand or studying a piece of written music when its pages are strewn across the floor, forcing your neck into an awkward angle. In general, you should aim to keep your spine and wrists as straight as possible. 就吉他弹奏而言，不良姿势习惯可能是由于经常斜靠在电视机前弹奏、过于专注地盯着你的指法手，或者在研究书面乐谱时乐谱页散落在地板上，迫使你的脖子形成一个尴尬的角度。一般来说，你应该尽量保持脊柱和手腕挺直。
At one time, I had a teaching job that required me to sit in a tiny practice room for nine hours on the trot, and after a few weeks I started to feel an unpleasant, dull pain at the back of my shoulder blade which made playing a lot more of a chore than it used to be. I finally figured out that the cause of the problem wasn’t the guitar playing itself; it was leaning over a stumpy table in a particularly inaccessible part of the room, writing out licks and solos for students with my guitar still strapped on. As soon as I realised this, I moved the table nearer my picking/writing hand, added a little pile of books underneath my manuscript paper to elevate it to a more convenient level and the pain went away. Remember that playing should feel as effortless as possible. Try to design your practice environment with this in mind. 有一次，我做了一份教学工作，需要在一间狭小的练习室里连续坐上九个小时。几周后，我开始感到肩胛骨后部有一种令人不快的钝痛，这让我的弹奏变得比以前更加费力。最后我终于明白，问题的根源并不在于吉他弹奏本身，而在于我斜靠在房间里一个特别难以接近的地方的矮桌上，在吉他还绑在身上的情况下为学生们谱写乐句和独奏。意识到这一点后，我立即把桌子移到离我弹琴/写稿的手更近的地方，在稿纸下面放了一小堆书，把它抬高到更方便的位置，疼痛就消失了。请记住，演奏时应尽可能感觉轻松自如。在设计练习环境时要考虑到这一点。
Tone 音调
Thought for the day: However technically accomplished you might be as a player, no one will want to listen to you if you don’t at least sound half-decent. 今天的思考：无论你在演奏技术上有多高的造诣，如果你的声音连半点水准都没有，就不会有人愿意听你演奏。
It’s possible to become so engrossed in that addictive quest for better technique or more knowledge that you end up overlooking the vital issue 你可能会沉迷于追求更好的技术或更多的知识，最终忽略了一个重要的问题
of finding a good tone, but of course this can be hugely detrimental to the way in which people perceive your playing. However amazing your new tapping lick might be from a technical perspective, it won’t impress anyone if it sounds like the proverbial bee in a jam jar. 当然，这也会大大影响人们对你演奏的印象。无论从技术角度看，你的新弹奏技巧多么令人惊叹，但如果听起来像果酱瓶里的蜜蜂，就不会给人留下深刻印象。
With that spirit in mind, I thought we should take a quick look at some of the more common hurdles confronting any player in search of a good sound. My angle here is to preach the value of using your ears rather than suggest that you need to spend absurd amounts of cash on a new rig. Many people blame their equipment for the shortcomings in their tone when in fact the problem is often something that could easily be remedied by adopting a different playing technique or judiciously twiddling a couple of knobs. 本着这种精神，我认为我们应该快速审视一下任何演奏者在追求好声音时所面临的一些常见障碍。在这里，我想宣扬的是使用耳朵的价值，而不是建议您花费巨资购买新的设备。许多人将音色的缺陷归咎于他们的设备，而事实上，问题往往可以通过采用不同的演奏技巧或明智地拧动几个旋钮来轻松解决。
Feedback 反馈意见
One of the biggest problems is that amp settings that sound good on their own often don’t work as well in a band context. Bucketloads of overdrive, for instance, might well make your fastest shredding licks easier to play when you’re in your bedroom, running through your practice routine, but if you use the same settings at a gig, there’s a very real danger that no one will be able to hear what you’re playing. Distortion adds a buzzy quality to your tone, and when you’ve got a whole band playing behind you, this buzziness can sometimes make it harder to distinguish the actual pitch of each note. Backing down the gain a bit might force you to play more accurately, but surely it’s worth making this sacrifice if it helps the music to sound better as a whole. 其中一个最大的问题是，音箱设置本身听起来不错，但在乐队演出时往往效果不佳。例如，当你在卧室里进行例行练习时，大量的过载可能会让你弹奏速度最快的乐段变得更容易，但如果你在演出时使用同样的设置，就很有可能没有人能听到你在弹奏什么。失真会给你的音色带来嗡嗡声，而当你身后有整个乐队在演奏时，这种嗡嗡声有时会让你更难分辨每个音符的实际音高。稍微降低增益可能会迫使你演奏得更准确，但如果能让音乐整体听起来更好听，这种牺牲肯定是值得的。
Quite aside from the above, there’s another nasty surprise in store for anyone who uses a lot of gain in that high volume levels increase the risk of feedback. Of course, feedback isn’t always a bad thing - Pete Townshend and Jimi Hendrix pioneered the use of controlled feedback as a musical effect and more modern players like Joe Satriani have done some great things with the stuff - but l’m referring here to the kind of feedback that makes your guitar howl when you didn’t ask it to. When you’re cranked up to 11, the slightest provocation will induce your guitar to let loose with a caterwauling screech, so players who habitually play loud with lots of overdrive need to remember little 除了上述问题，对于使用大量增益的人来说，还有一个令人讨厌的问题，那就是高音量会增加反馈的风险。当然，反馈并不总是一件坏事--皮特-汤森德（Pete Townshend）和吉米-亨德里克斯（Jimi Hendrix）率先将可控反馈作为一种音乐效果，而像乔-萨特里亚尼（Joe Satriani）这样的现代演奏家也利用这种东西做出了一些伟大的成就--但我这里指的是那种在你没有要求的情况下让你的吉他发出嚎叫的反馈。当你把音量开到 11，最轻微的刺激都会让你的吉他发出 "嘎吱嘎吱 "的尖叫声，所以习惯用大量超频来大声演奏的演奏者需要记住一点
tricks like always turning down the guitar’s volume knob when they’re not playing, keeping a respectful distance from the amp and of course being extra careful when muting strings not currently being played. If you can honestly say that you’re doing all of this and you’re still having feedback problems, it’s probably time to admit that you’re using unrealistic amounts of overdrive. 比如在不演奏时总是调低吉他的音量旋钮，与音箱保持一定距离，当然在静音不演奏的琴弦时也要格外小心。如果你能诚实地说，这些你都做到了，但还是有反馈问题，那你可能就该承认你使用了不切实际的过载。
It’s worth bearing in mind that there are two distinct kinds of overdrive. The first is generated by the preamp (the tone-shaping part of the amp where the gain and tone controls live) and is characterised by a fuzzy sound quality that will familiar to anyone who’s tried to make their amp sound nasty at low volume levels. The second is the result of overdriving the power amp (the part of the amp responsible for overall volume level, courtesy of the Master Volume knob). This type of overdrive tends to sound more musical - the guitar still feels responsive and you still get all the sustain you could ask for, but the overall timbre is a lot smoother, with none of the buzzy abrasiveness of preamp distortion. 值得注意的是，超速有两种不同的类型。第一种是由前置放大器（放大器的音色塑造部分，增益和音色控制器就设在这里）产生的，其特点是音质模糊，任何试图在低音量下让放大器发出讨厌声音的人都不会感到陌生。第二种是功率放大器（放大器中负责总体音量的部分，由主音量旋钮控制）过载的结果。这种类型的过载往往听起来更有音乐感--吉他仍然感觉反应灵敏，你仍然可以得到所有你想要的延音效果，但整体音色要平滑得多，没有前置放大器失真的嗡嗡声。
Valve amps are particularly prized for their poweramp distortion - the harder you work a valve amp, the more it ‘sings’ - and most of the classic rock guitar tones we know and love were created with them. Of course, Pantera’s Dimebag Darrell gets a fantastic sound out of his solid-state (non-valve) Randall stacks, but this is really the exception rather than the norm; most rock guitarists prefer the ways in which valve amps respond to their playing, and the more successful solid-state designs normally claim to feature some sort of tube-emulation circuitry anyway. (To be fair, you might actually prefer the sound of solid-state amplification if your main priority is getting a crisp, clean sound at high volume levels. Let your ears decide.) 阀式放大器因其功率放大器失真效果而备受推崇--阀式放大器的工作强度越大，"唱 "得越好--我们所熟知和喜爱的大多数经典摇滚吉他音色都是用它们创造出来的。当然，Pantera 的 Dimebag Darrell 从他的固态（非阀式）Randall 堆栈中获得了绝妙的音色，但这确实是例外而非常态；大多数摇滚吉他手更喜欢阀式放大器对他们演奏的反应方式，而且更成功的固态设计通常都声称具有某种电子管模拟电路。(平心而论，如果你的首要任务是在高音量下获得清脆、干净的声音，那么你可能更喜欢固态放大器的声音。让你的耳朵来决定吧）。
Given that a decent amp sounds best when it’s working hard, it makes sense to use an amp that kicks out a usable volume level when cranked up in this way. If you bought The Amp Of Doom and never found the opportunity to turn it up properly, it would be about as much use to you as a Ferrari in a traffic jam. There are many situations where it’s worth considering a relatively low-powered valve amp - in a gig setting, for instance, you’ll normally find that the soundman is violently opposed to the idea of the guitar being too loud 考虑到一个好的音箱在工作时音质最好，因此使用一个在这种情况下能开到可用音量的音箱是很有意义的。如果您购买了 "末日音箱"，却从未有机会将其音量适当调高，那么它对您的作用就如同堵车时的法拉利跑车一样。在许多情况下，值得考虑使用功率相对较低的阀门放大器，例如在演出环境中，你通常会发现音响师强烈反对吉他声音过大。
onstage. (This is because his job is to achieve a separate signal for each instrument, and the sound of a wall of Marshalls at full tilt will affect every microphone on the stage.) In studio terms, I need only remind you that Jimmy Page used a tiny Fender Supro amp to record the far-from-tiny guitar sounds you hear on the early Led Zeppelin stuff…, 在舞台上。(这是因为他的工作是为每种乐器实现独立的信号，而一堵马歇尔音箱墙全开的声音会影响到舞台上的每个麦克风）。就录音室而言，我只需提醒你，吉米-佩奇曾用一个小巧的芬达 Supro 音箱录制了你在齐柏林飞艇乐队早期作品中听到的远非小巧的吉他音色......、
EQ
Another vital element in the attainment of tonal nirvana is EQ. Imagine a spectrum of sound, with the low, rumbling stuff (ie kick drum and bass) at one end and the treblier components (ie cymbals) at the other. This is the way in which producers and engineers approach sound when they’re mixing a track - rather than simply mess around with the volume levels, they try to emphasise different frequencies for each instrument so that every sound is assigned its own place in the ‘spectrum’. 实现音色涅槃的另一个重要因素是均衡器。想象一下声音的光谱，一端是低沉、隆隆作响的声音（即踢鼓和低音），另一端是高音部分（即铙钹）。这就是制作人和工程师在混音时处理音效的方式--他们不会简单地乱调音量，而是尝试强调每种乐器的不同频率，这样每种声音都能在 "频谱 "中找到自己的位置。
As a guitarist, you should be looking for that part of the sonic spectrum that the other musicians need the least, and you’ll find this niche somewhere in the middle, so your best bet is to crank up your amp’s mid range. I know that a mid-heavy guitar sound can have an unpleasant honky, nasal quality when you hear it on its own, and many bedroom-bound players gravitate towards a tone with relatively little mid range, but trust me - in a band context, tones like that will come across as thin and weedy. If you pump up the mids, your sound will cut through better without drowning out your fellow bandmembers. Everyone gets heard, so everyone is happy - including the audience! 作为一名吉他手，你应该寻找其他乐手最不需要的那部分音色，而你会在中间的某个地方找到这个利基，所以你最好的选择就是调高音箱的中音域。我知道，中音偏重的吉他音色单独听起来会有一种令人不悦的沙哑、鼻音的感觉，许多在卧室中演奏的乐手都倾向于使用中音域相对较小的音色，但请相信我--在乐队中，这样的音色会显得单薄、杂乱。如果你加大中音域，你的声音就能更好地穿透，而不会淹没你的乐队成员。每个人都能听到，所以每个人都很高兴，包括观众！
Furthermore, if you want to make your solos cut through a little more in the overall sound of a gig or recording session, dialling in a little extra mid can be every bit as effective as turning up your volume, and some guitars have switchable mid-boost circuitry for this very purpose. 此外，如果你想让独奏在演出或录音时的整体音效中更有穿透力，调高一点中音的效果不亚于调高音量，有些吉他还为此配备了可切换的中音增强电路。
Having extolled the virtues of the mid range, I should point out that there are exceptions to all of the above, notably the clean, glassy funk sound you often get on pop records (where the guitar’s role is more about providing a percussive effect than playing an up-front melody) or the chunky metal riffs associated with players like Metallica’s James Hetfield. That 在赞美了中音域的优点之后，我应该指出，上述情况也有例外，特别是在流行唱片中经常出现的干净、玻璃质感的放克音色（在这种音色中，吉他的作用更多的是提供打击效果，而不是演奏前奏旋律），或者与 Metallica 的 James Hetfield 等演奏家有关的厚重的金属旋律。这些
crunching, evil-sounding rhythm tone is often described as scooped, which means that the bass and treble are boosted while the mid range is cut. (Think of a graphic equaliser set in a VV shape.) Add liberal doses of overdrive and voila - the sound of Satan! This scooped tone is great if used in appropriate places, but you should bear in mind that it swallows up a lot of the frequencies normally reserved for the bass player. Done properly, the bass/scooped guitar combination can sound like one monstrously fatsounding instrument (which is a good thing!), but it’s something that works best in heavy, riff-based music; in most other contexts, it’s more important to hear the bass distinctly. 这种令人毛骨悚然、听起来邪恶的节奏音色通常被描述为 "勺型 "音色，这意味着低音和高音被增强，而中音则被削减（想想图形均衡器设置成 VV 的形状）。(想想设置成 VV 形状的图形均衡器）再加上适量的过载，这就是撒旦的声音！如果用在适当的地方，这种勺型音色是非常棒的，但你应该记住，它会吞噬掉很多通常为贝斯手保留的频率。如果使用得当，贝司与吉他的组合听起来就像一个声音巨大的乐器（这是件好事！），但它最适用于重型、以 riff 为基础的音乐；在大多数其他情况下，更重要的是要听出贝司的声音。
Effects 效果
While I’m still on the topic of being heard clearly, now seems like a good time for a quick word on effects. Most of the factory presets on multi-effects units feature huge washes of reverb and chorus, offensively loud delay and far too much overdrive. Why? Because the manufacturers know that their prospective buyers will be trying out their units on their own, in a music shop. The more lavish the presets sound, the more impressed the customer will be. However, when you take your new multi-effects unit to its first band rehearsal, you’ll normally find that you have to modify all of the presets by reducing the amount of each effect. Signal processing is a wonderful thing when used in moderation (much like absinthe), but use too much of it and you’ll suffer a loss of clarity (again, much like absinthe!). If you drown your guitar in effects, it’ll sound somehow more distant, as if the sound is coming through the wall from the room next door. 当我还在谈论 "听清楚 "这个话题时，现在似乎是一个简单谈谈效果器的好时机。大多数多重效果器的出厂预设都具有巨大的混响和合唱、令人反感的高音量延时以及过多的过载。为什么会这样呢？因为制造商知道，他们的潜在买家会在音乐商店里自己试用他们的设备。预设音效越华丽，顾客就会对其印象越深刻。然而，当你带着新的多重效果器去参加第一次乐队排练时，通常会发现你必须修改所有的预设，减少每种效果的用量。适度使用信号处理是一件好事（就像苦艾酒一样），但使用过多就会失去清晰度（同样，就像苦艾酒一样！）。如果你的吉他被效果器淹没，它听起来就会莫名其妙地变得遥远，就好像声音是从隔壁房间穿墙而过一样。
Another effects-related issue involves the volume at which you’re playing and the nature of the venue. No two buildings produce exactly the same sound, but every venue has some kind of inherent reverb, as illustrated by the names used for different reverb programs - ‘Cathedral’, ‘Small Hall’, ‘Live Room’ and so on. Since the venue is providing natural reverb at no additional charge, it seems logical to back off the amount of artificial ambience generated by your rig. 另一个与效果相关的问题涉及到演奏时的音量和场地的性质。没有两座建筑物会产生完全相同的声音，但每个场地都有某种固有的混响，不同混响程序的名称就说明了这一点--"大教堂"、"小礼堂"、"现场室 "等等。既然场地免费提供自然混响，那么减少设备产生的人工环境音量也就顺理成章了。
Of course, the importance of this will depend on the size and shape of the building, not to mention the 当然，这一点的重要性取决于建筑物的大小和形状，更不用说
absorbency of the wall surfaces. I once did a tour of Germany where about half of the venues were converted breweries, and I discovered what happens when you put a noisy rock band in a giant concrete box with a high ceiling and an abundance of metal pipes. The echo is abnormally pronounced in these places, and the only way to make things work is to keep the effects to an absolute minimum and to curb the volume levels. 墙面的吸音性。我曾在德国进行过一次巡演，那里大约有一半的演出场所都是由啤酒厂改建而成的，我发现当你把一个嘈杂的摇滚乐队放在一个天花板很高、有大量金属管道的巨大混凝土盒子里时会发生什么。在这些地方，回声异常明显，唯一的办法就是将效果降到最低，并控制音量。
Tone Controls 音调控制器
Forgive me if the following sounds obvious, but | think that many players overlook the many tonal variations they could be coaxing from their guitars by playing around with the volume and tone controls. If your amp is on a fairly clean setting, the Volume knob pretty much does what it says on the tin, but in a more overdriven context the same knob affects not only the volume but also the fatness of what’s being played - the guitar produces a thick tone when it’s turned all the way up, thinning out as the volume is backed down. Turn the thing down nearly all the way and you’ll find a perfectly usable clean tone with more bite and top end than you could get from your amp’s clean channel. (For a good illustration of this, consult the clean tone you hear on Van Halen albums. When Eddie designed his signature MusicMan guitar, he actually stipulated that its single Volume knob should be labelled ‘Tone’ on the grounds that he would be using it mainly to control the saturation of his overdriven sound rather than to alter its actual loudness.) Many players in the blues/rock field can happily get through a whole gig using a one-channel amp, controlling their volume and overdrive levels from the guitar itself. 如果下面的话听起来很明显，请原谅我，但我认为很多演奏者都忽略了通过玩弄音量和音色控制钮可以从吉他中获得的多种音色变化。如果您的音箱设置得相当干净，音量旋钮几乎就能起到它的作用，但在过度驱动的情况下，同一个旋钮不仅会影响音量，还会影响演奏音色的厚重感--当音量开到最大时，吉他会发出厚重的音色，而当音量减小时，音色就会变薄。如果将音量调小到接近全开，你会发现纯净的音色完全可以使用，而且比音箱的纯净通道更有咬劲和顶端。(关于这一点，请参考 Van Halen 专辑中的清音效果）。当 Eddie 设计他的标志性 MusicMan 吉他时，他实际上规定吉他的单音量旋钮应标注为 "音色"，因为他主要用它来控制过度驱动音色的饱和度，而不是改变音色的实际响度）。蓝调/摇滚乐领域的许多演奏者都可以使用单通道放大器，通过吉他本身来控制音量和超驱动音量，从而愉快地完成整场演出。
Incidentally, this stuff also applies when you’re using your amp’s clean channel. I’ve encountered a lot of students who try to get a decent clean tone simply by following the formula of selecting their front humbucker and turning off the overdrive. This can result in an overly boomy sound that people are always keen to blame on their gear. If you find this predicament familiar, bear in mind that backing down the volume a couple of notches can often thin things out effectively and eliminate that boominess, so experiment. 顺便提一下，这些东西也适用于使用音箱的干净通道。我遇到过很多学生，他们想获得像样的纯净音色，只需按照公式选择前置双线圈架并关闭超频。这可能会导致音色过于浮夸，而人们总是热衷于将责任归咎于他们的设备。如果您觉得这种困境似曾相识，请记住，将音量调小几个音阶往往可以有效地减弱音色，消除闷响，因此请多做尝试。
The tone control is equally neglected by some guitarists - metal players in particular are prone to select the bridge humbucker and turn every knob up to 10 as their default setting - but it’s worth investigating the range of sounds you can get by rolling down the tone in gradual increments. If you’re at all partial to Eric Clapton’s ‘woman tone’ (ie the sound you hear on the Cream albums) or Robben Ford’s distinctively honky lead sound, you’ll know what can be achieved in this way. Of course, if you turn down the tone too much, you run the risk of sounding mushy and indistinct, but you’ll normally find sweet spots somewhere in the middle of the control’s range. 音色控制同样被一些吉他手所忽视--金属乐手尤其容易选择琴桥双线圈，并将每个旋钮都调到 10 作为默认设置--但值得研究的是，通过逐步调低音色可以获得各种音色。如果你偏爱埃里克-克莱普顿（Eric Clapton）的 "女人音"（即你在奶油专辑中听到的音色）或罗本-福特（Robben Ford）独特的 "乡巴佬 "主音，你就会知道用这种方法可以获得怎样的音色。当然，如果音调调得太低，就有可能听起来模糊不清，但通常你会在控制范围的中间找到最佳位置。
(As a quick aside to Strat owners, you’ll find a nice approximation of the classic humbucking sound if you set your pick-up selector switch to position 2 or 4 and roll down the middle pick-up’s tone control. This will mix together the sound of two pick-ups, with one providing the ‘honk’ and the other providing the more trebly stuff, resulting in a pleasingly thick yet defined tone.) (顺便提醒一下 Strat 的用户，如果将拾音器选择开关调到 2 或 4 位置，并调低中间拾音器的音调控制，就能找到经典双线圈音色的近似效果。这将混合两个拾音器的声音，一个提供 "叭 "的声音，另一个提供更高音的声音，从而产生令人愉悦的浑厚而清晰的音色）。
Of course, you won’t necessarily find one tonecontrol setting that serves all your needs. If you’re using a lot of harmonics, you’ll want as much treble as possible in your sound, but if you’re playing fast single-note runs with a relatively clean tone, you’ll find that too much treble can expose the weaknesses in your technique and that rolling off the tone somehow helps to make your playing sound a little more ‘perfect’. (Have you ever wondered why those jazz guys are so fond of turning their tone controls down? Or why your Vai-esque scalar picked runs sound smoother when you switch to your neck pick-up?) 当然，你不一定能找到一种音调控制设置满足你的所有需求。如果你使用了大量的和声，你会希望音色中的高音越多越好，但如果你演奏的是快速的单音跑音，音色相对干净，你会发现过多的高音会暴露你技巧中的弱点，而关闭音色多少会让你的演奏听起来更 "完美 "一些。(你有没有想过，为什么那些爵士乐手那么喜欢把音调控制调低？或者，为什么当你换上颈部拾音器时，你的维式标量弹奏会听起来更流畅？）
Picks And Fingers 拨片和手指
Have you ever approached a guitarist after a gig and asked how he got that amazing tone only to receive the less than helpful reply ‘It’s all in the fingers, man’? I admit that he might have told you this because he didn’t want anyone else to know what pick-ups he uses or how he wires his pedals together (some people are very protective of their trade secrets), but in general creating a good tone really is all in the fingers. 你是否曾在演出结束后找到一位吉他手，询问他是如何获得令人惊叹的音色的，但得到的回答却是 "全靠手指，伙计"？我承认，他告诉你这些可能是因为他不想让别人知道他用的是什么拾音器，或者他是如何将踏板接在一起的（有些人非常保护自己的商业机密），但总的来说，创造好音色真的全靠手指。
One specific factor here is the way in which the pick strikes the string. For instance, if you use the flat 这里有一个特殊的因素，那就是拨片敲击琴弦的方式。例如，如果您使用平
of the pick (ie with the plane of the pick parallel to the string), you’ll get a round, full tone that really brings out the best in your George Benson licks. If, on the other hand, you slowly curl your right-hand index finger inwards as you grip the pick, you’ll find a position where the pick is twisted around at a 45^(@)45^{\circ} angle. In this way, you’re striking the string with the edge of the pick, which gives you a sharper tone and a grinding attack more appropriate for those Gary Moore-esque angry moments. The former approach is generally held to be the ‘correct’ way to pick, but I think that both are valid - if you can comfortably use your pick at various angles, you’ll increase the range of your tonal palette without having to spend any money, 如果您的右手食指在握住拨片的同时慢慢向内弯曲（即拨片的平面与琴弦平行），您就会获得圆润饱满的音色，从而真正发挥出乔治-本森（George Benson）的演奏技巧。另一方面，如果您在握住拨片时将右手食指慢慢向内弯曲，您就会发现拨片以 45^(@)45^{\circ} 的角度扭转。这样，你就能用拨片的边缘敲击琴弦，从而获得更尖锐的音色和更适合加里-摩尔（Gary Moore）式愤怒时刻的碾压式攻击。前一种方法通常被认为是 "正确 "的挑弦方法，但我认为两种方法都是有效的--如果您能自如地使用各种角度的挑弦方法，那么您就能在不花钱的情况下增加音色范围、
Here’s another variable to consider: what part of the string are you picking? Picking near the bridge gives a tinny, metallic sound, while if you move the pick closer to the neck, the tone becomes fuller and warmer. (lf you’re ever bored, you might like to investigate what happens when you actually pick over the fretboard you’ll find some bizarre Zappa-esque sounds there.) Bear in mind that playing fast becomes very difficult when you stray too far neckward, particularly if you favour light-gauge strings, as the tension is looser there, so the strings move further, which makes them feel frustratingly like rubber bands. 这里还有一个需要考虑的变量：你在挑拨琴弦的哪个部分？在琴桥附近拨弦会发出尖锐的金属音色，而如果将拨弦靠近琴颈，音色则会变得更加饱满和温暖。(如果你觉得无聊，不妨研究一下在指板上实际拨弦时会发生什么，你会发现一些奇异的 Zappa 式音色）。需要注意的是，当你的琴颈过于靠后时，快速弹奏会变得非常困难，尤其是如果你喜欢轻号数的琴弦，因为那里的张力较松，所以琴弦会移动得更远，这让你感觉像橡皮筋一样令人沮丧。
Of course, you could always try life without a pick. Jeff Beck once uttered the immortal line ‘Picks are for fairies’, and while that might be a little hurtful for pick users and fairies alike, you can’t argue with the vast range of tones that Jeff creates with a purely fingerstyle approach. There’s something more immediate about playing with your fingers - it feels like you have more control, and many would argue that it also produces a purer-sounding note. 当然，你也可以试试不使用拨片的生活。杰夫-贝克（Jeff Beck）曾说过一句不朽的名言："拨片是给仙女用的"，虽然这句话对拨片使用者和仙女来说都有点伤人，但杰夫用纯粹的指弹方式创造出的音色范围之广是无可争议的。用手指弹奏有一种更直接的感觉--那就是你有更多的控制权，而且许多人认为，用手指弹奏还能产生更纯净的音色。
If you’re quite attached to your pick (and some things are undeniably impossible without one), you might like to try a combination of pick and fingers to get the best of both worlds. This is a style of playing you would normally associate with country players - Albert Lee, Jerry Donahue, Danny Gatton, Brent Mason, Scotty Anderson, the list goes on - but listen to Brett Garsed, Bumblefoot (the artist formerly known as Ron Thal) or indeed Stevie Ray Vaughan and you’ll hear some very different applications for the pick-and-fingers approach. 如果你对拨片情有独钟（不可否认，有些事情没有拨片是不可能做到的），那么你不妨尝试将拨片和手指结合起来，以达到两全其美的效果。这种演奏方式通常会让你联想到乡村音乐演奏家--阿尔伯特-李（Albert Lee）、杰里-多纳休（Jerry Donahue）、丹尼-加顿（Danny Gatton）、布伦特-梅森（Brent Mason）、斯科特-安德森（Scotty Anderson）等等--但听听布雷特-加塞德（Brett Garsed）、大黄蜂（Bumblefoot，原名罗恩-塔尔（Ron Thal））或史蒂夫-雷-沃恩（Stevie Ray Vaughan）的演奏，你就会发现 "拨片+手指 "演奏法的一些不同应用。
Guitar Set-up 吉他安装
The other considerations you need to worry about involve the way in which your guitar is set up. 您需要考虑的其他因素还包括吉他的安装方式。
Low action might make playing easier, but it doesn’t give the string much room to vibrate, so your attempts to play loud notes will sound constipated, while the more you raise your action, the bigger the notes get. The only problem is that playing a guitar with a high action hurts after a while, so you’ll need to find a compromise where the notes ring out properly but you aren’t suffering unduly. 低力度可能会让弹奏变得更容易，但它并没有给琴弦提供太多的振动空间，所以你试图弹奏出响亮的音符时，听起来会觉得很憋屈，而你越是提高力度，音符就越大。唯一的问题是，弹奏高力度的吉他一段时间后就会感到疼痛，所以你需要找到一个折中的方法，既能让音符正常响起，又不会让你过度痛苦。
Similarly, light string gauges give you that effortless feeling when played, but they also produce a weakersounding note, partially because there’s less metal moving through the pick-up’s magnetic field and partially because they lack the power to get the body of the guitar vibrating properly. Fat strings not only sound better, they break less and they’re easier to keep in tune, but the pain factor rears its ugly head once again - bending a .014" top E string up a tone can be a traumatic experience! As before, you should seek a compromise between tone and comfort. I’m not suggesting you should double the size of your strings overnight, but it’s probably fair to say that, if you try going up a gauge, your fingers will get used to it within a month or two, playing will feel as easy as it did before and your tone will be that little bit more authoritative. Which brings me to my next topic… 同样，轻弦径的琴弦在弹奏时会给人毫不费力的感觉，但同时也会产生较弱的音色，部分原因是通过拾音器磁场的金属较少，部分原因是它们缺乏让吉他本体适当振动的力量。肥厚的琴弦不仅音色更好，断裂的情况也更少，而且更容易保持音准，但疼痛的因素再次出现--将 0.014 英寸的顶级 E 弦弯上一个音可能是一次痛苦的经历！和以前一样，您应该在音色和舒适度之间寻求折中。我并不是建议您在一夜之间将琴弦的尺寸增大一倍，但可以这么说，如果您尝试增加一个弦号，您的手指在一两个月内就会适应，弹奏起来会像以前一样轻松，音色也会更有权威。这就引出了我的下一个话题...
String Bending 琴弦弯曲
One of the guitar’s biggest selling points is that it enables you to bend strings. This not only allows you to make a note glide smoothly from one pitch to another; it also facilitates vibrato, a rhythmic fluctuation in pitch that effectively makes the note sound more wobbly. These are the kinds of subtleties that give the guitar its vocal qualities - you can be more expressive on a guitar than you ever could on an instrument like the piano, where bending a note is a physical impossibility. 吉他最大的卖点之一就是可以弯曲琴弦。这不仅能让一个音符从一个音高平滑地滑向另一个音高，还能促进揉弦，一种有节奏的音高波动，能有效地让音符听起来更加摇摆不定。这些微妙之处赋予了吉他声乐的特质--在吉他上，你可以比在钢琴等乐器上更具表现力，因为在钢琴上，音符的弯曲是不可能的。
Your ability to bend a string is governed by a number of factors. A heavy-gauge E string, for instance, is obviously under a lot more tension than a lighter one, so bending it is harder work. This increases the risk of a note slipping out from under your fingertip midbend, unleashing a loud and decidedly unwelcome 琴弦的弯曲能力受多种因素的影响。例如，一根重号 E 琴弦所承受的张力显然要比轻型琴弦大得多，因此弯曲它就更加困难。这就增加了一个音符在中途从你的指尖下滑落的风险，从而发出响亮而明显不受欢迎的声音
open string. This happens most commonly when your hands are sweating a lot, but it’s a problem that can strike at any time, and when it does, any casual listener will immediately know that you’ve done something wrong: it’s one of the hardest clangers to disguise! 开弦。这种情况最常发生在手出汗较多的时候，但这种问题随时都可能发生，而且一旦发生，任何不经意的听众都会立即意识到你做错了什么：这是最难掩饰的错误之一！
There are two ways of combating this. The first is to enlist the help of some other fingers. If a note needs bending and you’re using your ring finger to fret it, you might as well stick your middle finger just behind, on the same string, sharing the burden between the two digits. This gives you more control over the bend, although I admit that it doesn’t help much when you’re fretting with your index finger! 有两种方法可以解决这个问题。第一种是借助其他手指的帮助。如果一个音符需要弯音，而你正在用无名指进行拨弦，你不妨把中指放在后面，放在同一根弦上，由两个手指分担。这样你就能更好地控制弯音，不过我承认，当你用食指指法时，这样做并没有太大帮助！
(Actually, the trickiest bends are probably those that involve the little finger. If you try to back up your pinkie with your third finger, you’ll find that the difference in length between the two digits prevents them from working together effectively. Instead, try supporting the bend with your middle finger, tucking it under the near side of your ring finger. Many players find this method easier.) (实际上，最棘手的弯曲可能是涉及小拇指的弯曲。如果你试图用三指支撑小指，你会发现两指之间的长度差异会阻碍它们有效配合。相反，您可以尝试用中指支撑小指弯曲，并将其夹在无名指的近侧下方。很多演奏者都觉得这种方法更简单）。
The other way of maximising your bending prowess is to look at the position of your fretting hand. I think that some players are a little unclear on exactly how to bend a string, so here’s a pointer: your fingers aren’t supposed to do all of the bending by themselves! Once they can feel the tension of the string, they should lock in that position and let your wrist take over. A twisting motion of the wrist, pivoting off the thumb-and-forefinger side of your hand, will effectively force your fingers to glide over the fretboard, taking the string with them. All your digits have to do from this point is try not to buckle when they feel the resistance of the string. As long as they retain their grip on the note, the wrist will do the rest. 另一种最大限度提高弯弦能力的方法是看你的指法手的位置。我认为有些演奏者不清楚究竟该如何弯曲琴弦，因此这里有一个提示：你的手指不应该独自完成所有的弯曲动作！一旦手指感觉到琴弦的张力，就应该锁定在那个位置，让手腕来接手。手腕的扭转动作，从拇指和食指的一侧转过来，可以有效地迫使手指在指板上滑行，同时带走琴弦。此时，手指所要做的就是在感受到琴弦的阻力时尽量不要弯曲。只要手指能紧紧抓住音符，剩下的就交给手腕了。
In the world of classical guitar, you would be encouraged to arch your fingers and keep your thumb low down at the back of the neck, creating as much clearance as possible between your palm and the edge of the neck. This is the ideal hand position for playing technically demanding stuff like painful chord shapes or licks featuring wide stretches, but it does make bending harder - it feels like only the very tips of your fingers are actually putting their weight into pushing on the string. If instead you adopt the ‘baseball bat’ 在古典吉他的世界里，人们鼓励你弓起手指，拇指低垂在琴颈后部，在手掌和琴颈边缘之间创造尽可能多的间隙。对于演奏技术要求较高的曲目，如痛苦的和弦形状或具有宽广伸展性的乐段，这是理想的手部姿势，但它确实增加了弯弦的难度--感觉就像只有手指的最尖端才真正将重量放在推动琴弦上。如果采用 "棒球棒 "姿势
grip, where your thumb creeps over the top. you’ll feel more contact with the wood of the neck and hence you’ll get more leverage. In this way, the ends of your fingers will straighten out a little, moving nearer the fretboard, and when you bend a string, you’ll be able to put more of each digit behind the bend. This position certainly compromises the range of your left-hand stretch and overall mobility, so don’t use it all the time, but it’s the best way of executing a big bend without injuring yourself; As it happens, it’s also the best way of replicating Hendrix rhythm parts - plenty of otherwise-impossible chord voicings become playable when you use your left-hand thumb to fret notes on the low E string. 这样，你的手指末端就会伸直一些，靠近指板。这样，你的手指末端会伸直一些，离指板更近一些，当你弯弦时，每根手指都能更多地弯曲。这种姿势肯定会影响左手的伸展范围和整体活动能力，因此不要经常使用，但这是在不受伤的情况下执行大弯音的最佳方法；碰巧的是，这也是复制亨德里克斯（Hendrix）节奏部分的最佳方法--当你用左手拇指在低音 E 弦上拨弦时，很多原本不可能演奏的和弦配器都变得可以演奏了。
This last point is particularly appropriate when you’re bending a string upwards. If you’re playing on the lower strings, it’s more likely that you’d want to bend downwards, towards the floor, and there’s one subtle difference when you bend a string in this way: you need to curl your fingertip a little more so that part of it is effectively on top of the string. If the string keeps slipping, you probably need to fret the note with a different part of your fingertip. Try one of the fleshier areas, slightly further away from the nail. 最后一点在向上弯曲琴弦时尤为适用。如果您弹奏的是低音弦，那么您更有可能想向下弯弦，也就是向地面弯弦，这样弯弦时有一个微妙的区别：您需要将指尖卷曲得更大一些，这样指尖的一部分就能有效地放在弦的上面。如果琴弦总是滑动，你可能需要用指尖的另一部分来拨弦。试试离指甲稍远一点的肉多的地方。
Your equipment also plays a big part in this whole string-bending business. For a start, there’s the issue of neck radius. If you’re unsure what that means, hold up your guitar at eye level with the headstock pointing away from you and the pick-ups facing the ceiling. As you look down the line of the neck, you’ll notice that the fretboard is cambered (ie it looks slightly convex) and the frets are curved accordingly. The more curved the fretboard looks, the narrower its radius. The term radius makes sense if you think of the fretboard as a small section of a cylinder, rather than as a mere plank. 在整个琴弦弯曲过程中，设备也起着重要作用。首先是琴颈半径的问题。如果您不清楚这意味着什么，请将吉他举到与视线平齐的位置，琴头朝向远方，拾音器朝向天花板。顺着琴颈的线条往下看，你会发现指板是凸出的（即看上去略微凸起），而音格也相应地弯曲。指板看起来越弯曲，其半径就越窄。如果将指板看作是圆柱体的一小部分，而不是单纯的木板，那么 "半径 "一词就有意义了。
The camber of the neck, I should explain, is there to make life easier when you’re playing things like barre chords. Unfortunately, this luxury comes at a cost - as you bend the top E string towards the centre of a heavily cambered fretboard, the action effectively gets lower. If your action is low in the first place, your bends will be impaired by being choked, which is what happens when the string actually comes into contact with the higher frets and can no longer vibrate. This is why most pointy heavy-metal guitars have relatively 我得解释一下，琴颈的凸度是为了让您在弹奏巴雷和弦时更轻松。不幸的是，这种奢侈是要付出代价的--当你将最上面的 E 弦弯向凸度较大的指板中心时，演奏力度实际上就变低了。如果您的力度本来就很低，那么您的弯音就会因窒息而受到影响，这就是当琴弦实际接触到较高的音格而无法再振动时发生的情况。这就是为什么大多数尖头重金属吉他的弦高相对较低的原因。
flat fretboards whereas '62 Strats have a lot more camber - they were designed with very different playing styles in mind. If you’re partial to a bit of wide bending but can’t live without your low action, you need a fingerboard with a wide radius or perhaps a compound radius, where the curvature gets less pronounced as you move higher up the neck. 62 Strats 的指板是平的，而 62 Strats 的指板则有更大的弧度--它们在设计时考虑到了截然不同的演奏风格。如果您偏爱宽弯曲度，但又离不开低力度，那么您就需要一块半径较宽的指板，或者复合半径指板，这种指板的弧度随着琴颈的升高而减小。
The size of your frets can also make a huge difference to the whole bending experience. Taller frets make it easier for you to get a decent grip on the notes, and this is particularly true when you’re using heavy strings. Stevie Ray Vaughan’s frets, for instance, were enormous! The logical extension of this idea is to use a scalloped fingerboard, where the wood between each pair of frets has actually been scooped out so that you don’t feel anything under your fingertips when you play. This idea has been popularised by players like Yngwie Malmsteen, and players ranging from Ritchie Blackmore to John McLaughlin have also dabbled in it. It’s great for those violent bends, but many people find it hard to get a simple chord sounding in tune on a scalloped guitar - there’s no wood there to tell you if you’re squeezing the strings too hard and things can also get problematic when the time comes for a refret. 音格的大小也会对整个弯奏体验产生巨大影响。较高的音格可以让您更轻松地掌握音符，在使用较重的琴弦时尤其如此。比如 Stevie Ray Vaughan 的琴格就非常高！这种想法的逻辑延伸是使用扇形指板，即在每对音格之间的木头实际上都被挖掉了，这样演奏时指尖就不会有任何感觉。这一理念已被 Yngwie Malmsteen 等演奏家所推广，从 Ritchie Blackmore 到 John McLaughlin 等演奏家也曾涉足这一领域。这种方法非常适合弹奏激烈的弯音，但许多人发现在扇形吉他上很难弹奏出音调一致的简单和弦--没有木头来告诉你琴弦是否压得太紧，而且当需要重新调整琴弦时也会出现问题。
Here’s a comical-sounding exercise I sometimes try out on students who need to work on their bending. Try taking a scale or melody you already know and moving the entire fingering down a fret. In order to make the lick sound like it’s still in the original key, you now have to bend every note up by one semitone, and the results have an entertainingly drunken quality about them. Playing like this always reminds me of Marty Friedman’s phrasing when he’s going for that Oriental vibe, and you might have heard Richie Kotzen using similar ideas. 这里有一个听起来很滑稽的练习，我有时会在需要练习弯音的学生身上试一试。试着把你已经熟悉的音阶或旋律，将整个指法下移一个品格。为了让这首曲子听起来还在原来的调上，你现在必须把每个音都上弯一个半音，这样弹出来的效果就像喝醉了酒一样有趣。这样弹奏总是让我想起马蒂-弗里德曼（Marty Friedman）在追求东方韵味时的乐句，你可能也听过里奇-科岑（Richie Kotzen）使用类似的想法。
Another interesting exercise is to try “stepped” bends. For instance, take a note on the BB string and bend it up a semitone, hold it there for a moment and then bend it up a further semitone. Hold this new pitch for a moment and then let the string halfway down so that its pitch is once again a semitone above that of the original, unbent note. Hold it there for a moment and then release it. If you use 010-gauge strings or lighter, you can apply this to bends as wide as four or 另一个有趣的练习是尝试 "阶梯式 "弯音。例如，将 BB 琴弦上的一个音向上弯曲一个半音，保持片刻，然后再向上弯曲一个半音。保持这个新音高片刻，然后让琴弦下降一半，使其音高再次比原来未弯曲的音高高一个半音。保持片刻后松开。如果您使用的是 010 号或更轻的琴弦，您就可以将此方法应用于宽达四或五度的弯音。
five frets. The general principle is to visit every semitone en route so that the result sounds like a chromatic scale rather than one big bend. This exercise is of great benefit to the accuracy of your pitching. 五个五音格。总的原则是在途中访问每个半音，使演奏结果听起来像半音阶，而不是一个大弯音。这种练习对提高音准大有裨益。
Vibrato 颤音
So far, there’s been much talk about how to bend a note from one pitch to another. Now it’s time to turn our attention to the important matter of vibrato. 到目前为止，我们已经讨论了很多如何将音符从一个音高弯曲到另一个音高。现在，我们要把注意力转向重要的揉弦问题。
Everyone plays vibrato differently, and the ability to wobble a note nicely is one of the most important factors in your overall sound. The best way of honing your own vibrato technique is by trying to emulate the way your favourite players do it. I would cite players like BB King, Peter Green and Paul Kossoff as worthy all-round reference points, and if you like things to sound a little more violent, you might be inspired by Angus Young, Yngwie Malmsteen or the remarkably angry-sounding Zakk Wylde. The greater the variety of vibrato effects you can coax out of your instrument, the more versatile you’ll be as a player, so adventurous readers might even want to look beyond the realms of other guitarists and try to get a vibrato that sounds like Pavarotti’s voice, or indeed Marc Bolan’s - if you think you’re odd enough! 每个人的揉弦方式都不尽相同，而能否很好地晃动音符是影响整体音色的最重要因素之一。磨练自己揉弦技巧的最佳方法就是尝试模仿自己喜欢的演奏者的揉弦方式。我会把 BB King、Peter Green 和 Paul Kossoff 等演奏家作为值得全面借鉴的对象，如果你喜欢听起来更暴力一点的声音，你可能会从 Angus Young、Yngwie Malmsteen 或听起来非常愤怒的 Zakk Wylde 身上得到启发。你能从乐器中获得的揉弦效果种类越多，你就越能成为一名多才多艺的演奏者，因此喜欢冒险的读者甚至可以超越其他吉他手的范畴，尝试获得听起来像帕瓦罗蒂或马克-博兰的声音一样的揉弦效果--如果你觉得自己足够古怪的话！
As with any other kind of bending, the key to making vibrato work lies in using your wrist to control the actual pitch of the note, while your fingers’ job is to make sure all of that wrist movement is transferred effectively to the string. A good exercise is to pick a note and then alternate constantly between bending it up a fret and releasing it again. Start slowly and rhythmically; as you gradually build up speed, the effect will start to sound more like a single note being played with vibrato rather than two distinct notes. For some reason, your ears tend to perceive the unbent version of the note as the ‘correct’ pitch, even if you increase the width of your vibrato to three or four frets. 与其他弯音一样，揉弦的关键在于用手腕控制音符的实际音高，而手指的任务则是确保手腕的所有动作都能有效地传递到琴弦上。一个很好的练习方法是选取一个音，然后不断交替将其上弯一个品位，然后再松开。开始时速度要慢，要有节奏感；当你逐渐加快速度时，效果听起来会更像用揉弦演奏的一个音符，而不是两个不同的音符。由于某种原因，即使你将揉弦的宽度增加到三或四个音格，你的耳朵也会倾向于将未弯曲的音符视为 "正确 "的音高。
Having said that, it’s a slightly different state of affairs when you’ve bent note AA up to note BB and you want to add vibrato to the latter pitch. (Think of those big, languid bends at the start of Hendrix’s ‘Red House’.) When you add vibrato to a bent note, your fingers have to memorise the amount of tension needed to bend the note all the way up to pitch and then apply that 话虽如此，当您将音符 AA 弯曲至音符 BB 并想在后一个音高上添加揉弦时，情况就略有不同了。(想想亨德里克斯（Hendrix）的 "红房子"（Red House）开头那些慵懒的大弯音）。当你为一个弯曲的音符添加揉弦时，你的手指必须记住将音符一直弯曲到音高所需的张力大小，然后将其应用到揉弦中。
amount of force constantly as your wrist shakes, If you relax for a moment, the pitch will start to drop and the whole effect will be spoiled. Trickier though this approach might be, it does put some new sounds at your disposal. If you pre-bend a note before you pick it, you can achieve a slightly Brian May-like effect where your vibrato rhythmically lowers the pitch slightly rather than raising it. This sounds just as in tune as the normal kind of vibrato, but I think it has a distinctly sweeter flavour to it. Of course, it’s surely worth being comfortable with both kinds of vibrato so that you can play any given note in a variety of ways. 如果你放松片刻，音调就会开始下降，整个效果就会被破坏。虽然这种方法比较麻烦，但它确实能为你带来一些新的音色。如果在拾音之前预先弯曲一个音符，就能达到略类似布莱恩-梅的效果，即揉弦会有节奏地略微降低音高，而不是提高音高。这听起来和普通的揉弦一样合拍，但我认为它有一种明显的甜美味道。当然，两种揉弦方式都能运用自如也是值得肯定的，这样你就能以多种方式演奏任何给定的音符。
The other great thing about vibrato, apart from the undeniably ‘human’ quality it imparts to a note, is the way in which it can increase your sustain. The basic vibrato motion constantly rubs the string against the fret, which means that the fret is in effect bowing the string from underneath, keeping the vibration going for longer. (This is the opposite of the side-to-side vibrato favoured by classical players, the difference being a product of the fact that classical players use nylon strings rather than steel ones and that the two materials have very different elastic properties. ‘Cavatina’-style vibrato doesn’t really work on an electric guitar, but then again you couldn’t play the solo in Steve Lukather’s ‘Rosanna’ on a classical, so the old swings-and-roundabouts adage suggests itself!) If you fire up some gain on your amp, you should be able to sustain a note indefinitely purely by applying a constant vibrato to it - think of the intro to Hendrix’s ‘Foxy Lady’, Keen multitrackers take note: you can layer up an interesting approximation of a string section using this technique. 揉弦的另一个好处，除了它赋予音符无可否认的 "人性化 "特质外，还在于它可以延长你的延音时间。基本的揉弦动作会使琴弦不断地摩擦指板，这意味着指板实际上是从下方弓弦，使振动持续更长时间。(这与古典演奏者喜欢的侧向揉弦恰恰相反，两者的区别在于古典演奏者使用的是尼龙弦而不是钢弦，而这两种材料的弹性特性又截然不同。卡瓦蒂娜 "式揉弦在电吉他上并不奏效，但你也无法用古典吉他演奏史蒂夫-卢卡瑟（Steve Lukather）的 "罗珊娜"（Rosanna）中的独奏。如果你在扩音器上增加一些增益，你就可以通过持续的颤音来无限延展一个音符--想想亨德里克斯（Hendrix）的《狐狸精》（Foxy Lady）的前奏吧。
Hopefully, thinking about this sort of stuff will help you to develop an effective and versatile vibrato technique. Approaching the whole vibrato issue a little more obliquely, you might also like to consider the following… 希望对这些问题的思考能帮助您掌握有效而多变的揉弦技巧。如果您想更深入地探讨揉弦问题，不妨考虑以下几点......
Eric Clapton’s playing is a textbook example of how you can really make a note sing, and yet when you watch footage of the man playing you’ll notice something a little unusual: when he’s adding vibrato to a long, sustained note, he tends to remove his thumb from the back of the neck so 埃里克-克莱普顿（Eric Clapton）的演奏堪称教科书式的范例，他能让一个音符真正唱出来，然而，当你观看他的演奏片段时，你会发现一些不寻常之处：当他为一个持续的长音加上颤音时，他往往会将拇指从琴颈后部移开，这样，他的拇指就会在一个长音上加上颤音。
that only his fingertip is actually in contact with the guitar. As always, the idea is for your finger to remain rigid while your wrist does the shaking, but you might well find it more difficult to maintain contact with the string without having your thumb there to guide you. 实际上只有指尖与吉他接触。与往常一样，这样做的目的是让手指保持僵硬，而手腕则进行抖动，但您可能会发现，如果没有拇指的引导，要保持与琴弦的接触会更加困难。
To prevent the whole neck from moving around as you shake your wrist, it helps to grip the body of the guitar with your right forearm, pushing it slightly against the right side of your own body. In this way, you can use your forearm to resist the pressure applied to the neck by your fretting hand, and the thing should stay still. Most players find this approach harder and less reliable than the timehonoured baseball-bat-style grip, but it’s worth checking out. With a little practice, you’ll be able to obtain a really fast, sweet-sounding note. 为了防止手腕抖动时整个琴颈左右晃动，可以用右前臂紧紧抓住吉他的琴身，稍稍将其推向自己身体的右侧。这样，你就可以用前臂来抵挡拨弦手施加在琴颈上的压力，而琴颈就会保持不动。大多数演奏者认为这种方法比传统的棒球棍式握法更难、更不可靠，但还是值得一试。只要稍加练习，你就能获得一个非常快速、动听的音符。
If you prefer your notes to sound more vicious, you might like to experiment with the Zakk Wylde tactic of bringing your picking hand over to the area between the nut and your fretting hand. If you grab the string there, you can add abnormally wide, fast vibrato to a note. For the best results, hold on tight with your fretting hand. 如果你喜欢让音符听起来更凶狠，不妨尝试一下扎克-怀尔德（Zakk Wylde）的方法，将你的拨弦手伸向螺母和指弦手之间的区域。如果在这里抓住琴弦，就能为音符添加异常宽广、快速的颤音。为了达到最佳效果，请用指弦手紧紧抓住琴弦。
If you’re partial to a bit of slide playing, you’ll know that effective bottleneck vibrato is all about moving along the length of the neck rather than physically bending the strings, thus your wrist has to shake in a more horizontal fashion. Apart from that, however, I think that the basic principles of finger vibrato still hold true when you’re using a slide. 如果你偏爱滑音，你就会知道有效的瓶颈揉弦是沿着琴颈的长度移动，而不是物理性地弯曲琴弦，因此你的手腕必须以更水平的方式抖动。除此之外，我认为在使用滑音时，手指揉弦的基本原则仍然适用。
The biggest challenge for the novice slide player is in keeping the thing in line with the plane of the strings so that you don’t hear it rattling along the edges of the frets as you slide. Anchoring your thumb somewhere will make it easier to maintain the correct angle once you’ve found it, as will resting your index finger on the strings, behind the slide. If you’re trying to play single-note lines, you’ll soon discover how keen the unwanted strings are to ring out in sympathy, so you need to focus a lot on right-hand muting, and a fingerstyle approach is probably your best bet here. 对于滑音新手来说，最大的挑战在于如何使滑音器与琴弦平面保持一致，这样在滑动时就不会听到滑音器在琴弦边缘嘎嘎作响。将拇指固定在某处，一旦找到了正确的角度，就能更容易地保持，食指放在滑片后面的弦上也是如此。如果你想演奏单音线条，你很快就会发现不需要的琴弦是多么热衷于发出共鸣，因此你需要把大量精力放在右手的静音上，而指法可能是你最好的选择。
Slide playing is probably the only style of guitar playing that actually gets easier when you raise your action and switch to fatter strings. This kind of set-up allows you to dig in more, enabling you to achieve a bigger tone without running the risk of pushing a string down so far that it actually touches the frets. If you don’t normally use a slide but you fancy giving it a try, it might well be worth starting out on a cheap acoustic with cheesewire action. Then, once you’re comfortable with the basic techniques, you can work on refining them so that they work on a more playable guitar. The end result is that you’ll be able to incorporate some slide licks into your normal playing. 滑音可能是吉他演奏中唯一一种在提高音准和换用较粗琴弦后会变得更加容易的演奏方式。这种设置可以让您更深入地演奏，从而获得更大的音色，而不会有将琴弦压得太低以至于触碰到五线谱的风险。如果您通常不使用滑弦板，但又想尝试一下，不妨先从廉价的干酪丝弦木吉他开始。然后，当你熟练掌握了基本技巧后，就可以对其进行改进，使其能在更适合演奏的吉他上使用。最终的结果是，你可以将一些滑音技巧融入到你的正常演奏中。
You’ll probably find this easier when you wear the slide on your little finger (it’s the one you use the least, admit it!), but in certain situations you might just want to try it on your middle finger. This will allow you to vary the angle of the slide in order to obtain different intervals. Imagine playing the GG and BB strings at the fifth fret and trying to slide the G-string note up a whole tone while sliding the BB string up by a mere semitone. You’ll need to bring your finger into a more diagonal orientation as you slide up the neck, and your middle finger can happily do this without falling off the edge of the fretboard whereas your little finger simply can’t. Take this basic idea, add a volume pedal and you’ve got yourself all sorts of lovely pedal-steel effects! 当你把滑片戴在小拇指上时，你可能会发现这样做更容易（这是你用得最少的手指，承认吧！），但在某些情况下，你可能只想把它戴在中指上试试。这样可以改变滑音的角度，以获得不同的音程。试想一下，在五音处演奏 GG 和 BB 琴弦，在尝试将 G 弦的音向上滑动一个全音的同时，将 BB 琴弦向上滑动一个半音。在琴颈上滑动时，您需要将手指向更对角的方向移动，您的中指可以轻松地做到这一点，而不会从指板边缘滑落，但您的小指却做不到。利用这一基本思路，再加上音量踏板，你就能获得各种可爱的踏板钢效果！
Many people associate slide playing with Delta blues, but that’s not all you can do with the technique. For a completely different perspective, check out Jeff Beck’s album You Had It Coming, on which you’ll find a cover of Nitin Sawhney’s ‘Nadia’. Jeff’s phrasing on this track mimics the vocal line of the original with uncanny precision. It’s chock-full of those little microtonal inflections that you normally hear only in Indian music. 很多人将滑音演奏与三角洲蓝调联系在一起，但这并不是滑音演奏技巧的全部。杰夫-贝克（Jeff Beck）的专辑《你自找的》（You Had It Coming）中翻唱了尼廷-索尼（Nitin Sawhney）的《纳迪亚》（Nadia）。杰夫在这首歌中的措辞模仿了原唱的声线，精准得令人难以置信。这首歌充满了你通常只能在印度音乐中听到的微调。
While we’re on that Indian theme, you should really get hold of an album called A Meeting By The River, which features the very contrasting slide styles of Ry Cooder and V(ishnu) M Bhatt. Technically, the latter is 说到印度的主题，你真应该去买一张名为《河边的会面》的专辑，这张专辑收录了 Ry Cooder 和 V(ishnu) M Bhatt 截然不同的滑音风格。严格来说，后者是
not a guitarist - he plays an instrument of his own design called a mohan vina - but you’ll hear how his phrasing could be adapted to guitar. 他不是吉他手--他演奏的是一种自己设计的乐器，名为 "莫汉维纳"--但你会听到他的乐句是如何改编成吉他的。
If you want to hear someone being downright weird with a slide, check out the work of David Tronzo, a Steinberger-wielding experimental jazz player. And of course there’s always the option of trying a guitar with no frets, which will allow you to slide up an octave with impunity - and you don’t need a bottleneck at all, so you retain full use of your fretting fingers. Guitars with no frets tend to suffer from a loss of sustain, but the good people at Vigier make a guitar called the Surfretter which combats this problem with a fingerboard made from some top-secret alloy or another, allowing the notes to ring for longer than they would on a traditional wooden board. If you’re wondering what such an instrument might sound like, you could try Bumblefoot’s 9.11 album or perhaps something by the acoustic player Antonio Forcione, who’s been known to use a guitarlike fretless instrument that he calls the oudan. Fretless playing really forces you to concentrate on the intonation of every note you’re playing. It might sound a bit too much like hard work, but it’s definitely worth a try. If nothing else, it certainly makes you play differently! 如果你想听听某人用滑音吉他演奏出的怪异效果，不妨看看挥舞着 Steinberger 的实验爵士乐手大卫-特龙佐（David Tronzo）的作品。当然，你还可以尝试一把无品吉他，它可以让你肆无忌惮地滑上一个八度--而且你根本不需要瓶颈，这样你就可以充分使用你的指弹手指。没有五线谱的吉他往往会失去延音效果，但 Vigier 公司生产的一款名为 Surfretter 的吉他可以解决这个问题，它的指板由某种绝密合金制成，可以让音符比在传统木板上弹得更久。如果你想知道这种乐器的音色如何，可以试试大黄蜂乐队（Bumblefoot）的 9.11 专辑，或者是声乐演奏家安东尼奥-福尔乔内（Antonio Forcione）的作品。无品乐器演奏确实会迫使你集中精力演奏每个音符的音准。这听起来可能有点太辛苦了，但绝对值得一试。如果不出意外，它肯定会让你的演奏与众不同！
Muting Unwanted Notes 将不需要的音符静音
This might sound a little bit Zen, but whenever you play a note on the guitar, you also have to not play notes on the other strings. Many players neglect muting because it’s a harder area to define than the notes themselves - if you’re trying to learn a new song or lick, a transcription can show you where the right notes are, but it won’t tell you which notes not to play. After all. why would it? It’s very important to listen critically to the way you’re playing, and if you hear any noise coming from your guitar other than the note you told it to produce, your technique needs a little reappraisal. Yes, I know it sounds kind of tedious, but sometimes it’s good to take something you already know and focus on trying to make it sound as clean as possible. It might not be as exciting as learning something totally new, but it makes your playing sound more musical in the long run. 这听起来可能有点禅意，但每当你在吉他上弹出一个音符时，你也必须不在其他弦上弹出音符。很多演奏者都会忽略静音，因为它比音符本身更难定义--如果你想学习一首新歌或一个新的弹奏技巧，抄本可以告诉你正确的音符在哪里，但它不会告诉你哪些音符不能弹。毕竟，为什么要这样做呢？批判性地聆听自己的演奏方式非常重要，如果你听到吉他发出的声音与你让它弹奏的音符不同，那么你的演奏技巧就需要重新评估了。是的，我知道这听起来有点乏味，但有时把你已经掌握的东西集中起来，尽量让它听起来干净利落，也是一件好事。这可能不像学习全新的东西那么令人兴奋，但从长远来看，它能让你的演奏听起来更有音乐性。
Palm Muting 手掌静音
So, how do you keep unwanted notes and handling noise down to a minimum? I put it to you that both of your hands have a part to play here. For instance, let’s say you’re playing the note of EE at the ninth fret on the GG string: As soon as you strike the string, other strings will be tempted to chime in sympathy, which detracts from the tonal quality of the note you actually meant to play. To avoid this, you should be using the underside of the fingers on your fretting hand to mute any string higher in pitch than the one you’re playing (ie the BB and top E strings if you’re playing the G string). In particular, the index finger seems very handy (no pun intended) when it comes to keeping these strings out of trouble, regardless of the finger you’re using to fret the note. 那么，如何将不必要的音符和操作噪音降到最低呢？我告诉您，您的两只手都要发挥作用。例如，假设您在 GG 弦的九音格上演奏 EE 音：当您敲击琴弦时，其他琴弦也会随之发出共鸣，从而影响您实际要演奏的音的音质。为了避免这种情况，您应该用指法手的手指下端使比您所弹的弦音高更高的弦静音（即 BB 和E上弦，如果您弹的是G弦的话）。尤其是食指，无论您用哪根手指拨弦，它都能很好地避免这些弦出现问题。
Meanwhile, any strings lower in pitch than the one you’re playing (ie the D,AD, A and bottom E strings) can be kept in check by your picking hand. Exactly which part of your hand you should use will depend on your picking technique - everyone picks slightly differently - but it will involve your palm in some way. 与此同时，任何比您正在弹奏的弦音高更低的弦（即 D,AD, A 和底部 E 弦）都可以通过您的弹奏手来控制。具体使用手的哪个部位取决于您的拾音技巧，每个人的拾音技巧都略有不同，但手掌都会以某种方式参与其中。
Try looking at your palm and visualising all the parts of it that you think might be useful for muting. You should conclude that there’s a horseshoe-shaped area of flesh running down the little-finger side of the palm, through the part where your hand joins your wrist and then up the thumb side. You should then be able to decide which part of this zone comes closest to the wound strings when your picking hand is in its habitual playing position. Your goal should then be to train this part to rest on the unwanted strings whenever you play. By making small adjustments in the angle of your wrist, you should be able to find a hand position that enables you to silence the strings you don’t need to hear without accidentally damping the note you’re trying to play. 试着看着自己的手掌，想象手掌上所有你认为可能对静音有用的部位。您应该会得出这样的结论：手掌的小指一侧有一个马蹄形的肉区，从手掌与手腕的连接处一直延伸到大拇指一侧。然后，您应该能够判断出，当您的弹奏手处于习惯的弹奏姿势时，该区域的哪一部分最靠近缠绕的琴弦。然后，您的目标就应该是训练这部分区域，使其在任何时候演奏时都能停留在不需要的琴弦上。通过对手腕角度的微小调整，你应该能够找到一个手的位置，使你能够让你不需要听到的琴弦安静下来，而不会意外地影响到你想要弹奏的音符。
This might feel like hard work at first, but if you force yourself to remain aware of your damping technique, it will soon become second nature and you’ll be doing it subconsciously whenever you play. 一开始可能会觉得这很辛苦，但如果你强迫自己时刻注意阻尼技术，它很快就会成为你的第二天性，每次演奏时你都会下意识地这样做。
I can think of a few variations on this basic muting idea. For instance, fans of players like AI DiMeola will be familiar with the sound you can obtain by muting the string you’re actually playing. To experiment with 我能想到这种基本静音想法的一些变体。例如，AI DiMeola 等演奏家的乐迷一定很熟悉将实际演奏的琴弦静音后所获得的音色。尝试
this technique, try picking notes while leaning your palm on the strings at the point where they pass over the saddles. It’s important here to rest your palm at the correct point along the ‘speaking length’ of the string (ie the portion of the string that actually vibrates when a note is played). The desired sound is percussive, with less treble and less sustain than a regular note, so if the noise you’re making fits this description, you’re probably doing it right! As guidelines, remember the following: 要掌握这种技巧，可以试着将手掌靠在琴弦经过弦枕的位置上弹奏音符。重要的是，要将手掌放在琴弦 "说话长度 "上的正确位置（即弹奏音符时琴弦实际振动的部分）。如果您发出的声音符合上述描述，那么您可能做对了！作为指导原则，请记住以下几点：
If your hand is too far in front of the bridge (ie too far in the direction of the bridge pick-up), you’ll lose the pitch of the notes altogether. 如果你的手在琴桥前太远（即在琴桥拾音器方向太远），就会完全失去音符的音高。
If your hand is only slightly too far along the string, your palm will let out a note, but it’ll sound sharp. This is particularly noticeable on the low E string, which you can easily turn into an F string simply by leaning on it too hard or too far from the saddle. 如果您的手只是稍微偏离琴弦太远，您的手掌就会发出音符，但听起来会很尖锐。这种情况在低音 E 琴弦上尤为明显，只需用力过猛或离琴码太远，就很容易将其变成 F 琴弦。
On the other hand, if you’re resting your palm too far back, you won’t really be muting the notes at all and they’ll sound exactly the same. 另一方面，如果你的手掌靠得太靠后，你就根本不会使音符变弱，它们听起来会完全一样。
Your guitar responds differently when you’re muting at the bridge - your fluid legato licks won’t sound as clear but picked passages will take on a new rhythmic quality, with the sound of the initial pick attack playing a more prominent role, 当你在琴桥处使用静音时，吉他的反应会有所不同--流畅的连奏会听起来不那么清晰，但弹奏的段落会呈现出一种新的节奏感，最初的弹拨声会发挥更重要的作用、
I mentioned AI DiMeola earlier as an example of a player whose style makes extensive use of muted notes, partially because his recorded output demonstrates how effective palm muting can be on acoustic and electric guitars alike but mainly because he’s invented an appealing word for it: the mutola effect. However, even if you don’t have any interest in Al’s fiery brand of Latin-tinged jazz or his phenomenal picking technique, I’d still like to try to sell you the idea that palm muting is a worthy pursuit. The riff from The Police’s ‘Every Breath You Take’, as played by that master of minimalist pop guitar, Andy Summers, wouldn’t sound half as effective if you’d heard it played without palm muting. The Shadows’ rendition of ‘Foot Tapper’ wouldn’t have 我在前面提到艾尔-迪米奥拉（AI DiMeola）是一位在演奏风格中大量使用哑音的演奏家，部分原因是他的录音作品展示了手掌哑音在木吉他和电吉他上的效果，但主要原因是他为此发明了一个吸引人的词--哑音效果（mutola effect）。不过，即使你对艾尔火热的拉丁爵士乐或他惊人的弹拨技巧不感兴趣，我还是想向你推销一个想法，即手掌消音是一种值得追求的方法。警察乐队《Every Breath You Take》中的旋律，由简约流行吉他大师安迪-萨默斯（Andy Summers）弹奏，如果不使用手掌静音，听起来就没有半点效果。阴影乐队演绎的《Foot Tapper》也不会有
the same charm about it without the percussive touch. And of course the whole evolution of The Heavy Metal Riff would have gone very differently without the invention of palm muting - 1 could refer you to Led Zeppelin’s ‘Whole Lotta Love’, Van Halen’s ‘Ain’t Talkin’ ‘Bout Love’ or pretty much anything by Metallica. (The frustrated radio DJ in me wanted to complete that list of examples with a Metallica song also featuring the word ‘Love’ in the title, but I couldn’t think of one.) 如果没有打击乐的点缀，重金属乐段的魅力也不会如此。当然，如果没有手掌静音的发明，重金属 Riff 的整个演变过程也会大相径庭--你可以参考齐柏林飞艇（Led Zeppelin）的《Whole Lotta Love》、范海伦（Van Halen）的《Ain't Talkin' 'Bout Love'》或 Metallica 的几乎所有歌曲。(我这个沮丧的电台 DJ 还想用一首 Metallica 歌曲（歌名中也有 "Love "一词）来补充这一系列例子，但我实在想不出来）。
Let’s stay with the Metallica idea for a moment, The whole sound of that band - and the host of other metal bands that have taken their inspiration from them - is defined by the guitar sound, a heavily overdriven tone with the bass and treble boosted and the mid range taken out. As you’ll remember from the section on ‘EQ’, this isn’t the traditional way to set up your rig if you want to be heard clearly in a band context, but for the heavier fields of guitar-based music, I think we have to make an exception. That scooped tone can sound very powerful and menacing if used properly! 让我们暂时停留在 Metallica 乐队的概念上：该乐队的整体音色，以及从他们那里获得灵感的众多其他金属乐队的音色，都是由吉他音色决定的，这是一种重度过载音色，低音和高音被增强，中音被去除。正如你在 "均衡器 "一节中所记得的，如果你想在乐队中听得清楚，这并不是设置装备的传统方式，但对于吉他音乐中的重型领域，我认为我们必须破例。如果使用得当，这种勺形音色听起来会非常有力，而且气势汹汹！
If you’re playing through this kind of set-up, you’ll find the main problem is keeping it under control; a heavily overdriven amp is a frisky beast, and the slightest of accidental hand movements at your end can turn into an enormous and unpleasant racket by the time it reaches the speakers. In a context like this, you have to be more conscious than ever of damping all unwanted strings, just to make sure that there’s a difference in volume level between when you’re playing and when you’re not. You have to be very assertive with your muting technique to get the bestsounding results. 如果您通过这种设置进行演奏，您会发现主要的问题是如何控制音量；严重过载的音箱是一头狂躁的野兽，您手部最轻微的意外动作在传到扬声器时都会变成巨大而令人不快的喧闹声。在这种情况下，你必须比以往任何时候都更加有意识地抑制所有不想要的弦乐，以确保演奏时和不演奏时的音量有区别。要想获得最佳音效，你必须非常自信地使用静音技术。
One important feature of many riffs in this style would be the stops and starts. A wall of E5-based mayhem tends to have more impact and a tighter sound if you pepper it with a few gaps, and making the gaps come out cleanly is an ongoing battle for metal guitarists everywhere. If your amp is capable of an appropriately obscene level of overdrive, I would suggest that you try setting it up that way, selecting your back pick-up and devoting a few therapeutic minutes to chugging away on an E5 chord - you know, the one where you hit the three low strings while 这种风格的许多旋律都有一个重要特点，那就是起承转合。如果你在以 E5 为基础的混乱音墙中加入一些间隙，往往会产生更大的冲击力和更紧凑的声音。如果你的音箱能达到适当的过载程度，我建议你试试这样设置音箱，选择后置拾音器，花几分钟治疗时间弹奏 E5 和弦--你知道的，在弹奏 E5 和弦时，你要击打三根低弦。
fingering the AA and DD strings at the second fret. Try to cut each one off after the initial crunch, using various bits of your palm in search of the cleanest effect. 在二品上指法 AA 和 DD 弦。在最初的嘎吱嘎吱声后，尝试用手掌的不同部位将每根弦切断，以寻找最干净的效果。
You’ll probably find that simply sticking your palm on the strings at the end of the chord creates an unwanted thudding noise. If you perform the same palm movement a little more subtly, you can eliminate the thud, but this makes the end of the chord sound more woolly, as it takes a quarter of a second or so for the sound to stop rather than achieving the instantaneous muting you’d like. (A common symptom of this might be a sub-bass rumble, like the noise you’d expect an elephant to make after a bad kebab!) 您可能会发现，在和弦结束时简单地将手掌贴在琴弦上会产生不必要的咚咚声。如果将同样的手掌动作做得更巧妙一些，就能消除咚咚声，但这会使和弦结束时的声音听起来更毛糙，因为声音需要四分之一秒左右的时间才能停止，而不是你想要的瞬间静音。(一个常见的症状是低音隆隆作响，就像大象吃完烤肉串后发出的声音！）。
So what’s the solution? Well, I think you need to get both hands involved in the damping process. If you gently bring the palm of your picking hand onto the strings as usual while simultaneously touching them at the other end of their speaking length with the undersides of the third and fourth fingers on your fretting hand, you stand twice as much chance of silencing the chord properly. The lowest strings in particular seem to respond well to this approach, as they’re the ones most prone to fits of unwelcome rumbling 那么，解决办法是什么呢？我认为您需要让双手都参与到阻尼过程中。如果你能像往常一样轻轻地将拾音手掌放在琴弦上，同时用拨弦手的三指和四指下端触碰琴弦的另一端，那么你就有两倍的机会使和弦正确消音。最低音的琴弦似乎特别适合这种方法，因为它们最容易发出不受欢迎的隆隆声。
If you’ve tried this technique and found it disappointingly ineffective, it might be that the muting fingers on your fretting hand are landing too heavily on the strings, which could cause a whole new source of clunking noises or indeed some new notes! Remember to keep your fingers fairly straight and to gauge the amount of pressure you use by making sure that you never actually push the strings all the way down onto the frets. 如果您尝试过这种技巧，却发现效果不佳，那可能是您拨弦手的静音手指过于用力地按在琴弦上，这可能会产生全新的 "咚咚 "声，甚至是一些新的音符！切记手指要伸直，并通过确保从未将琴弦完全按在五线谱上来衡量压力的大小。
Other Solutions 其他解决方案
Most specialised players use some form of noise gate, which basically won’t let any sound from your guitar reach the amp unless it’s loud enough to be considered a deliberate bit of playing. This means that those little bits of handling noise never get magnified by the amp. because the pedal realises how quiet they were and very helpfully filters them out. Of course, you can adjust the threshold control to determine how fussy the gate is about what it lets through. Noise gates can make life a lot easier and are indispensable gadgets for those who do a lot of home recording. 大多数专业演奏者都会使用某种形式的噪音门，它基本上不会让吉他发出的任何声音传到音箱，除非声音大到足以被认为是故意演奏。这意味着那些小的处理噪音永远不会被音箱放大，因为踏板会意识到它们有多小，并非常有帮助地将它们过滤掉。当然，你也可以调整阈值控制，以确定噪声门对所允许通过的噪声有多挑剔。噪声门可以让生活变得更轻松，对于经常在家录音的人来说是不可或缺的小工具。
Here I should really point out one thing that you probably expected me to say but almost certainly didn’t want to hear: a noise gate can supplement a good string-damping technique, but it can’t replace it. However much money you spend on your gating requirements, you’re still in charge of the basic notes, and the cleaner you can play them, the less noise the pedal has to work with and the more polished the results will sound. (Incidentally, I know of at least one prominent metal band who employ a backstage tech with the basic job description ‘Learn our set inside out so you can be trusted to turn this noise gate on and off, manually, every time there’s a gap in the guitar part’! This might strike you as a rather extreme remedy for that whole handling-noise problem, but if your job is playing tight rhythm parts through generously overdriven amps all night, you probably appreciate the peace of mind that comes from having someone else worry about your muting concerns.) 在这里，我真的应该指出一件你可能希望我说，但几乎肯定不想听的事情：噪音门可以补充良好的弦阻尼技术，但不能取代它。无论你花了多少钱来满足你的门控要求，你还是要对基本音符负责，你弹得越干净，踏板需要处理的噪音就越少，效果听起来就越完美。(顺便提一句，据我所知，至少有一支著名的金属乐队雇用了一名后台技术人员，其基本工作内容是 "全面学习我们的演奏，这样你就可以在吉他部分出现空隙时手动打开或关闭噪声门"！这可能会让你觉得这是解决噪音问题的极端方法，但如果你的工作是整晚通过大功率过载的音箱演奏紧凑的节奏部分，你可能会很感激让别人为你的静音问题操心，从而让你感到安心）。
On a related note, using a guitar with a floating bridge to play this kind of stuff presents yet another problem the tremolo springs ring out in sympathy. and you can’t mute them with your hand because they’re tucked away in a cavity inside the guitar’s body. If you’re suffering from this complaint, you’ll hear something akin to a large church bell chiming in the distance whenever you cut off a loud chord. One solution is to remove the backplate from your guitar and insert some foam between the springs. Of course, this might have a very slight effect on your tone, but I think it’s an invaluable aid to getting a good distorted chug sound out of a tremolo-equipped guitar. 与此相关的是，使用带浮桥的吉他弹奏此类乐曲时还会遇到另一个问题，即颤音弹簧会发出共鸣，而你无法用手将其静音，因为它们被藏在吉他琴身内部的一个空腔中。如果你有这种困扰，每当你切断一个响亮的和弦时，你就会听到远处传来类似教堂大钟的钟声。解决方法之一是从吉他上拆下背板，在弹簧之间插入一些泡沫。当然，这对音色的影响可能微乎其微，但我认为这对从配备震颤器的吉他中获得良好的失真 "突突 "声是一种宝贵的帮助。
There are a few other applications of the muting concept which I probably wouldn’t get to mention anywhere else in this book, so l’ll do it here! As a quick exercise, try playing the same note over and over again, aiming to get each note sounding a little more aggressive than its predecessor. You’ll probably do this by hitting the string harder and harder until you reach a point where increasing the force of your pick attack no longer increases the volume of the note this feels like the point where you’ve pushed the note as far as it can go, and you might well assume that you’ve found the angriest-sounding version of that note you could possibly wring out of your instrument. 静音概念还有其他一些应用，我可能不会在本书的其他地方提到，所以就在这里说了！作为一个快速练习，试着反复弹奏同一个音，争取让每个音都比前一个音更有力度。你可能会通过越来越用力地敲击琴弦来达到这个目的，直到增加拨弦的力度不再能增加音符的音量时为止。
In fact, you can go several notches higher on the aggression scale if you hit a couple of damped strings along with the note you actually want to hear. This adds a percussive attack to the start of the note, but it doesn’t have any ill effects on the pitch of what’s coming out of your amp. You’re using only the initial attack of the other strings, so as long as you’ve damped them correctly, each additional string should provide a little extra crunch without resulting in any new unwanted notes. This is a common technique in the field of blues playing, and you can find examples of it ranging from the gentle brraapp sound BB King sometimes adds at the start of a long note to the highenergy sound of Stevie Ray Vaughan playing a single-note riff but picking all six strings as he does so for that raw, chaotic effect. (Use this last one with caution, by the way - it’s best to get the hang of the less extreme applications first!) 事实上，如果在演奏你真正想听到的音符时，同时敲击几根阻尼弦，你就能将力度提升好几个档次。这样可以在音符的起音处增加打击感，但不会对音箱输出的音高产生任何不良影响。您使用的只是其他琴弦的初始攻击，因此只要阻尼正确，每一根额外的琴弦都会带来一点额外的嘎吱声，而不会产生任何新的不想要的音符。这是蓝调演奏中一种常见的技巧，从 BB King 有时在一个长音的开头加上轻柔的 brraapp 音，到 Stevie Ray Vaughan 演奏单音旋律时拾取所有六根弦以获得原始、混乱效果的高能量音效，你都能找到这样的例子。(顺便说一句，最后一种方法要慎用--最好先掌握不那么极端的应用方法！）。
Here’s a simple example of this in practice. If you’re using your third finger to fret an Fi at the 14th fret on the top E-string, you could rake your pick across the D,GD, G and BB strings en route. To mute them effectively, you’ll definitely need to use the palm of your picking hand, and I would recommend the added security of using the underside of your fretting hand’s index finger so that you can simultaneously dampen things at the fretting end of the string. Either one of these damping methods might go wrong if used individually - for instance, if you only use your fretting hand to damp. there’s a danger of getting some inappropriate 12thfret harmonics cropping up - but combined, they’re very reliable, and after a little practice you’ll start instinctively adding muted rakes to any notes you want to make a little more prominent. 下面是一个简单的实际例子。如果您用三指在 E 弦上部的第 14 音格上拨动一个 Fi 音，那么您可能会在拨动过程中用剔弦器划过 D,GD, G 和 BB 琴弦。为了有效地使其静音，您肯定需要使用挑弦手的手掌，而且我建议您使用指弦手食指的下侧，这样您就可以同时在指弦端阻尼，从而增加安全性。单独使用这两种阻尼方法都有可能出错，例如，如果你只用拨弦手来阻尼，就有可能出现一些不恰当的 12 音格谐波，但将它们结合在一起就非常可靠了，而且在稍加练习后，你就会开始本能地在任何你想让其更加突出的音符上添加哑音耙。
Muting And Bending 静音和弯曲
When you’re bending a note, you’ll have to be extra aware of how you’re damping adjacent strings, because there’s a whole new problem to negotiate - you’re pushing the string you want to hear into closer proximity with the ones you’re trying to keep silent. For instance, if you’re playing the B string at the 12 th fret and you want to bend it up a tone, wobble it for a bit and then silence the note, you’ll encounter two main problems: 当您弯曲一个音时，您必须格外注意如何抑制邻近的琴弦，因为这又是一个全新的问题--您正在将您想要听到的琴弦与您想要保持安静的琴弦推得更近。例如，如果您正在弹奏 12 品的 B 弦，而您想将其弯曲一个音，然后晃动一下，再将音符静音，那么您会遇到两个主要问题：
1 On the way up, your bending finger will come into contact with the GG and DD strings, and there’s some chance that it will accidentally fret a note on one of these, mid-bend. This can be remedied with some judicious damping from your picking hand. You just have to bear in mind that the strings are closer together when you’ve bent one of them, so you have less margin for error. If in doubt, keep your damping hand close to the bridge, where the string spacing is less severely affected by bending. 1 在上弦的过程中，您的弯指会接触到 GG 弦和 DD 弦，有可能会在中途不小心在其中一根弦上拨音。这可以用你的拨弦手进行一些明智的阻尼处理来解决。你只需记住，当你弯曲其中一根弦时，弦与弦之间的距离会更近，因此你出错的余地会更小。如果有疑问，请将阻尼手靠近琴桥，因为琴弦间距受弯曲的影响较小。
2 Here’s the classic howler: after a successful bend and a pleasant bit of vibrato, the player then lets the string back down to its unbent pitch and the unmistakeable sound of the open DD string pops out from nowhere. This can be avoided not only by focusing on how your picking hand damps the strings but also experimenting with using different areas of your fingertip to fret the note, thus ensuring that you’re not unwittingly pulling off to an open string you don’t want to hear! Mainly, you should remember that your obligations to the bent note are not fulfilled until you’ve safely returned the string to its unbent position. Until that point, you have to be constantly aware of muting considerations. Even if you’ve already cut the note off, it can still come back to haunt you! 2 以下是最典型的 "嚎叫"：在成功的弯弦和悦耳的揉弦之后，演奏者将琴弦放回未弯的音高，这时开弦 DD 的声音就会突然出现。要避免这种情况，不仅要注意挑弦手对琴弦的阻尼，还要尝试使用指尖的不同区域来拨弦，从而确保不会在不知不觉中拉到你不想听到的开弦！最主要的是，你要记住，只有当你安全地将琴弦恢复到未弯曲的位置时，你才算履行了对弯曲音的义务。在此之前，你必须时刻注意静音的注意事项。即使你已经切断了这个音，它还是会找上你！
Fast Muting 快速静音
Alternatively, you might be playing a stereotypical funk groove where your picking hand is strumming constant 16 th notes and your fretting hand is holding an E9 shape (the one where you finger the D string at the sixth fret and barre the higher strings at the seventh, maybe adding a root note on the A string - everyone’s favourite funk chord). For the full ‘Theme From Shaft’ effect, you need to cut off the chord at selected parts of each bar so that some 16th notes are marked only by the percussive sound of muted strings. Whenever you see this sort of rhythm part transcribed, the tablature is swarming with Xs to indicate these muted moments, and they’re achieved by releasing the grip of your fretting hand. 或者，您也可以演奏一种千篇一律的放克旋律，在这种旋律中，您的弹弦手弹奏的是恒定的 16 个音符，而您的指弦手弹奏的是 E9 形（即您在六品处用手指弹奏 D 弦，在七品处弹奏高音，并在 A 弦上添加一个根音--这是每个人都喜欢的放克和弦）。为了达到完整的 "Theme From Shaft "效果，你需要在每小节的某些部分切断和弦，这样一些 16 分音符就只能通过消音弦的打击声来标记。每当你看到这种节奏部分的转写时，制表符上就会出现大量的 X 来表示这些静音的时刻，而这些都是通过松开你的指法手来实现的。
The important factor here is the extent to which you release your grip. Your hand can continue to form 这里的重要因素是你松开抓握的程度。你的手可以继续形成
the basic chord shape, but it should relax just enough to separate the strings from the frets and cut off the ringing sound. If your fingertips actually leave the strings, that’s a good indication that you’ve relaxed your grip a bit too much, and the resulting messy sound will leave you in no doubt that you’re doing it wrong 在弹奏基本和弦时，指尖的放松程度要恰到好处，这样才能使琴弦与五线谱分离，并切断响声。如果你的指尖真的离开了琴弦，那就说明你的握弦放松得有点过了，由此产生的杂乱声音会让你毫不怀疑自己做错了。
To get a feel for this kind of playing (and you should -it’s fun!) it’s best to get the chord shape ready in the muted position, start that constant strumming pattern and then give the chord some gentle squeezes whenever the fancy takes you. Try to keep track of your picking hand’s rhythmic feel and not to allow yourself to become too preoccupied with the fretting hand’s behaviour; the squeeze/release motion will pretty much take care of itself, so focusing on the groove and timing should be your first priority. 要感受这种演奏方式（你应该这样做--它很有趣！），最好先在哑音位置上准备好和弦的形状，开始持续的击弦模式，然后随时随地轻轻挤压和弦。尽量注意弹奏手的节奏感，不要让自己过于专注于指法手的动作；挤压/释放动作会自行完成，因此将注意力集中在节奏和时机上应该是你的首要任务。
In the studio, a guitarist will sometimes tie a cloth around the neck, up by the nut end, and tighten it just enough to dampen the open strings. This is almost like cheating and obviously won’t help you to play ‘Walk This Way’ or the James Bond theme, but it can really help for certain difficult guitar parts that don’t rely on the use of open strings. Imagine you’re going for the perfect eight-bar solo on an otherwise complete pop track. If your last ten takes were all nearly perfect but marred by a rogue Estring ringing out in bar seven after your clever lick, would you really be averse to a bit of cheating? 在录音室里，吉他手有时会在琴颈上的螺母端系上一块布，并将其拉紧到足以阻尼开弦的程度。这几乎等同于作弊，显然对演奏 "Walk This Way "或詹姆斯-邦德主题曲没有任何帮助，但对某些不依赖于开弦的高难度吉他部分确实有帮助。试想一下，你要在一首完整的流行乐曲中进行完美的八小节独奏。如果你的最后十次演奏都近乎完美，但在你巧妙的舔弦之后，第七小节却突然响起了杂乱无章的 Estring，你真的会排斥作弊吗？
In a situation like this, you can’t exactly make your excuses and retreat for a solid day’s practice (studio time is a very costly commodity, and unless you’re Def Leppard, there never seems to be enough of it). I think it would be fair to say that it’s worth trying anything that might help to get the job done efficiently. 在这种情况下，你不可能找借口退缩，好好练习一天（录音室的时间是非常昂贵的，除非你是 Def Leppard，否则似乎永远都不够用）。可以说，任何有助于高效完成工作的方法都值得一试。
Muting And Tapping 静音和点击
If you’re partial to a little eight-finger tapping from time to time, you’ll need to pay particular attention to what your open strings are doing when you’re too busy to keep an eye on them! Most specialised players in this field use some sort of damping device - Jennifer Batten, for instance, uses a bizarre spring-loaded contraption built from the same materials as you’d find on the damper pads inside a piano. Anyone who’s ever tried to tap on two necks at once will definitely relate 如果您喜欢时不时地用八指敲击琴弦，那么当您无暇顾及开弦时，就需要特别注意开弦的情况！在这一领域，大多数专业演奏者都会使用某种阻尼装置，例如詹妮弗-巴顿（Jennifer Batten）就使用了一种奇怪的弹簧装置，其材料与钢琴内的阻尼垫相同。尝试过同时敲击两个琴颈的人一定会有同感
to the need for such a gizmo (I’m thinking of Steve Vai’s heart-shaped, triple-neck monster or Michael Angelo’s left-and-right-handed double neck, or Stanley Jordan’s show-stopping trick of having a second guitar on a stand so that he can play two guitars simultaneously). The problem is that each of your hands is too busy to get any muting done - there’s just not enough spare flesh to go around. Whether or not you need to spend any money to dabble in this idea is debatable; tying an old sock - or, indeed, a sock of any age - around the neck works as well as anything else I’ve tried. If you need this kind of tapping safety gear but want to mix in some ‘normal’ playing featuring open strings, I would recommend buying a few hairbands, and the fluffier the better. You can easily shift a hairband from one side of the nut to the other with your fretting hand, enabling you to swap between ‘on’ and ‘off’ modes quite effortlessly. Remember, though, that hairbands lose their elasticity after a while and can’t be tightened up on the fly, so don’t give up on the sock idea just yet! 我想到了史蒂夫-韦（Steve Vai）的心形三颈吉他，迈克尔-安杰洛（Michael Angelo）的左右手双颈吉他，或者斯坦利-乔丹（Stanley Jordan）在支架上放置第二把吉他以便同时演奏两把吉他的惊世绝技）。问题是，你的每只手都忙得不可开交，根本无法完成任何静音工作--因为根本没有足够的闲暇时间。至于你是否需要花钱来尝试这个想法，还有待商榷；在琴颈上绑一只旧袜子--或者任何年代的袜子--和我尝试过的其他方法一样有效。如果你需要这种敲击安全装备，但又想混合一些 "正常 "的开弦演奏，我建议你买几条发带，越蓬松越好。你可以用拨弦的手轻松地将发带从螺母的一侧移到另一侧，这样就可以毫不费力地在 "开弦 "和 "关弦 "模式之间切换。不过要记住，发带用久了就会失去弹性，而且不能随手拉紧，所以不要轻易放弃袜子的想法！
A variation on this problem crops up in licks like Joe Satriani’s bubbly arpeggio in ‘The Mystical PotatoHead Groove Thing’, from the Flying In A Blue Dream album. Licks of this kind need to be hammered rather than picked in order to produce the full bubbly effect, and every note is on a different string to the one before it, so the muting logistics are horrendous. Joe’s cheeky solution, when he plays the track live, is to bring his picking hand right around to mute the strings between the nut and his fretting hand. It might be cheating, but it works, and you have to admit that it has a certain visual appeal. 乔-萨特里亚尼（Joe Satriani）在《蓝梦飞翔》（Flying In A Blue Dream）专辑中演奏的琶音 "The Mystical PotatoHead Groove Thing"（神秘的土豆头琶音）就是这个问题的变种。这种琶音需要击打而不是挑拨，才能产生完整的气泡效果，而且每个音符都在不同的弦上，因此静音效果非常糟糕。乔在现场演奏这首曲目时，采用了一种 "厚颜无耻 "的方法，即用挑弦手绕过螺母和指弦手之间的琴弦，使其静音。这可能是一种作弊行为，但却行之有效，而且你不得不承认它具有一定的视觉吸引力。
Tuning 调音
This is a very confusing topic, but bear with me. 这是一个非常令人困惑的话题，但请听我一一道来。
Let’s start by looking at a bit of physics. The pitch of any note can be given in hertz, a measure of the number of times in which a string vibrates in a second, and this measurement doubles every time you go up an octave, so if you see ’ A=440A=440 ’ on a tuner, it means that a correctly tuned AA note might vibrate 880,440 or 220 times a second, depending on the octave it’s in. 让我们先来了解一下物理学。任何音符的音高都可以赫兹为单位来表示，赫兹是琴弦在一秒钟内振动次数的量度单位，每上升一个八度，这个量度单位就会加倍，因此，如果你在调音器上看到" A=440A=440 "，这意味着一个正确调谐的 AA 音符每秒钟可能振动 880、440 或 220 次，具体取决于它所在的八度。
The ancient Greeks figured out a system of ratios 古希腊人发明了一种比率系统
for generating a group of notes that sounded good together. This group of notes became what we now know as the major scale, and in the key of C it would look like this: 以产生一组合在一起听起来不错的音符。这组音符就是我们现在所知的大调音阶，在 C 调中是这样的：
{:[C=264Hz" - multiply by "9//8" to get: "],[D=297Hz"-multiply by "10//9" to get: "],[E=330Hz" - multiply by "16//15" to get: "],[F=352Hz" - multiply by "9//8" to get: "],[G=396Hz" - multiply by "10//9" to get: "],[A=440Hz" - multiply by "9//8" to get: "],[B=495Hz" - multiply by "16//15" to get: "],[C=528Hz]:}\begin{aligned}
& \mathrm{C}=264 \mathrm{~Hz} \text { - multiply by } 9 / 8 \text { to get: } \\
& \mathrm{D}=297 \mathrm{~Hz} \text {-multiply by } 10 / 9 \text { to get: } \\
& \mathrm{E}=330 \mathrm{~Hz} \text { - multiply by } 16 / 15 \text { to get: } \\
& \mathrm{F}=352 \mathrm{~Hz} \text { - multiply by } 9 / 8 \text { to get: } \\
& \mathrm{G}=396 \mathrm{~Hz} \text { - multiply by } 10 / 9 \text { to get: } \\
& \mathrm{A}=440 \mathrm{~Hz} \text { - multiply by } 9 / 8 \text { to get: } \\
& \mathrm{B}=495 \mathrm{~Hz} \text { - multiply by } 16 / 15 \text { to get: } \\
& \mathrm{C}=528 \mathrm{~Hz}
\end{aligned}
Note that this last note comprises double the frequency of the initial C , and the whole pattern then starts again to generate the notes in the next octave. 请注意，最后一个音符的频率是初始 C 的两倍，然后整个模式重新开始，生成下一个八度的音符。
Relatively simple ratios like these tend to sound pleasing to the human ear. (Harmonics, incidentally, work in a similar way. As we’ll see later on, the easiest harmonics to obtain occur at points where a string is divided into equal halves, thirds, quarters and so on.) Listed above are some notes that sound good together in the key of C . To be more specific, they constitute the CC major scale. 像这样相对简单的比率往往听起来很顺耳。(顺便提一下，谐波也有类似的作用。正如我们稍后会看到的，最容易获得的谐音出现在琴弦被分成相等的二分之一、三分之二、四分之三等处。）上面列出了一些在 C 调中听起来不错的音符。更具体地说，它们构成了 CC 大调音阶。
Here’s where the problems begin. If you decided to figure out the pitches for a similar scale in the key of D major, you would start with D=297HzD=297 \mathrm{~Hz}, as established above, and apply the same series of ratios from that starting point. Here’s what happens: 问题就出在这里。如果您决定计算 D 大调中类似音阶的音高，您可以从上面确定的 D=297HzD=297 \mathrm{~Hz} 开始，并从这个起点开始应用相同的一系列比率。结果如下：
{:[D=297Hz" - multiply by "9//8" to get: "],[E=334.1Hz" - multiply by "10//9" to get: "],[F:=371.3Hz" - multiply by "16//15" to get: "],[G=396Hz" - multiply by "9//8" to get: "],[A=445.5Hz" - multiply by "10//9" to get: "],[B=495Hz"-multiply by "9//8" to get: "],[C:=556.9Hz" - multiply by "16//15" to get: "],[D=594Hz]:}\begin{aligned}
& \mathrm{D}=297 \mathrm{~Hz} \text { - multiply by } 9 / 8 \text { to get: } \\
& \mathrm{E}=334.1 \mathrm{~Hz} \text { - multiply by } 10 / 9 \text { to get: } \\
& \mathrm{F}:=371.3 \mathrm{~Hz} \text { - multiply by } 16 / 15 \text { to get: } \\
& \mathrm{G}=396 \mathrm{~Hz} \text { - multiply by } 9 / 8 \text { to get: } \\
& \mathrm{A}=445.5 \mathrm{~Hz} \text { - multiply by } 10 / 9 \text { to get: } \\
& \mathrm{B}=495 \mathrm{~Hz} \text {-multiply by } 9 / 8 \text { to get: } \\
& \mathrm{C}:=556.9 \mathrm{~Hz} \text { - multiply by } 16 / 15 \text { to get: } \\
& \mathrm{D}=594 \mathrm{~Hz}
\end{aligned}
Even if you find all this mathematical stuff a little offputting, I’m sure you’ll agree that this presents a serious problem. E weighed in at 330 Hz in the C major scale, but the corresponding E in the D major scale is 334.1 Hz . Similarly, the A is 440 Hz in the C major scale 即使你觉得这些数学知识有点令人反感，我相信你也会同意这是个严重的问题。在 C 大调音阶中，E 音的频率为 330 赫兹，但在 D 大调音阶中，相应的 E 音频率为 334.1 赫兹。同样，A 在 C 大调音阶中为 440 赫兹
and 445.5 Hz in the D major scale. So how are you supposed to tune your instrument so that it sounds good in all 12 keys when you have more than one ‘correct’ version of certain notes? 和 D 大调音阶中的 445.5 赫兹。那么，当某些音符有多个 "正确 "版本时，如何调音才能使乐器在所有 12 个调上都能发出好音呢？
The solution used in Western music is the system of equal temperament, which divides the octave into 12 equally spaced semitones. In mathematical terms, this is achieved by multiplying your starting frequency by the 12 th root of 2 (approximately 1.0595 ). If you do this 12 times, you’ll arrive at a frequency for each of the possible semitones within an octave. These aren’t necessarily the most pleasant-sounding versions of the notes, but they’ll sound approximately right in any context and they enable musicians to write and play music that moves freely between various keys. 西方音乐中使用的解决方案是平均律系统，它将八度音分成 12 个间隔相等的半音。用数学术语来说，就是将起始频率乘以 2 的 12 次方根（约 1.0595）。如果这样做 12 次，就可以得出一个八度内每个半音的频率。这些音符不一定是最悦耳动听的版本，但它们在任何情况下听起来都大致正确，音乐家也可以用它们来创作和演奏在不同调性之间自由移动的音乐。
The downside of this is that it’s very hard to tune up! If you try to get an open C chord perfectly in tune, you’ll find that an open E chord sounds decidedly ‘out’, and vice versa. If you use an electronic tuner to find the ideal compromise for each note las suggested by the equal-temperament system), all of your chords will be out of tune - but only very slightly, so you can live with the results. 这样做的缺点是很难调音！如果你想让开放式 C 和弦完全合拍，你会发现开放式 E 和弦听起来明显 "不合拍"，反之亦然。如果使用电子调音器为每个音找到理想的折衷音（即等音阶系统所建议的音调），那么所有和弦都会走音--但只是非常轻微，所以你可以接受这样的结果。
All of this technical detail is there to make a basic but important point: if your tuner maintains that you’re in concert pitch but a chord still doesn’t sound quite right to you, you’re not going mad; you’re absolutely right! Your best bet is to use the tuner for guidance and then use your ears to make any fine adjustments you deem necessary to complement the key in which you’re playing. 所有这些技术细节都是为了说明一个基本但重要的问题：如果你的调音器显示你的音高符合音乐会的要求，但和弦听起来还是不太对，那么你并没有发疯，你是完全正确的！你的最佳选择是使用调音器进行指导，然后用你的耳朵进行你认为必要的微调，以配合你正在演奏的调性。
Harmonics 谐波
One popular way of tuning a guitar involves using harmonics. If you’re not sure about harmonics, don’t panic - they’ll be covered in greater detail later on.) You might, for instance, play the fifth-fret harmonic on the low E string and the seventh-fret harmonic on the A string. If you let the two notes ring together and adjust the pitch of one of them in very small increments, you’ll hear a rhythmic ‘beating’ which gets slower as the two pitches converge and finally disappears altogether when they match perfectly. 吉他调音的一种常用方法是使用谐波。如果您对谐音还不太了解，请不要惊慌--稍后我们将详细介绍）。例如，您可以在低音 E 弦上弹奏五音谱的谐音，在 A 弦上弹奏七音谱的谐音。如果让这两个音同时响起，并以极小的增量调整其中一个音的音高，你就会听到一种有节奏的 "跳动"，随着两个音高的接近而变慢，最后当它们完全吻合时就会完全消失。
This is an appealing and undemanding tuning method. Unfortunately, it uses the Greek ratios rather 这种调音方法很有吸引力，要求也不高。遗憾的是，它使用的是希腊字母比率，而不是
than the equally tempered ones, so if you tune all six strings in this way, you’ll accrue a series of tiny errors and the end results will sound out. Having said that, it’s very handy for those moments when you have to change a string mid-gig. It’s harder to hear pitches accurately at high volume levels, but that beating effect will be instantly recognisable. 因此，如果用这种方法对所有六根弦进行调音，就会产生一系列微小的误差，最终的音质也会大打折扣。尽管如此，在演奏过程中需要更换琴弦时，这种方法还是非常方便的。在高音量下很难准确听到音高，但这种跳动效果会立即显现出来。
Standardised Tuning 标准化调谐
There’s another inherent problem with tuning that’s perhaps best illustrated by considering the way in which a piano is tuned. A piano sounds more in tune if its range is stretched slightly - ie if the frequency of each note is fractionally more than twice that of the same note an octave lower. Don’t ask me why, that’s just the way it works. (Guitarist Eric Johnson extols the virtues of first getting the GG string in tune and then working your way out towards the E strings, so that the most ‘correct’ note is in the middle of the guitar’s range.) In an orchestra, you’ll find that concert pitch means slightly different things to different musicians - a violinist would normally tune to a slightly higher A than a tuba player, for instance. To cite one guitarrelated example. Martin Taylor claims that he prefers to tune to A=442HzA=442 \mathrm{~Hz} rather than A=440Hz\mathrm{A}=440 \mathrm{~Hz}. 调音还有一个固有的问题，也许钢琴的调音方式最能说明问题。如果钢琴的音域稍有拉伸，即每个音符的频率比低八度的同一音符的频率高出一倍，那么钢琴的音色就会更加协调。别问我为什么，这就是工作原理。(吉他演奏家埃里克-约翰逊（Eric Johnson）推崇先让 GG 弦调好音，然后向E弦延伸，这样最 "正确 "的音就在吉他音域的中间）。在管弦乐队中，您会发现音乐会音高对不同乐手的意义略有不同--例如，小提琴手通常会比大号手调到稍高的 A 音。举一个与吉他有关的例子。马丁-泰勒（Martin Taylor）声称，他更喜欢调到 A=442HzA=442 \mathrm{~Hz} 而不是 A=440Hz\mathrm{A}=440 \mathrm{~Hz} 。
There’s yet another problem in guitar terms: when you strike a guitar string, you might think that the resulting vibration affects the entire length of the string between the saddle and the fret (or nut, if it’s an open string). In fact, this isn’t the case. There’s a little bit of string at either end that doesn’t really move, which explains why you need to set the intonation on your guitar to make sure that it sounds in tune with itself all over the neck. The general rule is that you should compare the pitch of a fretted note at the 12 th fret with the pitch of the natural harmonic in the same place. If the fretted note is sharper, the saddle needs to be moved back, further away from the neck. Conversely, if the note is flatter than the harmonic, the saddle needs to come forward. (Remember always to fit new strings to your guitar before attempting this adjustment!) 用吉他术语来说还有另一个问题：当您敲击吉他弦时，您可能会认为所产生的振动会影响到琴码和音格（或螺母，如果是开放弦的话）之间的整个琴弦长度。事实上并非如此。在琴弦的两端，有一小段琴弦是不会真正移动的，这就解释了为什么您需要在吉他上设置音准，以确保吉他在整个琴颈上听起来都是一致的。一般的规则是，您应该将第 12 个音格上的虚弦音的音高与同一位置的自然谐音的音高进行比较。如果指法音比较尖锐，则琴码需要向后移动，离琴颈更远一些。反之，如果音符比谐音更平，则琴码需要靠前。(请记住，在尝试这种调整之前，一定要给吉他装上新的琴弦！）。
Setting the intonation tackles these problems at the bridge end of the string, but of course the nut end behaves in the same way. Many session players find that the notes on the first few frets sound a little too 在琴弦的桥板端设置音准可以解决这些问题，当然在琴弦的螺母端也有同样的问题。许多会声会影演奏者发现，前几个音格上的音符听起来有点太
sharp relative to the notes elsewhere on the neck, hence the invention of the Buzz Feiten tuning system. This uses a top-secret (and consequently expensive) formula to modify the spacing between the nut and frets, and this goes some way towards remedying the problem. 因此发明了巴兹-费腾调音系统。该系统采用绝密配方（因此价格昂贵）来调整螺母与音格之间的间距，在一定程度上解决了这一问题。
Also, if you’ve seen Frank Gambale’s signature Yamaha guitar close up, you’ll have noticed that the first few frets have little V -shaped indentations. This is another attempt to combat tuning inconsistencies, and these indentations are designed to ensure that all of the common open chord shapes sound good together 此外，如果您近距离看过弗兰克-甘巴里的雅马哈签名吉他，您一定会注意到前几个音格上有一些小的 V 形凹痕。这也是为了解决调音不一致的问题，这些凹痕的设计是为了确保所有常见的开放和弦音形都能很好地结合在一起。
Both of these methods seem to work, but don’t forget that people were playing guitar and sounding in tune long before any of this was invented, so once again the moral is to use your ears. I remember playing a session where it was proving impossible to get every chord voicing sounding in tune with the keyboards. It turned out that the solution was to move a couple of the chords onto a different group of strings. 这两种方法似乎都能奏效，但不要忘了，早在发明这些方法之前，人们就已经在弹吉他，而且音色也很准，所以还是那句话，要用耳朵去听。我记得在一次演奏中，每个和弦的音色都无法与键盘保持一致。后来发现，解决办法就是将几个和弦移到不同的弦组上。
Mechanical Difficulties 机械故障
Here’s another hurdle: when you hit a string firmly, it sounds slightly sharper than when you hit it softly, particularly at the start of the note (the ‘attack’). This is most noticeable on the open low E string - you can almost coax an FF out of it if you pick it violently enough. When you’re tuning, it’s important to hit the strings as hard as you would if you were actually playing. If you stroke them timidly when you tune and then launch into a hard, aggressive rendition of your riff of the moment, it will sound slightly sharp. 另一个障碍是：当你用力敲击一根弦时，它的声音会比你轻轻敲击时略微尖锐一些，尤其是在音符的开始部分（"攻击"）。这一点在低音开弦的 E 琴弦上最为明显--如果你足够用力，几乎可以从这根弦上发出 FF 音。在调音时，重要的是要像实际演奏一样用力敲击琴弦。如果你在调音时怯生生地抚摸琴弦，然后猛烈地弹奏你的旋律，那么听起来就会略显尖锐。
It’s all a bit disturbing, isn’t it? In the last few paragraphs, we’ve learned that music doesn’t quite work and guitars don’t quite work, either! 这一切都有点令人不安，不是吗？在过去的几段中，我们了解到音乐并不完全奏效，吉他也不完全奏效！
Not to worry. The problems and inconsistencies that we’ve looked at are on a very small scale, and you’ll only really notice them when your ear is developed enough to know what to do about them. If this kind of stuff never worried you before, why worry about it now? I mentioned all of this purely because it’s interesting and because it might make you listen a little more carefully to the precise pitching of your notes, and it will certainly increase the accuracy of your string bending if nothing else! 不用担心。我们所看到的问题和不一致都是小范围的，只有当你的耳朵足够发达，知道如何处理这些问题时，你才会真正注意到它们。如果你以前从未担心过这些问题，现在又何必担心呢？我之所以提到这些，纯粹是因为它们很有趣，而且可能会让你更仔细地倾听音符的精确音高，如果没有其他原因的话，它肯定会提高你的弯弦准确度！
A few more practical tips on tuning might be appropriate at this point: 在此，我们不妨再介绍一些有关调整的实用技巧：
It’s far easier to tune up when your guitar sports a new set of strings. Old strings are covered with an irregular coating of rust and dead bits of fingertip. not to mention dents where they’ve come into contact with frets. Thus their thickness is no longer uniform all the way along their lengths, so their intonation gradually deteriorates with age. 吉他换上新弦后，调音就容易多了。旧琴弦上覆盖着一层不规则的锈迹和指尖的碎屑，更不用说与琴弦接触处的凹痕了。因此，琴弦的粗细不再均匀一致，音准也会随着时间的推移而逐渐变差。
New strings, for all their charms, take a while to settle in. As you probably know, you can combat this by tuning them up to pitch and then stretching them heartily, pulling each string in turn away from the fretboard. However, the conventional way of doing this stretches the middle of the string more than the ends. Your best bet is to hold down the string at each fret in turn as you stretch, thus achieving a more even tension all the way along its length. (Thanks to Phil Hilborne for this one!) 新琴弦虽然魅力十足，但需要一段时间才能适应。您可能知道，要解决这个问题，可以先将琴弦调准音高，然后用力拉伸，依次将每根琴弦拉离指板。然而，传统的拉弦方法对琴弦中部的拉伸比对琴弦两端的拉伸更大。最好的办法是在拉伸时依次按住每个音格处的琴弦，这样就能使整个长度上的张力更加均匀。(感谢菲尔-希尔伯恩（Phil Hilborne）提供的信息！）。
If you have a floating bridge (ie a whammy bar set up so that it can raise and lower the pitch of a note), tuning becomes a trickier proposition altogether Every time you adjust the pitch of one string, the others are affected, so you have to tune each string several times before you can get the whole guitar sounding good. I find it helpful to start from the top E and work downwards rather than the other way around - the pitches of the high strings are less sensitive to small bridge movements, so you might find the whole process a little quicker. 如果您有一个浮动琴桥（即一个可以提高或降低音高的击弦棒），那么调音就会变得非常棘手，每次您调整一根弦的音高时，其他弦也会受到影响，因此您必须对每根弦进行多次调音，才能使整把吉他音质良好。我发现从最高音 E 开始向下调音比反过来调音更有帮助--高音琴弦的音高对琴桥的微小移动不那么敏感，因此整个调音过程可能会更快一些。
It’s a good idea to keep depressing the bar and releasing it as you tune up. Your goal is to get the strings tuned so that they sound right after the bar has been released from the ‘down’ position. The combination of whammy abuse and standard string bending can leave your strings in a terrible disarray. so it’s handy if you can reset their pitches simply by dabbing the whammy bar. 在调音的过程中，最好不断地按下横杆，然后再松开。您的目标是将琴弦调整到从 "向下 "位置松开横杆后的音色。滥用打击乐器和标准的琴弦弯曲会让琴弦变得混乱不堪，因此，如果您只需轻轻敲击打击乐器的弦杆，就能重新设置琴弦的音高，那就再好不过了。
The above applies even to locking systems such as the Floyd Rose. You might think that such a trem will guarantee you immunity against such problems, but the knife edges on which these 上述情况甚至适用于弗洛伊德-罗斯（Floyd Rose）等锁定系统。你可能会认为，这样的震颤可以保证你免受此类问题的困扰，但这些锁具的刀刃
bridges pivot will become blunt after a while and you’ll notice the strings coming back slightly sharp after you’ve pulled up the bar. (One tip is to squirt a tiny amount of sewing-machine oil in there.) Every time you bend a string manually (ie with your fretting hand) you’re pulling the bridge forward slightly - the equivalent of pushing down on the bar - so it’s important to replicate this common motion when tuning. 每次手动弯曲琴弦时（即用指法手），您都会将琴桥稍微向前拉，相当于向下推琴杆，因此在调音时复制这一常见动作非常重要。
If you have a traditional, non-locking trem, you’ll find that you get the most stability if you monitor the amount of times that a string is wrapped around the post of its tuning peg - the more turns you use, the more scope there is for things to go wrong. (Check out www.kinman com for lots of very detailed information in this vein.) Most tuning problems are caused by friction at the nut and saddle, so reducing the breaking angle of the string as it crosses the nut can help, as can colouring in the string slots with a soft pencil - the graphite in the pencil lead will act as an effective lubricant. 如果您使用的是传统的非锁定式颤音装置，您会发现，如果您监控琴弦缠绕音栓柱的次数，就能获得最大的稳定性--缠绕的次数越多，出错的可能性就越大。(请访问 www.kinman com，了解更多这方面的详细信息）。大多数调音问题都是由螺母和弦枕处的摩擦造成的，因此减少琴弦在穿过螺母时的折断角度会有所帮助，用软铅笔在琴弦槽内涂上颜色也会有所帮助--铅笔芯中的石墨会起到有效的润滑作用。
Perfect Pitch 完美音高
Just to round things off, I should quickly mention the tuning-related topic of perfect pitch, the ability to identify the pitch of a note just by hearing it. Perfect pitch is often thought of as something you either have or you don’t, but there are courses that purport to teach you this skill. (An American by the name of David Burgess offers just such a course, in the form of a series of tapes.) I, incidentally, don’t have perfect pitch. I’ve got a vague idea what an open E string should sound like, but this drifts out further and further if I go for a few days without playing, so I guess it’s more like ‘memorised pitch’. I’m actually quite glad about this - many people who know the precise pitch of every note can’t bear to listen to music that’s slightly sharp or flat. One of my music teachers at school was ‘blessed’ with perfect pitch and he used to wince perceptibly every time he played us a tape because the school tape deck ran slightly slow and consequently the music sounded wrong to him. I dread to think what he would have made of the early Van Halen albums, where the guitar and bass are often tuned to roughly a quarter-tone below E or Eb! (In their 最后，我想简单提一下与调音相关的完美音高，即通过听觉辨别音符音高的能力。人们通常认为，完美音高要么有，要么没有，但也有一些课程声称可以教会你这种技能。(一位名叫大卫-伯吉斯（David Burgess）的美国人就以系列磁带的形式开设了这样的课程）。顺便说一句，我没有完美的音准。我对开弦 E 琴弦的音准有一个模糊的概念，但如果我几天不弹琴，这个概念就会越来越模糊，所以我想这更像是 "记忆音准"。事实上，我对此感到非常高兴--很多人都知道每个音符的精确音高，但却无法忍受听稍微有点尖或有点扁的音乐。我在学校的一位音乐老师就 "得天独厚 "地拥有完美的音准，每次给我们放磁带时，他都会明显地畏缩一下，因为学校的磁带机运行得有点慢，结果音乐在他听来就不对了。我真不敢想象他会怎么看待范-海伦的早期专辑，在这些专辑中，吉他和贝司的调音通常比 E 或 Eb 低大约四分之一个音调！(在他们的
pre-keyboard days, Eddie Van Halen and Michael Antony would simply tune to each other, rather than to concert pitch.) 在使用键盘之前，埃迪-范-海伦（Eddie Van Halen）和迈克尔-安东尼（Michael Antony）只是互相调音，而不是按照音乐会的音高来调音）。
A few years ago, I had a student who had taken one of these teach-yourself-perfect-pitch courses, and I was fascinated From time to time I would fire random notes at him in an attempt to catch him out…and I never could! When I asked him how the system worked, he explained that the best analogy was to think in terms of colours. For argument’s sake, he said, think of Bb as sounding blue and D as a greenish colour. 几年前，我有一个学生，他参加了一个 "自学完美音准 "的课程，我很着迷，时不时地向他乱发一些音符，试图抓住他的把柄......但我从来没有成功过！当我问他这套系统如何运作时，他解释说，最好的比喻就是用颜色来思考。他说，为了便于论证，可以把降 B 调想象成蓝色，把 D 调想象成绿色。
Intrigued, I played him a Cmaj7 chord and asked him to identify that. He shook his head in despair, and gave up immediately. 我很好奇，便给他弹了一个 Cmaj7 和弦，让他辨认。他绝望地摇了摇头，立刻放弃了。
‘Can’t you just home in on each note in turn and identify the separate colours?’ I suggested. ‘Then you could look at your list of notes and figure out what the chord is.’ 你就不能依次对每个音符进行归类，并识别出不同的颜色吗？我建议道。然后你就可以看着你的音符表，找出和弦是什么了。
‘No, you don’t understand,’ he replied. ‘All chords sound brown to me!’ 不，你不明白，"他回答道。对我来说，所有和弦的声音都是棕色的！'
In short, perfect pitch is great for certain things I know of some singers who use it to guess whether or not it’s worth trying to reach a certain high note, for instance - but it’s not going to solve all of your musical problems, and a lot of professional musicians get by just fine without it. I think it’s far more constructive to work on your relative pitch - the ability to recognise the distance between one note and the next - and the parts of this book that deal with scales and intervals will help you in this pursuit. 简而言之，完美音高在某些方面很有用，比如我知道有些歌手会用它来猜测是否值得尝试达到某个高音--但它并不能解决你所有的音乐问题，很多专业音乐家在没有完美音高的情况下也能应付自如。我认为，更有建设性的做法是提高你的相对音高--识别一个音符与下一个音符之间距离的能力--本书中涉及音阶和音程的部分将有助于你实现这一目标。
There is a theory, incidentally, that all babies are born with perfect pitch and most of them lose it as they come to understand more about how music works. Only when they’ve got rid of it can they recognise that ‘Happy Birthday’ is the same tune in whichever key it’s played! 顺便提一下，有一种理论认为，所有婴儿出生时都有完美的音高，但随着他们对音乐的理解逐渐加深，大多数婴儿都会失去这种音高。只有当他们摆脱了完美音准，才能认识到 "生日快乐 "无论用什么调子演奏都是同样的曲调！
Timing 时间安排
This is one crucial aspect of playing which I think many bedroom-bound players overlook. In order for it to make sense, a piece of music needs some kind of inner rhythmic pulse running through it, and part of your duty as a player is to feel this pulse, be it through tapping your foot in the manner of a pewter-tankardwielding folkie, flailing wildly like a headbanger or 我认为这是演奏的一个重要方面，而许多在卧室里演奏的人却忽略了这一点。一首乐曲需要有某种内在的节奏脉搏在其中跳动，而作为演奏者，你的职责之一就是去感受这种脉搏，无论是像挥舞着锡制坦克的民谣歌手那样敲打你的脚，还是像 "瘾君子 "那样疯狂地甩动，抑或是像 "瘾君子 "那样，你都要做到这一点。
nodding like a bassist. (Let’s face it, every bass player on the face of our fair planet is prone to doing the Funky Nod from time to time. I have a bassist friend who often receives comments on his visually compelling style of nodding while he plays, and his response is always the same: he smiles proudly and announces, ‘I taught the pigeons!’) 像贝司手一样点头。(面对现实吧，在我们这个美丽的星球上，每个贝司手都会时不时地做出 "时髦点头 "的动作。我有一位贝司手朋友，他在演奏时的点头方式很有视觉冲击力，经常收到一些评论，而他的回应总是一样的：他自豪地笑着宣布："鸽子都是我教的！"）。
When we’re just listening, most of us are quite capable of nodding or tapping in time with the track I confess that one of my most annoying personal traits is my tendency to drum along on a tabletop whenever I find myself getting particularly absorbed by the groove of a piece of music. The problem with some players is that they forget about this basic ability to feel the music as soon as they strap on their guitar. I know that playing requires all sorts of extra skills you don’t need when you’re merely listening, but you should remember that someone else might be listening and they won’t enjoy the experience unless the groove you’re providing sounds and feels right. 我承认，我最讨厌的个人特征之一就是，每当我发现自己被音乐的旋律深深吸引时，我就会在桌面上击鼓。有些演奏者的问题在于，他们一戴上吉他就忘记了感受音乐的基本能力。我知道，演奏需要各种额外的技能，当你只是在听的时候并不需要，但你应该记住，别人可能也在听，除非你提供的旋律听起来感觉正确，否则他们不会享受这种体验。
As an interesting aside, I once read about an ethnomusicologist who went around the world studying various forms of tribal music and who discovered that the average tempo of the music he heard corresponded to the average size and build of the tribe producing it. Basically, it turns out that Pygmy music tends to be a lot faster and more frenetic than Watussi music, because a Watussi has longer limbs which take longer to swing to and fro than the shorter limbs of his Pygmy counterparts, Each basic body type has its own intrinsic range of tempi within which dancing feels like a comfortable and natural activity. 作为一个有趣的旁观者，我曾经读到过一位民族音乐学家在世界各地研究各种形式的部落音乐时发现，他所听到的音乐的平均节奏与创作音乐的部落的平均规模和体型相对应。基本上，事实证明，俾格米人的音乐往往比瓦图西人的音乐更快、更狂热，因为瓦图西人的四肢较长，来回摆动所需的时间比俾格米人的四肢较短。
Why do I mention this? Purely because I think it serves as an indication of just how important it is to feel a groove. If you look at a form of music from a socalled ‘primitive’ culture, you get the impression that it evolved out of the primary consideration that it should feel good and people should be able to enjoy dancing to it. Of course, if you went first to a Slipknot gig and then to a ballroom dance, measuring the average age of the audience and the average tempo of the music at each event, you’d probably be able to come up with some similarly deep insights. 我为什么要提到这一点呢？纯粹是因为我认为这可以说明感受音乐的节奏有多么重要。如果你看看一种来自所谓 "原始 "文化的音乐形式，你就会觉得它的演进主要是出于这样一种考虑：它应该让人感觉良好，人们应该能够享受随之起舞的乐趣。当然，如果你先去参加 Slipknot 的演出，然后再去参加交谊舞会，测量观众的平均年龄和每次活动的平均音乐节奏，你可能会得出一些类似的深刻见解。
Ultimately, you’ll feel the pulse inwardly without the need for any overt physical movement, but it never 最终，你会从内心感受到脉搏的跳动，而不需要任何明显的肢体动作。
hurts to get some non-guitar-related bit of your body involved with timekeeping - the more involved you feel with the music, the better it will sound. The general objective is for at least some part of you to be feeling the basic pulse of the music, regardless of the rhythmic or technical complexity of the guitar part itself. Call it the ‘backbeat’, call it your ‘inner groove’, call it what you like, but accept that it’s the most important aspect of making your playing fit, whatever the musical context. 让你身体中与吉他无关的部分参与到计时中来--你对音乐的参与感越强，音乐就越动听。总的目标是，无论吉他部分本身的节奏或技术复杂程度如何，至少要让你的某个部分感受到音乐的基本脉搏。称其为 "反拍"，称其为 "内在凹槽"，随你怎么叫，但无论音乐背景如何，这都是让你的演奏合拍的最重要方面。
NB: The following ideas all apply to any time signature you can think of, but for the sake of clarity I’ve stuck with the assumption that all of the music here comprises four beats in a bar - ie four strong, evenly spaced pulses occur in the music and then the rhythmic pattern appears to start afresh. Most popular Western music works in this way, and it’s probably not surprising that an even number of beats should be such a common choice among composers. It’s not a tradition that music theory forces on us; it’s just something that feels normal. (I guess this must be a product of the fact that so many human bodily functions work in the same way - think of the lub-dupp pattern of a heartbeat, the left-right alternation of walking, the in-out cycle of breathing or indeed the in-out cycle involved in that other most fundamental of human activities, the one that most pop lyrics deal with …) 注：以下观点适用于你能想到的任何时间特征，但为了清晰起见，我坚持假设这里的所有音乐都是四拍一小节--即音乐中出现四个强烈的、间隔均匀的脉冲，然后节奏模式似乎重新开始。大多数流行的西方音乐都是以这种方式演奏的，因此偶数节拍成为作曲家的普遍选择也就不足为奇了。这不是音乐理论强加给我们的传统，而是我们感觉正常的东西。(我猜这一定是因为人类的许多身体机能都以同样的方式工作--想想心跳的 "噗-噗 "模式、走路的左右交替、呼吸的 "进-出 "循环，或者是人类最基本的活动中的 "进-出 "循环，即大多数流行歌词所涉及的活动......）。
The Human Touch 人文关怀
The best way of honing your timing skills is, not surprisingly, to have some sort of external timekeeping device running whenever you play. This might be a metronome, but I would also make a strong case for playing along with CDs, either in the form of backing tracks - more of which are currently available on the market than ever before - or in the form of recordings by your favourite artists. Not only will this give you an accurate rhythmic pulse provided by professionals for your practising delectation but you’ll also get some hints regarding the feel of the music - you’ll learn more about achieving a lazy groove by jamming along with a Bob Marley track than you ever could with only the cold, emotionless ticking of a metronome to keep you company. Likewise, I think it’s important to make music with other people in real time - whenever the opportunity presents itself, you should indulge in lots 磨练计时技巧的最佳方法，毫不奇怪，就是在演奏时使用某种外部计时设备。这可以是节拍器，但我也强烈建议使用 CD 伴奏，可以是伴奏曲目（目前市场上的伴奏曲目比以往任何时候都要多），也可以是你最喜欢的艺术家的录音。这不仅能为你提供由专业人士提供的准确的节奏脉搏，供你练习之用，而且还能为你提供一些关于音乐感觉的提示--通过跟着鲍勃-马利（Bob Marley）的曲目即兴演奏，你能学到更多关于如何演奏出慵懒的节奏的知识，而这是你在只听节拍器冷冰冰、毫无感情的滴答声的情况下所学不到的。同样，我认为与他人一起实时创作音乐也很重要--只要有机会，你就应该尽情享受音乐。
of jamming. Working with other people to achieve a collective groove is a vital skill, and it makes you far more useful as a musician than pure solo performing. Unlike a metronome, real people speed up during the exciting parts, slow down when they’re fatigued and so on. A ‘human’ groove has slightly different qualities to a mechanical one, and although these qualities might be technically less perfect than what a click track gives you, sometimes they add the human touch that the music really needs. 的即兴演奏。与他人合作以实现集体节奏是一项重要技能，它使你成为一名音乐家的作用远远超过纯粹的独奏。与节拍器不同，真人会在激动人心的部分加快速度，在疲劳时减慢速度，等等。人 "的节奏与机械节奏的特质略有不同，虽然这些特质在技术上可能不如点击音轨那么完美，但有时却能为音乐增添真正需要的人情味。
Just to outline the value of the human touch, take a moment to think about the evolution of sequenced and computer-based music. When the first drum machines came out, their main selling point (apart from the appeal of not having to pay a real drummer for his services!) was that they played in perfect time whatever you programmed into one could be quantised so that each event occurred in the mathematically correct place. This certainly made an important contribution to the development of certain fields of music - without the invention of Roland drum machines like the 808 or 909 , for instance, today’s dance music would have turned out very differently but no one was really fooled into thinking that they sounded anything like real drummers. 为了概括人情味的价值，我们不妨花点时间想想编曲音乐和电脑音乐的发展历程。当第一台鼓机问世时，它们的主要卖点（除了无需支付真正鼓手的服务费的吸引力之外！）是它们能在完美的时间内演奏，无论你在鼓机中编入什么程序，都可以量化，从而使每个事件发生在数学上正确的位置上。这无疑对某些音乐领域的发展做出了重要贡献--例如，如果没有 808 或 909 等罗兰鼓机的发明，今天的舞曲音乐可能会大相径庭，但没有人会真的认为它们听起来像真正的鼓手。
In truth, it’s often the little inaccuracies that make a track feel good, and this has been reflected in the way in which the technology has evolved. In the 1980s, for instance, I remember buying a drum machine that boasted a ‘Human Feel’ function. The idea was that I could program a drum pattern to neuro-surgical levels of precision and then tell the machine to introduce small errors, like making the snare drum fall slightly later than it strictly should or un-quantising the hi-hat pattern by a certain percentage This might not sound like such a great idea - I doubt that the public would respond well to an invention like ‘the human car’, with brakes that are guaranteed to work only 95 per cent of the time to provide that more exciting driving experience - but in the field of music, it seems to work. (This is probably why the demo tunes found on pre-programmed on home keyboards tend to sound so lame - everything is just that little bit too perfect to be believable.) 事实上，往往正是这些微小的误差才会让音轨产生良好的感觉，这一点也反映在技术的发展过程中。例如，在上世纪 80 年代，我记得当时买了一台鼓机，它拥有 "人体感觉 "功能。当时的想法是，我可以按照神经外科手术的精确度对鼓型进行编程，然后告诉机器引入一些小误差，比如让小军鼓的落点比严格意义上的落点稍晚一些，或者让高音鼓型的量化程度降低一定的百分比。 这听起来可能不是什么好主意--我怀疑公众是否会对 "人类汽车 "这样的发明产生好感，因为这种汽车的刹车系统只能保证在 95% 的时间内工作，以提供更刺激的驾驶体验--但在音乐领域，它似乎是有效的。(这也许就是为什么家用键盘上预置的试听曲调听起来如此蹩脚的原因--一切都太完美了，让人难以置信）。
A lot of modern sequencing software takes this 许多现代测序软件都采用了这种
idea one step further. For instance, you might program a quantised drum pattern and then drag an audio sample of a groove you like on top of the MIDI part. The computer will then re-adjust its quantising grid so that, if the ‘groove template’ you’ve picked is a Steve Gadd drum loop, where beats 2 and 4 are slightly late, all of the events programmed to fall on beats 2 and 4 will also be slightly late. I’m not sure which amazes me more, the fact that such technological feats can be accomplished at all or the irony of so much programming and technological knowhow going into achieving an effect that we puny carbon-based life forms have been successfully creating without any technological assistance at all for a good few millennia! 这也是一种更进一步的想法。例如，你可以编排一个量化的鼓点模式，然后在 MIDI 部分上拖动一个你喜欢的鼓点音频样本。电脑会重新调整量化网格，这样，如果你选择的 "鼓点模板 "是史蒂夫-加德（Steve Gadd）的循环鼓点，其中第 2 和第 4 拍略微晚了一些，那么所有编入第 2 和第 4 拍的事件也会略微晚一些。我不知道哪一点更让我惊讶，是这种技术壮举竟然可以实现，还是这么多的编程和技术知识被用来实现一种效果，而我们这些弱小的碳基生命体几千年来在没有任何技术帮助的情况下也成功地创造出了这种效果，这真是一种讽刺！
Another example is the rise of the sampler in modern music. Arguably, the sampler is revolutionising the development of modern popular music as dramatically as the invention of the electric guitar did a few decades ago. I think that the important point to bear in mind is that the sampler was designed as a means of recreating the sound of another instrument - if you wanted it to sound like a drum kit, you could sample separate recordings of each part of a kit, assign them to different MIDI notes and then program away. Of course, the dance community quickly discovered the benefits of sampling whole drum loops rather than individual drums. If you have a whole loop to work with, you can retain more of the original feel of the groove, and the end result will sound more human. (It also lets you work with larger units of information, which saves a lot of time, I submit that a lot of drum and bass tracks would never have been completed if their programmers had been forced to program everything drum by drum!) 另一个例子是采样器在现代音乐中的兴起。可以说，采样器正像几十年前电吉他的发明一样，彻底改变着现代流行音乐的发展。我认为，需要牢记的重要一点是，采样器的设计初衷是为了重现另一种乐器的声音--如果你想让它听起来像一套鼓，你可以对一套鼓的每一部分进行单独采样，将它们分配给不同的 MIDI 音符，然后进行编程。当然，舞蹈界很快就发现了对整个循环鼓而不是单个鼓采样的好处。如果你有一个完整的循环可以使用，你就能保留更多原始的鼓点感觉，最终的效果听起来也更人性化。(它还能让你处理更大的信息单元，从而节省大量时间。我认为，如果程序员被迫一个鼓一个鼓地编程，很多鼓与贝斯音轨将永远无法完成！）。
Just for the record, what I’m advocating here is very different from telling you it’s OK to play out of time. All I’m really suggesting is that an experienced musician knows exactly where to play a note to achieve maximum effect, and where he or she chooses to mark a certain eighth note might differ slightly from where a computer might have put the same note. It’s still of quintessential importance that your playing sounds in time; it’s just that the human ear is quite fussy enough to determine that for itself. without having to ask a machine for advice. 在此郑重声明，我的主张与告诉你可以超时演奏是完全不同的。我真正想说的是，一个有经验的音乐家很清楚在什么位置演奏一个音符才能达到最佳效果，而他或她选择标记某个八分音符的位置可能与计算机标记相同音符的位置略有不同。你的演奏是否合乎时间仍然至关重要，只是人耳已经足够挑剔，可以自己判断，而无需向机器请教。
I once had to record a bass part in a studio based around a hard-disk recording system. Basically, all you had to do on this machine was tell it the tempo of the piece you were recording and it would very helpfully let you locate points like ‘bar 5, beat 2’ rather than describe the same moment in terms of minutes, seconds or inches of tape, as most counters do. Thus it was that the producer reliably informed me that my first note in bar 5 was 5//965 / 96 of a beat late, which concerned him greatly. After a little discussion on whether or not this timing discrepancy was acceptable, we decided to look at the first notes in some other bars of the music and discovered a succession of ‘lateness’ statistics along the lines of 4//96.5//96.5//964 / 96.5 / 96.5 / 96. 4/96. 5//96,6//96.5//965 / 96,6 / 96.5 / 96, etc, and ultimately decided that there had to be some reason for all of these notes being late by roughly the same amount. We even tried moving the notes forward digitally so that they all fell exactly on the beat but concluded that the results sounded colder, more sterile and, oddly enough, less in time than they had done in the first place. 有一次，我不得不在一个以硬盘录音系统为基础的录音室里录制一段低音。基本上，在这台机器上，你只需告诉它你要录制的乐曲的节奏，它就会帮你找到 "第 5 小节，第 2 拍 "这样的点，而不是像大多数计数器那样，用分、秒或英寸磁带来描述同一时刻。就这样，制作人可靠地告诉我，我在第 5 小节的第一个音符晚了一拍，这让他非常担心。在对这种时间差异是否可以接受进行了一番讨论之后，我们决定查看一下音乐中其他小节的第一个音符，结果发现了一系列 "迟到 "的统计数据，大致如下： 4//96.5//96.5//964 / 96.5 / 96.5 / 96 。4/96. 5//96,6//96.5//965 / 96,6 / 96.5 / 96 等，并最终确定所有这些音符的迟到时间大致相同一定有其原因。我们甚至尝试用数字方式将音符前移，使它们都准确地落在节拍上，但得出的结论是，这样做的结果听起来更冷酷、更无趣，而且奇怪的是，与最初的结果相比，更不合拍。
I think that this illustrates the difference between the human touch and plain bad timing. If the lateness chart for each note had read '2/96, 4/96, - 10//96,21//96,5//9610 / 96,21 / 96,5 / 96 '. I would surely have been guilty of playing out of time, because there’s no consistency in those figures and you get the overwhelming impression that such discrepancies are symptoms of sloppiness rather than loyalty to the groove. 我认为，这说明了人情味和时间不对之间的区别。如果每个音符的延迟表上都写着 "2/96，4/96，- 10//96,21//96,5//9610 / 96,21 / 96,5 / 96 "，我肯定会被认为演奏超时。我肯定会被认定为演奏超时，因为这些数字并不一致，而且给人的印象是，这种差异是马虎的表现，而不是对节奏的忠诚。
Using Metronomes 使用节拍器
Perhaps my last points sound unfairly biased against metronomes. I can’t over-emphasise the importance of playing with other people, but to redress the balance a bit I can offer you some suggestions on how to use a metronome most effectively. 也许我的最后几点听起来对节拍器有失公允。我不能过分强调与他人一起演奏的重要性，但为了稍稍平衡一下，我可以就如何最有效地使用节拍器向您提供一些建议。
When teaching technique at guitar schools, I have sometimes spent eight hours solid showing different groups of students how to play the same exercises at various tempi. Whenever I stop playing to make a verbal point, I find that I have to turn off the metronome for the general good of my mental health. That constant bleeping can get very tiring very quickly! 在吉他学校教授技巧时，我有时会花上八个小时，扎扎实实地向不同的学生展示如何以不同的速度弹奏相同的练习曲。每当我停止弹奏以表达我的观点时，我就会发现，为了我的心理健康，我必须关掉节拍器。持续的 "哔哔 "声很快就会让人疲惫不堪！
(It can also give rise to some embarrassing situations, such as the time I found myself being (这也会导致一些尴尬的情况，比如有一次我发现自己被......
questioned at an airport by a customs official who was understandably curious about why an ominous ticking sound was emanating from my hand luggage. It was, of course, my digital metronome, which had somehow contrived to turn itself on inside my bag and was pumping out 98bpm for the idle curiosity of my fellow passengers.) 在机场，一位海关官员对我进行了盘问，他很好奇为什么我的手提行李中会发出不祥的滴答声，这是可以理解的。当然，那是我的电子节拍器，它不知何故在我的包里自己打开了，并发出 98bpm 的声音，以满足其他乘客闲来无事的好奇心）。
However, as soon as I start playing, the metronome ceases to be annoying. When you’re playing perfectly in sync with a click track, it virtually disappears. Certainly, in some studio situations, you might have to provide a grooving guitar part with only a click track for companionship, so it’s worth checking your ability to stay in time with just such a minimalist backing. 不过，只要我开始演奏，节拍器就不再烦人了。当你的演奏与点击音轨完全同步时，节拍器几乎就消失了。当然，在某些录音室环境下，你可能不得不在只有点击音轨的伴奏下演奏一段动感十足的吉他声部，因此值得检查一下你是否有能力在这种简约的伴奏下保持同步。
Here’s a funny thing: most people who use a metronome to practise assume that they should be measuring their progress in terms of how fast they can play certain things. In fact, there are certain occasions when the opposite is true. Think of those impossibly slow, menacing-sounding grooves you find on Pantera albums. If you try playing along to one of these, you’ll soon find out how much more difficult it can be to preserve the momentum of a piece of music at 40 bpm than at a more familiar tempo like 98 bpm . Try firing up your metronome at a sensible speed perhaps somewhere in the 80-120bpm range - and playing a simple rhythm part along with it as precisely as you can. Once you’ve developed a natural feel for the tempo, the next step is to slow down the metronome in small increments until you find that limit beyond which the tempo no longer makes sense. The skill of maintaining a constant tempo hinges largely on your ability to guess when the next click is going to happen and correcting yourself whenever one of your guesses fails to match up with the truth provided by the metronome. You’ll discover that, as the clicks get further and further apart, the margin for error gets a lot wider. Therein lies the challenge. 一个有趣的现象是：大多数使用节拍器练习的人都认为，他们应该以演奏某些曲目的速度来衡量自己的进步。事实上，有些时候情况恰恰相反。想想黑豹乐队（Pantera）专辑中那些听起来气势汹汹、慢得不可思议的旋律。如果你试着跟着其中的一个节奏演奏，你很快就会发现要保持 40 bpm 的乐曲气势要比 98 bpm 这样更熟悉的节奏困难得多。试着将节拍器调到一个合理的速度（也许在 80-120bpm 之间），然后尽可能准确地跟着节拍器演奏一个简单的节奏部分。一旦你对节奏有了自然的感觉，下一步就是将节拍器的速度小幅度放慢，直到你找到节奏不再有意义的极限。保持恒定节奏的技巧很大程度上取决于你猜测下一次点击发生时间的能力，每当你的猜测与节拍器提供的事实不符时，你就会纠正自己。你会发现，随着点击的距离越来越远，出错的余地也越来越大。这就是挑战所在。
As a slightly easier variation on the above, think of any exercise you can play comfortably at 120 bpm . (The actual difficulty of the exercise is not an issue here, as long as it’s something you know how to play.) If you play it with the metronome at 120bpm, the clicks are marking beats 1,2,31,2,3 and 4 of the bar. If you try the same exercise at the same speed but 作为上述方法的一个稍简单的变种，想想你能以 120 bpm 的速度自如演奏的任何练习（练习的实际难度在这里不是问题，只要是你知道如何演奏的即可）。如果你用节拍器以 120bpm 的速度演奏，那么 "咔嗒 "声将标记小节的 1,2,31,2,3 和 4 拍。如果用同样的速度做同样的练习，但
with the metronome set to 60bpm, the clicks will mark only beats 1 and 3 of each bar. You should remember the basic tempo (it’s the same as it was before), but now you have to remember that tempo for twice as long - you get only two prompts per bar as opposed to the four you had previously. Taking the idea to an ugly yet logical conclusion, you could try setting the thing to 30 bpm and seeing how well you could preserve the tempo. 当节拍器设置为 60bpm 时，卡嗒声将只标记每小节的第 1 和第 3 拍。你应该能记住基本节拍（和以前一样），但现在你需要记住的时间是以前的两倍--每小节只有两次提示，而以前有四次。把这个想法推向一个丑陋但合乎逻辑的结论，你可以试着把它设置为 30 bpm，看看你能在多大程度上保持节奏。
Oh, the fun you can have with a metronome! OK, now back to my earlier bass-playing anecdote, the one about the note that was 5//965 / 96 of a beat late. If you were intrigued by the issues raised therein, you might like to try the following experiment. First, think of a typical Motown guitar part - you know, that simple-yeteffective trick of only playing on beats 2 and 4 , striking chords on the higher strings and immediately cutting them dead. To keep things nice and simple, let’s say you’re going to limit yourself to playing one stab on A for beat 2 and one stab on DD for beat 4 . Now reach for your trusty metronome, set it to a moderate speed and play the part for a few bars, trying to lock in with the tempo and play the chords as precisely and mechanically as you possibly can. 哦，节拍器真有趣！好了，现在回到我之前的贝司演奏轶事，那个关于 5//965 / 96 晚了一拍的音符的轶事。如果你对其中提出的问题感兴趣，不妨试试下面的实验。首先，想一个典型的摩城（Motown）吉他弹奏部分--你知道的，就是那种只在第 2 和第 4 拍弹奏、在高音弦上敲击和弦并立即将其切断的简单而有效的技巧。为了让事情简单明了，假设你只在第 2 拍的 A 琴上弹奏一下，在第 4 拍的 DD 琴上弹奏一下。现在，拿起你信得过的节拍器，调到适中的速度，弹奏几个小节，努力锁定节奏，尽可能准确、机械地弹奏和弦。
Now for the ‘human’ part. Once you’ve become accustomed to the groove, ask yourself how it feels. Does it have a laid-back, relaxing kind of vibe or is it coming across as more of a driving groove? How do you feel about the tempo? Would you prefer it if it had a little more energy in it? Does it sound wooden or bored? Does it sound like you’d rather be playing something else? Bearing all of this in mind, try to find ways of altering the feel of the part without changing the speed of the click or drifting out of time. Try to make it sound impatient, as if it’s pressing forward, then see if you can capture a sleepier, lazier feel. It’s such a basic guitar part. What can you change about the way you’re playing it to vary the mood it conveys? 现在是 "人 "的部分。一旦你习惯了这种节奏，问问自己感觉如何。是有一种悠闲、放松的感觉，还是更像是一种驾驶的节奏？你觉得节奏如何？你是否希望它能更有活力一些？听起来是木讷还是无聊？是否听起来你更愿意演奏别的东西？考虑到这一切，在不改变点击速度或偏离时间的情况下，尝试找到改变乐段感觉的方法。试着让它听起来不耐烦，好像在向前冲，然后再看看能否捕捉到一种更困倦、更懒散的感觉。这是吉他的基本部分。你可以通过改变演奏方式来改变它所传达的情绪吗？
If you tried the above routine (and I really would urge you to try it, even if it sounds a little odd), what were your findings? The most obvious way of changing the feel of your playing is probably by adopting the approach of playing everything a little louder or quieter, unless of course you were drawn to the slightly dishonest tactic of adding more notes within the part! 如果您尝试了上述方法（我真的希望您能尝试一下，即使听起来有点奇怪），您的发现是什么？改变演奏感觉最明显的方法可能就是把所有音都弹得大一点或小一点，当然，除非你采用了在乐段中添加更多音符这种略显不诚实的策略！
However, there’s another idea to explore here: how exactly are you judging the chord’s ‘in time-ness’ with the click? However staccato you play it - ie however sharply you cut off the notes - you still can’t play a whole chord instantaneously - not with a pick, anyway! If you’re using downstrokes, it’s an inherent factor of strumming that the low notes will occur slightly earlier than the higher ones. There’s not a lot you can do about this, but it does invite the question, Which note in the chord are you trying to get in time? At this point, you might want to put the metronome back on and play the groove again. This time, try to focus on getting the very first note of the chord in time with the click, then repeat the experiment, this time trying to get the last note of each chord to line up with the click. 不过，这里还有一个值得探讨的问题：你究竟是如何通过点击来判断和弦的 "及时性 "的？无论你弹奏得多么顿挫，即无论你把音符切得多么锐利，你仍然无法在瞬间弹奏出一个完整的和弦--无论如何，用镐是不行的！如果您使用的是下击法，那么低音会比高音稍早出现，这是击弦法的固有因素。对此，你能做的不多，但这确实会引出一个问题：你想及时得到和弦中的哪个音？这时，你可能想重新打开节拍器，再演奏一次。这一次，试着集中精力让和弦的第一个音与咔哒声保持一致，然后重复实验，这一次试着让每个和弦的最后一个音与咔哒声保持一致。
There you have two very distinct feels, the first sounding a tad sluggish, the second perhaps a little over-zealous, and yet if you record yourself playing an example of each groove and then listen back, you’ll note that neither of them are out of time, as such. Is one version more ‘right’ than the other? Does the truth lie somewhere between the two? What happens if you try the same thing with a faster or slower strumming speed? 然而，如果你录下自己演奏的每一种曲调，然后回过头来听，就会发现它们都没有超时。是否一个版本比另一个版本更 "正确"？真相是否介于两者之间？如果你用更快或更慢的弹奏速度来做同样的尝试，会发生什么？
The above is a bizarre but hopefully interesting illustration of an idea you might hear described as ‘playing ahead of (or behind) the beat’. It turns out that there are lots of different ways of playing in time, be it with chords or single notes, and each contributes something different to the overall feel of the music you’re playing. For instance, listen to the Miles Davis album Kind Of Blue (in fact, buy it - even in the unlikely event of you hating it, it’ll still look good on your coffee table, conveying an aura of culture and sophistication to all who see it there). The timing in those trumpet solos tends to sound remarkably lazy - some of the notes are so late that they almost sound wrong - but the overall impression you get is that the guy playing the solo must have been one cool cat who knew exactly what he was doing and who played the notes late only because that’s where he felt they should go, not because of any shortcoming in his playing skills. 以上是对 "在节拍之前（或之后）演奏 "这一概念的奇特而有趣的诠释。事实证明，无论是和弦还是单音，都有许多不同的打拍方法，而且每种方法都能为你演奏的音乐带来不同的整体感觉。例如，听听迈尔斯-戴维斯（Miles Davis）的专辑《Kind Of Blue》（事实上，买下来吧--即使万一你不喜欢它，它放在你的茶几上也会很好看，向所有看到它的人传递一种文化和精致的气息）。这些小号独奏的时机往往听起来非常懒散--有些音符晚得几乎听起来是错的--但给人的总体印象是，演奏独奏的人一定是一只很酷的猫，他非常清楚自己在做什么，晚奏音符只是因为他觉得应该晚奏，而不是因为他的演奏技巧有什么缺陷。
At the other end of the lethargy spectrum, you might want to check out the guitar playing on some 在昏昏欲睡的另一端，你可能会想看看一些吉他演奏家的吉他演奏
ska records. What you’ll probably find here is the earlier exercise based on the Motown style of playing speeded up considerably and with a certain impish impatience about the timing. The chordal stabs occur as early as possible, as if constantly trying to speed up, but never actually managing to do so, and the result is an effective, high-energy feel. 斯卡唱片。在这里，你可能会发现早先基于摩城演奏风格的练习曲已经大大加快了速度，而且在时间的把握上有些急躁。和弦的刺音出现得越早越好，似乎一直在试图加快速度，但却从未真正做到，其结果是产生了一种有效的、高能量的感觉。
Swing 摇摆
Join me now on another foray into the unquantifiable. This time, our chosen topic is swing feel, 现在，请跟我一起进入另一个无法量化的领域。这一次，我们选择的主题是摇摆感、
Swing? What’s that, then? I’ve heard it defined by jazz platitudes along the lines of ‘If you don’t know what it is, you an’t got it’. However, I’ve never found that approach to be particularly useful - after all, it’s possible for someone to be perfectly comfortable with the idea of swing feel without necessarily ever needing to know a name for it. 摇摆？那是什么？我听过一些爵士乐老生常谈的定义："如果你不知道它是什么，你就没有得到它"。不过，我从未发现这种方法有什么特别的用处--毕竟，一个人有可能对摇摆感的概念非常熟悉，却不一定需要知道它的名称。
In an attempt to be more helpful, I submit for your consideration the following brief Status Quo-based explanation of swing: ‘Rockin’ All Over The World’ doesn’t have it: ‘Whatever You Want’, however, does. 为了提供更多帮助，我提交以下基于 Status Quo 对摇摆乐的简要解释，供大家参考：Rockin' All Over The World》没有摇摆乐，但《Whatever You Want》有。
If you had to describe the grooves of those two songs to someone who had never heard them before, you would probably end up trying to scat-sing the riffs, and of course ‘Rockin’ All Over The World’ goes ‘Na na na na na na na na’, whereas ‘Whatever You Want’ is more of a ‘DAT da-DAT da-DAT da-DA-gada’ kind of affair. (Excuse the onomatopoeia - it might sound a little silly, but it works, and it’s kind of fun, too. Arguably, one of the most reliable ways of evaluating a riff that you’ve been working on is to sing it in a Beavis And Butthead voice. If it still sounds good, you’re onto a winner!) In other words, the second track’s swing feel is what gives it that bouncing quality. The track that doesn’t swing doesn’t necessarily feel any worse, but its rhythmic mood comes across as more mathematical, more precise. 当然，《Rockin' All Over The World》的旋律是 "Na na na na na na na"，而《Whatever You Want》则更像是 "DAT da-DAT da-DAT da-DA-gada"。(请原谅我的拟声词--这听起来可能有点傻，但却很有效，而且还很有趣。可以说，用瘪三的声音唱出你一直在练习的旋律是最可靠的评估方法之一。如果听起来还不错，那你就成功了！)换句话说，第二首曲子的摇摆感赋予了它跳动的特质。而没有摇摆感的曲目，感觉上并不一定差，但它的节奏感更数学化、更精确。
Here’s a boring version of the same idea: swing feel deals with the gaps between the main beats. Imagine counting along with your metronome, uttering ‘ONE and TWO and THREE and FOUR and …’ in such a way that the numbers fall on the beats, and the ands occur in between. Each syllable represents an eighth note, in theory terms, and as 以下是同一观点的枯燥版本：摇摆乐感觉处理的是主要节拍之间的空隙。想象一下，你跟着节拍器数着 "一、二、三、四、......"，数字落在节拍上，而 "和 "出现在节拍之间。从理论上讲，每个音节代表一个八分音符。
long as your ands are falling halfway between the main beats, all of your eighth notes will be equal in length and you’ll have yourself a ‘straight’ feel. If you then try to count 'ONE and a TWO and a THREE and a FOUR and a dots\ldots, once again keeping all of the syllables evenly spaced, you’ll be subdividing each beat into three equal parts instead of two, marking what is known as an eighth-note triplet feel. Finally. count along in exactly the same rhythm but don’t actually vocalise the ands; just think them or mouth them silently. Where the remaining syllables fall outline the simplest technical definition of a swing feel. By counting along in this way, the main beats seem to be accentuated and the ands consequently sound somehow less important than they did during the counting for the ‘straight’ feel. 只要您的 "和 "位于主要节拍之间，所有八分音符的长度就会相等，您就会有一种 "平直 "的感觉。如果您再试着数出 "ONE AND A TWO AND A THREE AND A FOUR AND A dots\ldots "，再次保持所有音节间距均匀，您就会将每一拍细分为三个相等的部分，而不是两个，这就是所谓的八分音符三连音感觉。最后，以完全相同的节奏数拍子，但不要实际发声，只需想一下或默念一下 "和"。其余音节的位置勾勒出摇摆乐感觉最简单的技术定义。以这种方式数拍子，主要节拍似乎得到了强调，因此，"和 "字听起来就没有 "直 "拍子那么重要了。
This swing feel tends to add liveliness to a groove I say that like it’s a good thing, but of course that doesn’t mean it’s always appropriate. Understanding how swing works can be a huge asset to your playing, but only if you use it when it’s right for the music. If you attempted a swing interpretation of a classic straight riff like ‘Since You’ve Been Gone’, ‘Sunshine Of Your Love’ or indeed ‘Jump’, the results would sound trite and perhaps a little comical. Conversely, trying to squeeze Brian May’s swing-based riff from ‘Tie Your Mother Down’ into the constraints of a straight eighth note feel would be a doomed undertaking. It just doesn’t sound right that way - although, of course, you’re always welcome to try it! 我这么说好像是件好事，但当然这并不意味着它总是合适的。了解摇摆乐的工作原理对你的演奏大有裨益，但前提是你必须在适合音乐的时候使用它。如果你试图用摇摆乐来诠释《Since You've Been Gone》、《Sunshine Of Your Love》或《Jump》等经典的直板乐段，结果听起来会很老套，甚至有点滑稽。反之，试图将布莱恩-梅在《Tie Your Mother Down》中以摇摆乐为基础的旋律挤进八分音符的直板感觉中，则是注定要失败的。当然，我们也欢迎您尝试！
The fun part is that you can vary the actual amount of swing when you play any given guitar part. This is another grey area, along the lines of playing behind the beat. You might be familiar with those slow, lazy hip-hop grooves that contain a barely perceptible element of swing, and if you listen to a lot of bebop you’ll have heard quite a lot of tunes in which the swing element is far more pronounced Whatever the case, I’m sure that your own personal concept of swing is a product of your listening diet - whenever you have to decide if something sounds right or not, you compare it to other music you’ve heard. 有趣的是，在弹奏任何指定的吉他部分时，你都可以改变实际的摇摆幅度。这是另一个灰色地带，就像在节拍后演奏一样。你可能熟悉那些缓慢、慵懒的嘻哈音乐，其中包含的摇摆元素几乎无法察觉，而如果你经常听贝博普音乐，你就会听到很多摇摆元素更为明显的曲调。 无论如何，我相信你个人对摇摆的概念是你的听力饮食的产物--每当你要判断某首曲子听起来是否正确时，你都会将它与你听过的其他音乐进行比较。
As a more specific example, think of the classic ‘Texan shuffle’ feel as heard on such Stevie Ray 举个更具体的例子，想想经典的 "德克萨斯沙狐舞 "感觉，如史蒂夫-雷（Stevie Ray）的 "德克萨斯沙狐舞"。
Vaughan tracks as ‘Pride And Joy’. Rhythm playing of this kind works best when the ands are falling as late as possible, so if you’re trying to improve your feel with a view to playing this style, one of your main concerns should be to look at exactly how much it swings. Videos of Stevie’s playing suggest that he tackled these parts using a circular wrist motion - it looks a little like he’s winding up a large reel of fishing line and the thing is getting slightly stuck each time it completes a full turn. I can’t personally get on with this style of playing, but I find that you can achieve similar results by moving your picking hand up and down in the time-honoured manner, the key being to give more weight to the downstrokes. If you let your hand rest in the ‘down’ position for a bit longer, you can then throw in the following upstroke right at the last minute, using a snapping motion of the wrist, and still be back in time for the next main beat. By varying the intensity of this effect. you should be able to achieve a number of different feels, one of which might be the one you were aiming for in the first place! 沃恩的作品《骄傲与欢乐》。这种节奏演奏的最佳状态是 "和 "尽可能晚地落下，因此，如果你想通过演奏这种风格的作品来提高手感，那么你的主要关注点之一应该是看它的摆动幅度到底有多大。斯蒂文的演奏视频显示，他在处理这些部分时使用的是手腕的圆周运动--看起来有点像他在给一大卷鱼线上发条，每次转完一圈都会稍微卡住。我个人不太喜欢这种演奏方式，但我发现用传统的方式上下移动拾音手也能达到类似的效果，关键是下击要更重一些。如果让你的手在 "下 "的位置多停留一会儿，你就可以在最后一刻，用手腕的抽动来完成接下来的上击，而且还能及时回到下一个主拍。通过改变这种效果的力度，你应该能获得多种不同的感觉，其中一种可能就是你最初的目标！
One last pointer on this topic: you should always aim to get your downstrokes in time with the main beats, regardless of how horribly wrong the upstrokes might go! 关于这个话题的最后一点提示是：无论上行击弦会出现多么可怕的错误，你都应该始终致力于让下行击弦与主节拍同步！
More On Metronomes 关于节拍器的更多信息
Just when you thought I’d recovered from my urge to pepper every sentence with the word metronome, I now suggest the following little exercise as a new way of using said ticking device. Try using the click as an offbeat so that the clicks represent the ands between the main beats rather than the beats themselves. This can be tricky at first, but if you fire up the metronome and start off by getting into the routine of saying ‘and’ to coincide with each click, you can add ’ 1,2,3,41,2,3,4 ’ in the gaps. You’ve now got the general idea - all you have to do is convince yourself that the beats are falling where you say they are, not where the clicks occur! One way to help in this might be to say the numbers parts louder than the ands. This method ultimately makes you pay more attention to the finer details of swing feel, which can only be a good thing. 当你以为我已经从每句话都要加上节拍器这个词的冲动中恢复过来时，我现在建议你做下面这个小练习，作为使用节拍器的新方法。试着把 "嗒嗒 "声用作非拍子，这样 "嗒嗒 "声就代表了主要节拍之间的 "和"，而不是节拍本身。一开始可能会比较麻烦，但如果你打开节拍器，一开始就习惯性地在每次点击时说 "和"，你就可以在空隙处加上" 1,2,3,41,2,3,4 "。现在你已经有了大致的思路--你所要做的就是说服自己，节拍是落在你说的地方，而不是出现点击的地方！有一种方法可以帮助你做到这一点，那就是把数字部分说得比 "和 "部分响亮。这种方法最终会让你更加关注摇摆感的细节，这只会是一件好事。
How To Practise 如何练习
This might sound like a rather strange heading, but bear with me. I’ve seen a lot of players waste their practice time because, although they were very aware that they should practise, they were unsure of exactly what to practise, how to go about it or even what they expected to gain from it. 这听起来可能是一个相当奇怪的标题，但请听我一一道来。我见过很多选手浪费练习时间，因为他们虽然很清楚自己应该练习，但却不知道到底该练什么、怎么练，甚至不知道自己能从中获得什么。
There’s obviously no single practice routine that works for everyone - every player has different aptitudes, tastes, goals and, of course, a different amount of free practice time in a week - so it’s important to plan a system that works for your own requirements. To some extent, l’il have to trust you to figure that one out on your own, but what follows are some general thoughts on factors you might want to consider when planning your practice routine. 显然，没有一种练习方法适合所有人--每个球员的能力、爱好、目标都不一样，当然，一周的自由练习时间也不一样--因此，规划一个适合自己要求的练习系统非常重要。在某种程度上，我必须相信你能自己想出办法，但以下是你在计划日常练习时可能需要考虑的一些因素。
Speed 速度
When students watch me play, they sometimes remark, ‘I wish I could play that many notes, but my fingers will never be able to move as fast as that!’ Of course, seeing how many notes you can cram into a bar isn’t exactly the most musical of goals, but it has its place. Everyone occasionally wants to play something that their technique can’t quite handle and assumes that it’s because their fingers can’t move quickly enough. 当学生们看我演奏时，他们有时会说：'我希望我能弹出那么多音符，但我的手指永远无法像那样快速移动！'。当然，看你能在一个小节里塞进多少个音符并不是最有音乐性的目标，但它有其存在的意义。每个人偶尔都会想要弹奏一些自己的技巧无法完全驾驭的音符，并认为这是因为自己的手指移动速度不够快。
In fact, a fast technical player isn’t moving his fingers any quicker than anyone else’s; he’s just moving them less. The process of practising a lick over and over again first teaches your hands which movements to make, then ensures that they’re happening in the right order and finally focuses on streamlining each movement in the quest for greater efficiency. If you’ve been working on a new lick or technique and you’ve got to the point at which you can do it successfully most of the time but it still doesn’t quite feel natural, the chances are that your hands are doing the right things but are also throwing in a few unnecessary movements. 事实上，一个快速的技术型演奏者并没有比别人的手指动得更快；他只是动得更少而已。反复练习一个小技巧的过程，首先是教会你的手做哪些动作，然后确保这些动作按照正确的顺序进行，最后集中精力精简每个动作，以追求更高的效率。如果你一直在练习一种新的舔唱或技巧，而且大部分时间都能成功完成，但仍然感觉不太自然，那么很有可能是你的双手做了正确的动作，但也加入了一些不必要的动作。
To see what I mean, try to locate some video footage of a player with a famously good technique someone like Frank Gambale, perhaps - and watch how their hands are moving. You’ll notice that the fingers on their fretting hand are constantly poised just above the strings so that, whenever they’re expected 要理解我的意思，可以试着找一些技术出众的演奏家的视频，比如弗兰克-甘巴里（Frank Gambale），然后观察他们的手是如何移动的。你会注意到，他们拨弦手的手指始终保持在琴弦的正上方，这样，每当他们要
to fret a note, they can do so without having to move their fingers more than a few millimetres. This obviously uses up fewer calories than a less efficient frettinghand position, and it’s also more immediate. There will always be a slight gap between the moment your brain tells your fingers to play a note and the moment the note actually comes out of your amp. If you can keep the required movement to a minimum, you’ll also be keeping this delay to a minimum, and your reward will be cleaner technique and more accurate timing. 在弹奏一个音符时，手指不需要移动几毫米就可以完成。这显然比效率较低的指法姿势消耗更少的热量，而且也更直接。从你的大脑告诉你的手指弹奏一个音符的那一刻到音符真正从你的音箱中发出的那一刻之间总会有一点间隙。如果您能将所需的动作保持在最低限度，您也就能将这一延迟保持在最低限度，而您的收获将是更简洁的技巧和更准确的时机。
Similar principles apply to your picking hand. A good, fast alternate-picking hand isn’t moving any faster than a poor, sloppy-sounding one, but it is moving shorter distances and changing the direction of its movement more times per second. Once again, your hand’s goal should be to reduce and refine each part of the picking motion until every millimetre of its actual movement plays an active part in the production of notes. Anything surplus to this is a waste of time and energy. 类似的原则也适用于你的弹奏手。一只好的、快速的交替弹奏的手并不比一只差的、声音潦草的手移动得更快，但它移动的距离更短，每秒改变移动方向的次数更多。再次强调，你的手的目标应该是减少和完善弹奏动作的每一个部分，直到其实际动作的每一毫米都能在音符的产生中发挥积极作用。任何多余的动作都是在浪费时间和精力。
If you try out this approach for yourself, analyse the way in which you pick and fret notes and then prune away any excess movement, you might well find the end result somewhat lacking in volume or conviction. Perhaps it’s harder to get a big-sounding note than it was when you played it the less efficient way. You should think of this as a temporary setback; the more times your hands go through the motions of playing an ‘efficient’ note, the more confident they become, and soon you’ll find that you can channel the same amount of energy into a smaller arc of movement. 如果你亲自尝试一下这种方法，分析一下自己弹奏音符和指法的方式，然后修剪掉多余的动作，你可能会发现最终的结果在音量或信念上有所欠缺。也许比起用效率较低的方法弹奏时，你更难弹奏出响亮的音符。你应该把这看作是暂时的挫折；你的双手弹奏 "高效 "音符的次数越多，就越有信心，很快你就会发现，你可以将同样的能量转化为较小的动作弧度。
Think of Bruce Lee’s famous ‘one-inch punch’. The guy could knock you across the room without moving his hand more than a couple of centimetres. I’m not a huge advocate of hitting people, but this at least represents a good example of someone directing a lot of energy into an almost imperceptibly small and. therefore, very fast movement. What I’m suggesting is that the same basic principle works on a musical instrument, and the results are a lot more pleasant. If you master this principle on guitar, people will come to see you play and maybe even give you some money. If you master it in Bruce Lee’s field, people are far more likely to run away. 想想李小龙著名的 "一寸拳"。这家伙可以把你打得横飞出去，而他的手却不会移动超过几厘米。我不太提倡打人，但这至少是一个很好的例子，说明一个人将大量的能量集中在一个几乎难以察觉的微小动作上，因此动作非常快。我想说的是，同样的基本原理在乐器上也能奏效，而且效果更令人愉悦。如果你在吉他上掌握了这一原理，人们就会来看你演奏，说不定还会给你一些钱。如果你在李小龙的领域中掌握了这一原则，人们就更有可能落荒而逃。
Incidentally, I once read some more detailed parallels between kung fu and guitar playing in an 顺便提一下，我曾在一本名为《功夫与吉他弹奏》的书中读到过功夫与吉他弹奏之间更详细的相似之处。
interview with Buckethead. This eccentric player, who has the stage persona of a demented robot with an elastic guitar strap, at one point played for Guns N Roses, but in strict guitar circles he’s probably best known for his absurdly fast, perfectly executed chromatic licks, which bear more resemblance to mobile ringtones or vintage computer-game sound effects than they do to regular guitar playing. He’s also a keen martial artist and claims that mastering certain kung fu concepts helped him to locate the weak points in his guitar-playing technique and remedy them efficiently. 采访巴克海德。这位古怪的吉他手在舞台上的形象就像一个带着弹性吉他带的癫狂机器人，他曾为枪炮玫瑰乐队（Guns N Roses）演奏过，但在严格的吉他圈子里，他最出名的可能是他那快得离谱、演奏完美的半音阶弹奏，与普通吉他弹奏相比，他的弹奏更像手机铃声或老式电脑游戏的音效。他还热衷于武术，并声称掌握了某些功夫理念有助于他找到吉他弹奏技巧的弱点，并有效地加以弥补。
I don’t propose to diwell on this whole martial arts thing for very long, because I don’t know that much about it, but I will tell you that I once shared a flat with a keen practitioner of ninjitsu, and he told me that one of the key concepts in this particularly nasty art fcrm is that you should ‘forget to remember, remember to forget’. Now, this sounds something like the title of a confusing Bond film, I have to admit, but I think that the point he was trying to make was that whatever you’ve learned becomes truly useful to you only once it has become second nature. You can enjoy the full benefits of having an efficient picking-hand position, for instance, only when you’ve been doing it long enough to adopt said position automatically - by default, if you like. If you find that your hand lapses into old habits as soon as you turn your attention away from it for a moment, you still haven’t fully assimilated the correct technique into the way you play and you should keep working on it until you reach a point at which it’s completely instinctive. The sooner you learn the right way of doing something, the sooner you won’t have to think about it any more. 我不打算在武术这件事上讨论太久，因为我对它了解不多，但我要告诉你，我曾经和一位热衷于忍术的练习者同住一个公寓，他告诉我，这种特别讨厌的艺术的一个关键概念是，你应该 "忘记记住，记住忘记"。现在，我不得不承认，这听起来有点像一部令人困惑的邦德电影的片名，但我认为他想表达的意思是，只有当你学到的东西成为第二天性之后，才会对你真正有用。举例来说，只有当你长期练习，自动地（如果你愿意，也可以说是默认地）采用这种姿势时，你才能充分享受到高效的拾取姿势所带来的好处。如果你发现自己的手一不留神就会陷入旧习惯中，那就说明你还没有将正确的技巧完全融入自己的演奏方式中，你应该继续努力，直到达到完全本能化的程度。越早掌握正确的演奏方法，就越早不用再去思考。
One way of telling if you’re on the right track is by asking yourself how effortless your playing feels. I think sometimes you have to force yourself to relax when playing, especially if you’re working on something particularly challenging or unfamiliar. l’ve seen students go red in the face and literally break into a sweat after as little as ten seconds of trying to play something that involves strict alternate picking. This happens because they’re keen to get the technique right, and they’re telling themselves that what they’re attempting is difficult - so difficult, in fact, that they’re probably going 判断你是否走在正确的道路上的一个方法就是问问自己，你的演奏感觉有多轻松。我见过有的学生在尝试弹奏一些需要严格交替弹奏的曲目时，弹了不到十秒钟就面红耳赤、大汗淋漓。出现这种情况的原因是，他们渴望掌握正确的技巧，并告诉自己他们正在尝试的东西很难--事实上，难到他们可能会
to get it wrong. Consequently, they get so worried about messing up that they can’t concentrate on the actual playing side of things. 会出错。因此，他们会非常担心搞砸，从而无法集中精力进行实际演奏。
Sometimes it helps to remind yourself that everything is possible, given time, and that practice is not all about punishing yourself. There’s nothing quite as counter-productive as getting angry with yourself when a lick keeps going wrong - this can only serve to distract you. It’s much better to take a break from it and then, when you come back to the guitar, keep playing the lick - or small portions of the lick - at a speed you can manage comfortably. There’s no rush; in the long run, it’s better for you to get the basics down properly at a slow speed so that you can be sure you’re practising the right things. The rest comes with time. 有时，提醒自己只要假以时日，一切皆有可能，而且练习并不完全是为了惩罚自己，这对自己很有帮助。没有什么比在弹奏过程中不断出错时对自己发火更适得其反的了--这只会分散你的注意力。最好的办法是先休息一下，然后当你回到吉他前时，以你能轻松驾驭的速度继续弹奏这一段或一小段弹奏。不必急于求成；从长远来看，用较慢的速度正确掌握基本要领对你更有利，这样你才能确保练习的内容是正确的。剩下的就需要时间了。
My favourite adage on the subject would have to be this gem: 在这个问题上，我最喜欢的格言应该是这句话：
Speed is a by-product of accuracy 速度是准确性的副产品
That says it all, really. If you practise an accurate, efficient technique, you’ll soon find that fast passages don’t seem so daunting. I know everyone’s encountered this kind of advice before, but so many of us just don’t want to hear it; it has the same irritating benevolence about it as maternal naggings like ‘You really shouldn’t do that - you know it’s bad for you’ and ‘Are you sure you’re eating properly?’. However, it really is true, and it really does apply to you. Take things at a sensible pace, and don’t lie to yourself about how quickly you’re improving by forcing up the metronome speed before you’re ready. 这就说明了一切，真的。如果你练习准确、高效的技巧，你很快就会发现快速的段落似乎并不那么令人生畏。我知道每个人都曾遇到过这样的建议，但我们中的很多人就是不想听；它就像 "你真的不应该这样做--你知道这对你不好 "和 "你确定你吃得好吗？"这样的母性唠叨一样，有着令人恼火的仁慈。然而，这确实是事实，也确实适用于你。以合理的速度做事，不要在还没准备好的时候就强行提高节拍器的速度，骗自己说自己进步得很快。
Playing Without Looking 玩而不看
Right, I think we can leave the issue of speed for a while now. Another thing to consider in your quest for effortlessness would be this: how dependent are you on looking at what you play? Watching your hands as they play can be very good for assessing your technique, but sometimes you might want to see if you can remember a scale or chord shape without looking at your fingers. 好吧，我想我们可以暂时不讨论速度问题。在追求毫不费力的过程中，还有一件事值得考虑：你对观察自己演奏的依赖程度如何？在演奏时观察自己的双手对评估演奏技巧很有帮助，但有时你可能想看看自己是否能在不看手指的情况下记住音阶或和弦的形状。
Here’s another analogy. Many years ago, I worked for a year in an office, where my job basically entailed 这里还有一个比喻。很多年前，我在一家办公室工作了一年，我的工作基本上是
sitting in front of a computer for eight long hours a day, inputting dates and addresses, while the more experienced members of the office team would go off on meetings and other similarly glamoroussounding engagements. Now, it might have started as a charitable attempt to keep my poor mind occupied, or it might have been a desperate bid to boost my productivity (which, I freely admit, was unremarkable), but one way or another a couple of the secretaries took it upon themselves to teach me the ‘proper’ way to type - ie the way that involves using more than two index fingers. 每天在电脑前一坐就是八个小时，输入日期和地址，而办公室里更有经验的成员则去开会或从事其他类似的光鲜工作。现在，这可能是为了让我那可怜的脑袋忙起来，也可能是为了提高我的工作效率（我承认，我的工作效率并不突出），但不管怎样，有几位秘书主动教我如何 "正确 "打字--即使用两根以上的食指打字。
The one thing I remember them telling me time and time again was, ‘You shouldn’t look at the keyboard when you type, you should look at the screen. How are you going to learn to feel where the letters are if you keep looking at them?’ I’m ashamed to admit that I never paid much heed to their advice, and even now. as I sweat over a hot laptop to bring you this book, I’m looking at the keys a good 30 per cent of the time. However, I realise now that they were right - it really would have been better to have learned to type using the method they suggested. 我记得他们反复告诉我的一句话是：'你打字时不应该看键盘，应该看屏幕。如果你一直看着键盘，你怎么能学会感觉字母的位置呢？我很惭愧地承认，我从来没怎么注意过他们的建议，即使是现在，当我汗流浃背地在滚烫的笔记本电脑上给你带来这本书时，我也有 30% 的时间在看键盘。不过，我现在意识到他们是对的--用他们建议的方法来学习打字确实会更好。
There are all sorts of reasons why you should work on your ability to play guitar without looking, quite aside from the potential for facetious scenarios involving power-cuts and the like. For instance, you might aspire to be in a band where you get to sing and play at the same time. Indeed, you might join a band purely to play guitar and then get coerced into singing anyway! Even if you’re not vocally inclined, you’ll be a much more valuable bandmember if you can maintain eye contact with other musicians so that, if the singer eggs you on to extend your solo, you’ll know about it! Similarly, if someone is trying to bring down the overall volume level of the band, introduce a spontaneous key change or get everyone to play the next chorus in a doubletime feel, you’ll know about that, too. Playing with other musicians involves a lot of unspoken communication, and if you spend the whole gig hunched over your guitar neck staring intently at the frets, you’ll be remembered as the selfish guitar player who didn’t pay any attention to what was going on around him, the audience will enjoy it less and the rest of the band will be frustrated. 除了有可能出现断电之类的滑稽场景外，你还有各种理由需要练习不看吉他的弹奏能力。例如，你可能渴望加入一个乐队，在那里你可以边弹边唱。事实上，你可能纯粹是为了弹吉他而加入一个乐队，然后被强迫唱歌！即使你不擅长唱歌，但如果你能与其他乐手保持眼神交流，那么你将成为一名更有价值的乐队成员，这样，如果歌手让你延长独奏，你也会知道！同样，如果有人想降低乐队的整体音量、自发改变调性或让大家用双拍子的感觉演奏下一首副歌，你也会知道。与其他乐手一起演奏需要很多无声的交流，如果你在整场演出中都蜷缩在吉他脖上，紧盯着五线谱，那么你会被认为是一个自私的吉他手，对周围发生的事情毫不关心，观众也不会喜欢你的演奏，乐队的其他成员也会感到沮丧。
If your chosen field of music involves any sight- 如果您所选择的音乐领域涉及到任何视听音乐，那么
reading, you’ll be spending a lot of your time staring at a chart on a music stand. The moment you look away to sneak a furtive peek at the fretboard, you’re running the risk of losing your place on the page, so it’s particularly important that you can execute some basic guitar functions without looking at your fingers. 在阅读过程中，你需要花费大量时间盯着谱架上的谱表。一旦你把视线移开，偷偷瞥一眼指板，你就有可能失去你在乐谱上的位置，因此，能在不看手指的情况下执行一些基本的吉他功能尤为重要。
(With regard to that whole losing-your-place-on-thepage thing, there’s a school of orchestral humour that revolves around the plight of the triangle player who only plays one note all night but has to sight-read hundreds and hundreds of blank bars just to be sure that he plays his one note at just the right moment. In my experience, there’s absolutely nothing funny about losing your place in the music when people are watching - everyone else is too busy playing to offer you any help in getting back on track, and however much you concentrate on what the other players are doing, the one thing you’re not going to hear is the guitar part that’s written out in front of you because, let’s face it, you’re not playing it. You’re lost, remember?) (关于 "在乐谱上失去位置 "这件事，有一派管弦乐幽默是围绕着三角铁演奏员的困境展开的，他们整晚只演奏一个音，但却要视奏成百上千个空白小节，以确保在正确的时刻演奏出他的那个音。根据我的经验，在人们的注视下，失去自己在音乐中的位置绝对不是一件有趣的事情--其他人都忙于演奏，无法帮助你回到正轨，而且无论你多么专注于其他演奏者在做什么，你都不会听到在你面前写好的吉他部分，因为，让我们面对现实吧，你没有在演奏它。你迷失了，还记得吗？）
Oddly enough, I think that one highly effective way of practising sight-reading without looking is by watching TV at the same time. This won’t work if you’re trying to conquer some particularly challenging new concept, but a bit of absent-minded noodling in front of the box can give your playing a nice, laid-back workout and is relatively painless (I understand that Jeff Beck actually comes up with a lot of his ideas in this way). One benefit of doing this from time to time is that your senses are being fed just enough information to stop you from getting bored and putting down the guitar, so it’s a good way of practising tedious stuff that requires constant repetition but isn’t really exciting enough to hold your attention all on its own. 说来也怪，我认为练习不看视谱的一个非常有效的方法就是同时看电视。如果你想征服一些特别具有挑战性的新概念，这种方法就行不通了，但在电视机前心不在焉地胡思乱想一下，可以让你的演奏得到很好的、悠闲的锻炼，而且相对来说也不痛苦（据我所知，杰夫-贝克（Jeff Beck）实际上就是用这种方法想出了很多主意）。时常这样做的一个好处是，你的感官会得到足够的信息，使你不会感到无聊而放下吉他，因此这是练习需要不断重复但又不够刺激的乏味内容的好方法。
IMPORTANT! When playing in front of the TV, it’s good to be relaxed, but try to ensure that you’re sitting fairly upright and that your guitar is in a natural playing position or your wrists will end up at the wrong angle, you’ll be too engrossed to notice and before you know It you’ll be asking a doctor why you seem to have acquired tendonitis. (l’m told that Vito Bratta, the guitarist from White Lion, actually snapped a tendon in his hand by practising while slumped on a sofa, forcing his wrist into an uncomfortable position. If it can happen to a great player like that, it can happen to anyone.) 重要！在电视机前演奏时，放松是件好事，但要尽量确保坐姿端正，吉他处于自然的弹奏位置，否则你的手腕就会处于错误的角度，你会全神贯注而无法注意到，不知不觉中你就会问医生为什么你似乎得了肌腱炎。(我听说白狮乐队的吉他手维托-布拉塔（Vito Bratta）就是因为斜靠在沙发上练习，迫使手腕处于不舒服的位置，导致手部肌腱断裂的。如果这种事能发生在这样一位伟大的演奏家身上，那么任何人都有可能患上这种病）。
Dynamics 动力
This is another aspect of playing to think about, Anything that’s worth practising is worth practising at various dynamic levels. In particular, you should be aware of how loud you can play a note, how softly you can play it and also the mid-point between the two, which should be your default setting. (Think about it; if you’re hitting your notes moderately firmly, you can bring the level of your playing up or down, so you have the maximum freedom of expression.) 任何值得练习的东西都值得在不同的动态水平下练习。尤其是，你应该知道一个音可以弹多大声，可以弹多小声，以及两者之间的中间点，这应该是你的默认设置。(想想看，如果你的音符弹得适中，你就可以提高或降低弹奏的音量，这样你就可以最大限度地自由表达了）。
There are many ways of exploring dynamics in your playing, and a good guideline when considering these matters would be to use human speech as a parallel. Picture this Bosch-like vision of the afterlife: your allotted fate is being made to listen to someone reading the phone book out loud for all eternity and, as a little ironic touch, you’ve been given the choice of either Billy Connolly or John Major as your reader. (It’s unlikely, I admit, but work with me here!! Whom would you pick? 在演奏中探索动态的方法有很多，在考虑这些问题时，一个很好的指导原则就是将人类的语言作为平行线。想象一下博世笔下的来世：你的命运是永远听人大声朗读电话簿，而且，作为一个小小的讽刺，你可以选择比利-康诺利（Billy Connolly）或约翰-梅杰（John Major）作为你的朗读者。(我承认这不太可能，但请听我说！）你会选谁？你会选谁呢？
It’s a chilling scenario, I know, but if we really had to make the choice, most of us would probably plump for the animated Glaswegian comedian rather than the sombre political figure. We’d be working on the reasonable assumption that hearing him reel off dialling codes would somehow sound more interesting, and thus in theory it would take longer for the tedium of that never-ending string of random digits to become truly unbearable. 我知道这是一个令人不寒而栗的场景，但如果真的要做出选择，我们中的大多数人可能会选择生动的格拉斯哥喜剧演员，而不是阴沉的政治人物。我们会合理地假设，听他娓娓道来拨号代码听起来会更有趣，因此从理论上讲，那一串永无休止的随机数字的乏味感需要更长的时间才能真正令人难以忍受。
The difference is, of course, in the way he tells 'em. Someone like a comedian or an actor will use a lot of different vocal inflections, varying the pitch and accent, of each syllable, thus making their speech patterns more compelling for the listener. 当然，区别在于他讲述的方式。喜剧演员或演员会使用大量不同的声调，改变每个音节的音高和重音，从而使他们的说话方式更吸引听众。
The reason I picked the phone book as an example is this: it’s possible to play guitar perfectly in time, without making any mistakes, and still sound like all you’re doing is generating notes in no particular order, much as the phone book chums out seemingly random numbers. ( 10 digits, 12 notes-OK, so it’s not a perfect analogy, but you get my point.) To make your playing sounds like it actually means something, you have to group your notes intelligently, which means that some notes should sound more important than others. These are the ones you should play slightly harder than the rest in order to accentuate them. 我选择电话簿作为例子的原因是：吉他演奏有可能完全合乎节拍、不出任何差错，但听起来你所做的只是按特定顺序产生音符，就像电话簿中的数字一样看似随机。(10个数字，12个音符--好吧，这不是一个完美的比喻，但你明白我的意思。）为了让你的演奏听起来更有意义，你必须对音符进行巧妙的分组，这意味着有些音符听起来应该比其他音符更重要。为了突出这些音符，你应该比其他音符弹得稍重一些。
Accentuating certain notes can make your playing sound a lot more musical, so naturally it’s something you should consider incorporating into your practice routine. If you have an exercise featuring lots of 16 th notes in a row, you could try playing the first note in each group of four with an accent to give it more rhythmic interest and to make it sound like you’ve thought about the notes and made some attempt to group them into idea-sized packages rather than just played them one by one. Once you start thinking like this in your practice routine, the results will start to show in your improvising. 强调某些音符可以让你的演奏听起来更有音乐感，因此你自然应该考虑将其融入到你的日常练习中。如果你在练习中连续弹奏了很多 16 个音符，你可以尝试在每四个音符中的第一个音符上加重音，这样可以增加节奏感，让人觉得你对这些音符进行了思考，并尝试将它们组合成一个个有想法的音符，而不仅仅是一个一个地弹奏。一旦您在日常练习中开始这样思考，您的即兴演奏就会初见成效。
Incidentally, a lot of poetry works in the same way. Think of that timeless classic that starts ‘There once was a man from Nantucket’. If you read the line out loud, the syllables once, man and tuck should naturally come out a little more prominently than the others, and the effect is that the words have more of a groove to them. If you read the same line again, this time making an effort not to stress any syllables, the results will have a robotic feel, giving the impression that you don’t have any interest in the subject matter. Translating this back into musical terms, hopefully you’ll agree that it’s a bad idea to sound as if you’re not interested in what you’re playing. 顺便提一句，很多诗歌也是这样写的。想想那首永恒的经典诗歌，开头是 "从前有一个人来自南塔克特"。如果你大声朗读这句诗，"曾经"、"人 "和 "塔克 "这三个音节会自然而然地比其他音节更突出一些，从而使诗句更有韵味。如果你再读一遍同样的句子，这次努力不强调任何音节，结果就会给人一种机械的感觉，让人觉得你对主题不感兴趣。把这一点换回音乐术语，希望你会同意，听起来好像你对正在演奏的东西不感兴趣是个坏主意。
At the other end of the dynamic spectrum to accented notes are ‘ghost notes’. Sometimes, you’ll find that the key to making a guitar part work is in making selected notes less prominent rather than more so for instance, you might be working on a funky singlenote part and find that one or two notes sound a bit too obvious. Maybe you’ve tried removing the notes altogether and found that the part doesn’t sound complete without them. The solution would seem to be a compromise where you sort of play the notes the musical equivalent of muttering them under your breath. Playing certain notes a little quieter, maybe even muting them lightly to make their pitches slightly less obvious, can effectively push them into the background I think you can make the most progress in this area by working on it when playing along with backing tracks or, indeed, a band - somehow the clicking of a metronome isn’t the most inspiring of contexts when you’re trying to decide if a note feels right or not. 与重音相对的另一种动态效果是 "鬼音"。有时，你会发现吉他演奏的关键在于如何让选定的音符不那么突出，而不是更突出，例如，你可能正在演奏一个时髦的单音部分，却发现有一两个音符听起来太明显了。也许你曾尝试过完全去掉这些音符，但发现没有它们的部分听起来并不完整。解决的办法似乎是一种折中的办法，即在演奏音符时，相当于在口中喃喃自语。将某些音符弹得更小声一些，甚至轻轻地将它们静音，使它们的音高不那么明显，这样就能有效地将它们推到背景中去。
So far, I’ve dealt with dynamics on a note-by-note 到目前为止，我已经逐个音符地处理了动力学问题
basis, but there’s another area of dynamics to consider, too: building the intensity of a passage by gradually increasing the volume as you play. This is an effect you’ll find represented in written music as a crescendo, which is often denoted by a hairpin symbol opening out from left to right. Try picking one note over and over again in a consistent eighth-note rhythm, starting with your quietest possible pick attack and gradually building up to your loudest. Can you maintain that ‘building’ effect over, say, two bars? How about 16 bars? In short, how many gears can you play in, and how smoothly can you change between them? This is a much-overlooked issue for many guitarists, which is a shame because a long, gradual crescendo can create some very dramatic effects in a piece of music. Similarly, it’s worth investigating the same idea reversed - ie the decrescendo, which is often denoted by a hairpin pointing the other way and creates a fading-out effect. 在此基础上，还需要考虑另一个方面的动态：在演奏过程中逐渐增大音量，以增强乐段的力度。这种效果在书面音乐中表现为渐强，通常用一个从左到右拉开的发夹符号来表示。试着以连贯的八分音符节奏反复弹奏一个音符，从最安静的弹奏开始，逐渐提高到最响亮的音量。你能在两个小节内保持这种 "渐强 "效果吗？16 个小节呢？简而言之，你能在多少个档位上演奏，在这些档位之间的转换有多顺畅？对于许多吉他手来说，这是一个经常被忽视的问题，这很可惜，因为一个长而渐进的渐强音程可以在乐曲中产生一些非常戏剧性的效果。同样，同样的想法也值得反过来研究，即渐弱音，通常用发夹指向另一个方向来表示，并产生渐弱效果。
(Just to milk this concept to the utmost, it also applies on an even larger scale. If your band has to play a two-hour live set, you should try to arrange the songs in such a way that the dynamics of the whole show are interesting. Typically, audiences want the quiet lull to fall somewhere in the middle of the set, and they tend to appreciate the fireworks more if they occur towards the end. Most professional bands spend a lot of time over planning their set lists; they know that the songs will come across a lot better if they’re all arranged in the right order.) (为了将这一概念发挥到极致，它还适用于更大的范围）。如果你的乐队必须进行两小时的现场表演，那么你应该尽量安排歌曲，让整场演出的动态变得有趣。通常情况下，观众希望整场演出的中间部分能有安静的停顿，而如果演出接近尾声，他们往往会更欣赏焰火表演。大多数专业乐队都会花很多时间规划他们的演出曲目；他们知道，如果歌曲都能按照正确的顺序排列，演出效果会更好）。
If you habitually play with a lot of distortion, you might have dismissed the idea of dynamics as something that somehow doesn’t apply to you. Certainly, it’s true that using a lot of overdrive can compress your dynamic range, and you might well find that your quietest and loudest notes come out at roughly the same volume. However, I would urge you to compare the sound of these notes - you’ll find that the tone changes as you hit a note progressively harder. The harder the pick attack, the more top end the note has and so the more ‘cutting’ it sounds. In short, the dynamics you put into your playing still make a difference, even if the actual loudness of your notes doesn’t seem to be changing that much. 如果你在演奏时习惯性地使用大量失真，那么你可能会认为动态的概念对你并不适用。当然，使用大量的失真会压缩你的动态范围，你可能会发现最安静的音符和最响亮的音符发出的音量大致相同。不过，我还是建议您比较一下这些音符的音色--您会发现，随着演奏力度的增加，音色也会发生变化。拾音力度越大，音符的顶端越强，因此听起来越 "切"。简而言之，即使音符的实际响度似乎没有太大变化，您在演奏中加入的力度仍然会产生影响。
Here’s another avenue for exploration: it’s worth finding out how loud you can get your legato (check 这里还有另一个探索途径：值得一试的是，你可以让自己的连音发出多大的声音（查看
out Creative Guitar 2 for a further explanation on this style of playing) technique and then trying to fine-tune the level of your picked notes so that their dynamic range matches that of your hammer-ons and pull-offs. This will vary depending on how much gain and overdrive you use-it’s a lot harder to find that balance when you’re using a clean tone! You probably wouldn’t want to play that way all the time, but it’s still a handy effect to have at your disposal and it can add a certain fluidity to your playing. ICheck out Allan Holdsworth’s technique to hear this approach taken to breath-taking extremes. If you listen to any of his solos, you’ll find that it’s virtually impossible to tell which notes are picked and which ones are hammered.) 关于这种演奏方式的进一步解释，请参阅《创意吉他 2》），然后尝试微调挑音的音量，使其动态范围与锤音和拉音相匹配。这将取决于您使用的增益和超载程度--当您使用纯净音色时，很难找到这种平衡！你可能并不希望一直以这种方式演奏，但它仍然是一种方便的效果，可以为你的演奏增添一定的流畅性。看看 Allan Holdsworth 的演奏技巧，你就会发现他将这种方法发挥到了令人窒息的极致。如果你听过他的任何独奏，你会发现几乎无法分辨哪些音是挑音，哪些音是锤音）。
After all that technical stuff, I think I should lay the topic of practice to rest with a general point: make sure you reward yourself for all that work you put into improving your playing. After an intensive workout spent focusing on things you can’t quite play yet, it’s important to remind yourself of how much enjoyment you can get from the stuff you find easy. Making music is supposed to be fun, and if you find that your pursuit of a perfect technique is making you unhappy. you’re probably spending a disproportionate amount of your time dwelling on that one aspect of playing. It’s very important to find a good balance. Remember that picking exercises and such are simply a means to an end. If you reach a point at which picking up a guitar starts to feel like daily punishment, something has clearly gone wrong. On the other hand, if all you’re interested in is the fun side of things, your playing might stagnate and stop improving altogether. 说了这么多技术上的东西，我想我应该用一个总的观点来结束练习这个话题：确保你为提高演奏水平所付出的努力得到了回报。在集中精力练习你还不能演奏的曲目之后，重要的是要提醒自己，你能从你觉得容易的曲目中获得多少乐趣。如果你发现追求完美的技巧让你不快乐，那你可能是把过多的时间花在了演奏的某个方面。找到一个好的平衡点非常重要。记住，弹奏练习之类的只是达到目的的一种手段。如果你觉得每天拿起吉他就像在受罚，那显然是出了问题。另一方面，如果你只对事情有趣的一面感兴趣，你的演奏可能会停滞不前，完全停止进步。
So what’s the moral here? Work hard, play hard, I guess. 那么，这里的寓意是什么呢？努力工作，努力玩耍吧。
Finger Independence 手指独立
How many of us can honestly say that we make full use of all four left-hand fingers? I think that the little finger gets overlooked by many players, partially because you only need three fingers to play the standard vocabulary of pentatonic-based blues and rock licks and partially because it looks so scrawny and pathetic next to the others that it’s hard to take the thing seriously! However, I’m sure everyone 有多少人可以诚实地说，我们充分利用了左手的全部四个手指？我认为很多演奏者都忽略了小指，部分原因是你只需要三个手指就能演奏五声音阶蓝调和摇滚乐的标准曲目，部分原因是小指与其他手指相比显得如此瘦弱和可怜，让人很难认真对待它！不过，我相信每个人
realises how much better their technique would be if only they could get that fourth finger working as well as its siblings. 意识到，如果他们能让第四根手指和其他兄弟姐妹一样灵巧，他们的技术就会大大提高。
Robben Ford used to worry about this, and he decided years ago that he would force himself to use his little finger as much as possible in the hope that it would catch up with the others. If you watch the man playing live these days, you’ll note that a huge percentage of the notes he plays are fretted with either his first or his fourth finger - he worked so hard at improving the mobility of his pinky that he practically forgot how to use the fingers in the middle! You might argue that he didn’t really gain that much from this process, which basically replaced two perfectly good digits with a single, shorter one, but the story at least serves to show you how much more useful your little finger could be if you trained it correctly. 罗本-福特（Robben Ford）曾经为此忧心忡忡，多年前他决定强迫自己尽可能多地使用小指，希望它能赶上其他手指。如果你现在观看罗本-福特的现场演奏，你会发现他演奏的大部分音符都是用大指或四指拨动的--他努力提高小指的灵活性，以至于几乎忘记了如何使用中间的手指！你可能会说，他并没有从这个过程中真正获得多少好处，因为这基本上是用一根更短的手指取代了两根完美的手指，但这个故事至少告诉你，如果训练得当，你的小拇指可以发挥更大的作用。
Watching Gary Moore’s playing raises another interesting issue. Gary has, amongst other things, a very polished technique - he tackled the guitar parts on Andrew Lloyd Webber’s Variations, and the heavymetal albums he made in the 1980s were chock-full of fast-picked scalar runs that clearly required the use of all four fretting-hand fingers. On the other hand, I recently saw him play a more blues-orientated show in which the emphasis was on pentatonic-based licks, and he was using his index and middle fingers almost exclusively, occasionally adding his ring finger as if it was merely a spare. He didn’t use his little finger once all night. 观看加里-摩尔的演奏会引发另一个有趣的问题。加里拥有非常精湛的演奏技巧--他曾在安德鲁-劳埃德-韦伯的《变奏曲》中担任吉他手，他在 20 世纪 80 年代制作的重金属专辑中充满了快速弹奏的音阶跑音，显然需要使用四只指法手的手指。另一方面，我最近看到他在一场更偏向蓝调的演出中演奏五声音阶的乐段，他几乎只用食指和中指，偶尔加上无名指，好像只是备用的。整个晚上，他一次也没用过小指。
Was Gary being inconsistent? Why would he spend decades developing a perfect four-finger fretting technique only to abandon it? | think the lesson here is keep your approach to fingering flexible so that you can use whichever approach best complements a particular style of playing, If you listen to an album like Still Got The Blues, you’ll be struck by how huge the notes sound. Gary favours heavygauge strings and relatively high action, as do most players if they seek a fat, bluesy tone. String-bending can be painful on a guitar set up in this way, and there’s an increased risk of your hammered notes not achieving the required volume, so I suppose Gary is simply using the fingers that are strong enough to perform reliably and produce the most convincing 加里是不是前后矛盾？为什么他花了几十年时间发展出完美的四指指法技巧，却又放弃了呢？| 如果你听一张像《Still Got The Blues》这样的专辑，你就会被音符的巨大音量所震撼。加里喜欢使用大号琴弦和相对较高的弦距，大多数追求蓝调音色的演奏者也是如此。在这样的吉他上弯曲琴弦会很痛苦，而且锤击的音符无法达到所需的音量的风险也会增加，所以我认为加里只是在使用足够有力的手指，以可靠地演奏出最令人信服的音色。
tone. If he had to play a passage more along the lines of ‘Flight Of The Bumblebee’, he would no doubt revert to using all four fingers on his fretting hand. 音色如果让他演奏一段与 "Flight Of The Bumblebee"（《大黄蜂的飞行》）相似的乐段，他无疑会恢复使用指法手的全部四个手指。
There’s a mathematical way of approaching finger independence, Imagine using your fingertips to drum on a tabletop. You should be able to get a ‘drum roll’ of four notes in rapid succession. I guarantee that the quickest drum roll you can get will be the one where your fingers land on the table in the order 1-2-3-4, or possibly the reverse. Wouldn’t it be good if you could get the same speed when you moved your fingers in a different order? I’m sure you can see how this could benefit your fretting technique, and it’s an exercise that you can practise without your instrument. You could use your right forearm as a substitute guitar neck and go through the motions of hammering various finger combinations. If you spent five minutes a day waiting for a bus, this might be one way of spending them profitably. (As a bonus, everyone else in the queue will be puzzled or frightened by your apparent compulsive-finger disorder, and if the bus ends up with one unoccupied seat, it’ll probably be the one next to yours! Ah. luxury…) 有一种数学方法可以让手指独立，想象一下用指尖在桌面上击鼓。你应该能连续快速地敲出四个音符的 "鼓声"。我敢保证，你能最快击出的鼓声是你的手指按照 1-2-3-4 的顺序落在桌面上的鼓声，也可能是相反的鼓声。如果你的手指以不同的顺序移动时也能达到同样的速度，那不是很好吗？我相信你会明白这对你的指法技巧有多大帮助，而且这也是一个不用乐器也能练习的练习。你可以用右前臂代替吉他琴颈，通过敲击各种手指组合的动作来练习。如果你每天花五分钟等公交车，这也许是一种有益的方式。(作为奖励，排队的其他人都会对你明显的手指强迫症感到困惑或害怕，如果公交车上最后只有一个空座位，那很可能就是你旁边的那个！啊，奢侈......）。
If you spent your school maths lessons at home trying to learn Zappa tunes (as I did), you might appreciate the following list of permutations: 如果你在学校的数学课上在家努力学习扎帕的曲调（就像我一样），你可能会喜欢下面的排列组合列表：
Above is a complete list of every conceivable order in which you could play that basic 1-2-3-4 combination. If it looks like a lot of work, pick any row and read across it. The four combinations you see are actually the same thing, starting from different places. Thus the six patterns in the far-left column cover all the basic possibilities and the other rows indicate the variations you can get from each by treating a different finger as your starting point. 上面完整地列出了您可以演奏 1-2-3-4 组合的每一种可能的顺序。如果看起来很费事，那么随便挑一排读一遍。您所看到的四种组合实际上是相同的，只是起点不同而已。因此，最左侧一列的六种模式涵盖了所有基本的可能性，而其他几行则说明了以不同的手指作为起点可以得到的变化。
Here are a few exercises to get you into the spirit of things. I’ve listed only the tab here, not bothering 这里有一些练习，可以让你进入状态。我在这里只列出了选项卡，并不费心
with the musical notation, because let’s face it, most of these sound pretty horrible, and after all they’re only meant as exercises to improve the path of communication between your brain and your fingers. 因为让我们面对现实吧，这些乐谱听起来大多都很糟糕，毕竟它们只是用来改善大脑和手指之间交流路径的练习。
Example 2.1 is sometimes described as ‘the spider exercise’ for reasons which will become clear if you watch your fretting hand’s movements in a mirror as you play through it. It’s basically the first and simplest of the permutations listed above played on each string in turn. It isn’t the pointless busywork 例 2.1 有时会被称为 "蜘蛛练习"，如果您在演奏时对着镜子观察您的指法手的动作，就会明白其中的原因。它基本上是在每根弦上依次演奏上述第一种也是最简单的变奏。它不是毫无意义的繁琐工作
it might at first appear to be either; your fingers adopt a different degree of curvature for each new string they tackle, so each string in effect offers you a variation on the basic exercise. If you want to make it look even more spider-like, you could try keeping each finger on its allotted string for as long as possible so that all four fingertips are resting on a string at any given moment. This has no direct application in reallife playing, but you’ll definitely find it beneficial for your finger independence. 您的手指每接触一根新的琴弦，就会产生不同程度的弯曲，因此每根琴弦实际上都为您提供了基本练习的变化。如果您想让练习看起来更像蜘蛛，您可以尝试让每个手指在指定的弦上停留尽可能长的时间，这样四个指尖在任何时刻都能停留在一根弦上。这在实际演奏中并没有直接的应用，但你一定会发现它对手指的独立性很有益处。
Example 2.1 例 2.1
As you’ve probably guessed, there are 23 variations on this exercise that cycle through the finger permutations, using each in turn. You should try them all. Some will prove trickier than others and nearly all of them are more demanding than the 1-2-3-4 starting point. After a while, you’ll find it more useful to focus on the hardest variations rather than practise each one for an equal amount of time - for instance, configurations like 1-3-4-2 will feel particularly troublesome, so they’ll need more work. 你可能已经猜到了，这个练习有 23 种变体，它们依次循环使用每种手指的排列组合。您应该一一尝试。有些练习会比其他练习更难，几乎所有的练习都比 1-2-3-4 的起点要求更高。练习一段时间后，你会发现专注于最难的变奏比每种变奏都练习相同的时间更有用--例如，像 1-3-4-2 这样的配置会感觉特别麻烦，因此需要更多的练习。
The next step would be to incorporate some string crossing into the exercises. Example 2.2 below is much like its predecessor, but the last note in every group of 下一步是在练习中加入一些弦交叉的练习。下面的例 2.2 与前一个例很相似，但每组的最后一个音都是
four has been moved onto the next string. You might well spot the rows of 4-1-2-3 on each string, but this isn’t quite the same thing as playing a 4-1-2-3 version of the spider exercise. When you’re playing the notes in this exercise, the main beats fall in different places - ie the metronome clicks coincide with the notes played by the index rather than the little-finger notes, so the whole affair has a different feel to it. 四被移到下一根弦上。您很可能会发现每根弦上都有一排 4-1-2-3 的音符，但这与演奏 4-1-2-3 版本的蜘蛛练习曲并不完全相同。当您弹奏此练习曲中的音符时，主要节拍落在不同的地方，即节拍器的点击与食指弹奏的音符而非小指弹奏的音符相吻合，因此整个练习曲会有不同的感觉。
(Unfortunately, this one doesn’t loop quite as tidily as Example 2.1 - it adds up to two bars of four beats each and a final bar just two beats in length. Not to worry, though, it’s still a valid exercise.) (遗憾的是，这个小节的循环不像例 2.1 那样整齐--它加起来有两个小节，每个小节四拍，最后一个小节只有两拍。不过不用担心，这仍然是一个有效的练习）。
Example 2.2 例 2.2
Want some variations on that idea? Well, you could obviously start by applying it to all of the other finger permutations, then you might decide to insert the string change at a different point in the four-note pattern. The version shown in Example 2.2 above involved playing three notes on one string and one on the next, so why not try playing two notes on each 想要对这一想法进行变奏吗？很明显，你可以先把它应用到所有其他手指的变化上，然后再决定在四音型的不同点上插入换弦。上面例 2.2 中的版本是在一根弦上演奏三个音，在另一根弦上演奏一个音，那么为什么不尝试在每根弦上演奏两个音呢？
string, or one note on the first string and three on the next? 还是在第一根弦上演奏一个音，在下一根弦上演奏三个音？
If that’s not exciting enough for you (and I would urge you not to make any decisions of that nature until you’ve at least tried out the ideas), you could make life a little harder for yourself by skipping some strings. Example 2.3 should give you the general idea: 如果这对你来说还不够刺激（我建议你至少在尝试过这些想法之前不要做出任何决定），你可以跳过一些字符串，让自己的生活更艰难一些。例 2.3 可以给你一个大致的思路：
Example 2.3 例 2.3
Now you can have some real fun. Example 2,4 takes a basic pattern and starts it on a different note for each string, so you’ll have to think a little harder. (If you refer to the earlier chart of all possible 现在，你可以体验真正的乐趣了。例 2,4 采用了一个基本音型，并在每根弦上用不同的音符开始演奏，因此您需要多花点心思。(如果你参考前面的所有可能的
permutations, you’ll notice that the exercises listed here cycle through the variations in the top row. Needless to say, it’s worth doing this with each row in turn.) 你会注意到，这里列出的练习是在最上面一行的变化中循环进行的。不用说，每一行都值得依次练习）。
Example 2.4 例 2.4
Example 2.5 below takes the other approach. Referring once again to the chart of finger permutations, this workout involves moving down the first column rather than the first row, so it feels like there’s less connection between the different fingering patterns. This is significantly harder than the previous exercise because 下面的例 2.5 采用了另一种方法。再次参考手指排列图，这个练习是在第一列而不是第一行向下移动，因此感觉不同指法之间的联系较少。这比上一个练习难得多，因为
it touches on all of the basic fingering patterns in a relatively short space of time. I admit that this sort of stuff can really make your head hurt, but that’s how you know it’s doing you good! Remember; the more effort you put in, the more dexterity you’ll have at the end of it. 它在相对较短的时间内介绍了所有的基本指法模式。我承认这种东西确实会让你头疼，但这就是你知道它对你有好处的方式！请记住，你付出的努力越多，你最终获得的灵活性就越大。
Example 2.5 例 2.5
Of course, it’s all well and good being able to do these kinds of things in a fixed position, but you should also look at how you shift between different parts of the neck. Can you slide your fretting hand around without compromising the accuracy of your fingering at all? 当然，能在一个固定的位置做这些事情固然很好，但你也应该看看如何在琴颈的不同部位之间转换。你能否在不影响指法准确性的前提下滑动你的指法手？
In the following few exercises, I’ve used traditional Roman numerals to indicate the relevant hand positions, and it’s probably worth taking a moment to define exactly what they mean. In general terms, having your hand in the 'fifth position 'means that your index finger is stationed above the fifth 在下面的几个练习中，我使用了传统的罗马数字来表示相关的手部位置，也许值得花点时间来定义一下它们的确切含义。一般来说，将手放在 "第五个位置 "意味着食指位于第五个位置的上方。
fret, with your other three fingers assigned to frets 6 -8. (In more pedantic terms, it means that your middle and ring fingers cover frets 6 and 7 respectively, while your index finger tackles any notes on frets 4 or 5 and your little finger deals with frets 8 and 9 . However, the simpler definition works for the kinds of things we’re doing here, all of which can be played on a strict one-finger-per-fret basis.) Example 2.6 illustrates a situation in which you’d need to use position shifts. It’s a chromatic scale ie it contains all the possible notes between the low and high As. 用更专业的术语来说，就是中指和无名指分别负责第 6 和第 7 音格，食指负责第 4 和第 5 音格，小指负责第 8 和第 9 音格。不过，更简单的定义也适用于我们在这里所做的各种演奏，所有这些演奏都可以严格按照一指一音格的原则进行）。例 2.6 举例说明了需要使用换把的情况。这是一个半音阶，即包含低音和高音之间所有可能的音符。
Example 2.6 例 2.6
Example 2.7 is a nice, simpler introduction to the idea, and you’ll find that the best way of playing this one is to lock the spacing of your fingertips and move the whole assembly up as you change position, 例 2.7 是一个很好的简单介绍，你会发现演奏这首曲子的最佳方法是锁定指尖的间距，并在改变位置时将整个组件向上移动、
pivoting off your thumb. You’ll probably feel as if you’re leaning on your little finger as you shift up and, conversely, on your index finger when you come back down. 从拇指上移开。当你向上移动时，你可能会感觉好像靠在了小拇指上，反之，当你向下移动时，又好像靠在了食指上。
Example 2.7 例 2.7
Example 2.8 is just like Example 2.7 but turned inside out. Although it looks like the same idea on the face 示例 2.8 与示例 2.7 类似，只是反过来而已。虽然表面上看起来想法相同
of it, most players seem to find this one a little more difficult: 的，大多数玩家似乎觉得这个更难一些：
Example 2.8 例 2.8
Once you’re comfortable with those small position shifts, you could try something like Example 2.9, where you have to perform several consecutive shifts in the same direction. It’s interesting to watch what your thumb is doing as you play through this one - it should move in sudden bursts, staying anchored on the back of the neck whenever it can rather than gliding aimlessly. If you grip too loosely, your hand won’t know where it is on the neck and 一旦你对这些小的位置转换感到得心应手，你就可以尝试像例 2.9 那样的演奏，你必须在同一个方向上连续做几次转换。在弹奏这首曲子时，注意观察拇指的动作会很有趣--拇指应该突然移动，尽可能固定在琴颈后部，而不是漫无目的地滑动。如果你握得太松，你的手就会不知道自己在琴颈上的位置，这样就会影响演奏。
your fretting will be sloppy, at best. However, if you grip too tightly, you won’t be able to shift at all. You should look for a comfortable halfway point between these two extremes. Think of the head of a pirouetting ballerina moving in a series of short, sharp turning motions. If her head were spinning slowly and constantly, she would get dizzy and fall over. Ballet experts assure me that this is surely not the desired effect! 你的指法充其量只能算马马虎虎。但是，如果握得太紧，则根本无法移位。您应该在这两个极端之间寻找一个舒适的中点。想象一下，一个正在回旋的芭蕾舞演员的头部正在做一系列短而急促的旋转动作。如果她的头部持续缓慢地旋转，她就会头晕目眩，摔倒在地。芭蕾舞专家向我保证，这肯定不是她想要的效果！
Example 2.9 例 2.9
Example 2.10 is a scary variation on the above. It’s the same thing as before, except for the size of the position shifts - now you have to move your hand up in threefret increments. The aim is to play this accurately at 示例 2.10 是上述示例的一个可怕的变化。除了位置移动的幅度外，它与之前的内容相同--现在你必须以三个音格为单位向上移动你的手。目的是在以下情况下准确演奏
high speeds without looking at the neck. If you persevere with this exercise, you’ll end up with a comical-sounding speed lick suitable for use over chords like Fdim7 or E7b9. 在不看琴颈的情况下高速演奏。如果你能坚持不懈地进行这项练习，你就能演奏出一种听起来很滑稽的速度技巧，适合在 Fdim7 或 E7b9 等和弦上使用。
Example 2.10 例 2.10
OK, those position shifts look pretty extreme, I admit. On the other hand, anyone who plays a lot of power-chord-based rock rhythm parts has already mastered the basic principles at work here; the only thing that’s changed in Example 2.10 is the addition of one-finger-per-fret hand positioning, requiring all of your fingers to shift accurately rather than just a couple of them. If you think of it that way, it doesn’t look quite so daunting. 好吧，我承认这些位置变换看起来很极端。另一方面，任何经常演奏以强力和弦为基础的摇滚节奏的人都已经掌握了这里的基本原理；在例 2.10 中，唯一的变化是增加了一指一格的手部定位，这就要求你的所有手指都要准确换位，而不仅仅是几个手指。如果这样想，就不会觉得那么困难了。
Moving on, Example 2.11 is a nice little workout! In an attempt to cram some ideas covered earlier into a single exercise, l’ve basically combined the fingering from Example 2.4 and the shifting from Example 2.9. Something interesting happens in the second half of this exercise: every beat starts with an AA at the fifth fret, but you’re using a different finger each time. 接着，例 2.11 是一个不错的小练习！为了把前面讲到的一些想法压缩到一个练习中，我基本上把例 2.4 中的指法和例 2.9 中的换把结合起来。在这个练习的后半部分发生了一些有趣的事情：每一拍都从五音处的 AA 开始，但每次都用不同的手指。
Example 2.11 例 2.11
At this stage in the game, you’ve been using all four fingers equally, and you should have lots of warmup ideas as a result of working your way through the above ten exercises. (I trust you remembered to try all that stuff with the other finger permutations, too?) Now seems like a good time to bring in another idea in which you designate one finger as a pedal (ie repeating) note and work around it with each of the other three in turn. If you look at the first bar of Example 2.12, you’ll see what I mean-you might 在这一阶段，你已经平等地使用了四个手指，通过以上十个练习，你应该有了很多热身的想法。(我相信你还记得用其他手指的排列组合来尝试所有这些动作吧？）现在似乎是引入另一个想法的好时机，即指定一个手指作为踏板（即重复音），然后依次用其他三个手指来练习。如果你看一下例 2.12 的第一小节，你就会明白我的意思--你可以
regard that persistent FF on the top string as a pivot point. This bar isn’t so tricky because you’re pivoting on your index finger, which can quite happily stay on the string all the way through the exercise. Compare this with the other sections of the exercise and you’ll see that you have to systematically pivot on each of the other fingers in turn. Most players find the last section a lot fiddlier than the first, so that would probably be the part you’d want to practise the most. 将上弦上持续存在的 FF 视为支点。这个小节并不难，因为你是在用食指做支点，而食指在整个练习过程中都能很轻松地停留在弦上。与练习的其他部分相比，你会发现你必须有计划地依次用其他手指做支点。大多数演奏者都会觉得最后一部分比第一部分要麻烦得多，因此这部分可能是您最需要练习的部分。
Now let’s take a quick look at another approach to developing your dexterity. The goal here is to see how much movement each finger can accomplish without disturbing the others, so things start off with a nice Fimaj7 shape (the chord of lurve) and then you have to swap strings with various pairs of fingers. You’ll find an unexpected problem area in the following exercises: at any given moment, moving the appropriate two fingers isn’t so hard, but persuading the other two 现在，让我们来快速了解一下培养灵活性的另一种方法。这里的目标是在不影响其他手指的情况下，看看每个手指能完成多少动作，所以一开始是一个漂亮的 Fimaj7 形（爱的和弦），然后你必须用不同的手指交换弦。在接下来的练习中，你会发现一个意想不到的问题：在任何时候，移动适当的两个手指并不难，但说服其他两个手指
fingers not to move can be infuriatingly difficult! You might even feel the urge to reach over with your picking hand and forcefully reposition your fingertips. Take things incredibly slowly at first, concentrating on holding those fixed fingers in place before you even lift the other two off the string. You’ll soon get the hang of it! 要做到手指不动可能非常困难！你甚至会有一种冲动，想用你的挑弦手伸过去，强行调整指尖的位置。一开始要慢慢来，集中精力把手指固定在原位，然后再把另外两个手指从琴弦上抬起来。你很快就会掌握窍门！
Example 2.13 moves onto adjacent pairs of strings and moves through all sorts of disgusting-sounding chord shapes before returning to FF #maj 712 shifts later: 例 2.13 转到相邻的几对弦上，转过各种听起来令人作呕的和弦音型，然后回到 FF #maj 712 次移位：
Example 2.13 例 2.13
Yuk. Maybe if we shift on the EE and GG strings and then the BB and DD strings things will sound nicer: Yuk.如果我们在 EE 和 GG 琴弦上进行移位，然后在 BB 和 DD 琴弦上进行移位，也许效果会更好：
Example 2.14 例 2.14
Nope, it still sounds pretty dreadful! OK, lets try swapping the outside strings, then the inside ones: 不，听起来还是很糟糕！好吧，我们先换外弦，再换内弦：
Example 2.15 例 2.15
Come on, now - you didn’t really expect those chords to sound any nicer, did you? 得了吧，你不会真指望这些和弦听起来更动听吧？
While we’re on the theme of Chords That Make You Feel III, we should probably spare a moment for the following little gem. Once again the exercise kicks off 说到 "让你感觉良好的和弦 III "这个主题，我们也许应该花点时间听听下面这个小故事。练习再次开始
with an Fimaj chord, after which things mutate into a series of less pleasant-sounding shapes, but this time your fingers stay on the same strings. The object of Example 2.16 is to stretch down a fret with each finger in turn, repeating until your first finger reaches the nut: 例 2.16 的目的是用每个手指依次向下拉伸一个品位，直到你的第一个手指触及螺母为止：例 2.16 的目的是用每个手指依次向下拉伸一个品位，直到你的第一个手指触及螺母为止。例 2.16 的目的是依次用每个手指向下拉伸一个品位，重复进行直到第一个手指到达螺母：
Example 2.16 例 2.16
This can be a painful one if you’re not used to it, so be careful not to strain anything! Actually, with stretching exercises like this, the layout of the fretboard will help you to monitor your progress. Because the frets get gradually further apart as your hand moves nutward. you can establish with some precision where your pain threshold lies. 如果不习惯，这可能会很痛苦，所以要小心不要拉伤！实际上，像这样的拉伸练习，指板的布局可以帮助您监测自己的进度。因为当你的手向螺母方向移动时，音格之间的距离会逐渐变大。
For instance, you might find that you can always play the exercise cleanly and accurately as far down as the fifth position. Maybe you can reach the fourth on a good day, but more often than not you’ll fluff a note or two down there. Maybe you managed the third position once but you don’t want to try it ever again because it hurt so much. In this hypothetical situation, a reasonable short-term goal might be to get the fourth position feeling as comfortable as the third rather than forcing yourself ever closer to the first fret and giving yourself tendonitis in the process. 例如，你可能会发现自己总是能干净准确地弹到第五个位置。也许你在好的时候能弹到第四个音，但更多的时候，你会在那里出现一两个音符的松动。也许你曾经成功地弹到过三度，但因为太痛了，你再也不想尝试了。在这种假设情况下，一个合理的短期目标可能是让四度音位感觉和三度音位一样舒适，而不是强迫自己不断靠近一品，在这个过程中让自己患上肌腱炎。
Obviously, everyone has differently sized hands and some will find these stretches easier than others, but that doesn’t affect the fact that most players could improve their stretch by working on it a little. Who 显然，每个人的手掌大小不同，有些人会觉得这些伸展动作比其他动作更容易，但这并不影响大多数球员通过稍加练习就能提高伸展能力的事实。谁
cares if someone else can stretch three frets further than you? That’s not the point; the point is that, if you can increase your personal stretch by, say, half a fret over a three-month period, you’ve made progress, and this will be reflected in the overall strength, speed and accuracy of your fretting. For one thing, difficult chord shapes will start to come to your fingers more naturally, which is a nice confidence builder! 如果别人能比你拉长三个音格，你会在意吗？这不是问题的关键；问题的关键在于，如果你能在三个月的时间内将个人的伸展度提高半格，那么你就取得了进步，这将体现在你指法的整体力度、速度和准确性上。首先，高难度的和弦音形会更自然地出现在你的手指上，从而增强你的信心！
A good guideline is to ask yourself if all four of the notes in each chord are actually ringing properly, It’s tempting to kid yourself with this exercise and decide that you’ve successfully reached the end of the fretboard just because your hand looks like it’s playing the right chord shape. However, practising a stretch you can’t use seems rather pointless to me. I think there’s far more value in finding a pair of moderately stretchy positions - perhaps a couple of frets back from your absolute limit - and moving between them repeatedly until your fretting is perfect each time and your hand takes longer to tire. You’ll feel the strength building up in your fingers as you persevere with Example 2.17: 一个好的指导原则就是问问自己，每个和弦中的四个音是否都能正确地响起。这种练习很容易让人产生自欺欺人的想法，仅仅因为你的手看起来弹出了正确的和弦形状，就认为你已经成功地到达了指板的尽头。然而，在我看来，练习一个你无法使用的伸展动作是毫无意义的。我认为更有价值的做法是，找到一对伸展性适中的位置--也许是在绝对极限之后的几个音格--并在它们之间反复移动，直到你的指法每次都很完美，而你的手需要更长的时间才能感到疲倦。在坚持练习例 2.17 的过程中，你会感觉到手指的力量在不断增强：
Example 2.17 例 2.17
Of course, you might have hands the size of Paul Gilbert’s, in which case none of the above will tax your stretching prowess inordinately. But how about Example 2.18 over the page? This one looks twice as hard as the last stretch, but it’s not quite as bad as all that. Still, if you can get all the way down to the nut without fluffing a note, you have a stretch to be reckoned with. 当然，你的手可能和保罗-吉尔伯特的一样大，在这种情况下，上述方法都不会对你的伸展能力造成过大的负担。但翻过这一页的例 2.18 如何？这个看起来比上一个拉伸难两倍，但还不至于那么糟糕。不过，如果你能一直拉到螺母处而不松动一个音符，那你的拉伸能力就不容小觑了。
As with Exercises 2.13-2.15 (the string-swapping ones), the main challenge in these stretching exercises lies in ensuring that your fingers move only when they’re supposed to, In particular, you’ll find that your third finger wants to tag along whenever your second finger tries to reach down a fret. To remedy this, both digits have to participate in the stretching process even though your third finger doesn’t physically move, 与练习 2.13-2.15（换弦练习）一样，这些拉伸练习的主要难点在于如何确保手指只在该动的时候才动。为了解决这个问题，即使你的第三根手指不移动，两个手指也必须参与拉伸过程、
Example 2.18 例 2.18
etc 等等
it is in fact opposing the movement of the second finger, which helps you to get a greater distance between the two. It might help to consider how your hand feels when you emulate Spock’s live-long-and-prosper Vulcan salute, where you keep your first finger stuck to your second and your third stuck to your fourth as you splay out your second and third fingers in a vv\vee shape. 事实上，它是在对抗第二个手指的运动，这有助于你在两个手指之间拉开更大的距离。当你模仿斯波克的 "万岁万岁万万岁 "瓦肯敬礼时，你的手会有怎样的感觉？在这种敬礼中，你的第一根手指与第二根手指相贴，第三根手指与第四根手指相贴，同时你的第二根手指和第三根手指呈 vv\vee 形伸展开来。
And on that Star Trek note, I think we should 关于《星际迷航》，我认为我们应该
probably leave the whole finger-independence thing and move on. Hopefully, this stuff has at least shown you where the weaknesses are in the general mobility of your fretting hand, and working through some of these ideas at your own pace will help to make everything you already play feel easier, not to mention put some previously impossible licks and chords at your disposal. 也许你可以抛开手指独立性的问题，继续前进。希望这些东西至少能让你看到你的指法手一般活动能力的弱点所在，按照你自己的节奏来练习其中的一些想法将有助于让你已经弹奏过的所有乐曲感觉更轻松，更不用说让你掌握一些以前不可能掌握的小节和和弦了。
3 THEORY WITHOUT TEARS 3 不流泪的理论
How To Approach Theory 如何学习理论
A lot of guitar players will go to great lengths to avoid any situation where music theory might be involved. Perhaps it’s the cold, matter-of-fact way in which many books (and, indeed, teachers) explain the workings of music, or perhaps it’s just that we’re lazier than people who play other instruments! Whichever the case may be, I’d like to make a few general comments about theory. 很多吉他手都会竭力避免任何可能涉及音乐理论的情况。也许是因为许多书籍（甚至是老师）解释音乐运作的方式冷酷无情，也许只是因为我们比演奏其他乐器的人更懒惰！不管是哪种情况，我都想就理论问题谈几点一般性的看法。
A basic grasp of the nuts and bolts of music theory will enable you to communicate more clearly with other musicians, and the guitarists who can exchange ideas effectively tend to be the ones who get the gigs and sessions. Theory can also make you more selfsufficient as it offers you the means with which to approach many musical problems logically as and when they arise rather than having to save them all up for that end-of-the-month guitar lesson. 掌握基本的音乐理论知识能让你更清晰地与其他音乐家交流，而那些能有效交流想法的吉他手往往能获得演出机会。乐理还能让你更加自立，因为它为你提供了一种方法，让你在遇到许多音乐问题时都能合乎逻辑地加以解决，而不必把问题都积攒到月底的吉他课上。
Understanding how scales and chords work will save you a lot of time, in the long run. For instance, suppose that you’re trying to find a harmony guitar part for a new song. You could either pick notes at random until you chanced upon some that sounded all right or you could figure out the scale that would be appropriate to the harmony of the song and thus come up with something that sounded good on your first attempt. Or let’s say you’ve just transcribed a new lick from a CD - knowing a bit of theory will help you to understand why that lick sounds good over a particular chord, not to mention giving you some clues as to where else you might be able to apply the same ideas. 从长远来看，了解音阶和和弦的工作原理将为您节省大量时间。例如，假设你想为一首新歌找一个和声吉他部分。你可以随意挑选音符，直到偶然发现一些听起来还不错的音符，或者你可以找出适合歌曲和声的音阶，从而在第一次尝试时就能找到一些听起来不错的音符。比方说，你刚从 CD 上转录了一段新的弹奏--了解一些理论知识将有助于你理解为什么这段弹奏在特定和弦上听起来不错，更不用说还能为你提供一些线索，让你知道还能在哪些地方运用同样的想法。
Occasionally, I come across people who maintain that they have a natural, self-taught style of their own and that they don’t want to learn ‘properly’ because doing so would somehow dilute this style, leaving them sounding just the same as everyone else who learned in this way. 我偶尔会遇到这样的人，他们坚持认为自己有一种自然的、自学成才的风格，他们不想 "正确 "地学习，因为这样做会在某种程度上淡化这种风格，使他们的声音与其他以这种方式学习的人一样。
This philosophy clearly originated in a bull’s digestive tract. Knowing what you’re doing is always a good thing, whether you’re a guitarist or a brain surgeon. Steve Vai, for instance, whether you like his playing or not, has managed to develop one of the most innovative and distinctive styles in the history of rock guitar, ‘despite’ knowing the names for lots of chords and being able to sight-read fluently. 这一理念显然源自公牛的消化道。无论你是吉他手还是脑外科医生，知道自己在做什么总是一件好事。比如史蒂夫-韦（Steve Vai），无论你是否喜欢他的演奏，他都能在 "知道 "大量和弦名称并能流利视奏的情况下，发展出摇滚吉他史上最新颖、最独特的风格之一。
Once you know the basic rules, you can choose whether or not to think about them at any given moment. It’s not as if knowing what you’re doing is some kind of oppressive curse that sucks all of the life and spontaneity out of your playing; on the contrary, your understanding of any new musical concept will eventually work its way into your unconscious mind, and when you end up using it, it’ll feel as instinctive as all the stuff you knew before. In more succinct terms, you might have heard sayings along the lines of ‘Learn the rules so you can forget them’. 一旦掌握了基本规则，你就可以选择在任何时候是否去思考它们。相反，你对任何新音乐概念的理解最终都会进入你的无意识思维，当你最终使用它时，你会感觉它就像你以前所知道的那些东西一样本能。用更简洁的话来说，你可能听过这样的说法："学会规则，你才能忘记规则"。
Similarly, there’s a saying that runs ‘You have to learn the rules before you can break them’. This is another good point - revolutionary musicians from JS Bach to Charlie Parker took great delight in breaking the rules. While music is so much the richer for their having done so, we have to acknowledge that these guys would never have made those breakthroughs if 同样，有句俗话说 "要想打破常规，必须先学会规则"。这是另一个很好的观点--从巴赫（JS Bach）到查理-帕克（Charlie Parker）等革命音乐家都以打破常规为乐。虽然音乐因他们的努力而变得更加丰富多彩，但我们必须承认，如果没有他们的努力，这些人永远不会取得这些突破。
they hadn’t first familiarised themselves with the established order of doing things. 他们没有首先熟悉既定的做事顺序。
‘But what about self-taught visionaries like Jimi Hendrix and Eddie Van Halen?’ I hear you cry. I admit that they might not have been able to explain what they were doing in theory terms, but they still had a good grounding in the guitar styles of their predecessors, and that grounding constituted the set of rules that they then went on to break. 但像吉米-亨德里克斯（Jimi Hendrix）和埃迪-范-海伦（Eddie Van Halen）这样自学成才的梦想家呢？'我听到了你们的呼喊。我承认，他们可能无法用理论来解释自己在做什么，但他们仍然在前人的吉他风格上打下了良好的基础，而这种基础构成了他们后来打破的一系列规则。
There’s another factor at play here, too: the aforementioned unschooled players were all blessed with abnormally good ears. Someone with an innate aptitude for music might well develop a good understanding of theory based purely on the way in which things sound. Indeed, many players who have learned by ear will instinctively apply the Mixolydian mode whenever they come to hear a dominant chord without having the faintest idea what those two words mean. Theory offers a way for less natural players to acquire similar musical instincts. That said, even if you have a good ear, you should bear in mind that learning your instrument is a limitless, open-ended process there’s always something new you could be learning, and you’ll learn it a lot quicker it you have some idea what it actually is! 还有一个因素也在起作用：前面提到的那些没上过学的演奏家都有一双异常灵敏的耳朵。对音乐有天生天赋的人，很可能仅凭声音就能很好地理解理论。事实上，许多靠耳朵学习的演奏者在听到主和弦时，会本能地运用混合调式，而根本不知道这两个词是什么意思。理论为天赋较差的演奏者提供了一种获得类似音乐本能的方法。尽管如此，即使你的耳朵很好，你也应该牢记，乐器学习是一个无限的、开放的过程，你总能学到一些新的东西，如果你知道它到底是什么，你就会学得更快！
The most important point I wanted to make is that theory is a means to an end rather than an end in itself. I agree that it can be tedious to listen to a guitarist who practises scale exercises for ten hours a day and doesn’t know how to do anything else, but that would be an example of someone who has missed the whole point of theory and consequently doesn’t know how 我想说的最重要的一点是，理论是达到目的的手段，而非目的本身。我同意，一个吉他手每天练习音阶十个小时，却不知道如何做其他事情，听起来可能会很乏味，但这只是一个例子，说明他忽略了理论的全部意义，因此不知道如何去做
to apply it. Should we blame music theory in such an instance? I think not! 来应用它。在这种情况下，我们应该指责音乐理论吗？我认为不应该！
Sight Reading 视唱
Learning to sight read is really a whole other book in itself. There isn’t enough space here to attempt a comprehensive explanation of the concept, but I’ll try to outline the basic principles in the following few pages. Now would be a good time to stick the kettle on… 学习视奏本身就是另一本书的内容。这里没有足够的篇幅来全面解释这一概念，但我会在下面几页中尝试概述基本原则。现在是把水壶打开的好时机...
Pitch 间距
Music is written on a system of five lines called a stave. Notes are represented by dots placed either on the lines or in the gaps between them, and the higher a note is in pitch, the higher its corresponding dot will be placed on the stave, If a pitch is too high or too low to be represented within those five lines, smaller leger lines are used to extend the range of the stave. 音乐是写在五线谱上的，称为谱表。音符用点来表示，这些点可以放在五线谱上，也可以放在五线谱之间的空隙中，音符的音调越高，其对应的点在谱表上的位置就越高。
In order to determine exactly which pitches the lines and gaps represent, a clef is placed at the beginning of the stave. Music written for higher-pitched instruments might be written with a treble clef, whereas bass music would use a bass clef, reasonably enough! Guitar music is written with a treble clef, but with the proviso that the notes will actually sound an octave lower than written. (That last part is an interesting bit of trivia but nothing to get worried about.) 为了准确确定线条和空隙所代表的音高，在谱表的开头会有一个谱号。为高音乐器谱写的音乐可能使用高音谱号，而低音音乐则使用低音谱号，这也很合理！吉他音乐使用的是高音谱号，但前提条件是音符的实际读音要比书写的低八度。(最后一部分是有趣的琐事，但不用担心）。
Here’s a chart showing how some notes on the guitar neck would look on the stave. Observe how l’ve eliminated some of those ungainly leger lines for the highest notes by writing them an octave lower and writing ’ 8 va ’ above the stave: 下面的图表展示了吉他琴颈上的一些音符在谱表上的样子。请注意，我将最高音的脚线写低了一个八度，并在谱表上方写上 "8 va"，从而消除了一些不雅观的脚线：
Example 3.1 例 3.1
You can immediately see why guitarists avoid sight reading - the stave can tell you which notes to play but not where to play them. The pitch of the open top E string, for instance, can also be played in up to five other locations on the neck, whereas on a piano, for example, there’s only one key capable of producing that note. 你马上就能明白为什么吉他手要避免视谱--谱表能告诉你弹哪个音，但不能告诉你在哪里弹。例如，在琴颈的其他五个位置也可以弹奏开头 E 弦的音高，而在钢琴上，只有一个键可以弹出这个音。
For this reason, sight reading is a much less natural process for guitarists than it is for keyboard players. Each time we’re confronted with written music, we have to assess the average pitch of a melody and choose an area of the fretboard from which all of the relevant notes are easily accessible. 因此，对于吉他手来说，视奏的过程远不如键盘手那么自然。每次面对书面音乐时，我们都必须评估旋律的平均音高，并选择指板上容易触及所有相关音符的区域。
Incidentally, if you teach yourself sight reading from a book intended for classical guitarists, you’ll probably be encouraged to start from the open position (the nut end of the fretboard) and work your way up the neck. For electric-guitar playing, I would recommend that you start somewhere between the fifth and seventh frets. Playing at this part of the neck gives results that sound more like ‘real’ guitar playing and gives you a 顺便提一下，如果你从一本专为古典吉他手编写的书中自学视奏，书中可能会鼓励你从开把位置（指板的螺母端）开始，然后顺着琴颈往上弹奏。对于电吉他演奏，我建议您从第五和第七个音格之间的某个位置开始。在琴颈的这一位置演奏，效果听起来更像 "真正 "的吉他演奏，并能让你有一种
wider range of notes at your disposal - ie you can move down or up from this default position, whereas if you’re based down by the nut you can only shift upwards. 可以使用的音符范围更广--即可以从默认位置向下或向上移动，而如果是在螺母上向下移动，则只能向上移动。
In Example 3.1, you’ll notice that I didn’t put in any sharp or flat notes. This is because they’re not ‘built into’ the stave; they have to be represented by sticking an accidental (sharp [ [l) or flat |b| sign) in front of the notehead. Once you’ve applied an accidental to a particular note, it applies to every recurrence of that note throughout the remainder of the bar. To cancel it out, you have to use another accidental called a natural (4). 在例 3.1 中，你会发现我没有加入任何升调或平调音符。这是因为它们不是 "内置于 "谱表中的；它们必须通过在音符头前粘贴一个附点（升[[l]或降|b|符号）来表示。一旦在某个音符上使用了附点音符，它就适用于该音符在小节其余部分的每一次重现。如果要取消它，就必须使用另一个意外音，即自然音（4）。
The other accidentals you’ll occasionally come across are the double sharp ( x ) and double flat ( p_(") ")\mathrm{p}_{\text {) }} ). These are less common, and you might well be puzzled by the need for them ( Fx , after all, sounds exactly the same as G ). The reasoning behind this will become clear in the section on scales a little later on, so don’t panic. For now, here are a few examples of accidentals: 您偶尔还会遇到其他的附点音符，如双升号（x）和双降号（ p_(") ")\mathrm{p}_{\text {) }} ）。这两种附点符号并不常见，你可能会对为什么需要它们感到困惑（毕竟，Fx 和 G 的发音完全相同）。这背后的原因将在稍后有关音阶的章节中阐明，所以不必惊慌。下面是一些附点音符的例子：
Example 3.2 例 3.2
As you’ve probably guessed by now, the key to being fluent with this is in knowing the names of all the notes on the fretboard. Most guitarists can quite happily locate any note on the E string but have a rather sketchier knowledge of all the other strings. 您现在可能已经猜到了，流畅演奏的关键在于了解指板上所有音符的名称。大多数吉他手都能轻松找到 E 琴弦上的任何音符，但对其他所有琴弦却知之甚少。
In order to remedy this situation, it’s a good exercise to write out a list of random notes and then try to find them on each string in turn. Example 3.3 is a reference chart depicting all of the notes on the neck, up to the 12 th fret. 为了纠正这种情况，最好先写出一个随机音符的列表，然后尝试在每根弦上依次找到它们。例 3.3 是一张参考图，描绘了琴颈上 12 音格以下的所有音符。
Example 3.3 例 3.3
You’re nearly at the stage at which you should be able to pick up any piece of written music and decode the notes it contains. The one thing I haven’t mentioned yet is the concept of key signatures. 在这个阶段，你应该能够拿起任何一首书面乐曲并解码其中的音符。我还没提到的一点是调号的概念。
For reasons that will become clear later, when we take a closer look at scales, the number of flat notes and sharp notes in a piece of music varies according to the key in which the piece is written. 稍后，当我们仔细研究音阶时就会明白，一首乐曲中平音和锐音的数量会因乐曲的调性而异。
IIn the key of D major, for instance, you’ll often spot an F: but seldom will you see an Fq.) Key signatures show you which notes should always be sharpened or flattened in a particular key by grouping all of the necessary accidentals together and putting them just after the clef, and they stop the page from looking cluttered with accidentals. Here’s a list of all the key signatures: 例如，在 D 大调中，你经常会看到 F：但很少会看到 Fq）。调号通过将所有必要的附点组合在一起，并将它们放在谱号之后，向您说明在特定的调式中，哪些音符总是应该变尖或变平。下面是所有调号的列表：
Example 3.4 例 3.4
B
Can you see why l’ve arranged the keys in this order? This pattern is called the cycle of fifths, and it’s important in music theory because it places closely related keys adjacent to each other - for instance, the key of G differs from the keys of C and D by only one sharp. 你能明白我为什么按这个顺序排列这些调吗？这种模式被称为五度循环，它在音乐理论中非常重要，因为它可以将关系密切的调相邻排列--例如，G调与C调和D调只相差一个升调。
If, for example, you look at a sheet of music written in the key of D major, you’ll see two sharp signs indicated next to the treble clef. This means that, every time you see an F or a C, in any octave, you should automatically play them as F or C , unless there’s a natural sign next to them specifying otherwise. 举例来说，如果你看一张 D 大调的乐谱，你会看到高音谱号旁边有两个锐号。这就意味着，在任何一个八度中，每当你看到 F 或 C 时，都应该自动将它们弹成 F 或 C，除非旁边有一个自然符号另有说明。
That’s pretty much all you need to know about finding notes on the neck. Normally, your best approach is to ascertain the key of the music, then pick an appropriate scale fingering for that key and navigate up and down the notes within that shape rather than going to the trouble of naming each individual note one by one. In the section of Creative Guitar 2 devoted to alternate picking, you’ll find lots of exercises to try out. Once you’ve figured out how to play one, you could try refingering the same notes in another part of the neck, thus getting a bit of extra practice (not to mention avoiding the temptation to cheat by making sure you can’t consult the tab underneath!). If you spend a bit of time on developing this skill, you’ll get to the point where you find proper music notation more useful than tablature. The latter is merely a list of instructions for your fretting hand, 这就是在琴颈上寻找音符所需的全部知识。通常，您的最佳方法是先确定乐曲的调性，然后为该调性选择一个合适的音阶指法，并在该音型内上下浏览音符，而不是费尽周折地逐一为每个音符命名。在《创意吉他 2》中专门讨论交替拨弦的部分，您会发现很多可供尝试的练习。一旦掌握了其中一种弹法，您就可以尝试在琴颈的另一部分重新弹奏相同的音符，从而获得额外的练习（更不用说避免作弊的诱惑，确保您无法查看下面的制表符！）。如果花点时间培养这种技能，你会发现正确的音乐符号比制表符更有用。后者只是为你的指法手提供了一个指示列表、
whereas the stave shows you the meaning of the music in theory terms. 而谱表则向您展示了乐曲在理论上的含义。
Rhythm 节奏
The other huge advantage that notation has over tab is that it indicates the rhythms as well as the names of the notes. When you tap your foot in time to a piece of music, you’re marking out the main beats, and you can usually hear a point every few beats where the overall rhythmic pattern - the bar - seems to come full circle and start over again. The number of beats in a bar is indicated by the time signature, which you’ll find at the start of the music, just after the clef and the key signature. Throughout the notated piece, lying across the stave you’ll see vertical barlines that divide the music into its component bars. 与制表法相比，记谱法的另一个巨大优势在于它不仅能标出音符的名称，还能标出节奏。当你用脚敲击乐曲时，你是在标记主要节拍，通常每隔几拍你就能听到一个点，在这个点上，整体节奏模式--小节--似乎绕了一圈又重新开始。小节的节拍数由时间记号表示，时间记号位于乐曲的开头，在谱号和调号之后。在整个记谱法乐曲中，您会在谱表上看到垂直的小节线，将乐曲划分为不同的小节。
You’ll see time signatures written as two numbers, one stacked on top of the other, rather like a fraction, with the top number determining the rhythmic feel of the music and the bottom number pertaining to how the beats are written. In more precise terms, the top number represents the number of beats in each bar and the bottom number is a reference to the note values assigned to each beat. 你会看到时间记号写成两个数字，一个叠在另一个上面，就像分数一样，上面的数字决定音乐的节奏感，下面的数字则与节拍的写法有关。更准确地说，上面的数字代表每小节的节拍数，下面的数字是指分配给每一拍的音符值。
First, let’s look at the most common note values. In basic terms, there are different ways of decorating a notehead depending on how long the note should last. Similarly, there are various symbols that denote rests (silences) of different durations. Take a look at Example 3.5 below: 首先，我们来看看最常见的音符值。基本来说，根据音符持续的时间长短，有不同的音符头装饰方法。同样，也有各种符号表示不同持续时间的休止符（静音）。请看下面的例 3.5：
You’ll probably see more logic in the US terminology. Each note in the above chart lasts half as long as the one before it, and the names use the length of a bar of 4//44 / 4 (by far the most common time signature in 您可能会发现美国的术语更符合逻辑。上图中每个音符的持续时间是前一个音符的一半，名称使用的是 4//44 / 4 小节的长度（到目前为止， 4//44 / 4 是美国最常用的时间标记）。
popular Western music) as their benchmark. 流行西方音乐）为基准。
It’s customary to group the shorter notes by connected them with beams, thus making it easier to see where each new beat falls. Compare the following: 习惯上，将较短的音符用横梁连接起来，这样就能更容易地看到每个新节拍的位置。请比较以下内容：
Example 3.6 例 3.6
Makes it easier to follow, doesn’t it? 这样更容易理解，不是吗？
All of the above takes a kind of binary approach to note values, but sometimes you might need to 以上所述都是采用一种二进制方法来处理音符值，但有时您可能需要
squeeze three evenly spaced notes into the time it usually takes you to play two, in which case you would see the following notation: 将三个间隔均匀的音符挤进通常演奏两个音符所需的时间，在这种情况下，你会看到以下记谱法：
Example 3.7 例 3.7
The latter half of each bar in Example 3.7 illustrates the three-in-the-time-of-two rhythm. Things can get more complex than this, but I think you’d be surprised by just how much music can be described purely by using the note values we’ve already seen. 例 3.7 中每小节的后半部都是二分音符三拍子的节奏。事情可能会比这更复杂，但我想你会惊讶地发现，纯粹用我们已经见过的音符值就能描述出如此多的音乐。
The other elements of written music that you’ll need to consider (please bear with me, we’re nearly there now!) are known as grace notes, tied notes and dotted notes. The example below illustrates all of these: 您需要考虑的其他书面音乐元素（请耐心听我说，我们马上就到了！）被称为优美音符、并列音符和附点音符。下面的例子说明了所有这些要素：
Example 3.8 例 3.8
Theoretically, the grace note lasts no time at all - it’s played as quickly as possible, leading immediately into the full-sized note that follows it. (In guitar terms, you would normally pick the grace note and then hammer, slide or bend up to the main note.) 从理论上讲，宽限音符不会持续很长时间--它会以最快的速度弹奏出来，然后立即进入后面的主音。(在吉他演奏中，通常是先弹出宽限音符，然后通过锤击、滑音或弯音弹出主音）。
To play a group of tied notes, you would pick the first note and let it ring for the total duration of any subsequent note values tied to it. In the previous example, the total length of the tied notes would amount to a beat and a half. 要演奏一组并列音符，您需要选取第一个音符，然后让它在与之并列的任何后续音符值的总时长内响起。在前面的例子中，绑定音符的总时长相当于一拍半。
The last note in Example 3,8 sports a dot after the notehead. This increases the length of the note by 50 per cent, so if a crotchet lasts for one whole beat, a 例 3.8 中的最后一个音符在音头后加了一个点。这使音符的长度增加了 50%，因此，如果一个小节音持续一拍，那么一个小节音则持续一拍。
dotted crotchet would last for one and a half beats. (You’ll sometimes see more than one dot after a note. Each dot means that you add half as much time as the one before it, so appending two dots after a crotchet would add three-quarters of a beat to its length, three dots would add seven-eighths of a beat and so on.) 点 Crotchet 会持续一个半拍子。(有时您会在一个音符后看到不止一个点。每一个点表示增加的时间是前一个点的一半，因此在一个小节后加两个点会增加四分之三拍的时间，加三个点会增加八分之七拍的时间，以此类推）。
The key to mastering rhythm reading lies in the way in which you count time. I magine evenly counting ‘1, 2, 3, 4’ over each bar, with each number corresponding to a beat and thus to a click of the metronome. You could play the example below by counting in this manner and starting each new note where the appropriate number occurs. 掌握节奏读法的关键在于数时间的方法。我设想在每个小节上均匀地数 "1、2、3、4"，每个数字对应一个节拍，因此也对应节拍器的一次点击。您可以用这种方法来演奏下面的示例，并从出现相应数字的地方开始演奏每个新音符。
Example 3.9 例 3.9
If you’re dealing with eighth notes, you’d have to count ’ 1 and 2 and 3 and 4 and…’ The numbers would be 如果您处理的是八分音符，您必须数出'1、2、3、4、......'，这些数字将是
spaced exactly as they were in the above example, with the ands falling exactly halfway between. For instance… 间距与上例完全相同，"和 "正好位于中间。例如
Example 3.10 例 3.10
If 16 th notes rear their ugly heads, you have to fill in the gaps between the main beats and the ands, Normally, this is represented as ’ 1 e and a 2 e and a 3 e and a 4 e and a..c\mathrm{a} . . \mathrm{c} Mathematically inclined readers 如果 16 个音符出现，您就必须填补主拍与和拍之间的空隙，通常表示为 "1 e 和 a 2 e 和 a 3 e 和 a 4 e 和 a..c\mathrm{a} . . \mathrm{c} 有数学倾向的读者
might find this process reminiscent of fractals - the same subdivision idea is being applied on a progressively smaller scale each time the note values halve. For instance. 您可能会发现这一过程让人联想到分形--每当音符值减半时，相同的细分思想就会在逐渐缩小的范围内得到应用。例如
Example 3.11 例 3.11
If triplets are involved you would count ’ 1 and a 2 and a…’ instead, stretching out the syllables so that they 如果涉及到三连音，您可以用 "1 and a 2 and a...... "来代替，将音节拉长，使它们
filled the beats evenly, as illustrated in the diagram below: 如下图所示，均匀地填满节拍：
Example 3.12 例 3.12
If note values longer than an eighth note are involved in a triplet grouping, you can still think in these terms. See if you can make sense of the following, where 如果三连音组中涉及的音符值长过八分音符，你仍然可以用这些术语来思考。看看你能否理解下面的内容，其中
the ’ 3 ’ above the notes is a shorthand for 'cram three of these notes inte the time normally allocated to two of them: 音符上方的 "3 "是 "在通常分配给两个音符的时间内塞进三个音符 "的简写：
Example 3.13 例 3.13
In each of the above examples, it’s important to keep the counting rigidly in time so that it can act as a framework, a guide to when you should play each note. As was the case when you learned to read the printed word, you’ll probably find it useful to verbalise this counting at first. After a little while, it’ll become second nature and you’ll develop the ability to feel the count without having to say it out loud. 在上述每个例子中，重要的是要严格按照时间来计数，这样它才能成为一个框架，一个指导你何时应该演奏每个音符的指南。就像你学习阅读印刷文字时一样，你可能会发现一开始用语言表达这种计数法是很有用的。过一段时间后，它就会成为你的第二天性，你也会发展出无需大声说出来就能感觉到数数的能力。
There’s another parallel with reading words; when you’re starting out learning music, you have to decode the rhythms note by note, just as someone learning to read has to start out dealing with one word at a time, vocalising the sound of each letter in turn and speeding up this series of sounds until it starts to sound like a word. After a while, you gain more familiarity with the common patterns that recur and you can interpret the information in bigger chunks. When you read the word apple, your eye recognises the shape of the word as it appears on the page and interprets it as the shape that normally represents the word rather than going through each letter in turn. This way, you might be more likely to miss the occasional spelling mistake, but you can 与阅读单词还有另一个相似之处：当你开始学习音乐时，你必须一个音符一个音符地解码节奏，就像一个人开始学习阅读时必须一次处理一个单词，依次发出每个字母的声音，并加快这一系列声音的速度，直到它开始听起来像一个单词。一段时间后，你就会对重复出现的常见模式越来越熟悉，也就能更大块地解读信息了。当你读 apple 这个单词时，你的眼睛会识别出单词出现在页面上的形状，并将其理解为通常代表该单词的形状，而不是依次阅读每个字母。这样，你可能会偶尔错过拼写错误，但你可以
assimilate the information faster, and as a result it’s easier to focus on the meaning of your reading matter. Ditto with rhythms - once you’ve had a bit of practice, you’ll start to recognise the common rhythmic groupings and you won’t have to think as hard or count as deliberately. 这样就能更快地吸收信息，从而更容易专注于阅读内容的意义。节奏也是如此--一旦你有了一些练习，你就会开始识别常见的节奏组合，你就不必再那么费力地思考或刻意地数数了。
Well, I think that covers the main points. If you look at the music in this book and compare it with what you hear on the CD, you should start to get a feel for how everything works. The rest is just practice. 好了，我想这已经涵盖了要点。如果你看看这本书中的音乐，并将其与 CD 上的音乐进行比较，你就会开始了解一切是如何运作的。剩下的就是练习了。
However, the question remains: ‘Do I really need to be able to sight read?’ I think you can be as musically illiterate as you like and still benefit from the material in this book because l’ve tried to explain things as thoroughly as possible - and besides, there’s an accompanying CDC D that illustrates what everything sounds like. 然而，问题仍然存在：我真的需要具备视谱能力吗？我认为，你可以不懂音乐，但仍然可以从本书的材料中受益，因为我已经尽量把事情解释得透彻--此外，本书还附有 CDC D ，说明了每种乐器的音色。
However, understanding the basics of written music opens up all sorts of possibilities - you can learn from music written for other instruments (two of my most prized possessions are the Charlie Parker Omnibook and JS Bach’s Sonatas And Partitas For Solo Violin. neither of which were intended for guitarists). In 不过，了解书面音乐的基础知识将为您带来各种可能性--您可以从其他乐器的音乐中学习（我最珍爱的两本书是《查理-帕克全集》和 JS-巴赫的《小提琴独奏奏鸣曲和帕蒂塔》，这两本书都不是为吉他手准备的）。在
addition, you’ll find musical notation to be a useful way of conveying your ideas to people who play other instruments, and this mutual medium of communication can save you a lot of time and effort. 此外，你会发现音乐符号是向演奏其他乐器的人传达你的想法的一种有用方式，这种相互交流的媒介可以为你节省大量的时间和精力。
Finally, just as the ability to read English makes you a lot more employable, imagine the nerve-racking yet rewarding experience of successfully reading your 最后，正如阅读英语的能力会让您更容易就业一样，想象一下成功阅读您的
way through a gig without any prior knowledge of the set or the other people in the band. You might occasionally hear someone condemn music literacy as sad, pointless or ‘not very rock ’ nn ’ roll’, but often the only people who feel this way are those who can’t do it. Reading music can really help your growth as a guitarist, so don’t let anyone put you off. 你可能偶尔会听到有人谴责音乐扫盲是可悲的、无意义的或 "不太摇滚"。你可能偶尔会听到有人谴责音乐扫盲是悲哀、无意义或 "不太摇滚"，但通常只有那些不会扫盲的人才会这么想。作为吉他手，读谱确实有助于你的成长，所以不要让任何人阻碍你。
4 SCALES AND CHORDS 4 个音阶和和弦
Let’s start by looking at the most important scale in music theory: the major scale. This starts with a root note, or the note that shares its name with the key of the scale (the root note of a C major scale, for instance, would be C). The other notes in the scale 我们先来看看乐理中最重要的音阶：大调音阶。它以一个根音或与音阶调性同名的音（例如，C 大调音阶的根音就是 C）开始。音阶中的其他音符
are generated by moving up from the root note in a pre-determined pattern of semitones (the distance between two adjacent frets) and tones (gaps of two semitones), Example 4.1 below shows you a C major scale written out in musical notation: 下面的例 4.1 向您展示了一个用音乐符号写出的 C 大调音阶：
Example 4.1 例 4.1
As you can see, the scale follows the pattern ‘T(one) T S(emitone) TTTS’ and then repeats itself. The distance between each C and the next is an octave. Example 4.1 spans twice this distance and so is in effect a two-octave major scale. You could theoretically extend this pattern as far in either direction as you liked, but you’d still be 如您所见，音阶遵循 "T（一个）T S（发射音）TTTS "的模式，然后不断重复。每个 C 和下一个 C 之间的距离是一个八度。例 4.1 是这个距离的两倍，因此实际上是一个两个八度的大调音阶。从理论上讲，你可以将这个音型向任何一个方向延伸，但你仍然是
using only the notes C,D,E,F,G,AC, D, E, F, G, A and BB. Thus all of the essential information about the scale is contained in the first octave, and for theory purposes the notes in that octave are numbered from 1 to 7 . You’ll note that the C major scale contains no sharps or flats, but the story would be different if you started from, say, Fi: 只使用 C,D,E,F,G,AC, D, E, F, G, A 和 BB 两个音符。因此，音阶的所有基本信息都包含在第一个八度音程中，为了便于理论学习，该八度音程中的音符编号为 1 到 7。您会注意到 C 大调音阶不包含升调或降调，但如果从 Fi 开始，情况就会有所不同：
Example 4.2 例 4.2
Now there are accidentals aplenty! As with the C major scale, this scale one starts with a root note and moves up in that fundamental T T S T T T S pattern. 现在，意外音很多！与 C 大调音阶一样，这个音阶也是从一个根音开始，然后以 T T S T T S 的基本模式向上移动。
Once again, each degree of this scale is numbered sequentially from 1 to 7 . If you compare the two staves, you’ll have to agree that the second one looks a lot tidier. Given that the scale sounds like Example 4.1 in a different key and indeed feels much the same (the fingering has just been moved down six frets), you’ll see why the use of key signatures is such a good idea - they emphasise these similarities and make scales easier to read. If you had to sight read something in Fk, you could simply adopt an appropriate scale fingering and trust it to put all of the sharps in the right places for you. 同样，这个音阶的每个度数都是从 1 到 7 依次编号的。如果比较一下这两张谱表，你会发现第二张看起来要整齐得多。考虑到这个音阶在不同的调上听起来像例 4.1，而且感觉也差不多（指法只是向下移动了 6 个音格），你就会明白为什么使用调号是个好主意了--它们强调了这些相似性，使音阶更容易读。如果你必须视读 Fk 调的音阶，你只需采用适当的音阶指法，并相信它会把所有的高音都放在正确的位置上。
When naming the notes in a major scale, theory buffs like to use each letter of the music alphabet once and once only, which explains the disturbing-looking E# note. Normally, you’d call this note F, but the Fi has already claimed this letter, so Et it must be. 在给大调音阶中的音符命名时，理论迷们喜欢把音乐字母表中的每个字母都用上一次，而且只能用一次，这就解释了为什么会出现令人不安的 E# 音符。通常情况下，你会把这个音符叫做 F，但 Fi 已经使用了这个字母，所以必须叫 Et。
Naming the notes in this way also clarifies the issue of intervals (the gaps between the notes). To be more specific, the following definitions are derived from the major scale: 以这种方式命名音符还能澄清音程（音符之间的间隙）问题。更具体地说，以下定义源自大调音阶：
The gap between 1 and 2 is a major second (two semitones) 1 和 2 之间的间隔是一个大二度（两个半音）。
The gap between 1 and 3 is a major third (four semitones) 1 和 3 之间的间隔是一个大三度（四个半音）
The gap between 1 and 4 is a perfect fourth (five semitones) 1 和 4 之间的间隔是全四度（五个半音）
The gap between 1 and 5 is a perfect fifth (seven semitones) 1 和 5 之间的间隔为完全五度（七个半音）
The gap between 1 and 6 is a major sixth (nine semitones) 1 和 6 之间的间隔是一个大六度（九个半音）
The gap between 1 and 7 is a major seventh (11 semitones) 1 和 7 之间的间隔是大七度（11 个半音）
Just as you can turn a major interval into a minor one by making it a semitone smaller, you can turn a perfect 就像把大音程变小半音就能把大音程变成小音程一样，你也能把完全音程变成完全音程。
interval into an augmented one by adding a semitone or a diminished one by taking a semitone away, so the other possible intervals smaller than an octave can be defined thus: 因此，小于八度的其他可能音程也可以这样定义：
The gap between 1 and b2b 2 is a minor second (one semitone) 1 和 b2b 2 之间的间隔是一个小二度（一个半音）。
The gap between 1 and b3 is a minor third (three semitones) 1 和 b3 之间的间隔是一个小三度（三个半音）。
The gap between 1 and $4//65\$ 4 / 65 is an augmented fourth/diminished fifth (six semitones) 1 和 $4//65\$ 4 / 65 之间的间隔是一个增四度/减五度（6 个半音）
The gap between 1 and $5//06\$ 5 / 06 is an augmented fifth/minor sixth (eight semitones) 1 和 $5//06\$ 5 / 06 之间的间隔是一个增五度/小六度（8 个半音）
The gap between 1 and b7b 7 is a minor seventh (ten semitones) 1 和 b7b 7 之间的间隔是一个小七度（十个半音）
You might think that these last few intervals are irrelevant to the major scale, but bear in mind that so far we’ve only been looking at intervals starting from the root note. The gap between 3 and 4 would have to be described as a minor second, as would the gap between 7 and 8 . 您可能会认为最后几个音程与大调音阶无关，但请记住，到目前为止，我们只研究了从根音开始的音程。3 和 4 之间的间隔必须被称为小二度，7 和 8 之间的间隔也是如此。
(The diminished fifth, incidentally, also goes by some other names. It’s sometimes called the tritone - for reasons which become clear when you consider how many tones there are in six semitones - or the Diabolus in musica. This latter term, meaning ‘the Devil in music’, was coined by the Church many centuries ago because it considered this interval of exactly half an octave to have a less holy sound than the interval produced by a third of an octave, ie the major third. Something to do with the Holy Trinity, I suppose. In fact, playing a tritone could get you into a lot of trouble, as it was seen as a way of summoning Satan - and when you listen to the dissonant sound of that interval, you can see the Church’s point! Coincidentally or otherwise, the form of modern music that relies most heavily on flattened fifths is probably death metal. Draw your own conclusions…) (顺便提一下，减五度还有其他名字。它有时被称作三度音程（当你考虑到六个半音有多少个音程时就会明白其中的原因）或音乐中的魔鬼（Diabolus in musica）。后一个词的意思是 "音乐中的魔鬼"，是许多世纪前由教会创造的，因为教会认为这种正好是半个八度的音程，其音色不如由三分之一个八度音程（即大三度）产生的音程那么神圣。我想这与神圣三位一体有关。事实上，演奏三度音程会给你带来很多麻烦，因为它被视为召唤撒旦的一种方式--当你听一听这个音程不和谐的声音时，你就会明白教会的意思了！不管是不是巧合，现代音乐中最依赖于平五度的形式可能就是死亡金属了。请自行总结......）。
In all cases, written music should correctly indicate the number of scale tones between any pair of notes so that the intervals can be easily identified. 在任何情况下，书面乐谱都应正确标明任何一对音符之间的音阶音数，以便于识别音程。
Scales are often misunderstood as being mere technical exercises. In fact, a scale is a lot more than that; it’s a collection of notes that sounds good over a particular chord or series of chords, You can play these notes in any order and you can combine them to create harmony lines or chords. 音阶常常被误解为单纯的技术练习。事实上，音阶的意义远不止于此；它是一组在特定和弦或和弦系列中听起来不错的音符集合，你可以按照任何顺序演奏这些音符，还可以将它们组合起来创造和声线或和弦。
Let’s look at how you could use the scale of C major to generate chords. The most basic kind of chord in music theory is a triad, which, as its name suggests, contains three different notes. Triads are built using the first, third and fifth notes of the scale, and the following are examples of C major triads: 让我们来看看如何使用 C 大调音阶来生成和弦。乐理中最基本的和弦是三和弦，顾名思义，它包含三个不同的音符。三和弦是用音阶的第一、第三和第五个音符构成的，以下是 C 大调三和弦的例子：
Example 4.3 例 4.3
Example 4.3a shows you the basic triad formation while 2.3b-2.3d show what happens if you take each note in turn and move it up an octave. These chords are known as inversions, and you’ll note that, by the time we get to 2.3d, we’re back to the original inversion but this time an octave higher. Example 4.3 e illustrates the workings of two common guitar voicings for a C major chord - although they use all 例 4.3a 向您展示了基本三和弦的构成，而例 2.3b-2.3d 则向您展示了将每个音符依次升高八度后的情况。这些和弦被称为转位和弦，你会发现，当我们演奏到 2.3d 时，我们又回到了原来的转位和弦，只不过这次高了一个八度。例 4.3 e 展示了 C 大调和弦的两种常见吉他声部的工作原理，虽然它们使用的都是
six strings, you’ll see that they’re still built up from the same three basic notes. 在弹奏六根弦时，你会发现它们仍然是由相同的三个基本音符构成的。
The example above illustrates major triads, but it’s possible to turn these into other kinds of triads by altering some of the notes. Take a look at this next example (the formula underneath each chord comes from comparing its component notes with those of the major triad). 上面的例子展示的是大三和弦，但通过改变其中的一些音符，也可以将它们变成其他类型的三和弦。请看下一个例子（每个和弦下面的公式都是通过比较其组成音符和大三和弦的组成音符得出的）。
Example 4.4 例 4.4
The major and minor triads are by far the most common because they produce the most stable sounds. Major chords are generally perceived to have a happy sound, whereas minor chords are thought to sound sad. 大三和弦和小三和弦是迄今为止最常见的和弦，因为它们能产生最稳定的音色。人们通常认为大和弦的音色欢快，而小和弦的音色悲伤。
With this in mind, the mood of a chord is dictated by the third degree of the scale, so you’ll hear a certain vagueness in the mood evoked by the sus 2 and sus 4 chords. These chords effectively sit on the fence with regard to the whole happy/sad issue by avoiding the third altogether. The result is a certain tension in the way that they sound - if you played a sus 4 chord and followed it with a major or minor triad, you’d hear this tension being resolved. Think of Pete Townshend’s intro to ‘Pinball Wizard’. 有鉴于此，和弦的情绪是由音阶的三度决定的，因此您会发现 sus 2 和 sus 4 和弦所唤起的情绪是模糊的。这些和弦完全避开了三度，因此在整个快乐/悲伤的问题上有效地保持了距离。因此，它们听起来会有一种紧张感--如果您弹奏一个 sus 4 和弦，并在其后跟上一个大三和弦或小三和弦，您就会听到这种紧张感被化解了。想想皮特-汤森德（Pete Townshend）的《弹球精灵》前奏。
The diminished and augmented triads, mean while, just sound plain weird. That’s not to say that they aren’t useful, but if you were trying to write a song, starting with 16 whole bars of Caug (C augmented) would be a bad plan! Triads like these are most effective when they’re used in small doses, sandwiched between two more stable-sounding chords. 减三和弦和增三和弦听起来很奇怪。这并不是说它们没有用处，但如果你想写一首歌，用整整 16 个小节的 Caug（C 增）来开始是个糟糕的计划！像这样的三和弦在小剂量使用时，夹在两个听起来更稳定的和弦之间，效果最好。
Example 4.5 illustrates a C major scale harmonised in diatonic triads. The idea is to start off with the C major triad encountered in Example 4.3 and move each of its notes up to the next available note in the major scale. By repeating this process, you should end up with a group of seven different chords, all constructed using the notes of the C major scale. 例 4.5 展示了一个用二度三和弦和声的 C 大调音阶。我们可以从例 4.3 中的 C 大调三和弦开始，将它的每个音向上移动到大调音阶中下一个可用的音。重复这一过程，最后就会得到一组七个不同的和弦，它们都是用 C 大调音阶的音符构成的。
Example 4.5 例 4.5
As you can see, the above example features a mixture of major, minor and diminished triads, as dictated by the distribution of intervals within the scale. The pattern in which these chord types occurs remains the same for any major scale, so you could express the general formula (for any key) as … 正如你所看到的，上面的例子混合了大三和弦、小三和弦和减三和弦，这是由音阶中的音程分布决定的。对于任何大调音阶来说，这些和弦类型的出现模式都是一样的，因此可以将一般公式（对于任何调性）表述为...
I ii (m) iii (m) IV V vi (m) vii (dim)
. . . which simply replaces the letter names with Roman numerals (upper case for triads featuring a major third, lower case for those with a minor or diminished third). In classical circles, the I, IV and V (major) are sometimes described as the primary chords, while the ii, iii and vi (minor) are secondary chords and the vii (diminished) is a tertiary chord. ............."，它只是用罗马数字代替了字母名称（大写字母代表大三度的三和弦，小写字母代表小三度或减三度的三和弦）。在古典乐界，I、IV 和 V（大调）有时被称为主和弦，ii、iii 和 vi（小调）为二级和弦，vii（减调）为三级和弦。
This system is sometimes described as ‘Nashville numbers’, a reference to Nashville’s world-renowned country-music industry. In days of yore, the session players working in this scene often had to deal with the key of a song being changed at very short notice - normally to make the vocalist more comfortable, I guess - and they found that the best solution was to notate the chord progression in Roman numerals so that the chart would make sense in any key. On jam nights, you would sometimes see a musician gesturing to his bandmates by holding up, say, four fingers, which would be sign language for ‘Now let’s change to the IV chord’. It’s a lot more reliable than trying to shout the name of the chord while the drummer is in full flight! Here’s a chart showing how this applies in other keys: 这种系统有时被称为 "纳什维尔数字"，指的是纳什维尔世界闻名的乡村音乐产业。在过去的日子里，在这一领域工作的录音师经常需要在很短的时间内改变歌曲的调性--我猜这通常是为了让主唱更舒服吧--他们发现最好的解决办法就是用罗马数字记下和弦的进行，这样在任何调性下，音阶表都是合理的。在即兴演奏之夜，你有时会看到一位乐手举起四根手指向他的乐队成员示意，这就是 "现在我们换到四度和弦 "的手语。这比鼓手全速前进时大声喊出和弦名称要可靠得多！下面的图表展示了这一方法在其他调上的应用：
I
ii (m)
iii (m)
IV
v
vi (m)
vii (dim)
Gb
Abm
Bbm
Cb
Db
Ebm
Fdim
Db
Ebm
Fm
Gb
Ab
Bbm
Cdim
Ab
Bbm
Cm 厘米
Db
Eb
Fm
Gdim
Eb
Fm
Gm
Ab
Bb
Cm 厘米
Ddim
Bb
Cm 厘米
Dm
Eb
F
Gm
Adim 阿迪姆
F
Gm
Am
Bb
C
Dm
Edim
C
Dm
Em
F
G
Am
Bdim
G
Am
Bm
C
D
Em
Fidim
D
Em
F*m
G
A
Bm
Cidim
A
Bm
Com ......（英文
D
E
Fim
G#dim
E
Fim
G$m
A
B
Com ......（英文
D#dim
B
CHm
D#m
E
F
G!m G!
Aऔdim
F#
G＊ｍ G＊m
A*m
B
C
D#m
E#dim
I ii (m) iii (m) IV v vi (m) vii (dim)
Gb Abm Bbm Cb Db Ebm Fdim
Db Ebm Fm Gb Ab Bbm Cdim
Ab Bbm Cm Db Eb Fm Gdim
Eb Fm Gm Ab Bb Cm Ddim
Bb Cm Dm Eb F Gm Adim
F Gm Am Bb C Dm Edim
C Dm Em F G Am Bdim
G Am Bm C D Em Fidim
D Em F*m G A Bm Cidim
A Bm Com D E Fim G#dim
E Fim G$m A B Com D#dim
B CHm D#m E F G!m Aऔdim
F# G＊ｍ A*m B C D#m E#dim| I | ii (m) | iii (m) | IV | v | vi (m) | vii (dim) |
| :---: | :---: | :---: | :---: | :---: | :---: | :---: |
| Gb | Abm | Bbm | Cb | Db | Ebm | Fdim |
| Db | Ebm | Fm | Gb | Ab | Bbm | Cdim |
| Ab | Bbm | Cm | Db | Eb | Fm | Gdim |
| Eb | Fm | Gm | Ab | Bb | Cm | Ddim |
| Bb | Cm | Dm | Eb | F | Gm | Adim |
| F | Gm | Am | Bb | C | Dm | Edim |
| C | Dm | Em | F | G | Am | Bdim |
| G | Am | Bm | C | D | Em | Fidim |
| D | Em | F*m | G | A | Bm | Cidim |
| A | Bm | Com | D | E | Fim | G#dim |
| E | Fim | G$m | A | B | Com | D#dim |
| B | CHm | D#m | E | F | G!m | Aऔdim |
| F# | G＊ｍ | A*m | B | C | D#m | E#dim |
In the above reference chart, I’ve followed the cycle of fifths first introduced in the previous chapter. (As you’ve doubtless noticed, the keys of Gb and Fi sound identical, even though they have different names. The fancy way of saying this would be that Gb and Fk are enharmonically equivalent, although 1 have to admit that the phrase ‘the same’ conveys pretty much the same idea!) 在上述参考图中，我遵循了上一章首次介绍的五度循环。(毫无疑问，您已经注意到，Gb 和 Fi 的调性听起来是一样的，尽管它们的名称不同。花哨的说法是，Gb 和 Fk 在增强音上是等效的，不过我得承认，"相同 "这个词表达的意思差不多！）。
Whatever key you’re in, the chords generated by harmonising the appropriate major scale tend to sound good together, and there are some classic chord progressions that crop up time and time again in popular music, such as: 无论您使用的是什么调式，通过适当的大调音阶和声产生的和弦往往都很好听，有一些经典的和弦行进在流行音乐中反复出现，例如
I - IV - V (a typical blues/rock progression, as in ‘Summertime Blues’ or ‘Wild Thing’) I - IV - V（典型的蓝调/摇滚进行曲，如《夏日蓝调》或《野性》）。
ii - V - I (a common pattern in jazz - think of the start of ‘Autumn Leaves’ or ‘I’ve Got You Under My Skin’) ii - V - I（爵士乐中的常见模式--想想 "秋叶 "或 "I've Got You Under My Skin "的开头）。
I-vi-ii-V (‘Summer Holiday’ and ‘Blue Moon’ spring to mind) I-vii-ii-V （《夏日假期》和《蓝月亮》涌上心头）
I-ii-iii-IV-V (‘Like A Rolling Stone’ illustrates how this most obvious progression of all can sound very effective) I-ii-iii-iv-v（《Like A Rolling Stone》说明了这种最明显的进行曲如何听起来非常有效）。
Why not pick a scale and use some of the diatonic chords within it to write a progression of your own? 为什么不选择一个音阶，并使用其中的一些二度和弦来谱写自己的进行曲呢？
You could write the chords out as Nashville numbers and then transpose your progression into various keys. You might even want to experiment with adding the occasional non-diatonic chord to add that surprise factor. (How about throwing in a biim [flat second minorl chord, such as Dbm in the key of C?) Applying a formula like ‘three right chords, then one wrong chord’, for instance, would most likely give you a riff with a Nirvana-like vibe. 您可以将和弦写成纳什维尔数字，然后将您的进行移调到不同的调上。您甚至可以尝试偶尔加入非二度和弦，以增加惊喜因素。(比如在 C 调中加入一个双音和弦，如 Dbm，如何？举例来说，运用 "三个正确的和弦，然后一个错误的和弦 "这样的公式，很可能会让你的旋律充满涅槃的气息。
However you choose to approach it, this whole system will seem a lot more useful once you’ve tried putting it into practice, so experiment! 无论你选择怎样的方法，一旦你尝试将其付诸实践，整个系统就会显得更加有用，所以请尝试一下！
Hearing Scales And Chords 聆听音阶和和弦
The last few pages have been quite theory-intensive, so perhaps we should take a moment to reflect on the more general matter of how to learn the sound of a scale. 前面几页的内容理论性很强，也许我们应该花点时间思考一下如何学习音阶的发音这个更普遍的问题。
A scale becomes truly useful to you only when you can tell by ear which notes and chords belong to it and which ones don’t. Each time you practise a scale, I would recommend that you first play the chord over which you would be most likely to use it in order to associate the scale with its proper musical context. Ideally, you should have a tape recorder or something similar handy so that you can create mini-backing tracks for each scale. Nothing fancy is required here; strumming a C major chord at regular intervals produces a perfectly adequate backing track for trying out the C major scale. 只有当你能用耳朵分辨出哪些音符和和弦属于音阶，哪些不属于音阶时，音阶才会对你真正有用。每次练习音阶时，我建议你首先弹奏你最有可能用到它的和弦，以便将音阶与适当的音乐背景联系起来。理想情况下，你应该准备一个录音机或类似的东西，以便为每个音阶创建迷你伴奏音轨。这里不需要什么花哨的东西；以固定的间隔敲击 C 大调和弦就能制作出完全足够的伴奏音轨来试用 C 大调音阶。
Another important point is that, in the real world, the notes of a scale won’t always occur in numerical order. The more ways that you can find of jumbling up the notes of a scale and rearranging them, the more you’ll learn about what you can do with the scale itself. Playing all of the different intervals is a good start (you’ll find plenty of example in the section on ‘Alternate Picking’ in Creative Guitar 2), and a good test of exactly how well you know a particular scale is to try singing each note of a pattern of intervals before you play it. You’ll find that this gets progressively more difficult as the intervals get bigger - the sound of simply running up and down the scale is relatively easy to predict, but ascending in sevenths 还有一点很重要，在现实世界中，音阶的音符并不总是按照数字顺序出现的。你能找到的将音阶中的音符打乱并重新排列的方法越多，你就能学到更多关于音阶本身的知识。弹奏所有不同的音程是一个好的开始（在《创意吉他 2》中的 "交替弹奏 "部分有很多例子），而测试您对特定音阶的准确掌握程度的一个好方法是，在弹奏之前尝试唱出音程模式中的每个音符。您会发现，随着音程的增大，难度也会逐渐增大--音阶的上行和下行的声音相对容易预测，但七度上行的声音就很难预测了。
is a lot trickier! The more you hear yourself playing through various scalar patterns, the better your ear will get at this guess-the-next-note game. 则要棘手得多！你听自己演奏的各种标度音型越多，你的耳朵就越擅长这种 "猜下一个音符 "的游戏。
Another good approach is to break out of the boxes imposed on you by conventional scale fingerings and 另一个好方法是打破传统音阶指法的束缚，并
try playing lines on one string. This imposes less strain on your memory but makes up for it by forcing your ears to work harder. If you do this in a key like E, you can use an open string as a drone to guide you, and you might come up with exercises like this… 试着用一根弦演奏线条。这对你的记忆力造成的压力较小，但却迫使你的耳朵更加努力地工作。如果你在 E 调这样做，你可以用一根开弦作为伴奏来引导你，你可能会得到这样的练习...
Example 4.6 例 4.6
…or, bending the single-string rule slightly, this: ......或者，稍微弯曲一下单弦规则，就是这样：
Example 4.7 例 4.7
Example 4.6 above featured ascending thirds, whereas Example 4.7 used ascending sixths. If you had to play these passages from memory, you’d probably find the latter more tricky, partially because sixths are a less common interval than thirds and partially because the exercise requires you to change two notes at a time. 上面的例 4.6 用的是升三度，而例 4.7 用的是升六度。如果让你凭记忆演奏这些段落，你可能会觉得后者更难，部分原因是六度音程比三度音程更少，部分原因是练习要求你一次变换两个音符。
Hopefully, these last two examples will encourage you to come up with some exercises of your own. (Stuff like this is not only good training for your ears, it might also give you more confidence in your slide playing, an area in which single-string playing is particularly prevalent.) 希望最后这两个例子能鼓励你想出一些自己的练习方法。(像这样的练习不仅能训练你的耳朵，还能增强你对滑音演奏的信心，而滑音是单弦演奏中尤为常见的一种。）
Notes Of The Scale 音阶的音符
From an improvisational point of view, you’ll need to bear in mind the Orwellian principle that all notes in a scale are equal, but some are more equal than others. Although all seven notes of a major scale are technically correct, some sound more settled than others, and I think you can arrange them in a kind of hierarchy. Taking the example of a C major scale played over a C major chord, you would probably agree with the following: 从即兴演奏的角度来看，你需要牢记一个奥威尔式的原则：音阶中的所有音符都是相等的，但有些音符比其他音符更相等。虽然大调音阶的所有七个音符在技术上都是正确的，但有些音符听起来比其他音符更稳定，我认为你可以将它们排列成一个层次。以在 C 大调和弦上演奏 C 大调音阶为例，你可能会同意以下观点：
The root note ( C ) is the most stable-sounding note you can play. 根音（C）是声音最稳定的音符。
The third and fifth ( EE and G) sound nearly as good. They might not be root notes, but they’re nevertheless contained in the chord, so you might very reasonably describe them as chord tones. 三度音和五度音（ EE 和 G）听起来也差不多。它们可能不是根音，但却包含在和弦中，因此可以非常合理地将它们描述为和弦音。
The second, sixth and seventh ( D,AD, A and BB ) have a less stable effect, but they add a little colour and relieve the monotony of just playing 1,3 and 5 all the time. 第二、第六和第七个音符（ D,AD, A 和 BB ）的效果不那么稳定，但它们增添了一点色彩，缓解了一直演奏 1、3 和 5 的单调感。
The fourth sounds almost wrong if you dwell on it for too long because it’s only a semitone away from the third, a strong chord tone. Jazzers would describe the fourth in this context as an avoid note. 如果在四度音上停留时间过长，听起来几乎是错误的，因为它与三度音仅相差一个半音，而三度音是一个很强的和弦音。在这种情况下，爵士乐手会将四度音描述为一个回避音。
For the sake of completeness, I should add that the five other notes lie those not included in the major scale) obviously sound the least appropriate of all. 为了完整起见，我还应该补充一点，那就是其他五个音符（不包括在大调音阶中的音符）听起来显然是最不合适的。
So how do you apply this knowledge of the note hierarchy? Well, I’m not suggesting that you should ever shun a note purely because it’s not in the chord over which you’re playing, but the most musical results are produced when chord tones are emphasised by being used at prominent points in licks, such as accented notes, long notes, the first and last notes in each phrase, notes that fall on the main beats of the bar and so on. By working around this framework of chord tones, you’d normally use the less stablesounding notes to fill in the gaps. Licks that use chord tones exclusively tend to have a melodic, tuneful quality about them, but after a while this can start to sound a little predictable, in which case throwing in the other notes of the scale will help to keep things sounding interesting. 那么，如何运用这些音符等级知识呢？我并不是说，纯粹因为某个音符不在你演奏的和弦中，你就应该避开它，但是，当和弦音在演奏中的显著位置得到强调时，就会产生最棒的音乐效果，例如重音符、长音、每个乐句中的第一个和最后一个音符、小节主要节拍上的音符等等。在和弦音的框架内进行演奏时，通常会使用听起来不那么稳定的音符来填补空白。只使用和弦音的乐曲往往旋律优美、曲调动听，但时间久了，听起来就会有点难以捉摸，在这种情况下，加入音阶的其他音符将有助于保持乐曲的趣味性。
Changing Chords 变换和弦
The way in which you balance the notes of a scale will depend on two factors: how fast you’re playing and how fast the chords are changing. To illustrate the first point, compare the solo from The Eagles’ ‘Hotel California’ with Yngwie Malmsteen’s ‘Trilogy Suite’ solo. The former is arguably one of the most memorable guitar moments of all time, because every 平衡音阶音符的方式取决于两个因素：演奏速度和和弦变化的速度。为了说明第一点，请将老鹰乐队的《加州旅馆》独奏与 Yngwie Malmsteen 的《三部曲组曲》独奏进行比较。前者可以说是有史以来最令人难忘的吉他演奏时刻之一，因为它的每一
note in it was carefully selected to complement the chord progression. Meanwhile, the latter might not have as much melodic quality (anyone who sings that sola in the shower clearly needs help), but it undeniably boasts a higher energy level due to the sheer quantity of notes. I’m going out on a limb here, but I think that there’s less incentive to be melodic when you’re playing at high speeds - there’s only so much information your audience can take in, so they’ll respond more to the general contour of your licks rather than judge each note individually. Thus, if you slow down the Yngwie solo, you’ll find that it consists predominantly of rapid scales, but it still makes musical sense because those huge scalar flurries start and end with ‘good’ notes. 其中的每一个音符都经过精心挑选，与和弦进行相得益彰。与此同时，后者可能没有那么多旋律（在洗澡时唱这首独奏曲的人显然需要帮助），但不可否认的是，由于音符数量庞大，它的能量水平更高。虽然我的看法有些偏激，但我认为在高速演奏时，旋律的激励作用就会减弱--听众能接受的信息量有限，因此他们会更多地对你演奏的整体轮廓做出反应，而不是对每个音符逐一做出判断。因此，如果你放慢 Yngwie 独奏的速度，你会发现它主要由快速音阶组成，但它仍然具有音乐意义，因为这些巨大的音阶群以 "好 "音开始和结束。
With regard to the second point, consider the world of jazz for a moment. Jazz is a form of music that places particular emphasis on chord changes. If you were negotiating the harmony in something like John Coltrane’s much-feared ‘Giant Steps’, you’d have to deal with roughly two chords per bar at high speed. You couldn’t cheat by playing one scale over the whole progression because the chords are derived from several different scales. Thus the only way to play over something like ‘Giant Steps’ and still sound like you know what you’re doing is to focus almost exclusively on chord tones. On the other hand, a track like ‘Impressions’ (Coltrane again) features only two chords and it changes between them at a far more relaxed pace, giving you more time to explore all of the notes of each scale, playing with that tension-and-release idea and so on. 关于第二点，请看一看爵士乐的世界。爵士乐是一种特别强调和弦变化的音乐形式。如果你要在约翰-科尔特兰（John Coltrane）的 "Giant Steps "等令人恐惧的乐曲中处理和声，你就必须以高速处理每小节大约两个和弦。在整个进行中演奏一个音阶是无法作弊的，因为和弦来自多个不同的音阶。因此，要演奏《Giant Steps》这样的曲目，而且听起来还像你知道自己在做什么，唯一的办法就是几乎只演奏和弦音。另一方面，像《印象》（又是科尔特兰）这样的曲目只有两个和弦，而且在两个和弦之间变化的速度要轻松得多，让你有更多时间去探索每个音阶的所有音符，演奏张力与释放的概念等等。
Hopefully all of the above has helped to illustrate roughly what scales and chord tones are for. The ideas I’ve just outlined are pretty much applicable to all of the information in this book, so l’d urge you to think about them. Getting to grips with this stuff now will mean that you’ll avoid any confusion later on. Now let’s look at how it all translates onto the fretboard. 希望上述内容能帮助我们大致了解音阶和和弦音的作用。我刚才概述的观点几乎适用于本书中的所有信息，因此我建议你好好思考一下。现在掌握了这些知识，以后就不会再感到困惑了。现在，让我们来看看如何将这些知识转化到指板上。
The CAGED System CAGED 系统
So far, l’ve looked at the importance of knowing your scales and the chord tones lurking within them, and the CAGED system is a simple method of visualising these relationships on the fretboard. It’s based on the 到目前为止，我已经了解了了解音阶和其中潜藏的和弦音的重要性，而 CAGED 系统则是一种在指板上将这些关系可视化的简单方法。它基于
basic open chord shapes for C, A, G, E and D - hence the catchy name! C、A、G、E 和 D 的基本开放和弦音型--这也是它朗朗上口的名字的由来！
Before the true potential of these chords can be unlocked, they need to be adapted so that they’ll work 在释放这些和弦的真正潜能之前，需要对它们进行调整，使其能够发挥作用
in any key. Obviously, in order to do this the open strings must be eliminated, so imagine using your index finger as a capo and playing the same chords an octave higher up the neck. They might look something like this: 在任何调式中都能演奏。显然，要做到这一点，必须消除开弦，所以想象一下，用食指作为卡弦器，在琴颈上高八度的地方弹奏相同的和弦。它们可能是这样的
Example 4.8 例 4.8
Some of these shapes are more practical than others - everyone loves the E and A shapes, but something like the GG shape is harder to finger, so people often choose to steer clear of it. However, it’s important to be aware of all five shapes to get any benefit from the CAGED system. Trust me! 其中有些形状比其他形状更实用--每个人都喜欢 E 形和 A 形，但像 GG 形这样的形状比较难指，所以人们通常会选择避开它。但是，要想从 CAGED 系统中获益，就必须了解所有五个音型。请相信我！
The root notes in Example 4.8 are blocked in because they’re particularly important. Even if you’ve seen all of these chord shapes before, you should still take a moment to ensure that you can find the root notes in each of them. 例 4.8 中的根音之所以被挡住，是因为它们特别重要。即使你以前见过所有这些和弦的音型，你也应该花点时间确保能在每个和弦中找到根音。
Note how the C shape shares its A -string root note with the A shape, the A shape shares its G -string root 注意 C 形如何与 A 形共享其 A 弦根音，A 形又如何共享其 G 弦根音。
note with the GG shape and so on. Thus these five shapes allow you to play any major chord in any part of the neck. Wherever your hand is, it should be able to find an accessible root note on at least one of the strings. This should be enough to suggest to you which of the shapes in the CAGED system is the most appropriate. For instance, if your index finger is hovering close to a root note on the G string, you can safely assume that the most convenient major-chord fingering will be a G shape. 音型 GG ，以此类推。因此，这五种音型可以让你在琴颈的任何部位演奏任何大和弦。无论你的手在哪里，它都能在至少一根弦上找到可触及的根音。这就足以告诉你 CAGED 系统中哪种音型是最合适的。例如，如果您的食指徘徊在 G 弦的根音附近，您就可以放心地认为最方便的大和弦指法是 G 形。
Example 4.9 below shows all the possible notes of a C major triad, all over the neck. If you scan each section in turn, you’ll see why the CAGED shapes work and how they’re linked together. 下面的例 4.9 显示了 C 大调三和弦在整个琴颈上的所有可能音符。依次浏览每个部分，你就会明白 CAGED 音型的作用以及它们之间的联系。
Example 4.9 例 4.9
The best way of getting a feel for this stuff is, of course, to try it out for yourself. You might take the I, IV and V 当然，了解这些东西的最好方法就是亲自尝试。您可以选择 I、IV 和 V
chords from a major scale and try to voice them all over the neck. In fact, why not try it now before reading on? 试着用大调音阶中的和弦在琴颈上发出声音。事实上，为什么不在继续阅读之前先试试呢？
Example 4.10 例 4.10
Hopefully, your findings were in accordance with Example 4.10. If nothing else, you now know how to play ‘La Bamba’ in every part of the neck! 希望你的发现与例 4.10 一致。不出意外的话，你现在已经知道如何在琴颈的各个部位演奏 "La Bamba "了！
Well, that’s the basic idea of the CAGED system. You can apply the same principles to other chord types, too. The minor CAGED shapes would look like this: 这就是 CAGED 系统的基本理念。您也可以将相同的原则应用于其他和弦类型。小调的 CAGED 形状是这样的
Example 4.11 例 4.11
Cm shape 厘米形状
Am shape 我的形状
Em shape 形状
Dm shape Dm 形
These shapes are basically the same as the major shapes but with the thirds moved down a fret. (Remember, the formula for a minor chord is 1,63,51,63,5.) There are a couple of modifications, however - you can’t move the B-string note from the G major shape down a fret, for instance, because you don’t have enough fingers, so instead you simply avoid that string altogether - but the similarities are sufficient to take a lot of the pain out of learning these and all subsequent CAGED shapes. 这些音型与大调音型基本相同，只是将三度音往下移了一格（记住，小和弦的计算公式是 1,63,51,63,5 ）。不过也有一些修改，例如您不能将 G 大调音型中的 B 弦音往下移一格，因为您的手指不够，所以您只需完全避开该弦即可，但这些相似之处足以让您在学习这些音型和所有后续的 CAGED 音型时少走弯路。
From a chordal point of view, the benefits of understanding this system should be self-evident, but the fun doesn’t stop there. From a soloing perspective, the great thing about these shapes is that they also represent the distribution of chord tones, so by superimposing these shapes over scale fingerings, those fingerings can be used more melodically. All of this will become clear when applied to the most common scale in the vocabulary of rock guitar: the minor pentatonic. 从和弦的角度来看，了解这一系统的好处是不言而喻的，但其乐趣并不止于此。从独奏的角度来看，这些音型的好处在于它们也代表了和弦音的分布，因此将这些音型叠加到音阶指法上，就能使这些指法的旋律性更强。当应用到摇滚吉他词汇中最常见的音阶：小五声音阶时，所有这些都将变得清晰明了。
The Minor Pentatonic Scale 小五声音阶
Whether you realise it or not, you already know the minor pentatonic scale. It’s built up from the root note using the following pattern of tones and semitones: 无论你是否意识到，你都已经知道小五声音阶。它是从根音开始，用以下的音调和半音模式建立起来的：
T1//2quad T quad T quad T1//2TT 1 / 2 \quad T \quad T \quad T 1 / 2 T
This gives you five different notes per octave, hence the name. In the key of A minor, you could break down the minor pentatonic as follows: 这样，每个八度就有五个不同的音符，小五度也因此得名。在 A 小调中，可以将小五音分解如下：
{:[1,b,4,5,b7],[A,C,D,E,G]:}\begin{array}{ccccc}
1 & b & 4 & 5 & b 7 \\
A & C & D & E & G
\end{array}
Many of the most common blues and rock licks are constructed using these five notes. Take a look at Examples 2.12 and 2.13: 许多最常见的蓝调和摇滚乐曲都是由这五个音符构成的。请看示例 2.12 和 2.13：
Example 4.12 shows you the notes of AA minor pentatonic, while Example 4.13 breaks down this information into convenient scale fingerings that work in any key. (As usual. I’ve blocked in the root notes.) 例 4.12 向您展示了 AA 小五和弦的音符，而例 4.13 则将这些信息分解为方便的音阶指法，适用于任何调性。(和往常一样，我把根音屏蔽了）。
Most guitarists are comfortable with position 1 while far fewer are comfortable with all five positions. Why? For an explanation, try to spot the CAGED minor shapes hidden in each scale fingering. Hopefully, you’ll notice the following: 大多数吉他手都能自如地掌握 1 号位置，但能自如掌握所有五个位置的吉他手却少之又少。为什么呢？请尝试找出隐藏在每个音阶指法中的 CAGED 小调音型，以获得解释。希望您能注意到以下几点：
{:[" Position "1=" Em shape "],[" Position "2=" Dm shape "],[" Position "3=Cm" shape "],[" Position "4=" Am shape "],[" Position 5 "=Gm" shape "]:}\begin{aligned}
& \text { Position } 1=\text { Em shape } \\
& \text { Position } 2=\text { Dm shape } \\
& \text { Position } 3=\mathrm{Cm} \text { shape } \\
& \text { Position } 4=\text { Am shape } \\
& \text { Position 5 }=\mathrm{Gm} \text { shape }
\end{aligned}
Yes, it looks like position 1 is the firm favourite because it’s the one based around the chord shape we know best! If the Devil has all the best tunes, it’s also safe to say that position 1 has all the best blues licks - well, most of the classic ones, anyway, with positions 2 and 4 vying for a distant second place. However, the key to expanding your vocabulary lies in becoming au fait with all of the shapes, and I think that learning the ‘skeleton’ chords lurking within each scale fingering will help you to locate them in various keys, not to mention showing you where the tastiest notes are (ie the chord tones). 是的，看起来位置 1 是最受欢迎的，因为它以我们最熟悉的和弦形状为基础！如果说 "魔鬼 "拥有所有最棒的曲子，那么也可以说位置 1 拥有所有最棒的布鲁斯乐段--总之是大多数经典乐段，而位置 2 和位置 4 则屈居第二。不过，扩大词汇量的关键在于熟悉所有的音型，我认为学习每个音阶指法中潜藏的 "骨架 "和弦将有助于你在不同的调性中找到它们，更不用说告诉你最有味道的音符在哪里（即和弦音）。
It’s worth pointing out that you’ll sometimes need to find more than one set of chord tones within a scale shape. If this sounds a little odd, consider the case of an A minor blues following the time-honoured I-IV- 值得注意的是，有时你需要在一个音阶形状中找到不止一组和弦音。如果这听起来有点奇怪，那么请看 A 小调蓝调的情况，它采用的是历史悠久的 I-IV- ✓\checkmark progression. You can tackle this whole progression using exclusively the A minor pentatonic - and, indeed, many of your favourite players would do just that but the notes that sound great over one chord won’t necessarily work so well over the other two. Think of it in this way: ✓\checkmark 进行。你可以只用 A 小五音来处理这整个进行--事实上，你最喜欢的许多演奏家都会这么做，但是在一个和弦上听起来很棒的音符，在另外两个和弦上就不一定那么好用了。不妨这样想：
The chord of AA minor contains the notes A,CA, C and EE 小调 AA 的和弦包含 A,CA, C 和 EE 两个音符。
The chord of D minor contains the notes D, F and A D 小调和弦包含 D、F 和 A 音
The chord of E minor contains the notes E, G and B E 小调和弦包含音符 E、G 和 B
Since the A minor pentatonic doesn’t contain the notes of BB or FF. you effectively have only two chord tones at your disposal when you use this scale over D minor or E minor, and they’re not necessarily the same as the chord tones that worked over A minor. 由于 A 小调五声音阶不包含 BB 或 FF ，因此当您在 D 小调或 E 小调上使用该音阶时，实际上只有两种和弦音可以使用，而且它们与 A 小调上的和弦音并不一定相同。
Many players can quite happily make this kind of decision by ear, hearing which notes ‘agree’ with each chord as they wander around the scale shape and instinctively placing more emphasis on those notes. Even if you consider yourself to be just such a player, it’s still useful to understand the principles at work here so that you can apply them in less familiar musical situations. 许多演奏者都能很愉快地用耳朵做出这样的决定，当他们在音阶形状中游荡时，会听到哪些音符与每个和弦 "一致"，并本能地将更多的注意力放在这些音符上。即使你认为自己就是这样的演奏者，了解其中的原理也是很有用的，这样你就能在不太熟悉的音乐环境中运用这些原理。
Of course, you might decide to try using a different pentatonic scale for each chord in order to complement the progression that little bit more accurately. If you took this approach, the trick would be to finger the three different scales in the same part of the neck. More specifically, you’d have to group them like this; 当然，你也可以尝试在每个和弦上使用不同的五声音阶，以便更准确地补充进行。如果采用这种方法，诀窍就在于将三种不同的音阶放在琴颈的同一部位。更具体地说，你必须像这样将它们分组；
Am
Position 1 (Em shape) 位置 1（Em 形）
Position 2 (Dm shape) 位置 2（Dm 形）
Position 3 (Cm shape) 位置 3（Cm 形）
Position 4 (Am shape) 位置 4（Am 形）
Position 5 (Gm shape) 位置 5（Gm 形）
Am
Position 1 (Em shape) 位置 1（Em 形）
Position 2 (Dm shape) 位置 2（Dm 形）
Position 3 (Cm shape) 位置 3（Cm 形）
Position 5 (Gm shape) 位置 5（Gm 形）
Dm
Position 4 (Am shape) 位置 4（Am 形）
Position 5 (Gm shape) 位置 5（Gm 形）
Position 1 (Em shape) 位置 1（Em 形）
Position 2 (Dm shape) 位置 2（Dm 形）
Position 3 (Cm shape) 位置 3（Cm 形）
Em
Position 3 (Cm shape) 位置 3（Cm 形）
Position 4 (Am shape) 位置 4（Am 形）
Position 5 (Gm shape) 位置 5（Gm 形）
Position 1 (Em shape) 位置 1（Em 形）
Position 2 (Dm shape) 位置 2（Dm 形）
Try each row in turn from the above table. To memorise it, your best bet is to remember the CAGED shapes rather than the position numbers. Albert King, for instance, neither knew nor cared that many of his signature licks were based around position 2, but he 依次尝试上表中的每一行。要记住它，最好的办法是记住 CAGED 形状而不是位置数字。例如，阿尔伯特-金（Albert King）既不知道也不在意他的许多标志性乐段都是以位置 2 为基础的，但他
would certainly have been able to visualise the D minor shape within those notes. Looking at the information in this way feels a lot more intuitive and ‘hands on’: 就一定能想象出这些音符中的 D 小调音型。以这种方式查看信息，感觉更直观，也更 "易操作"：
You might want to try this more all-encompassing version of the same idea, which extends it beyond the 您可能想试试这个更全面的版本，它将同一想法延伸到了
confines of the I - IV - V progression. Start with position 1 of the A minor pentatonic and keep moving up in fourths, following A minor with Dm, Gm, Cm, Fm,Bbm,Ebm\mathrm{Fm}, \mathrm{Bbm}, \mathrm{Ebm} and so on, keeping your hand in the same part of the neck the whole time until you come back to A minor 12 keys later. (You’ll notice that this cycle of fourths is basically a backwards version of the cycle of fifths described in the section on key signatures.) This sort of exercise really helps your ability to tackle key changes smoothly, so do give it a go. 的限制。从 A 小调五度音程的 1 号位置开始，以四度为单位向上移动，在 A 小调之后依次是 Dm、Gm、Cm、 Fm,Bbm,Ebm\mathrm{Fm}, \mathrm{Bbm}, \mathrm{Ebm} ，以此类推，整个过程中你的手都要放在琴颈的同一位置，直到 12 个调后回到 A 小调为止。(你会发现，这种四度循环基本上是五度循环的倒退版，在有关调号的章节中已有描述）。这种练习确实有助于你顺利地处理调性变化，所以不妨一试。
The Major Pentatonic Scale 大五声音阶
Now would be a good time to move onto a new scale, the major pentatonic. As you’ll have divined from the 现在是进入新音阶--大五声音阶的好时机。正如你从
name, the major pentatonic once again features five different notes per octave, but this time the pattern of intervals goes like this… 大五度音程的特点是每个八度有五个不同的音符，但这次的音程模式是这样的...
T quad T quad T1//2quad T quad T1//2T \quad T \quad T 1 / 2 \quad T \quad T 1 / 2
which gives the following formula: 得出以下公式
1235612356
As you can tell from the above formula (or indeed from the scale’s helpful name), these notes are designed to be used over major chords, and the five fingering patterns look like this: 从上面的公式（或者说从音阶的名称）可以看出，这些音符是设计用于大和弦的，五个指法模式如下：
Example 4.14 例 4.14
Position 1 职位 1
Position 3 职位 3
Position 2 职位 2
Position 4 职位 4
Position 5 职位 5
In a manner eerily reminiscent of the minor pentatonic shapes, these scales fingerings contain the following CAGED major chord shapes; 这些音阶的指法与小五和弦的音型极为相似，包含以下 CAGED 大和弦音型；
{:[" Position "1=E" shape "],[" Position "2=D" shape "],[" Position "3=C" shape "],[" Position "4=" A shape "],[" Position "5=" G shape "]:}\begin{aligned}
& \text { Position } 1=E \text { shape } \\
& \text { Position } 2=D \text { shape } \\
& \text { Position } 3=\mathrm{C} \text { shape } \\
& \text { Position } 4=\text { A shape } \\
& \text { Position } 5=\text { G shape }
\end{aligned}
There’s another point of similarity between these scales. You might have noticed that position 1 of the major pentatonic is the same as position 2 of the minor 这些音阶之间还有一个相似点。您可能已经注意到，大五声音阶的位置 1 与小五声音阶的位置 2 相同。
pentatonic and so on, so the only new information you need to learn here is that the root notes are different. 五声音阶等，所以你需要学习的唯一新信息就是根音是不同的。
Consider this: the notes of C major pentatonic are C,D,E,GC, D, E, G and AA, while the notes of AA minor pentatonic are A,C,D,EA, C, D, E and G-ieG-i e they’re exactly the same! In practical terms, this means that you can find the correct major pentatonic scale over any chord by taking the (probably more familiar) minor pentatonic and moving it down three frets. You would be well advised to commit this relationship to memory, because the basic principle at work here will crop up again when dealing with other, more complex scales. In theory terms, you would say that A minor is the relative minor of C major. 想想看：C 大调五声音阶的音符是 C,D,E,GC, D, E, G 和 AA ，而 AA 小调五声音阶的音符是 A,C,D,EA, C, D, E 和 G-ieG-i e ，它们完全相同！在实际操作中，这意味着您只要将（可能更熟悉的）小五声音阶向下移动三个音阶，就能在任何和弦上找到正确的大五声音阶。你最好把这种关系记在脑子里，因为在处理其他更复杂的音阶时，这里的基本原理还会出现。从理论上讲，A 小调是 C 大调的相对小调。
If you think of the minor pentatonic as the source of your vocabulary of blues/rock cliches, the major pentatonic will most likely remind you of country licks. In both cases, your goal is to learn the shapes in such 如果你认为小五度音阶是你蓝调/摇滚陈词滥调词汇的来源，那么大五度音阶很可能会让你想起乡村音乐的乐段。在这两种情况下，你的目标都是学习这些音型。
a way that you can improvise with them musically, so look for the string-bending potential in each shape. In the C major pentatonic positions, for instance, you’ll find that the following bends are all theoretically possible: 因此，要寻找每个音型的弯弦潜力。例如，在 C 大调五音位置上，你会发现以下弯音理论上都是可行的：
Example 4.15 例 4.15
Example 4.16 例 4.16
Example 4.17 例 4.17
Example 4.18 例 4.18
The above illustrates how you could bend each note up to the next note in the scale. (You should always have a target pitch when you bend a string in order to obtain the most musical results.) In practice, your favourite bends in Example 4.16 will probably be the notes on the GG and BB strings, because they share the following features: 上图说明了如何将每个音弯曲到音阶中的下一个音。(为了获得最佳的音乐效果，在弯曲琴弦时应始终有一个目标音高）。实际上，在例 4.16 中，您最喜欢的弯音可能是 GG 和 BB 琴弦上的音符，因为它们具有以下共同特点：
You’re fretting with the ring-finger/little-finger part of your hand so you can reinforce the bend with your first two fingers, making the process less painful. 你用手的无名指/小指部分进行拨弦，这样就能用前两个手指加强弯音，使过程不那么痛苦。
These bends lead up to chord tones, so they sound particularly effective over a C chord. These are the ‘hidden’ chord tones that the scale shape doesn’t tell you about, so you bave to find them for yourself! 这些弯音是和弦音的前奏，因此在 C和弦上听起来特别有效。这些是 "隐藏 "的和弦音，音阶的形状不会告诉你，所以你必须自己去寻找！
I urge you to look play around with all the possible bends in each shape, and decide for yourself which ones sound and feel best. Naturally, one way to spice up your pentatonic playing would be to try incorporating some of the less obvious bends - but first, you need to know where the most obvious ones are! 我建议你多玩玩每个音型中所有可能的弯音，然后自己决定哪些弯音听起来感觉最好。当然，为五声音阶演奏增色的一种方法是尝试加入一些不太明显的弯音，但首先，你需要知道最明显的弯音在哪里！
The other avenue you should explore is the idea of linking these shapes together, rather than thinking of each as a separate entity. As you’ll have discovered from the previous experiments with string-bending, different things sound good in each scale position. and it’s good to be able to move smoothly between these positions in order to get the best out of each. You’re probably familiar with the extended shapes shown in Examples 2.20-2.22, which serve to illustrate my point: 你应该探索的另一个途径是将这些音型联系在一起，而不是将它们各自视为独立的个体。正如你在前面的弯弦实验中发现的，在每个音阶位置上都有不同的音色。您可能对例 2.20-2.22 所示的扩展音型并不陌生，它们可以用来说明我的观点：
These not only feel good, they cover a wider range of notes than a single position, which instantly gives you more freedom when you’re soloing. 它们不仅手感好，而且比单一位置的音符覆盖范围更广，让你在独奏时更加自由。
Example 4.22 is a slightly less common application 例 4.22 是一种稍不常见的应用
of the position-shifting idea, where a simple lick on the top two strings is moved through each position in turn. You could play this whole lick in a single part of the fretboard, but the results would sound less musical. 的位置转换想法，即在最上面的两根弦上依次在每个位置上演奏一个简单的乐段。你可以在指板的单一位置上演奏整首抒情乐曲，但这样的效果听起来音乐性会大打折扣。
Example 4.22 例 4.22
It’s a good idea to take all of the blues licks you know and refinger them so that you can play the same notes in each of the five positions. You’ll find that they have 不妨将你所掌握的所有蓝调演奏技巧进行重弹，这样你就能在五个位置上演奏出相同的音符。你会发现它们有
a slightly different tone and feel in each. With this in mind, why not use Example 4.23 as an efficient way of teaching yourself how the shapes link up? 每种音色和感觉都略有不同。有鉴于此，何不将例 4.23 作为一种有效的方法，教自己如何将各种形状联系起来呢？
Example 4.23: Connecting the pentatonic shapes 例 4.23：连接五声音形
Example 4.23 is a great tool for enhancing your fretboard knowledge - particularly if you try it in all 12 keys - but you might very reasonably complain that it sounds too 例 4.23 是增强指板知识的绝佳工具，尤其是当你在所有 12 个调上都试一试的时候。
much like a scale exercise to be of any use to you in a real musical situation. I agree with you - up to a point. Once you know where the notes are, your next task is 就像音阶练习一样，在真实的音乐环境中对你毫无用处。我同意你的观点--在一定程度上。一旦你知道了音符的位置，接下来的任务就是
to try to find patterns suitable for generating musicalsounding licks. Below is a mammoth version of Example 4.23 which uses one simple pattern to break things up a bit. This is often described as ‘ascending/ descending in threes’, for reasons which should become clear to you when you look at the music, and it gets a lot more mileage out of each scale shape. You wouldn’t be able 试图找到适合生成音乐音色乐段的模式。下面是一个巨型版本的例 4.23，其中使用了一个简单的音型来打破一些僵局。这通常被描述为 "三连升/三连降"，其原因你在看乐谱时就应该明白了，它能让每个音阶形状发挥更大的作用。你不可能
to use the whole exercise in a single lick (I hope!), but parts of it will start to creep into your playing once you’ve become familiar with the general pattern. I’ve also added some hammer-ons and pull-offs to make it sound more like ‘real’ guitar playing - picking every note certainly has its place, but in a blues/rock context it can often make your playing sound a little cold and mechanical: 我希望你能在单个弹奏中使用整个练习曲（我希望如此！），但一旦你熟悉了大致的模式，其中的部分内容就会逐渐融入你的演奏中。我还加入了一些锤音和拉音，让它听起来更像 "真正的 "吉他弹奏--弹奏每个音当然都有它的用处，但在蓝调/摇滚背景下，它往往会让你的弹奏听起来有点冷酷和机械：
Phew! The next group of examples illustrate some other patterns you might like to apply to each pentatonic shape. You’ll see that I’ve only written them out in one position, to save space, but you’ll get the general idea: 呼！下一组例子说明了你可能想应用于每个五声音型的一些其他模式。你会发现，为了节省篇幅，我只把它们写在一个位置上，但你会明白其中的大致意思：
Example 4.25 inverts alternate groups of three, while Example 4.26 inverts only the group of three at the end of each bar. Hopefully, these are starting to sound more like real licks! 例 4.25 将三连音交替倒置，而例 4.26 则只将每小节末的三连音倒置。希望这些演奏听起来更像真正的乐段！
Example 4.25 例 4.25
Example 4.26 例 4.26
Example 4.27 below uses a descending-in-fours motif, and Example 4.28 inverts alternate groups of four. This 下面的例 4.27 使用了一个四连降动机，例 4.28 则是四组交替倒置。这
should remind you of what we did to Example 4.23 to generate Example 4.24: 应该让你想起我们在生成例 4.24 时对例 4.23 所做的处理：
Example 4.29 descends in groups of six, missing out the more difficult groups, and maintains the earlier 例 4.29 以六组为单位下降，漏掉了较难的一组，保留了较早的一组。
theme of playing four notes in each beat. This six-overfour idea creates an interesting rhythmic effect: 在每一拍中演奏四个音符的主题。这种 "六比四 "的想法产生了一种有趣的节奏效果：
Example 4.29 例 4.29
Example 4.30 reverts to the earlier triplet feel, with groups of six that alternate between ascending and descending: 例 4.30 又回到了先前的三连音感觉，以六个为一组，升调和降调交替出现：
Example 4.30 例 4.30
Now let’s go back to the earlier theme of joining up the positions and see what kind of music you can make. Example 4.31 takes a simple four-note pattern on the 现在，让我们回到之前的主题--连接位置，看看你能演奏出什么样的音乐。例 4.31 用一个简单的四音音型在
middle two strings and moves it through each position in turn, which makes for a great way to travel smoothly between seemingly unconnected parts of the fretboard: 在中间两根弦上依次移动到每个位置，这是在指板上看似不相连的部分之间顺畅移动的好方法：
Example 4.32 below doubles up the first two notes in order to create a sextuplet feel. This one sounds good 下面的例 4.32 将前两个音符加倍，以创造出六分音符的感觉。这个听起来不错
at high speeds, and you should try it on other pairs of strings, too: 您也应该在其他琴弦上试试：
Example 4.32 例 4.32
The next three examples explore the idea of skipping notes. This instantly creates an interesting wide-interval sound in your licks, which really helps break the monotony of playing lots of adjacent scale notes. They’re a bit harder to play, but that’s the whole point of practising them! 接下来的三个例子探讨了跳音的概念。这能在你的演奏中立即创造出有趣的宽音程音色，真正有助于打破演奏大量相邻音阶音符的单调感。虽然演奏起来有点困难，但这正是练习它们的意义所在！
Example 4.33 uses an ‘down two, up one’ pattern, while Example 4.34 turns things round by using an ‘up 例 4.33 使用了 "下二上一 "模式，而例 4.34 则通过使用 "上二下一 "模式来扭转局面。
one, down two’ motif-it’s basically the same idea, but the results sound different because the main beats are falling at different points in the pattern. Example 4.35, meanwhile, is based on a more ambitious ‘up three, down two’ pattern. Trying to achieve complete separation between the notes is tricky, but it’s worth persevering as ideas like this can generate some head-turning licks! 一，下二 "动机--基本上是同样的想法，但由于主拍落在音型的不同点上，因此听起来效果不同。而例 4.35 则采用了更大胆的 "上三下二 "音型。尝试实现音符之间的完全分离非常困难，但值得坚持，因为这样的想法可以产生一些令人拍案叫绝的乐段！
Example 4.33 例 4.33
Example 4.34 例 4.34
Example 4.35 例 4.35
Finally, Example 4.36 combines the idea from Example 4.27 with some string-bending, resulting in a pattern that may remind you of a slightly tamer version of 最后，例 4.36 将例 4.27 中的想法与一些字符串弯曲结合在一起，产生了一个可能会让你联想到稍微温和版的
Steve Lukather’s lick from ‘Rosanna’. In order to produce the best results, try to bend as rhythmically as possible: 史蒂夫-卢卡瑟（Steve Lukather）在《罗珊娜》中的弹奏。为了达到最佳效果，请尽量按节奏弯曲：
Example 4.36 例 4.36
Once you know your pentatonic shapes and the underlying chord shapes for each, you could explore the following ideas: 了解了五声音型和每种音型的基本和弦音型后，你可以探索以下想法：
The sort of chordal playing you hear on Hendrix tracks like ‘Little Wing’ and ‘The Wind Cries Mary’. This is based on holding down a few strings’ worth of the appropriate CAGED shape and using the other pentatonic notes in the area as embellishments. Once you’ve learned some other types of scale shape, you can extend this idea further, but you’ll find that there’s a lot of mileage in the shapes already covered here. 在亨德里克斯（Hendrix）的《小翅膀》（Little Wing）和《风呼唤玛丽》（The Wind Cries Mary）等曲目中听到的和弦演奏。这是基于按住几条弦的适当音阶形状，并使用该区域的其他五声音阶音符作为点缀。一旦你学会了其他类型的音阶形状，你可以进一步扩展这一想法，但你会发现这里已经涵盖了很多形状。
Mixing up the major and minor pentatonics in your blues solos. This works best over a dominant blues context - for example, a dominant blues in A would feature the chords A7, D7 and E7 rather than minor chords. (For a classic example of this in action, check out Eric Clapton’s ‘Crossroads’ solo.) 在蓝调独奏中混合使用大小五音。这在主音蓝调的背景下效果最佳，例如，A 调的主音蓝调会使用 A7、D7 和 E7 等和弦，而不是小和弦。(有关这方面的经典例子，请查看 Eric Clapton 的 "Crossroads "独奏）。
You might well be puzzled by the concept of combining major and minor scales over a single chord, and frankly your concerns are justified. Based on the theory covered so far, doing this makes no sense at all. But wait, I can explain! 你可能会对在一个和弦上结合大小调音阶的概念感到困惑，坦率地说，你的担心是有道理的。根据目前所学的理论，这样做毫无意义。但等等，我可以解释一下！
If you think of any genre of popular music and consider how it evolved, you can generally trace it back to the blues in some way or another. Different cultures divide up the octave in different ways (you’ll find scales with far more than 12 notes in them if you look into the realms of, say, Indian music), and although the blues might well have developed in America, the notes it uses essentially come from African folk, a form of music in which the notes that were considered to sound ‘in tune’ weren’t necessarily identical in pitch to the notes you’ll find on a piano keyboard. Thus our conventional music theory might well dissect blues licks and conclude that they are constructed from the minor pentatonic, but this is an approximation of the truth. Originally, the flat third would have sounded slightly sharper than it does today in our Westernised version of the scale and the fifth would have been slightly flatter. 如果你想到任何一种流行音乐流派，并考虑它是如何演变的，一般都能以某种方式追溯到布鲁斯音乐。不同的文化以不同的方式划分八度音程（如果你深入研究印度音乐，就会发现音阶中的音符远不止 12 个），尽管蓝调很可能是在美国发展起来的，但它所使用的音符基本上来自非洲民间音乐，在这种音乐形式中，被认为听起来 "合拍 "的音符并不一定与钢琴键盘上的音符音高相同。因此，我们传统的音乐理论很可能会对蓝调乐曲进行剖析，并得出结论说它们是由小五声音阶构成的，但这只是对事实的一种近似描述。最初，在我们西方化的音阶版本中，平三度听起来会比现在稍尖一些，而五度则会稍扁一些。
You can hint at the sound of the original flat third by bending the thirds in the pentatonic scale shapes ever so slightly sharp. If you play through some minor pentatonic shapes, squeezing all the flat thirds slightly sharp (no more than a quarter of a tone. please!), you’ll find that the results instantly sound bluesier and somehow more authentic. (When you’re trying this out, pay particular attention to the end of each flat third note - it has to be cut off while it’s still slightly bent, or the whole effect will be spoiled.) 你可以通过将五声音阶形状中的三度音略微调尖来暗示原始的平三度音色。如果你在弹奏一些小五声音阶时，将所有的平三度音略微调尖（请不要超过四分之一个音！），你会发现结果立刻听起来更蓝调、更真实。(在尝试时，要特别注意每个平三度音符的末尾--必须在它还略微弯曲的时候将其切断，否则整个效果就会被破坏）。
So there you go. The bluesiest-sounding thirds are actually somewhere between the ‘correct’ minor and major thirds available to us on the fretboard. In addition, it’s probably safe to say that they’ll be closer to the major third in a dominant blues and closer to the minor third in a minor blues. 原来如此。蓝调中最动听的三度实际上介于指板上 "正确 "的小三度和大三度之间。此外，可以肯定的是，在主音布鲁斯中，它们更接近大三度，而在小调布鲁斯中，则更接近小三度。
The bending solution is one way of hinting at this major/minor ambiguity, while the aforementioned idea of combining the major and minor pentatonic scales achieves similar results, as it means that you can swap between the flat third and the regular third, with the ‘average’ of these thirds perceived as being somewhere in between the two. This tactic is best reserved for dominant blues progressions - if you’re playing over a straight minor chord, the major pentatonic will sound incongruously happy (ie ‘wrong’), but if you’re playing over a seventh chord, both the major and minor pentatonics are worth a try. 弯音是暗示这种主/次模糊性的一种方法，而前面提到的将大五声音阶和小五声音阶结合起来的想法也能达到类似的效果，因为这意味着你可以在平三度和正三度之间交换，而这些三度的 "平均值 "被认为介于两者之间。这种方法最适用于主音蓝调的进行--如果你在一个直板小和弦上演奏，大五声音阶听起来会不协调地让人高兴（即 "错误"），但如果你在一个七和弦上演奏，大五声音阶和小五声音阶都值得一试。
NB: As a general rule, it’s best to stick with one kind of third per phrase. If you simply overlap the notes, you end up with this scale formula… 注：一般来说，每个乐句最好使用一种三度。如果只是简单地将音符重叠，就会出现这样的音阶公式...
… and this can lead to ‘option anxiety’ - with so many notes to choose from, your licks run the risk of losing that distinctive pentatonic texture. (On the other hand. that might be just the effect you’ve been looking for. A lot of Paul Gilbert’s zanier blues licks draw on this combination of scales, for instance.) ......这可能会导致 "选择焦虑"--有如此多的音符可供选择，你的演奏有可能失去独特的五声音阶质感。(另一方面，这可能正是你一直在寻找的效果。例如，保罗-吉尔伯特（Paul Gilbert）的许多狂野蓝调抒情乐曲就采用了这种音阶组合）。
Bear in mind once again that these ideas won’t work equally well over every chord in your average blues progression, so you have to let your ears be the judge of these things. In an A dominant blues, the chords are constructed as follows… 请再次牢记，这些想法并不能同样适用于一般蓝调进行中的每一个和弦，因此你必须用自己的耳朵来判断。在 A 主和弦蓝调中，和弦的结构如下...
A7: A C: E G A7： A C： E G
D7: D F: A C D7：D F：A C E7:EE 7: E G: B D E7:EE 7: E G: B D
… and, as we have seen, the relevant pentatonic scales contain the following notes: ......正如我们所见，相关的五声音阶包含以下音符： {:[" A minor pentatonic: ",A,C,D,E,G],[" A major pentatonic: ",A,B,C:,E,F]:}\begin{array}{llllll}\text { A minor pentatonic: } & A & C & D & E & G \\ \text { A major pentatonic: } & A & B & C: & E & F\end{array}
If you assess the merits of each of these scales over each chord in turn, you might well conclude the following: 如果你依次评估这些音阶在每个和弦上的优劣，你很可能会得出以下结论：
Over A7, both pentatonics work very nicely, especially if you remember to wring that microtonal bluesiness out of the C in the minor pentatonic by bending it slightly sharp. 在 A7 上，这两个五声音阶都能很好地演奏，尤其是如果你记得将小五声音阶中的 C 调稍稍变尖，从而从微调蓝调中榨取出来的话。
Over D7, the A minor pentatonic works very well, although you might find the sound of the G a little tense since it’s so frustratingly close to the FF in the chord (and for this reason it’s best used in passing, methinks). The A major pentatonic can also be used, but you’d be well advised to avoid the Cl altogether as it conflicts horribly with the CC in the chord. 在 D7 上，A 小五声部的效果非常好，不过你可能会觉得 G 音有点紧张，因为它与和弦中的 FF 非常接近，令人沮丧（因此，我认为最好顺便使用它）。也可以使用 A 大调五声音阶，但最好不要使用 Cl，因为它与和弦中的 CC 非常冲突。
Over E7, the A minor pentatonic works, by and large, but you’ll find the C a little tense (there’s a BB in the chord, which is perhaps a little too close 在 E7 上，A 小五音大体上可以奏效，但你会发现 C 调有点紧张（和弦中有一个 BB 音，可能有点太近了）。
for comfort) and you might well feel the urge to bend the G slightly sharp. (Look at the notes in the E7 chord. Can you see why bending the G would work?) The A major pentatonic is less successful over this chord of V as the C and A are perilously close to E7 chord tones and the F: sounds a little random. 为了舒适），你很可能会有将 G 音稍微调尖的冲动。(看看 E7 和弦中的音符。你能明白为什么弯 G 音可以奏效吗？）A 大调五音在 V 这个和弦上的表现就没那么成功了，因为 C 和 A 非常接近 E7 和弦的音色，而 F 听起来有点随意。
Don’t worry about the cold, scientific nature of the last few pages. I know that this isn’t exactly the most enjoyable way of approaching playing the blues, but it demonstrates some general principles that will help you to select the best scales for any chord progression. I picked the blues as a reference point purely because it’s so familiar. Now, let’s take a break from this blues by numbers and take a more in-depth look at chords. 不用担心最后几页的冷冰冰的科学性质。我知道这并不是演奏蓝调最令人愉快的方法，但它展示了一些一般原则，可以帮助你为任何和弦进行选择最佳音阶。我选择蓝调作为参考点，纯粹是因为它太熟悉了。现在，让我们从数字蓝调中抽离出来，更深入地了解和弦。
Seventh Chords 七和弦
You might have been a little confused earlier when I informed you that the chord of A7 contained the notes A,CA, C, E and GG but made no attempt to explain why this should be so. 当我告诉您 A7 的和弦包含 A,CA, C 、E 和 GG 三个音符时，您可能有点困惑，但我并没有试图解释为什么会这样。
OK, here’s the deal. To construct a major triad, the first, third and fifth notes of the major scale were isolated, and by moving them up diatonically, two other types of triad were found, the minor and diminished. The logical extension of this idea is to start with the first, third, fifth and seventh of the scale and to move this aptly named seventh chord up through the scale, as before. This is what happens: 好吧，是这样的。为了构建大三和弦，大调音阶的第一、第三和第五个音被分离出来，通过将它们向上移动，我们发现了另外两种类型的三和弦，即小三和弦和减三和弦。这一想法的逻辑延伸就是从音阶的第一、第三、第五和第七音开始，并像之前一样通过音阶向上移动这个恰如其分的第七和弦。结果就是这样：
Example 4.37 例 4.37
Not the easiest of fingerings, I know, but in theory terms these are the simplest versions of the various seventh 我知道这不是最简单的指法，但从理论上讲，这些是各种七和弦的最简单版本。
chords. You’ll note that there are now four different kinds of chord. Here’s how their formulae compare: 和弦。您会发现，现在有四种不同的和弦。下面是它们的计算公式比较：
Example 4.38 例 4.38
You could generalise this pattern of chords as follows: 您可以将这种和弦模式概括如下：
1 (maj7) ii (min7) iii (min7) IV(maj7) V7 vi (min7) vii (min7b5) 1 (maj7) ii (min7) iii (min7) IV (maj7) V7 vi (min7) vii (min7b5)
Just as each type of triad had its own distinctive sound, so do the various seventh chords: 正如每种三和弦都有其独特的音色一样，各种七和弦也是如此：
Major-seventh chords have a sweet, ‘cheesy’ sound, as used extensively in Hollywood soundtracks whenever lurve creeps into the plot. C maj 7 contains the notes C,E,G\mathrm{C}, \mathrm{E}, \mathrm{G} and B , so you might expect the BB and CC to conflict with each other (they’re only a semitone apart), but as it turns out, these chords sound very pleasant. 大七和弦有一种甜美、"俗气 "的声音，在好莱坞的电影配乐中，每当爱情悄悄进入剧情时，这种声音就会被广泛使用。C 大七和弦包含 C,E,G\mathrm{C}, \mathrm{E}, \mathrm{G} 和 B 音，因此您可能会认为 BB 和 CC 会相互冲突（它们只相差一个半音），但事实证明，这些和弦听起来非常悦耳。
Dominant-seventh chords are the ones normally referred to as plain ‘seventh chords’. They sound relatively happy (as you would expect - there’s a major triad in there, after all), but they also have a slight tension about them, as if they’re pulling you towards a major chord a fourth higher. If you look at the gap between the third and the flat seventh, you’ll be able to see where this tension comes from. 主七和弦通常被称为普通的 "七和弦"。它们听起来相对欢快（正如你所想的那样--毕竟有一个大三和弦在里面），但它们也有一种轻微的紧张感，好像在把你拉向更高一个四度的大和弦。如果你观察一下三度和弦和平七度和弦之间的空隙，就会发现这种紧张感的来源。
Minor-seventh chords basically offer you a slightly more jazzy and sophisticated version of the sad quality found in minor triads. They sound relatively stable, so you could jam over one for hours without fear of reproach. 小七和弦基本上是将小三和弦的悲伤特质稍加爵士化和复杂化。小七和弦的音色相对稳定，因此你可以在其中演奏数小时而不必担心受到指责。
Half-diminished chords (m7b5) are certainly the least common of the seventh chords looked at so far. They sound more tense than dominant chords, but the two chord types are similar in the sense that they both contain a tension that seems to pull you towards a chord a fourth higher up. 半减和弦（m7b5）无疑是迄今为止最不常见的七和弦。它们听起来比主和弦更紧张，但这两种和弦的相似之处在于，它们都包含着一种紧张感，似乎要把你拉向更高一个四度的和弦。
You should try these chords out, but first we’re going to have to do something about those fingerings! Examples 4.37 and 4.38 were almost unplayable, so over the page are some less painful fingerings based around the CAGED system. Note how they compare with the standard triad-based shapes shown earlier. 您应该尝试一下这些和弦，但首先我们要对这些指法做一些处理！示例 4.37 和 4.38 几乎无法弹奏，因此在这一页上有一些基于 CAGED 系统的不太痛苦的指法。请注意它们与前面展示的基于三和弦的标准指法的比较。
To get a feel for how you might apply these chords in a playing situation, I would recommend taking the following progression (spending one bar on each chord) and playing the whole thing in various parts of the neck, as here: 要想了解如何在演奏中运用这些和弦，我建议您将下面的进行曲（每个和弦用一小节的时间）在琴颈的不同部位演奏，如图所示：
This should give you a feel for the sounds of these chord voicings. In essence, the progression uses all of the chords from Example 4.37 rearranged in a cycle of diatonic fourths. Try the whole thing in a few different keys for a bit of extra practice. 这应该能让你感受到这些和弦的音色。从本质上讲，这个进行使用了例 4.37 中的所有和弦，并以四度二音循环的形式重新编排。多用几个不同的调来练习。
This chord progression might remind you of the cry-in-your-beer ballad formula you hear roughly once every Gary Moore album, while if you chop off the last bar of Am7 from the end and stick it at the beginning you’ll nearly get the middle section from Ozzy Osbourne’s ‘Mr Crowley’ or perhaps the disco classic ‘I Will Survive’. 这种和弦进行可能会让你想起加里-摩尔（Gary Moore）每张专辑中都会出现的 "在啤酒中哭泣的民谣"，而如果把最后一小节的Am7和弦从结尾处切掉，放在开头，你几乎就能听到奥兹-奥斯本（Ozzy Osbourne）的《克劳利先生》（Mr Crowley）或迪斯科经典《我将生存》（I Will Survive）的中间部分。
Working from these reference points, you might be unconvinced by the sound of the Em7 and you could make a good case for using an E7 chord there instead. In technical terms, this is because the whole chord progression is a long, convoluted way of getting to the key of the song - A minor - and it would be nice to have a little extra tension leading up to this last chord, just to make sure the listener appreciates it when it finally comes. Creative Guitar 2 looks at melodic and harmonic minor scales and you’ll meet some scales which were designed purely so that you could do this without breaking any rules, but in the meantime you should probably stick with the diatonic chords produced by the major scale. 从这些参考点出发，你可能会对 Em7 的音色不以为然，因此你有理由用 E7 来代替它。从技术角度讲，这是因为整个和弦进行是以一种冗长、曲折的方式到达歌曲的调性--A 小调--而在最后一个和弦之前，最好能有一点额外的张力，以确保当它最终到来时，听众能欣赏到它。创意吉他 2》将介绍旋律小调音阶和和声小调音阶，您会遇到一些音阶，这些音阶的设计纯粹是为了让您可以在不违反任何规则的情况下演奏这些音阶，但在此期间，您可能应该坚持使用大调音阶产生的二度和弦。
Arpeggios 琶音
Lots of homework in this section! The following examples demonstrate some arpeggio shapes for the various types of chord looked at so far. Basically, these represent all of the available chord tones for each part of the neck in turn. The CAGED chord shapes listed earlier featured a good selection of chord tones, but now the notes are being used in a melodic context - ie one note at a time - so you don’t have to hold down any chord shapes and thus miss out any notes. 本节有很多作业！下面的示例演示了目前所学的各种和弦类型的琶音形状。基本上，这些音型依次代表了琴颈各部分所有可用的和弦音。前面列出的 CAGED 和弦音型包含了大量的和弦音，但现在这些音符是在旋律的背景下使用的，即一次使用一个音符，因此你不必按住任何和弦音型而遗漏任何音符。
Wherever your hand may find itself, there’s an arpeggio shape less than a couple of frets away for any triad or seventh chord over which you might have to play, so it’s well worth spending a few minutes every day familiarising yourself with these shapes. (Bear in mind, as always, that you really have to learn the root notes in these shapes before they’ll be of any practical use to you.) 无论你的手在哪里，在你可能需要演奏的任何三和弦或七和弦上，不到几个五音格就有一个琶音的音型，所以每天花几分钟熟悉这些音型是非常值得的。(请记住，你必须先学会这些音型的根音，然后它们才会对你有实际用处）。
NB: You may disagree with some of the fingering listed here. Perhaps you’ve already encountered some slightly different versions of these shapes. (For instance, you might prefer to play the secondlowest note from the first major-triad arpeggio shape on the low E string, four frets above the root, and duplicate this note on the high Estring for a bit of extra range.) This is absolutely fine -1 won’t be offended! Trying to find alternative fingerings can 注：您可能不同意此处列出的某些指法。也许您已经接触过这些音型的一些略有不同的版本。(例如，您可能更喜欢在低音 E 弦上演奏第一个大三度琶音的次低音，即根音上方四格，然后在高音 E 弦上重复演奏这个音，以增加音域）。这样做绝对没问题，-1 不会被冒犯！尝试其他指法可以
Example 4.46: Minor-seventh arpeggios 例 4.46：小七和弦琶音
Example 4.47: Dominant-seventh arpeggios 例 4.47：主音七和弦琶音
Example 4.48: Min7,5 arpeggios 例 4.48：最小 7、5 级琶音
only serve to improve your knowledge of the fretboard, and any shape is valid as long as it keeps your fretting hand in one area of the neck and uses all your fingers efficiently. 只要能让你的指法手保持在琴颈的一个区域，并有效地使用你的所有手指，任何形状都是有效的。
Those of you who are less pedantic shouldn’t worry, however - in my experience, the shapes in Examples 4.43-4.48 normally work well, and they’ll certainly serve as good starting points for your first forays into arpeggio playing. 不过，那些不那么迂腐的人也不用担心，根据我的经验，例 4.43-4.48 中的音型通常都很好用，它们肯定会成为你初学琶音演奏的良好起点。
So how can you use these shapes in a real-life playing situation? Well, I think they’ll start to creep into your playing naturally as you get to know them better - after a while, you’ll begin to develop a feel for where the arpeggio notes are within whatever scale shape you’re using, and having this instinctive awareness of the locations of the best notes will make you more confident in your improvisation. In addition, these shapes will bale you out if you’re confronted with an awkward chord change at short notice. You could deal with a situation like this by first visualising the accessible CAGED shapes for each chord, building up the whole arpeggio shape around that framework and finally (if there’s time!) filling in the gaps to form a whole scale. Training yourself to deal with chords in this way means that you can access all the information you need in the most practical order - important notes first, then the more decorative ones. 那么如何在实际演奏中使用这些音型呢？我认为，随着你对这些音型的深入了解，它们会自然而然地渗透到你的演奏中--一段时间后，你会开始感觉到无论你使用什么音阶形，琶音都在什么位置，而这种对最佳音符位置的本能意识会让你在即兴演奏中更加自信。此外，如果你在短时间内遇到和弦变化的难题，这些音型也能帮你解决。在处理这种情况时，你可以先想象出每个和弦可以使用的 CAGED 音型，然后在此框架内建立起整个琶音音型，最后（如果有时间的话！）填补空白，形成一个完整的音阶。训练自己以这种方式处理和弦，意味着你可以按照最实用的顺序获取所需的所有信息--先是重要的音符，然后是装饰音。
In short, trust me - these shapes are worthwhile, so don’t skim over them. 总之，请相信我--这些形状很有价值，所以不要略过它们。
The Relative Minor 相对未成年人
That last section was a lot of work, I know, so let’s go back to the blues for a bit of light(er) relief, 我知道，最后一部分很费劲，所以让我们回到蓝调中去，轻松一下、
Harking back to the A minor blues progression found in the section covering ‘The Minor Pentatonic Scale’, you’ll remember the following: 回想 "小五声音阶 "一节中的 A 小调蓝调进行，你会记得以下内容：
The chord of AA minor contains the notes A,CA, C and EE 小调 AA 的和弦包含 A,CA, C 和 EE 两个音符。
The chord of D minor contains the notes D, F and A D 小调和弦包含 D、F 和 A 音
The chord of E minor contains the notes E,G\mathrm{E}, \mathrm{G} and B E 小调和弦包含音符 E,G\mathrm{E}, \mathrm{G} 和 B
If you pool all of these notes together and attempt to put them in order, you get the following A minor scale: 如果将所有这些音符集中在一起，并尝试按顺序排列，就会得到下面的 A 小调音阶：
{:[1,2,b3,4,5,b6,b7],[A,B,C,D,E,F,G]:}\begin{array}{ccccccc}
1 & 2 & b 3 & 4 & 5 & b 6 & b 7 \\
A & B & C & D & E & F & G
\end{array}
This scale comprises all of the notes from the A minor pentatonic along with two others, the second and the flat sixth. When compared to the minor pentatonic, this scale offers a broader tonal palette and enables you to hit every possible chord tone implied by the progression. From a blues-playing perspective, however, it’s probably best to start out using the by now hopefully familiar pentatonic shapes as templates for these new fingerings, treating the extra notes as optional ‘twiddly’ notes. This will certainly help you to learn the following shapes more efficiently: 这个音阶包含了 A 小五声部的所有音符以及另外两个音符，即二度和平六度。与小五度音阶相比，该音阶的音色范围更广，能让您演奏出进行中可能出现的所有和弦音。不过，从蓝调演奏的角度来看，最好一开始就使用现在已经非常熟悉的五声音阶作为这些新指法的模板，将额外的音符视为可选的 "twiddly "音符。这肯定会帮助你更有效地学习下面的音型：
Example 4.49 例 4.49
Scales And Chords 音阶与和弦
In Example 4.49, I’ve shown the five minor pentatonic shapes using the usual white-dots/black-dots system, while the extra notes borrowed from the chord progression are indicated with triangles. This scale is known as the natural minor, and you might well have noticed that it contains the same notes as the C major scale shown earlier. Yes, it’s that relative-minor principle again! Just as C major pentatonic contains the same notes as A minor pentatonic, the C major and A natural minor scales are also linked. The root notes and chord tones might be different for each, but the fingerings are identical. In other words, if you needed an Eb natural minor scale fingering in a hurry, you could simply take an Eb major scale shape, move it up three frets and try to hit the note Eb a lot. 在例 4.49 中，我用通常的白点/黑点系统显示了五个小五和弦的音型，而从和弦进行中借用的额外音符则用三角形表示。这个音阶被称为自然小调，您可能已经注意到，它与前面展示的 C 大调音阶包含相同的音符。没错，又是相对小调原则！正如 C 大调五声音阶与 A 小调五声音阶包含相同的音符一样，C 大调音阶与 A 自然小调音阶也是相通的。两种音阶的根音和和弦音可能不同，但指法是相同的。换句话说，如果您急需降E自然小调音阶的指法，您只需将降E大调音阶的音型上移三个音格，然后尝试多弹降E音即可。
Here’s how this scale applies to the classic I - IV -V-V progression: 以下是该音阶在经典的 I - IV -V-V 进行中的应用：
Over A minor, the notes of A,CA, C and EE sound perfect because they’re actually contained in the chord, making them good notes to land on at the end of a phrase, The other two notes of pentatonic origin, D and GG, sound a little less stable - in a question-andanswer phrase you could probably end the question on a D, but you’d most likely want to end the answer on a chord tone in order to resolve the tension. 在 A 小调中， A,CA, C 和 EE 这两个音听起来非常完美，因为它们实际上包含在和弦中，是乐句结尾的好音色。
This leaves the two specifically Aeolian notes. You’ll find that the FF is only a semitone away from a perfectly good chord tone, so it almost sounds wrong if milked excessively. The B, on the other hand, has a sweeter quality about it - you could use it to add a jazzy flavour to an otherwise conventional blues lick, as you’ll hear in the playing of Gary Moore, Carlos Santana and Eric Johnson, amongst others. 这样就剩下两个专门的伊奥利音了。你会发现， FF 与一个完美的和弦音只差一个半音，因此如果过度使用，听起来几乎是错误的。另一方面，B音的音质更为甜美--您可以用它为传统的蓝调小调增添爵士风味，正如您在加里-摩尔（Gary Moore）、卡洛斯-桑塔纳（Carlos Santana）和埃里克-约翰逊（Eric Johnson）等人的演奏中听到的那样。
Over D minor, it’s a different story - F and D have never sounded so good. B still has that colourful jazzy quality, but now it’s joined by E . The note most worth avoiding is now G… 在 D 小调上，情况就不同了--F 和 D 的音色从未如此美妙。B 仍然具有丰富多彩的爵士风格，但现在 E 也加入了进来。现在最值得避免的音符是 G...
… but check out how GG redeems itself over EE minor, the chord of V . ......但看看 GG 是如何在 EE 小调（V 的和弦）上实现自我救赎的。
As before, your guiding principle is always to listen to the chord over which you’re playing. 和以前一样，你的指导原则始终是聆听你正在演奏的和弦。
Using a scale like this can really open up some new avenues to explore in your blues licks, but bear in mind that, over any particular chord, a seven-note scale contains a higher proportion of ‘bad’ notes than you would get from a humble pentatonic, so be careful! 使用这样的音阶确实可以为你的布鲁斯乐段开辟一些新的探索途径，但要注意的是，在任何特定和弦上，七音音阶所包含的 "坏 "音比例都要高于简陋的五声音阶，因此一定要小心！
Modes 模式
This next section shows how you can generate the notes of a natural-minor scale by taking a major scale and treating its sixth note as the root. This means that the same family of chords are common to both - ie both the C major scale and the A natural-minor scale give rise to the chords Cmaj7, Dm7, Em7. Fmaj7, G7, Am7 and Bm7b5. The only difference is that the notes would act as a C major scale if the key of the song was C major and as an A natural minor scale if the key of the song was - you guessed it A minor. 下一节将介绍如何通过将大调音阶的第六个音作为根音来生成自然小调音阶的音符。这意味着这两种音阶都有相同的和弦--即 C 大调音阶和 A 自然小调音阶都能产生 Cmaj7、Dm7、Em7、Fmaj7、G7、Am7 和 Bm7b5 等和弦。Fmaj7、G7、Am7 和 Bm7b5。唯一的区别是，如果歌曲的调性是 C 大调，这些音符将作为 C 大调音阶；如果歌曲的调性是 A 小调，这些音符将作为 A 自然小调音阶。
As it turns out, you can treat any one of the seven notes in a major scale as the root note, and this brings us into the much-feared territory of modes. I’ve met many players who struggle with the concept of modes, but there really isn’t anything to get worried about. 事实证明，你可以把大调音阶中七个音符中的任何一个当作根音，这就把我们带入了备受恐惧的模态领域。我遇到过很多对模态概念感到困惑的演奏者，但其实没有什么好担心的。
Look at it this way: you already know that you can make a natural-minor scale in any key by taking a major scale three frets higher up from its root and starting from its sixth note. All you’re doing now is seeing what happens when you start from the other notes of the scale. Just as the major scale sounded happy and the relative minor sounded sad, so each of these modes has its own distinctive mood. (It’s no coincidence that the words mood and mode sound so similar!! 这样来看：你已经知道，从根音往上移三个音格的大调音阶，从其第六个音开始，就能在任何调性中演奏出自然小调音阶。现在你要做的就是看看从音阶的其他音开始会发生什么。正如大调音阶听起来欢快，而相对小调听起来悲伤一样，这些调式都有自己独特的情绪。(心情和调式这两个词听起来如此相似，绝非巧合！）！
Let’s get the scary part out of the way now. Example 4.50 over the page shows you all seven modes of a C major scale, complete with their confusing Greek names. Don’t be put off by the names - you’ll get used to them. You’ll notice immediately that the lonian mode is the common-orgarden major scale and that the Aeolian mode is the natural minor, so this leaves five unfamiliar modes to explore. To get some idea of where to use these modes, take a look at how the formula of each compares to the benchmark major scale: 现在让我们把可怕的部分说出来。上页的例 4.50 向您展示了 C 大调音阶的所有七个调式，以及它们令人困惑的希腊文名称。不要被这些名字吓到，你会习惯的。你会立刻注意到，长音调式是普通园形大调音阶，埃奥利音阶是自然小调，因此还有五个陌生的调式需要探索。为了了解这些调式的用法，请看一下每个调式的计算公式与基准大调音阶的比较：
If you look at the first, third, fifth and seventh in each mode, you’ll see why I’ve included those bracketed seventh chords. Each mode basically contains four chord tones you already know plus three extra notes. In order to attain a complete understanding of any mode, your ear only needs to learn the sound of these extra notes, because (hopefully) you’re already familar with the sounds of the four notes in the appropriate seventh chord. Or, to look at it another way, the Dorian, Phrygian and Aeolian are all minor modes, although the second, fourth and sixth of each imparts a unique flavour, so that they all sound sad in slightly different ways. 如果你看看每个调式中的第一、三、五、七和弦，你就会明白我为什么要把这些七和弦放在括号里。每个调式基本上都包含四个你已经知道的和弦音，外加三个额外的音符。为了达到对任何调式的完整理解，你的耳朵只需要学习这些额外音符的音色，因为（希望）你已经熟悉了相应七和弦中四个音符的音色。或者，换个角度来看，多里安调、弗里吉亚调和埃奥利安调都是小调式，但每种调式的第二、第四和第六音符都有独特的味道，因此它们听起来都略有不同。
In Example 4.51 on the next page are some fingerings for those three minor modes. You’ll notice that these modes not only contain the same first, flat third, fifth and flat seventh but that they also share the same fourth, so all of the flavouring lies in what kind of second and sixth you use. I’ve notated these here as triangles. If you take out the triangular notes, you’re left with our old friend the minor pentatonic. 下一页的例 4.51 是这三种小调式的一些指法。您会发现这些调式不仅包含相同的第一音、平三度、第五音和平七度，还包含相同的第四音，因此所有的变化都在于您使用什么样的第二音和第六音。我在这里将这些音符记为三角形。如果去掉三角形音符，剩下的就是我们的老朋友小五声了。
Approaching modes like this not only reduces the amount of learning you need to do but also allows you 这样处理模式不仅可以减少你需要学习的内容，还可以让你
to control exactly how ‘modal’ your licks sound. If, for instance, you wanted to sound particularly Dorian over a minor chord, you could add liberal doses of the second and sixth to your blues licks; if you decided that the results were starting to sound a little too clever, you could rectify the situation by using those colourful notes a little less and placing more emphasis on the basic pentatonic notes. 来控制你的 "调式 "音色。例如，如果你想在小和弦上演奏出多利亚调式的音色，你可以在蓝调舔奏中加入大量的二度和六度音；如果你觉得效果听起来有点过于巧妙，你可以减少使用这些多彩的音符，而更多地强调基本的五度音。
Incidentally, I’ve been describing the moods of the Ionian and Aeolian modes as happy and sad respectively, although you might well prefer to think of the modes in terms of how dark or bright they sound. The more flat notes there are in the formula of a mode, the darker it sounds, so you could arrange all of the modes in this order, starting at the bright end of this mood spectrum and working down: 顺便提一下，我一直把爱奥尼亚调式和埃奥利安调式的情绪分别描述为快乐和悲伤，不过你可能更愿意从声音的阴暗或明亮的角度来考虑这些调式。调式中的平音越多，音色就越暗淡，所以你可以按照这个顺序排列所有调式，从音色明亮的一端开始，依次向下排列：
Personally, I think that you can place more emphasis on the ‘extra’ notes when you’re using the brightersounding modes - they tend to keep a more respectful distance from the chord tones, so you’re less likely to chance upon an ‘avoid note’. 我个人认为，在使用明亮音色模式时，您可以更加重视 "额外 "的音符--它们往往会与和弦音保持更远的距离，因此您不太可能碰上 "回避音符"。
If you try the three minor modes out over a minor- 如果在小调上尝试三种小调模式
5
seventh chord, you’ll probably conclude that the Dorian sounds relatively cheerful for a minor mode, with jazzy overtones and perhaps a hint of Santana. The Aeolian, meanwhile, is a little more heavy metal -more Iron Maiden than Miles Davis, methinks! The Phrygian sounds menacingly dark - some people think it sounds Spanish, while others hear the potential for thrash metal riffery therein because of that evil clash between the root and the flat second. (i think that the flat second is the most distinctive note in the Phrygian mode, while the sixth is quintessentially Dorian.) The Aeolian is recognisable because it doesn’t contain either of these notes - I hear it as something of a neutral minor mode, the most normal-sounding mode of the three. 你可能会得出这样的结论：对于小调式来说，多里安调听起来比较欢快，带有爵士乐的色彩，或许还有一丝桑塔纳的味道。与此同时，爱奥利音阶则略带重金属风格--比迈尔斯-戴维斯（Miles Davis）更像铁娘子（Iron Maiden）！弗里吉亚音听起来阴森恐怖--有些人认为它听起来像西班牙音，而另一些人则认为，由于根音和平二度之间的邪恶冲突，弗里吉亚音很有可能成为重金属乐曲。(我认为平二度是弗里吉亚调式中最独特的音符，而六度则是典型的多里安调式）。埃奥利安调式之所以容易辨认，是因为它不包含这两个音--我认为它是一种中性小调，是三种调式中听起来最正常的调式。
If you want to treat the major modes in the same way, you have to start with a major pentatonic framework. This, as you’ll recall, comprises the first, second, third, fifth and sixth, so the interesting stuff happens around the fourth and the seventh. Example 4.52 elaborates on this. 如果你想用同样的方法来处理大调式，就必须从大五声框架开始。正如你所记得的，这个框架由第一、第二、第三、第五和第六音组成，因此有趣的东西都发生在第四和第七音附近。例 4.52 详细说明了这一点。
As with the minor modes, I’ve arranged these major modes in order of brightness. Try them out over a standard major triad. You’ll probably agree that the Lydian sounds spacey, dreamy and Vai-esque indeed, most Steve Vai albums feature an extended E Lydian improvisation at one point or another, and you might use Joes Satriani’s ‘Flying In A Blue Dream’ as another reference point, or indeed the verse section from The Police’s very splendid ‘Every Little Thing She Does Is Magic’. 与小调式一样，我将这些大调式按明度顺序排列。在标准大三和弦上试试它们。史蒂夫-韦伊（Steve Vai）的大多数专辑中都或多或少地出现过一段延长的 E Lydian 即兴演奏，你可能会同意 Lydian 调听起来太空、梦幻，具有韦伊风格，你也可以将乔斯-萨特里亚尼（Joes Satriani）的《Flying In A Blue Dream》作为另一个参考点，或者将警察乐队（The Police）非常出色的《Every Little Thing She Does Is Magic》中的诗句部分作为参考。
The Ionian needs no introduction - we’ve been hearing it annually in the form of ‘Happy Birthday’. ‘Good King Wenceslas’ and other such party favourites. It has a cheerful, almost childilike quality about it, but it lacks the dreaminess of the Lydian mode. 爱奥尼亚语无需多言--我们每年都能听到它以 "生日快乐 "的形式出现。好国王温塞斯拉斯 "以及其他类似的派对曲目。它有一种欢快的、近乎孩子气的特质，但它缺乏吕底亚调式的梦幻感。
The Mixolydian will remind you of riffs like ‘Oh Pretty Woman’ and ‘I Feel Fine’. Helpfully, it’s the only mode of the major scale that works over a dominantseventh chord, so you’ll instinctively gravitate towards it in all dominant-seventh situations. Just as the Aeolian sounds the most normal of the minor modes, so the Ionian sounds like the most familiar major mode. 密克利迪式会让你想起 "Oh Pretty Woman "和 "I Feel Fine "等旋律。值得庆幸的是，它是大调音阶中唯一能在主七和弦上使用的调式，因此在所有主七和弦的情况下，你都会本能地倾向于它。正如爱奥尼亚调式是小调中最普通的调式一样，爱奥尼亚调式也是人们最熟悉的大调式。
There’s one mode we haven’t covered yet: the Locrian. This only works over minor-seventh flath-fifth 还有一种模式我们尚未涉及：洛克里安模式。它只适用于小七度-五度笛音
chords (m7b5), which sound so tense that chord progressions tend to feature them only in passing rather than making them the tonal centre of the harmony. You can find a Locrian mode by taking the major-scale fingering, moving it up a fret and treating the seventh as the root. Compare Example 4.53 below with the Ionian shapes in Example 4.52: 七和弦（m7b5），听起来非常紧张，因此和弦进行往往只是顺带出现，而不是将其作为和声的调性中心。将大调音阶的指法上移一格，并将七和弦作为根音，就能找到洛克里安调式。比较下面的例 4.53 和例 4.52 中的爱奥尼亚调式：
Example 4.53 例 4.53
Locrian
2
3
4
5
Yuk! This is nobody’s favourite mode! However, that’s not to say you’ll never use it, For instance, take the following chord progression: Yuk！这不是任何人都喜欢的模式！不过，这并不是说你永远不会用到它，例如，下面的和弦进行：
Bm 765 Em 7 Am 7
You could use an A Aeolian fingering over all three of these chords, but technically the notes of this scale would act as B Locrian, E Phrygian and A Aeolian over the various chords in turn. Note how the Locrian notes sound fine over Bm 765 in this context. Bear in mind, though, that if you were to jam over that one chord for 64 bars solid, you’d be hard pressed to make it sound good! 您可以在这三个和弦上使用 A Aeolian 指法，但从技术上讲，这个音阶的音符在不同的和弦上依次表现为 B Locrian、E Phrygian 和 A Aeolian。请注意，在这种情况下，洛克里安音在 Bm 765 上听起来很好。不过，请记住，如果你在这一个和弦上连续演奏 64 个小节，你很难让它听起来很好！
The most common question I encounter with regard to this whole modal business is ‘How do I know which mode to use?’. Let me answer that with two sample scenarios: 关于整个模式业务，我遇到的最常见问题是 "我如何知道使用哪种模式？让我用两个示例来回答这个问题：
You might be playing over a single chord of A minor. In this case, you could try any of the minor modes without fear of contradicting the notes in the chord - you might plump for the Dorian if you wanted a jazzy vibe, the Phrygian if you wanted more of a brooding, ethnic feel and the Aeolian if you weren’t sure. Some books will tell you that it’s OK to mix up various modes over a single chord, and technically this is true (check out Frank Zappa’s Shut Up And Play Yer Guitar for examples of this). but it’s best to stick with one at a time while you’re learning the different sounds of the modes or you’ll run the risk of sounding like you don’t know what you’re doing. 你可能会在 A 小调的单和弦上演奏。在这种情况下，你可以尝试任何一种小调式，而不必担心与和弦中的音符相抵触--如果你想要爵士风格，你可以选择多里安调式；如果你想要更多的忧郁、民族风，你可以选择弗里吉亚调式；如果你不确定，你可以选择伊奥利亚调式。有些书会告诉你，在一个和弦上混合使用不同的调式是可以的，从技术上讲这是对的，（请参考弗兰克-扎帕的《闭嘴，弹你的吉他》中的例子）但在学习不同调式的音色时，最好一次只用一种调式，否则就有可能让人觉得你不知道自己在做什么。
If you were jamming over an Am7-Bm7 progression, you’d have to use Dorian. You could establish this by pooling the notes of the two chords together and listening to how they functioned when you looked at them in the key of A minor. The Am7 chord obviously gives you the notes A,C,E\mathrm{A}, \mathrm{C}, \mathrm{E} and G(1,b3,5,b7)\mathrm{G}(1, b 3,5, b 7) and the Bm 7 adds the notes B, D, Fi and A(2,4,6A(2,4,6 and 1 relative to A). You’ll spot the distinctive Dorian formula here… 如果您在练习 Am7-Bm7 进行时，就必须使用多音和弦。您可以将这两个和弦的音符集中在一起，听一听它们在 A 小调中的功能。显然，Am7 和弦提供了 A,C,E\mathrm{A}, \mathrm{C}, \mathrm{E} 和 G(1,b3,5,b7)\mathrm{G}(1, b 3,5, b 7) 两个音符，而 Bm7 增加了 B、D、Fi 和 A(2,4,6A(2,4,6 以及相对于 A 的 1 个音符。）您会发现这里有独特的多利安式...
If your chord progression went from Am 7 to Bm7b5, you’d have an Fin your note pool rather 如果你的和弦进行从 Am 7 到 Bm7b5，那么你的音符库中就会出现一个 "Fin"，而不是 "Am"。
than the Fk you had previously. This is a flat sixth relative to AA, so the Aeolian would suggest itself. 而不是之前的 Fk。相对于 AA 来说，这是一个平六度，因此艾欧里亚音是最合适的。
If you had an Am7-Bbmaj7 progression, you’d need to use the AA Phrygian mode, because the BbB b is a flat-second relative to AA and the Phrygian is the only minor mode that contains a flat second. 如果您有一个 Am7-Bbmaj7 进行，您就需要使用 AA Phrygian 模式，因为 BbB b 相对于 AA 是一个平二度，而 Phrygian 是唯一包含平二度的小调模式。
Modes can be looked at as being either parallel or derivative. What l’ve been doing so far is taking the parallel approach by defining G Mixolydian as a G major scale with a flat seventh. In contrast, the derivative approach would define G Mixolydian as a C major scale starting from its fifth note. Each way of thinking has its own pros and cons, as follows: 调式可以分为平行调式和派生调式。到目前为止，我所采用的是平行法，将 G 混合音阶定义为带有平七度的 G 大调音阶。与此相反，派生法将 G Mixolydian 定义为从第五音开始的 C 大调音阶。两种思路各有利弊，具体如下：
The parallel approach admittedly requires you to learn different shapes for each mode, but once you know the shapes, you can access them instantly and you end up with a better understanding of how the individual notes function over a chord. 诚然，并列法需要学习每种调式的不同音型，但一旦掌握了这些音型，就能立即使用它们，从而更好地理解各个音符在和弦中的作用。
The derivative approach is responsible for a good 90 per cent of the confusion experienced by students with regard to modes. I’ve seen students who will spend hours with a metronome practising C Ionian, then D Dorian, E Phrygian, F Lydian and so on, and at the end of it all they’ve heard the same seven notes so many times that everything’s become a bit of a blur and the distinctive character of each mode is lost. 学生们在模态方面遇到的困惑，有 90% 都是由导数法造成的。我见过一些学生花几个小时对着节拍器练习 C 爱奥尼亚调，然后是 D 多里安调、E 普里吉安调、F 吕底安调等等，最后他们已经听了太多遍同样的七个音符，以至于一切都变得有点模糊，每个调式的独特性都丢失了。
In actual playing terms, the derivative idea is more clumsy and less instinctive than the parallel way of thinking. If you had to find an Ab Mixolydian mode in a hurry, you’d clearly be better off knowing a specific Mixolydian shape and simply moving it to a part of the neck where the root note lined up with an AbA b on the fretboard. The derivative approach expects you to conduct the following detective work: 'The Mixolydian is the fifth mode of the major scale, and the fifth note of the major scale is a perfect fifth above the root. That’s a distance of seven frets. Therefore I need to count down seven frets from AbA b and play a major scale starting from …er…Do:'By the time you’ve gone through that whole process, the chord of Ab will probably be long gone! 在实际演奏中，派生的想法比平行的想法更笨拙，也更缺乏本能。如果你必须在匆忙中找到一个 Ab 混合调式，显然你最好先了解一个特定的混合调式，然后简单地将它移到琴颈上根音与指板上的 AbA b 对齐的地方。派生式方法则需要你进行以下侦查工作：'米克索里底调式是大调音阶的第五调式，而大调音阶的第五个音在根音之上，是一个完全五度。这是七个音格的距离。因此，我需要从 AbA b 开始往下数七个音阶，然后从......呃......Do 开始弹奏大调音阶：'当你完成整个过程时，Ab 这个和弦可能早已不存在了！
On the other hand, the parallel approach isn’t without its charms. When we were looking at those sample chord progressions for the minor modes, we were borrowing notes from the various chords and seeing how they related to the key of the song, but 另一方面，平行法也并非没有魅力。我们在研究小调式的和弦行进示例时，借用了各种和弦的音符，并观察它们与歌曲调性的关系，但是
you could also establish which mode to use by trying to see the progression as an excerpt from a harmonised major scale. Hopefully, you’re getting used to the sounds of these series of triads and seventh chords: 您还可以尝试将该进行视为和声大调音阶的节选，从而确定使用哪种调式。希望你已经习惯了这些三和弦和七和弦的音色：
Thus if you encounter a progression where all of the chords sound like part of the same scale and the key is a dominant-seventh chord, you’ll know that the parent major scale must start seven frets lower. Similarly, you can deduce the parent scale if you see two major chords a tone apart or two minor chords separated by the same distance and so on. See if you can spot the mode for these progressions before reading on: 因此，如果你遇到一个进行，所有和弦听起来都像是同一音阶的一部分，而调性又是属七和弦，那么你就会知道母大调音阶必须从低七个音格开始。同样，如果看到两个大和弦相隔一个音，或两个小和弦相隔相同的距离，就能推断出母音阶，以此类推。在继续阅读之前，看看你能否找出这些进行的调式：
A-D-E-A
Am7-D7
Am-C-Bb-AmA m-C-B b-A m
A-BA-B
A-GA-G
Am-Dm-Em-AmA m-D m-E m-A m
Am7b5-Bbmaj7A m 7 b 5-B b m a j 7
Hopefully, you concluded that the above progressions represented the seven modes in order - ie Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian and Locrian, all with A root notes. You might find this mathematical approach a little tedious and unmusical, but you’ll eventually learn to recognise modal traits instinctively once you know what to listen out for. If nothing else, the above will serve as a set of sample chord progressions suitable for trying out each mode. 希望您能得出结论，上述进行依次代表七种调式，即爱奥尼亚调、多里安调、弗里吉亚调、吕底亚调、混合吕底亚调、伊奥利亚调和洛克里安调，所有调式的根音都是 A。您可能会觉得这种数学方法有点乏味，而且没有音乐性，但一旦您知道了应该注意什么，您最终就会学会本能地识别调式特征。如果不出意外，以上内容将作为一套和弦行进示例，适合用于尝试各种调式。
If you think you’d find the derivative approach useful, you’ll probably appreciate the following summary of the parent scales for each mode: 如果你觉得导数法有用，那么你可能会喜欢下面对各调式母音阶的总结：
The Dorian comes from the major scale starting a tone lower. 多利亚音阶来自大调音阶，从低一个音开始。
The Phrygian comes from the major scale starting two tones lower. Phrygian 音阶来自于低两个音阶的大调音阶。
The Lydian comes from a major scale two and a half tones lower. 吕底亚音阶来自低两个半音的大调音阶。
The Mixolydian comes from the major scale starting two and a half tones higher. 米克索利迪安音阶来自于大调音阶，起始音高两个半音。
The Aeolian comes from the major scale starting a tone and a half higher. 伊奥利音阶来自大调音阶，从高一个半音开始。
The Locrian comes from the major scale starting a semitone higher. 洛克里安音阶来自大调音阶，从高半音开始。
However you choose to approach modes, the best thing to do is just play them. The rest will come naturally. 无论您如何选择模式，最好的办法就是玩游戏。剩下的就自然而然了。
Big Scary Chords 大吓人和弦
So what exactly is a Bbmaj13$11 chord? Well, basically, any chord with a big number in its name can be viewed as a fancy version of a seventh chord. You might use one in place of a simpler voicing if you wanted to add a bit of jazzy sophistication to a chord progression. 那么究竟什么是 Bbmaj13$11 和弦呢？嗯，基本上，任何名称中带有大数字的和弦都可以看作是七和弦的花式版本。如果您想在和弦进行中加入一些爵士风格的复杂元素，您可以用它来代替简单的和弦音。
You’ll recall that the chords covered so far have all been constructed by numbering the notes of the major scale from one to seven and stacking the oddnumbered notes on top of each other. To generate the remaining numbers, you need more odd-numbered notes, and to find these you have to extend the scale over two octaves. In the key of C major, you’d get the following arrangement: 您应该还记得，迄今为止所涉及的和弦都是通过将大调音阶的音符从 1 排列到 7，然后将奇数音符叠加在一起而构成的。要生成其余的数字，就需要更多的奇数音符，而要找到这些奇数音符，就必须将音阶扩展到两个八度。在 C 大调中，您会得到以下排列：
Example 4.54 例 4.54
This gives you a name for all the notes in the major scale. You’ve probably spotted that the ninth, 11th and 13th have the same note-names as the second, fourth and sixth, but numbering them in this way keeps the low numbers for the essential notes found in all the common chord types and reserves the bigger numbers for the more decorative notes, which merely add flavouring to basic seventh chords. Thus you can tell how fancy a chord will sound just by looking at its name. In addition, it means that, whenever you’re confronted by a complicated-looking chord symbol - 这就为大调音阶中的所有音符提供了一个名称。您可能已经发现，九度、十一度和十三度的音名与二度、四度和六度的音名相同，但这种编号方式将低音保留给所有常见和弦类型中的基本音符，而将高音保留给更具装饰性的音符，这些音符只是为基本的七和弦增添色彩。因此，您只需看一下和弦的名称，就能知道它听起来有多花哨。此外，这还意味着，每当你面对一个看起来很复杂的和弦符号时--"七和弦"、"八和弦 "和 "九和弦"。
When sight reading a chart at a gig, for instance - you can easily reduce it to its skeleton seventh chord. When you’ve been put on the spot, it’s far better to play a plain-sounding version of the right chord than panic and not playing anything at all. 例如，在演出现场视谱时，你可以很容易地将其还原成骨架七和弦。当你被逼无奈时，弹奏一个听起来平淡无奇的正确和弦远比惊慌失措、什么都不弹要好得多。
In theory, you would construct the chords of Cmaj9, Cmaj11 and Cmaj13 by stacking the appropriate number of odd-numbered notes on top of a Gmaj7 chord. Similarly, G9, G11 and G13 are produced by building on a G7 (dominant) chord. You can probably guess how Gm9, Gm11 and Gm13 are made… 从理论上讲，在 Gmaj7 和弦上叠加适当数量的奇数音符，就可以构成 Cmaj9、Cmaj11 和 Cmaj13 的和弦。同样，G9、G11 和 G13 也是在 G7（主和弦）的基础上形成的。您也许能猜到 Gm9、Gm11 和 Gm13 是如何产生的...
Example 4.55 例 4.55
(Note that min 13 chords use a natural 13th rather than the flat sixth note from the natural minor scale., (请注意，小 13 和弦使用的是自然 13 音，而不是自然小调音阶中的平 6 音、
Unless you’re into Korn or George Van Eps, you’ll see an immediate problem with all of those 13th chords: they contain seven notes. So how are you supposed to play them on a six-stringed instrument? Some notes will clearly have to be discarded. As a general rule, the only notes you need to include in the chord are: 除非你喜欢 Korn 或 George Van Eps，否则你会发现所有这些 13 度和弦都有一个直接的问题：它们包含七个音符。那么，如何用六弦乐器演奏这些和弦呢？有些音符显然必须舍弃。一般来说，和弦中唯一需要包含的音符是
the root note, to tell you which key the chord is in; 根音，告诉你和弦在哪个调上；
the third, to tell you if it’s major or minor; 第三个，告诉你是大问题还是小问题；
the seventh, to indicate whether or not the chord has a dominant sound; and 七度，表示和弦是否有主音；以及
the note specified by number in the chord nameie the ninth, 11 th or 13 th). 和弦名称中数字指定的音符（九度、十一度或十三度）。
The other notes are less important, and you can do without them. One exception would be the dominant 其他音符不那么重要，可以不用。一个例外是主音
11th chord, in which the third and the 11 th are technically only a semitone apart and therefore clash horribly. In this case, you’d be better off discarding the third and replacing it with a fifth or a ninth. 11和弦，其中的三度和弦和 11 度和弦在技术上只相差一个半音，因此冲突非常严重。在这种情况下，你最好放弃三度，代之以五度或九度。
(You’ll also find that the major 11 th chord sounds quite repulsive - the seventh and the 11th are a tritone apart, and this tension spoils the essentially agreeable and stable sound of the major-seventh core around which you’ve built the chord. If you sharpen the 11th, however, the chord redeems itself with a nice Lydian sound.) (你还会发现，大 11 度和弦听起来相当令人厌恶--七度和 11 度之间相差一个三度，这种张力破坏了大七度核心的基本舒适和稳定的音色，而你的和弦正是围绕大七度核心建立的。然而，如果把 11 度的音变尖，这个和弦就会以一种优美的吕底亚音（Lydian)来挽回自己的颓势。
Another important factor is actually voicing these chords. Because there are some fairly complex notes involved, they must be spaced carefully so that the distinctive character of each can be heard clearly. In general, the root note should be kept at or near the bottom of the chord, with the extension notes kept at or near the top. 另一个重要因素是和弦的实际发音。由于涉及到一些相当复杂的音符，因此必须小心地将它们间隔开来，这样才能清楚地听到每个音符的独特性。一般来说，根音应保持在和弦的底部或接近底部的位置，而延长音应保持在和弦的顶部或接近顶部的位置。
In addition, you should remember that the notes at the bottom end of a chord need to be spaced further apart. This is particularly true of voicings situated near 此外，你还应该记住，和弦底端的音符之间的间隔要更大一些。这一点在靠近
the nut and utilising the low Estring - the higher up the stave you go, the smaller the intervals you can get away with. For an extreme illustration, try playing the open AA string along with the G♯G \sharp at the fourth fret on the low E. Sounds muddy, doesn’t it? Now compare the sound of the same minor-second interval three octaves higher (fret 17 on the top E along with fret 21 on the B string). In this part of the neck, you’ll have to agree that the two pitches are more distinct and that the clash between them is decidedly less offensive to the ear, even though it’s the same interval as before! 音高越高，音程就越小。举个极端的例子，试着在低音 E 琴弦的第 4 音格演奏开弦 AA 琴弦和 G♯G \sharp 琴弦，听起来很浑浊，不是吗？现在比较一下高三个八度的相同小二度音程的音色（高音 E 琴弦上的第 17 音格和 B 琴弦上的第 21 音格）。在琴颈的这一部分，您一定会同意，这两个音高更加分明，它们之间的冲突明显减少了对耳朵的伤害，尽管这和之前的音程是一样的！
You can start to get a general feel for all of the above by practising tenth intervals up and down the neck. Tenths are an example of compound intervalsie intervals larger than an octave - but don’t worry too much about such technicalities; you can think of tenths simply as thirds spread out over an extra octave. You’ll hear how the two notes sound more like a whole chord when they’re spaced in this way: 通过在琴颈上下练习十度音程，您可以开始对上述所有音程有一个大致的感觉。十度音程是复合音程的一个例子，它的音程大于一个八度，但不用太在意这些技术性问题；您可以将十度音程简单地理解为在一个额外的八度上分布的三度音程。你会发现，当两个音符以这种方式间隔时，它们听起来更像一个完整的和弦：
Example 4.56 例 4.56
IIf you’re wondering why l’ve suddenly switched to the key of G major, it was purely so that you could hear the shapes lower down in the guitar’s register, where wide note spacing is most effective.) 如果你想知道我为什么突然改用 G 大调，那完全是为了让你能在吉他的低音区听到音型，在低音区，宽音距是最有效的）。
These intervals might remind you of The Beatles’ track ‘Blackbird’ or the bass line from ‘Walk On The Wild Side’. Once you’re used to the way in which tenths sound, you could flesh out the chords with some sevenths to get Example 4.57 at the top of the next page. Note how these sound like complete seventh chords, despite the absence of any fifth (apart from the F$m765 chord, which obviously needs its flat fifth 这些音程可能会让你想起披头士的曲目《Blackbird》或《Walk On The Wild Side》中的低音线。一旦你习惯了十度音程的发音方式，就可以用一些七度音程来充实和弦，从而得到下页顶部的例 4.57。请注意，这些和弦听起来就像完整的七和弦，尽管没有任何五度（除了 F$m765 和弦，它显然需要平五度）。
to distinguish it from a normal minor-seventh chord). Shapes like these make good templates for the construction of extended chords, and if you listen to solo jazz players like Joe Pass or Martin Taylor, you’ll notice that the majority of their chord voicings don’t contain more than three or four notes. The six-string monster voicings you sometimes find in chord dictionaries are best saved for special occasions! 以区别于普通的小七和弦）。如果你聆听乔-帕斯（Joe Pass）或马丁-泰勒（Martin Taylor）等爵士乐独奏家的演奏，就会发现他们的和弦配器大多不超过三个或四个音符。和弦字典中有时会出现六弦怪兽式的和弦，最好留到特殊场合使用！
I couldn’t possibly offer you a comprehensive list of extended chord shapes within the confines of these pages - like I said, there are whole books devoted to that sort of thing, In Example 4.58, however, are a few 在这几页的篇幅内，我不可能为您提供一个扩展和弦音型的完整列表--正如我所说的，有整整一本书都在专门讨论这类问题。
Example 4.57 例 4.57
handy shapes for some of the most common extended chords. Rather than following the CAGED system to coax five arbitrary shapes out of each chord type (although, of course, you could do this), I’ve just listed 一些最常见的扩展和弦的简便音型。我没有按照 CAGED 系统从每种和弦类型中找出五种任意的音型（当然，你也可以这样做），我只是列出了以下内容
a few voicings that I use a lot. These should be sufficient to give you a feel for the general mood of each kind of extended chord. Once you’ve got the general idea, you should try to come up with some voicings of your own: 一些我经常使用的和弦。这些应该足以让你感受到每种扩展和弦的大致情绪。有了大致的了解后，你就可以尝试自己配一些音：
Example 4.58 例 4.58
Major 9 专业 9
Dominant 9 主导 9
Minor 9 未成年人 9
Major 9$11 主要 9$11
Dominant 11 主导 11
Minor 11 小计 11
Major 13 专业 13
Dominant 13 主导 13
Minor 13 小 13
An altered chord is any dominant chord in which the fifth and/or ninth has been altered (ie flattened or sharpened) 改变和弦是指五度和/或九度被改变（即变平或变尖）的任何主和弦。
Thus E7%9, E7b9, E7%5%9, E7$5b9 and their siblings all feature that tension which seems to pull you inexorably 因此，E7%9、E7b9、E7%5%9、E7$5b9 和它们的同胞兄弟都具有一种张力，这种张力似乎不可阻挡地吸引着你
towards an A chord. For this reason, you’ll sometimes find ‘E alt’ written in chord charts, meaning that the composer wants some sort of tension in the chord, but doesn’t really mind which altered chord you use. 走向 A和弦。因此，你有时会在和弦谱表中发现 "E alt "的字样，这意味着作曲家希望在和弦中加入某种张力，但并不介意你使用哪种变化和弦。
For a demonstration of an altered chord in action, take a look at Example 4.61: 有关变和弦的操作演示，请看例 4.61：
Example 4.61 例 4.61
The E7b5b9 sounds almost wrong if you play it on its own, but in the context of the ii - V-I\mathrm{V}-\mathrm{I} progression it makes a lot more musical sense, 如果单独演奏 E7b5b9，听起来几乎是错误的，但在 ii - V-I\mathrm{V}-\mathrm{I} 进行的背景下，它的音乐意义就大得多了、
I’ll cover how to solo over altered chords later, but for now I should tell you that there’s another way of viewing big chords, particularly when you’re playing in the context of a full band. So far, we’ve been counting out those big stacks of thirds starting from the root note, on the grounds that this note provides the key of the chord and is thus somehow more important than the others. In a band arrangement, however, it’s probable that someone else will be playing the root note-usually the bassist or keyboard player - and so this removes any pressure on you to do the same. This means that you need only play the higher, more interesting notes. These will blend in with the simpler, more fundamental chord tones played by your bandmates, and the sum of the parts amounts to the big jazz chord in its entirety. 我稍后会介绍如何在变化和弦上独奏，但现在我应该告诉大家，还有另一种方法来看待大和弦，尤其是在全乐队演奏时。到目前为止，我们都是从根音开始数出大三度，因为这个音决定了和弦的调性，因此比其他音更重要。但在乐队演奏中，很可能会有其他人来弹根音--通常是贝司手或键盘手--这就消除了你弹根音的压力。这意味着你只需演奏较高、较有趣的音符。这些音符将与你的乐队成员演奏的更简单、更基本的和弦音相融合，各部分的总和就是完整的大爵士和弦。
To take the simplest example, Cmaj 7 contains the notes C, E, G and B. If you take away the C, you’re left with a humble EE minor triad. In more general terms: 举个最简单的例子，Cmaj 7 包含音符 C、E、G 和 B。更通俗地说
The top three notes of a major-seventh chord constitute a minor triad with a root two tones higher. 大七和弦的前三个音构成一个根音高两个音的小三和弦。
The top three notes of a dominant-seventh chord constitute a diminished triad with a root two tones higher. 主七和弦的前三个音构成一个根音高两个音的减三和弦。
The top three notes of a minor-seventh chord constitute a major triad with a root one and a half tones higher, 小七度和弦的前三个音构成一个大三和弦，其根音高一个半音、
You can also apply this theory to more complex chords. If, for instance, you had to negotiate a Cmaj9 chord, your note pool would contain C, E, G, B and D. You might remove the C and the E to reveal a G major triad or, if you were really fond of the third, you could just remove the C, which would leave you with an Em7 chord. In general, the following rules hold true: 您还可以将这一理论应用于更复杂的和弦。举例来说，如果您必须协商一个 Cmaj9 和弦，那么您的音符库将包含 C、E、G、B 和 D。您可以去掉 C 和 E，以显示一个 G 大三和弦，或者，如果您真的喜欢三度和弦，您可以去掉 C，这样就会得到一个 Em7 和弦。一般来说，以下规则是正确的：
major 9th == minor 7(+3rd)=7(+3 \mathrm{rd})= major triad (+5(+5 th )) 大 9 度 == 小 9 度 7(+3rd)=7(+3 \mathrm{rd})= 大三和弦 (+5(+5 th ))
dominant 9 th == minor 7b5(+3rd)=7 b 5(+3 \mathrm{rd})= minor triad(+5\operatorname{triad}(+5 th )) 主音 9 th == minor 7b5(+3rd)=7 b 5(+3 \mathrm{rd})= minor triad(+5\operatorname{triad}(+5 th ))
minor 9=9= major 7(+3rd)=7(+3 \mathrm{rd})= minor triad (+5(+5 th )) 小调 9=9= 大调 7(+3rd)=7(+3 \mathrm{rd})= 小三和弦 (+5(+5 th ))
major 9$11 = major 7(+57(+5 th )=)= minor triad (+7(+7 th //-b2nd)/-b 2 n d) 大调 9$11 = 大调 7(+57(+5 th )=)= 小三和弦 (+7(+7 th //-b2nd)/-b 2 n d)
dominant 11=11= minor 7(+57(+5 h )=)= major triad (+b7(+b 7 th //-2nd)/-2 \mathrm{nd}) 主和弦 11=11= minor 7(+57(+5 h )=)= major triad (+b7(+b 7 th //-2nd)/-2 \mathrm{nd})
minor 11=11= minor 7(+57(+5 th )=)= major triad(+b7\operatorname{triad}(+b 7 th //-2nd)/-2 n d) 次要 11=11= 次要 7(+57(+5 th )=)= 主要 triad(+b7\operatorname{triad}(+b 7 th //-2nd)/-2 n d)
major 13=13= minor 765(+7765(+7 th //-62/-62 nd )=)= minor tt riad (+9th//2nd)(+9 \mathrm{th} / 2 \mathrm{nd}) major 13=13= minor 765(+7765(+7 th //-62/-62 nd )=)= minor tt riad (+9th//2nd)(+9 \mathrm{th} / 2 \mathrm{nd})
dominant 13=13= major 7(+b77(+b 7 th //-2/-2 nd )=)= minor triad (+9(+9 th //2nd)/ 2 \mathrm{nd}) 主音 13=13= 大调 7(+b77(+b 7 th //-2/-2 nd )=)= 小三和弦 (+9(+9 th //2nd)/ 2 \mathrm{nd})
minor 13=13= major 7(+97(+9 th //2/ 2 nd )=)= minor triad(+9\operatorname{triad}(+9 th //2nd)/ 2 \mathrm{nd}) 小 13=13= 大 7(+97(+9 中 //2/ 2 小 )=)= 小 triad(+9\operatorname{triad}(+9 中 //2nd)/ 2 \mathrm{nd})
That’s a lot to remember, I know, but once you understand the principles at work, it shouldn’t take you more than a moment to work out the substitutions that complement any extended chord you should happen to meet. If you apply these ideas as arpeggios when you solo, you’ll get a convincingly Larry Carltontype vibe, which is always nice. 我知道这需要记住的东西很多，但一旦你理解了其中的原理，你应该不需要花太多时间就能找出与你碰巧遇到的任何扩展和弦相辅相成的替换和弦。如果你在独奏时将这些想法用作琶音，就会产生令人信服的拉里-卡尔顿（Larry Carlton）式的氛围，这总是不错的。
In rhythm-playing terms, you should try out these ideas for yourself and draw your own conclusions about which ones sound best. Bear in mind that, if one sounds particularly clumsy, it might be that you’re voicing the chord too low on the neck or that you’re using a voicing that covers too many strings. The effect is meant to be relatively subtle, so a strident EE-shaped barre chord, with its three root notes, would be a bad choice! 从节奏演奏的角度来说，你应该亲自尝试一下这些想法，然后自己总结出哪些想法听起来最好。请记住，如果某个和弦听起来特别笨拙，那可能是因为你的和弦在琴颈上的位置太低，或者是你使用的声音覆盖了太多的弦。这种效果应该是相对微妙的，因此带有三个根音的尖锐 EE 形巴雷特和弦将是一个糟糕的选择！
Considering these complications, you’re probably wondering why on Earth you’d ever need to use these ideas. ‘After all,’ you might reasonably argue, 'it takes me longer to work out where these triads and seventh chords are than it does for me to remember a 13th shape in its entirety. Indeed. However, one of the main points of this principle is that it allows you to combine the sophisticated harmonic qualities of an extended chord with the choppiness and immediacy of a three- or fournote voicing. If you listen to Steve Lukather’s guitar part on Randy Crawford’s ‘You Might Need Somebody’, you’ll hear him playing stabs that do nothing more than outline the higher extensions of each chord. Basically, the results just sound good - the stabs sound more in time than any larger voicings ever could, and they don’t take up too much space in the mix - so the guitar is audible but not at the expense of any other instrument. 考虑到这些复杂性，你可能会想，你究竟为什么要使用这些想法呢？毕竟，"你可能会合理地辩解道，"我花在计算这些三和弦和七和弦位置上的时间，比我花在记住一个完整的 13 度形状上的时间还要长。的确如此。然而，这一原则的要点之一在于，它能将扩展和弦复杂的和声特质与三音或四音的切分感和直接性结合起来。如果你听过史蒂夫-卢卡瑟（Steve Lukather）在兰迪-克劳福德（Randy Crawford）的《You Might Need Somebody》中的吉他弹奏，就会发现他在弹奏刺音时，只是勾勒出每个和弦的高音延伸。从根本上说，这样做的结果就是好听--刺音听起来比任何较大的配器都更合拍，而且不会占用混音中过多的空间--因此吉他的声音清晰可辨，但又不会影响其他乐器。
As an extension of this, you might have noticed that all of the dominant 11th voicings listed so far look like simple major triad shapes with the wrong root note stuck on the bottom. If you look at, say, D11 in this way, you could notate it as C/D, which you would read as ’ CC with a DD in the bass’, or as ’ CC over D ', or even as ’ C slash D '. These are known as slash chords, and they’re particularly popular with piano players, who often split their chord-playing duties between two hands and thus like to see separate information for the left-hand and right-hand parts of the chord. If you were confronted by an intimidating-looking slash chord at short notice, however, your best bet would be to play the first half of the chord name and let someone else worry about the bass note. 由此延伸开来，您可能已经注意到，目前列出的所有主11和弦音型看起来都像是简单的大三和弦，只是把错误的根音卡在了下面。如果这样看 D11，您可以将其记谱为 C/D，读作" CC ，低音为 DD "，或者" CC over D"，甚至 "C 斜线 D"。这些和弦被称为 "斜线和弦"，尤其受到钢琴演奏者的欢迎，因为他们通常会将和弦的演奏任务分给两只手，因此喜欢看到和弦左手和右手部分的单独信息。不过，如果你在短时间内遇到一个看起来很吓人的斜线和弦，最好的办法是弹奏和弦名称的前半部分，让其他人来处理低音。
In soloing terms, you have two options: you could either play arpeggio shapes based around the first part of the slash chord’s name or you could simply pool all of the notes of the chord and try to find a familiar scale that fits the bill. For instance, C/D would be best tackled with a D Mixolydian mode and E/D would call for a D Lydian, although C/Db wouldn’t fit any of the modes we’ve looked at so far and sounds truly horrible! (That’s not to say you’ll never encounter it - check out something like the East River compilation by The Brecker Brothers and you’ll hear all sorts of horrendoussounding slash chords in a jazz-fusion context where, somehow, they seem to make sense.) 在独奏方面，您有两种选择：您可以根据斜线和弦名称的前半部分演奏琶音，或者您可以简单地将和弦的所有音符集中起来，并尝试找到适合的熟悉音阶。例如，C/D 最适合使用 D 混合音阶，E/D 则需要使用 D 利底音阶，但 C/Db 不适合我们目前研究过的任何音阶，而且听起来非常糟糕！(这并不是说你永远不会遇到它--看看布雷克兄弟（The Brecker Brothers）的 "东河"（East River）合集，你会听到各种听起来可怕的斜线和弦，在爵士融合的背景下，不知何故，它们似乎是有意义的）。
There’s one other topic I should mention briefly, and that is quartal harmony. As you might have guessed from the name, this is based on the principle of generating chords by stacking up fourths, rather than the thirds that have been used so far. These chords are harder to name accurately, because conventional music theory is so geared towards stacked thirds, but you’ll find that a lot of quartal chords have that empty, vague sound you might have noticed in the minor 11 th chords examined earlier. Have a go at Example 4.62 at the top of the next page to get a feel for things. 还有一个话题我应该简单提一下，那就是四度和声。从名字上你可能已经猜到了，它的原理是通过叠加四度来生成和弦，而不是目前使用的三度。由于传统的音乐理论非常倾向于堆叠的三度，因此很难准确地命名这些和弦，但你会发现很多四度和弦都有你在前面学习小 11和弦时可能注意到的那种空洞、模糊的声音。请看下页顶部的例 4.62，以获得一些感觉。
These strange-sounding chords are constructed from the notes of E Dorian, and they have a moody quality about them which can really add character to those one-chord jams. If they sound a little too odd 这些听起来很奇怪的和弦是由 E 多音程的音符构成的，它们具有一种情绪化的特质，可以为单弦演奏增添特色。如果这些和弦听起来太奇怪
for your tastes, try stripping them down to the D-, Gand B -string notes for a more conventional and somewhat jazzy sound. 如果您不喜欢这样的音色，可以尝试将其简化为 D、Gand B 弦的音符，以获得更传统、更爵士的音色。
You might not find a home for all of the ideas listed here in your own music, but as always it’s worth checking them out before you dismiss them. 你可能无法在自己的音乐中找到这里列出的所有想法的归宿，但在否定它们之前，还是值得一试的。
Playing Over Key Changes 在键位变化上方播放
Let’s go back to soloing for a moment. Much of the theory covered so far has worked on the assumption that you’ll normally be able to apply a single scale over a whole chord progression, simply targeting different notes within the scale as each new chord crops up. This works in a surprising amount of cases - chord progressions which are derived from a single scale have a reassuringly ‘normal’ sound to them, so they’re very common. 让我们回到独奏上来。迄今为止所涉及的大部分理论都是基于这样一个假设：通常情况下，你可以在整个和弦进行中使用一个音阶，只需在每一个新和弦出现时在音阶中选择不同的音符即可。这在很多情况下都行得通--由单一音阶衍生出来的和弦进行具有令人放心的 "正常 "音色，因此非常常见。
By way of example, if you’re playing over a progression that starts on Am 7 and moves to Bm7\mathrm{Bm7}. you would pool together the notes of those two chords and conclude that the A Dorian mode would be your safest bet. Similarly, if the progression went from Am7 to Gm7, you would be justified in using the notes of A Phrygian over the whole thing. 举例来说，如果您在演奏一个从 Am7 开始到 Bm7\mathrm{Bm7} 的进行时，您会将这两个和弦的音符集中起来，然后得出结论：A 多里安调式是最安全的选择。同样，如果音程从 Am7 到 Gm7，你就有理由在整个音程中使用 A Phrygian 模态的音符。
But what if the Am 7 led to a Cm 7 chord? No scale immediately suggests itself that could function over both of these chords. Indeed, your ears would pick up on this immediately, without the need for any knowledge of theory whatsoever - the progression has an abrupt, disjointed sound, and it sounds like the whole key is changing every time a new chord appears. If you write a long progression in which every change is as random as this, the results will run the risk of sounding 但如果 Am 7 通向 Cm 7 和弦呢？没有任何音阶能立即在这两个和弦上演奏。事实上，无需任何理论知识，你的耳朵就会立刻发现这一点--这个进行听起来很突兀、不连贯，而且每次出现新和弦时，整个调性听起来都在变化。如果你写的长进行中的每一个变化都像这样随意，那么结果听起来就会有以下风险
tuneless and meandering, but used sparingly the occasional unexpected chord change can be very effective - think of the verse from The Doors’ ‘Light My Fire’, which juxtaposes two minor chords a minor third apart (much as I described a moment ago!!. 这首曲子没有调性，曲调蜿蜒曲折，但偶尔出人意料的和弦变化却能起到很好的效果--想想大门乐队（The Doors）《点燃我的火焰》（Light My Fire）中的诗句，其中并列了两个相差小三度的小和弦（就像我刚才描述的那样！）。
In a situation like this, the chord change really catches the attention of the listener, so it’s of the utmost importance to think of something intelligent to play over it! There are a couple of ideas I’d like to run by you, just to get you thinking… 在这种情况下，和弦的变化会真正吸引听众的注意力，因此想出一些有智慧的演奏方法至关重要！我有几个想法，希望能引起你的思考......
It’s probably safest to start by focusing on the most obvious notes in each chord and seeing how smoothly you can line them up. It’s all very well to take your favourite blues box and simply move it up three frets, but the results will sound disjointed, as if the chord change has broken your train of thought. If you consider that Am7\mathrm{Am7} contains the notes A,C,E\mathrm{A}, \mathrm{C}, \mathrm{E} and G while Cm 7 contains C,Eb,G\mathrm{C}, \mathrm{Eb}, \mathrm{G} and Bb , you’ll spot that the notes C and G are shared by both chords. This means that they’re common tones (to use the appropriate jazz parlance), so emphasising one or both of those notes as the chords change will give some continuity to your soloing. In a similar spirit, you’ll spot that, if you’re playing an E over the Am7, moving down a semitone to Eb when the Cm 7 comes will sound a lot smoother than going all the way up to G just so that you can keep the scale shape the same! 最稳妥的做法可能是，先将注意力集中在每个和弦中最明显的音符上，看看如何将它们顺畅地排列起来。将您最喜欢的蓝调音盒简单地上移三个音格，这样做虽然很好，但结果听起来会很不连贯，就好像和弦的变化打断了您的思路。如果考虑到 Am7\mathrm{Am7} 包含 A,C,E\mathrm{A}, \mathrm{C}, \mathrm{E} 和 G 音，而 Cm 7 包含 C,Eb,G\mathrm{C}, \mathrm{Eb}, \mathrm{G} 和 Bb 音，您就会发现 C 和 G 音在两个和弦中都有。这意味着它们是共同的音调（用爵士乐的恰当说法），因此在和弦变化时强调其中一个或两个音，将使您的独奏具有一定的连续性。同样，如果你在 Am7 上演奏的是 E 音，那么当 Cm7 出现时，将 E 音下移半音至 Eb，听起来会比为了保持音阶形状不变而一路升至 G 音要顺畅得多！
By experimenting in this way, you’ll be able to find some melodic ideas that bridge the progression neatly and effectively. You can either 通过这样的尝试，你就能找到一些旋律点子，整齐而有效地衔接进行。您可以
play isolated ideas in Am followed by isolated ideas in Cm or you can come up with licks that start on one chord and end on the other. Both approaches are theoretically valid, but I think you’ll agree that the second way sounds a lot more clever. 你可以先用 Am 调演奏一些孤立的想法，然后再用 Cm 调演奏一些孤立的想法；或者你也可以想出一些以一个和弦开始、以另一个和弦结束的乐句。这两种方法在理论上都是有效的，但我想你会同意第二种方法听起来更巧妙。
As an extension of this idea, you might want to try the “impatient” approach, where you start playing over the second chord a couple of notes before it actually arrives. This is an interesting variation on the tension-and-release theme; the effect is that 作为这一想法的延伸，你可能想尝试 "不耐烦 "的方法，即在第二个和弦真正到来之前的几个音符上开始演奏。这是紧张与释放主题的一个有趣变奏；其效果是
you appear to be playing the wrong notes for a beat or two, then the new chord comes along and justifies what you’ve just played! 你似乎在一两个节拍内弹错了音，然后新的和弦出现了，证明你刚才弹的是正确的！
As with most interesting stuff, this idea will work well only if you do it tastefully and in moderation. If you anticipate a chord several whole bars before it happens, you’ll sound more wrong than tense, but if you use the idea subtly it can add momentum and excitement to your soloing. If you want to hear a player who knows exactly when and how to use this idea, check out Larry Carlton. (In fact, check him out anyway!) 就像大多数有趣的东西一样，只有当你有品位、有节制地使用时，这种想法才会奏效。如果你在和弦出现之前就预料到它的出现，那么你的声音听起来就会错而不紧张，但如果你巧妙地运用这个想法，它就能为你的独奏增添动力和激情。如果你想听听一位知道何时以及如何使用这种想法的演奏家的演奏，可以去看看拉里-卡尔顿（Larry Carlton）。(事实上，无论如何都要去看看他！）。
Another good way of experimenting with chord voicings is to take a simple shape and superimpose a suitable scale shape on top. From this starting point, you can then move various notes up or down to other notes in the scale, generating extended chords aplenty. You can then audition these by ear 另一种尝试和弦配器的好方法是在一个简单的形状上叠加一个合适的音阶形状。从这个起点出发，你可以将不同的音符上移或下移到音阶中的其他音符上，从而产生大量的扩展和弦。然后，您可以用耳朵试听这些和弦
to hear which most accurately captures the mood you’re trying to convey, without having to worry about what they’re called. Example 4.59 depicts the various ways in which you could mutate a humble E major chord by borrowing some notes from the E Lydian mode: 您可以在不考虑它们的名称的情况下，选择最能准确捕捉您想要表达的情绪的和弦。例 4.59 描述了通过借用 E 立迪安调式中的一些音符来改变一个不起眼的 E 大调和弦的各种方法：
Example 4.59 例 4.59
This is a nice, informal way of exploring chord voicings. If you play around with this approach for a while, your fluency on the fretboard will increase tremendously. and that applies to your chordal playing and soloing alike. 这是一种探索和弦声部的非正式好方法。如果你用这种方法练习一段时间，你在指板上的流畅度将会大大提高，这同样适用于和弦演奏和独奏。
Now let’s move on and take a quick look at altered chords. These are normally associated with jazz harmony, but we all know and love at least one altered chord voicing: 现在，让我们来快速了解一下变和弦。这些和弦通常与爵士和声有关，但我们都知道并喜欢至少一种变化和弦的音型：
Example 4.60 例 4.60
This is often described as ‘the Hendrix chord’, for reasons that should be self-explanatory, but in technical terms it’s an E7$9, hence the unwieldy-looking double sharp in the music. Hendrix often played extended jams over this chord, and it works because the sharp ninth sounds the same as a flat third, so it combines with the natural third in the chord to imply the major/minor ambiguity, which, like I said earlier, epitomises the sound of bluesiness. However, it can also be used in the middle of a chord progression, and 这个和弦经常被称为 "亨德里克斯和弦"，原因不言自明，但从技术角度讲，它是一个 E7$9 的和弦，因此音乐中的双升和弦看起来很笨重。亨德里克斯经常在这个和弦上进行长时间的演奏，它之所以有效，是因为升九和弦与降三和弦的音色相同，因此它与和弦中的自然三度结合在一起，暗示了大调与小调的模糊性，正如我之前所说，这正是蓝调音色的缩影。然而，它也可以用在和弦进行的中间，如
in this jazzier context it is used to create tension when leading up to a more stable-sounding chord (usually a fifth below). Dominant chords have something of this quality about them anyway, but the tension is more pronounced in altered chords; if a dominant-seventh chord somehow seems to pull you towards the tonic chord (and it does) then an altered chord induces the same effect but more forcefully. 在爵士乐的语境中，它被用来在引出一个听起来更稳定的和弦（通常是五度以下的和弦）时制造紧张感。主和弦无论如何都具有这种特质，但在变和弦中，这种紧张感会更加明显；如果一个主七和弦似乎在某种程度上将你拉向调性和弦（确实如此），那么变和弦就会产生同样的效果，而且更加强烈。
All altered chords share this tense quality, and a chord is part of the altered family if it fits this definition: 所有的变化和弦都具有这种时态特质，如果和弦符合这一定义，那么它就是变化和弦家族的一员：
Demo 1a illustrates how you could come up with a chordal part full of those Hendrixian embellishments, using CAGED shapes as your basis and adding ‘twiddly’ notes from the relevant major or minor pentatonic scale. Demo 1b adds a sample solo to proceedings, featuring lots of bending up to chord tones. 演示 1a 展示了如何以 CAGED 音型为基础，加入相关大调或小调五声音阶中的 "捻转 "音符，制作出充满亨德里克斯式装饰音的和弦部分。演示 1b 增加了一个独奏样本，其中包括大量和弦音的弯曲。
Track 2 轨道 2
This one has something of a pseudo-African feel to it. Its unusual feel is a result of the 9/8 time 这首曲子给人一种伪非洲的感觉。其不寻常的感觉是 9/8 拍的结果
signature, l’ve used a more standard 4//44 / 4 time signature for all the previous examples in the book, but don’t worry -9//8-9 / 8 simply means that nine eighthnote pulses occur before the rhythmic pattern starts to repeat itself. Rather than counting to nine every bar, you’ll find it easier to think of the beats in three groups of three, counting ‘ONE-two-three, TWO-two-three, THREE-two-three…’ instead, If you try to follow the rhythm you hear on the track, you’ll see exactly what I mean. The whole track follows this basic pattern: -9//8-9 / 8 是指在节奏型开始重复之前出现九个八分音符脉冲。与其每小节数九个八分音符，不如将节拍分成三组，每组三个，数 "一二三、二二三、三二三...... "来得简单。整首曲子都遵循这个基本模式：
Example 5.2 例 5.2
You’ll note that the G chord comes a 16th note earlier than you would expect. This is described as a push, and you’ll hear the effect on the CD. In playing terms, Demo la uses small fragments of major arpeggios to outline the chords, using inversions to tackle the whole progression in a single chunk of the neck. Demo 2b2 b is a sample solo that uses the C major scale 您会注意到，G 和弦比您预期的提前了 16 个音符。这被描述为一种推动，你可以在 CD 上听到这种效果。在演奏方面，Demo la 使用大调琶音的小片段来勾勒和弦的轮廓，并使用转位来在琴颈的单块位置处理整个进行。演示 2b2 b 是使用 C 大调音阶的独奏样本
throughout but tries to land on as many chord tones as possible to highlight the chord changes. This is surely the happiest-sounding track on the entire CD! 但为了突出和弦的变化，它尽量使用了更多的和弦音。这无疑是整张 CD 中听起来最欢快的曲目！
Track 3 轨道 3
This one is a dominant 12 -bar blues, following this progression; 这首曲子是 12 小节蓝调的主音，遵循这一进行；
Example 5.3 例 5.3
The demo solo uses a mixture of AA minor and AA major pentatonic scales for a '60s Clapton vibe. Try them out to see if you agree with my comments from the 这段独奏演示混合使用了 AA 小五声音阶和 AA 大五声音阶，充满了 60 年代克莱普顿的风格。试听一下，看看您是否同意我在《音乐》杂志上发表的评论。
‘Scales And Chords’ section (the part that looked at how the sound of each pentatonic varies according to whether you’re playing over the I, IV or V chord.) 音阶与和弦 "部分（该部分介绍了在 I、IV 或 V 级和弦上演奏时，每个五声音阶的音色有何不同。）
Track 4 轨道 4
This one’s another blues in A, but this time around 这又是一首 A 调蓝调，但这次是
it’s a minor blues, so you won’t be surprised to see that the chord progression goes like this: 这是一首小调蓝调，所以看到和弦进行如下，你不会感到惊讶：
Example 5.4 例 5.4
On the demo solo, I used the A aeolian mode throughout, targeting chord tones wherever possible, That honky Santana-like tone, incidentally, is the result of using lots of gain on the amp and rolling the tone most of the way down on the guitar (roll it off completely and things run the risk of sounding a little too woolly). 在演示独奏时，我自始至终使用的都是 A Aeolian 模式，并尽可能以和弦音为目标。顺便提一下，这种类似 Santana 的音色是在放大器上使用大量增益，并在吉他上将音调调低到最低音的结果（如果完全调低音调，听起来就有可能过于毛糙）。
Track 5 轨道 5
This one breaks away from the whole blues thing and offers you a little funk groove to play with! Stylistically, this is something of a Tower Of Power rip-off, and your best bet would be to try various small chord voicings to outline the following progression: 这首曲子摆脱了整首蓝调曲子的束缚，为您提供了一点放克旋律！从风格上看，这是 Tower Of Power 的翻版，你最好尝试各种小和弦的音型来勾勒下面的进行：
Example 5.5 例 5.5
You’ll note that l’ve only written out rhythms for the most important parts of this cycle. In between, your duty is to play around with E7 shapes and generally try to sound funky. This sort of playing is a nice, stress-free way of practising the basic motions of alternate picking. Try to keep your hand moving in a constant 16 th note rhythm and simply move it away from the plane of the strings when you want to play a rest (silence). Of course, you can play what you like over this track (as always!), but if you’re striving for authentic-sounding funk guitar part, you should remember the following key factors: 你会注意到，我只写出了这个循环中最重要部分的节奏。在这两者之间，你的任务是玩转 E7 形，并尽量让自己的声音听起来时髦些。这种演奏是练习交替弹奏基本动作的一种轻松愉快的方式。试着让你的手保持 16 个音符的节奏，当你想演奏休止符（静音）时，只需将手从琴弦平面上移开。当然，你可以在这首曲子上演奏自己喜欢的曲目（一如既往！），但如果你想演奏出原汁原味的放克吉他声部，就应该记住以下关键因素：
Funk is all about syncopation, which basically means accenting some of the less obvious sixteenth notes within the bar. If you’re counting 1-e-and-a 2 -e-and-a …, this means accenting a few es and as (the parts of the bar where your hand naturally performs upstrokes) rather than just emphasising the main beats. 放克音乐讲究切分音，基本上就是在小节中强调一些不太明显的十六分音符。如果你在数 1-e-and-a 2 -e-and-a ......，这就意味着要强调几个 es 和 as（小节中你的手会自然而然地敲上弦的部分），而不是只强调主要节拍。
You don’t need to play full chords the whole time; this is essentially a percussive style, so you shouldn’t be afraid to throw in a few muted notes by relaxing your fretting hand a little. 你不需要一直弹奏完整的和弦；这基本上是一种打击乐风格，所以你不应该害怕通过稍微放松你的指法手来加入一些低音。
Don’t feel that you have to play all the time! Leaving a few gaps in your playing will actually give your part a bit more rhythmic interest. Listen to the classic track ‘Pick Up The Pieces’ by The Average White Band for a fine example of this principle. 不要觉得你必须一直演奏！在演奏中留出一些空隙，实际上会让你的乐段更有节奏感。听听 The Average White Band 乐队的经典曲目《Pick Up The Pieces》就能很好地诠释这一原则。
Track 6 轨道 6
Another dominant blues, this time with a more funky feel and based in the key of B (too much blues in AA can’t possibly be good for you!). I haven’t written out the chord progression, because I’m sure you can work it out… 又是一首主调蓝调，这次的感觉更时髦，以 B 调为基础（ AA 中的蓝调太多对身体不好！）。我没有写出和弦进行，因为我相信你能写出来...
In the solo, I’ve tried to get away from the traditional blues note choices by mixing the B minor pentatonic with some dominant-seventh arpeggios for a slightly jazzier effect. 在独奏中，我试图摆脱传统蓝调音符的选择，将 B 小五度音阶与一些主音七度琶音混合在一起，以达到略带爵士乐的效果。
Track 7 轨道 7
This one is a long, dreamy vamp in E Lydian, so you can experiment with all your modal scale shapes! The demo solo owes more than a little to Steve Vai’s playing and is replete with lots of sliding between positions and the addition of a wah-wah pedal to make things sound a little more vocal. There are a lot of notes in this solo, but don’t worry about that; it’s what you play that matters, not how fast you play it. I only crammed that many notes in here as a tip of the hat to Mr Vai, who is pretty much the patron saint of the Lydian mode. 这首曲子是一首悠长而梦幻的 E Lydian 变奏曲，因此你可以尝试所有的调式音阶形状！这首独奏演示曲更多地借鉴了史蒂夫-韦（Steve Vai）的演奏风格，在不同位置之间进行了大量滑动，并添加了一个 wah-wah 踏板，让声音听起来更有感染力。这段独奏有很多音符，但不用担心；重要的是你演奏的内容，而不是你演奏的速度。我在这里塞进这么多音符，只是为了向威先生致敬，他几乎就是吕底亚模式的守护神。
Track 8 轨道 8
This track uses the following progression of chords: 这首曲子使用了以下和弦进行：
Example 5.6 例 5.6
If you cast your mind back to the brief part about unusual chord changes a little earlier on, you’ll notice that everything I said about moving between A minor and C minor is applicable here - l’m just using the ideas a tone lower down. Changes like these can bring out the fusion player in you, so there’s a touch of that style in the demo solo. Note how the licks bridge the chord changes… 如果你回想一下前面关于不寻常和弦变化的简短部分，你就会发现我所说的关于在 A 小调和 C 小调之间转换的所有内容在这里都适用--我只是把想法用在了更低的音调上。像这样的和弦变化可以激发出你的融合风格，所以在试奏的独奏中也有这种风格的影子。请注意和弦变化中的 "桥段"......
Track 8 轨道 8
After all that soloing, I’d like to leave you with a study in metal rhythm playing, so crank up that gain, scoop all the mid-range out of your sound and try 在独奏之后，我想给大家留下一段金属节奏演奏的学习经历，所以请调高增益，剔除所有的中音，然后尝试一下
working through the following transcription piece by piece. There are some more odd time signatures here, but you should get a feel for them once you’ve tried counting along with the CD demo. 逐段完成下面的抄写。这里还有一些奇怪的时间符号，但只要你试着跟着 CD 演示数数，就会有感觉了。
I included this one so you could work on your alternate picking and muting in a non-soloing context. If you can get those gaps sounding clean with an overdriven amp setting, you can take a moment to congratulate yourself on the efficiency of your string-damping technique. 我加入这一段是为了让你在非独奏的情况下练习交替挑弦和静音。如果你能用过载放大器设置让这些空隙听起来干净利落，你就可以花点时间祝贺自己的琴弦阻尼技术非常有效。
I didn’t include a demo solo for this one, but l’m sure you’ll come up with something - after all, you’re now officially a creative guitarist! 我没有为这首曲子提供独奏演示，但我相信你会想出办法的--毕竟，你现在已经正式成为一名富有创造力的吉他手了！
5 ON THE CD 5 在光盘上
Right then, now it’s your turn to do the thinking! At the end of the CD, you’ll find a selection of backing tracks, each accompanied by one or more demo solos to illustrate some of the ideas you encountered earlier in the book. In each case, I propose to give you the chord progression and some appropriate scale choices in the hope that you’ll find 好了，现在轮到你来思考了！在 CD 的末尾，你会发现一些精选的伴奏曲目，每首曲目都伴有一个或多个独奏演示，以说明你在书中遇到的一些想法。在每种情况下，我都会给你和弦进行和一些适当的音阶选择，希望你能发现
your own ways of applying this information. Here’s a breakdown of the tracks: 你自己应用这些信息的方法。以下是曲目的分类：
Track 1 轨道 1
This is a slow, bluesy track with a decidedly lazy 16th-note swing feel. The chord progression looks like this: 这是一首缓慢的蓝调乐曲，带有明显慵懒的 16 音摇摆感。和弦进行如下
I hope that this book has inspired you to think about your playing in some new ways and helped you to overcome that fear of theory which needlessly prevents so many guitarists from achieving their true potential. Remember to keep exploring your instrument, using the information you’ve acquired in these pages whenever you think it could save you time or give you fresh ideas. Above all, enjoy yourself! 我希望这本书能启发你以新的方式思考你的演奏，并帮助你克服对理论的恐惧，因为这种恐惧会无谓地阻碍许多吉他手发挥他们真正的潜能。记住，要不断探索你的乐器，在你认为可以节省时间或给你带来新想法的时候，使用你在这几页中获得的信息。最重要的是，尽情享受！
Perhaps you’d even be intrigued by the second book in this series, titled Creative Guitar 2: Advanced Techniques, which explains some of the more advanced guitar techniques and goes off on a lot of interesting tangents, such as investigating how to steal licks from other instruments and how to use exotic scales not normally heard in Western music. 这套书的第二本名为《创意吉他 2：高级技巧》，其中讲解了一些更高级的吉他技巧，并有许多有趣的切入点，例如研究如何从其他乐器中窃取乐段，以及如何使用西方音乐中通常听不到的奇异音阶。
No? Oh well. You can’t blame a guy for trying! 不是吗？好吧你不能责怪一个尝试的人！
The Creative Guitar series aims to provide the frustrated rock guitarist with new directions to explore his art. This book focuses on how you can expand your potential by refining your playing techniques, allowing you to tackle more complex rifts and solos. Creative Guitar 1 also addresses the much-feared topic of music theory, explaining the basic principles and demonstrating how they can actually be appled in real musical situations. 创意吉他》系列旨在为受挫的摇滚吉他手提供探索艺术的新方向。本书的重点是如何通过完善演奏技巧来拓展自己的潜能，让您能够处理更复杂的变奏和独奏。Creative Guitar 1》还探讨了令人恐惧的乐理问题，解释了基本原理，并演示了如何在实际音乐环境中应用这些原理。
Armed with the accompanying CD featuring detailed examples of pentatonic patterns, minor arpeggios and backing tracks, you can do much more than simply learn solos and licks note for note; the expert step-by-step instructions featured here can be applied to your own individual style of playing to make you a better, more creative musician. 随书附带的 CD 光盘详细介绍了五声音阶、小调琶音和伴奏音轨，您不仅可以逐个音符地学习独奏和小调，还可以将专家的逐步指导应用到您的个人演奏风格中，使您成为一名更出色、更有创造力的音乐家。
Also available: Creative Guitar 2: Advanced Techniques 也可提供：创意吉他 2：高级技巧
