最近,一个面向所有乐器演奏者举行的比赛中,一位不是吹长笛的同场评委转过身来恼怒地问我,为什么长笛手不演奏出强弱来。没有人象我这样熟悉长笛乐曲,所以大多数长笛手演奏时,评委们都得看着乐谱。从吹奏恬静的莫扎特的作品,到力度强烈的罗德里戈的作品,我们注意到很少有人准确地按乐谱上的强弱符号来演奏。 在任何比赛中,尤其是在与其它乐器演奏者一起进行合奏比赛时,长笛手对强弱的忽视尤为明显。试图表现歌唱式音调的演奏者,要冒吹得过响和产生不自然声音的危险,而放不开的演奏又经常会出现软弱和走音的效果。 进行基本的甚至是非常规的练习,能够使长笛手获得更大的力度范围,使他们的演奏能表现 Recently, in a competition for all instrumentalists, a jury not playing flute turned around and angrily asked me why the flute player did not play strength. No one was as familiar with flute music as I did, so when most flute players were playing, the judges had to look at the score. From playing momentary Mozart’s work to the more intense Rodrigo’s work, we noticed that very few people are accurately playing on the strength and weakness of the score. In any competition, especially when playing ensembles with other instrument players, the flutist overlooks strength. Players trying to express singing tones are at risk of overruns and unnatural sounds, and their inability to play often produces the effects of weakness and soprano. Performing basic or even non-routine exercises will give the flutist a greater range of intensity to make their performance