萨克斯如何超吹，超吹对乐器有什么要求
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解决时间 2021-01-30 21:26
- 提问者网友：未信
- 2021-01-30 18:07
萨克斯如何超吹，超吹对乐器有什么要求
最佳答案
- 五星知识达人网友：纵马山川剑自提
- 2021-01-30 19:28
从国外sax网站转载来的，版主是个新加坡人，自己总结的12条超吹秘籍，他选的是一个特定音G（我自己也有体会，这个音是比其他的音难出来。）我翻译出来，自己学习的同时，希望可以帮到、启发一些朋友。目前，关于超吹的学习，要么详见于正规教材，要么就是网络上的只言片语，不是很系统，一般人会摸不到门路。
看到后随便翻了翻，不是很精细的翻译，也许有理解错误，还望斧正。不太清楚原文里的vent是不是就是指front F键，即第三泛音键。
We all know that some notes on the saxophone are tougher to hit than others, especially as we begin to delve into the altissimo register. While there is a great deal of information out there about the art of altissimo as a whole, I thought that it would be good to hone in on a specific note in the altissimo register that seems to give folks a bit of a tougher time than some of the others above it.
我们都知道萨克斯的一些音符比其他的难吹，特别是当我们接触超吹时。虽然现在关于超吹这门学问的资料已经汗牛充栋，但我觉得有必要练习一个特定的超吹音，练习这个音的难度比其他音高更高的超高音要难一些。
My suggestion is that you read everything here then try the things that you think will enhance your abilities in this area.
我的建议是你读完我写的诀窍，然后尝试你觉得能提高自己超吹技艺的练习方法。
Keep in mind that different fingerings apply depending on whether you’re on alto or tenor, but similar concepts should apply in either case.
要记住，吹alto和tenor，超吹指法是不同的，不过理念差不多，可以通用。
1) Make sure you’re always using plenty of air.
确保吹的时候气很足。
Some notes allow you to push them through with very little air support. The altissimo G is not one of them, so make sure that you’re blowing a solid stream of air from the diaphragm.
一些音吹起来只需要用很少的气去顶住，超吹的5就不行了，所以确保你要用丹田发力，吹出扎实的一股气柱。
2) Make sure your fingers are doing what you think they’re doing.
确保你的手指听使唤。
Sometimes our problems occur when fingers lift up slightly or bump other keys. Be deliberate in what you play!
有时如果手指抬得微微过高，或者搭到其他键，就会碰到问题。要做到吹什么音就得是什么音！
3) During your initial practice sessions, walk up to G from “vent” or “front” E.
一开始练习的时候，要选择从加前F键（即第三泛音键）的高音E（食指+中指+无名指）的吹法一点点吹到5。
Of course, you must be prepared to hit the altissimo G from any other note on the horn, but this will serve as a sort of “training wheels” since you’re not making the big shift in the throat and mouth as you would were you coming from a bigger interval.
当然，你必须准备好从管子上的任何音一下子切换到超吹的5。但这（从E吹到G）会起一种类似“辅助轮”的作用，因为如果两个音之间是一个大跨度的音程，你的喉咙和口型就会做出较大的变化。（但从高音E到G就不会）
The palm key notes lay the foundation for creeping up just a bit higher to the G.
练好左手侧键的音，为一点点爬升到G打好基础。
4) “Think down”
脑子里要想着“气息下沉”
If F# cracks up, simply think of blowing the air downwards with ample diaphragm support and as you move into the G.
如果#4破音了，那就用丹田气把音撑住，吹到5也是这样。
5) Experiment with a different fingering.
换种超吹指法试试。
As soon as you can play the front G reasonably well, try the other standard G fingering which is 1st and 3rd fingers of both hands plus the thumb/octave key. Note: first finger of left hand is on the B key – not the vent or fork key. This is a handy fingering that I use about half the time depending on the context. Some students find this one easier as well.
一旦你会用前置指法吹出5之后，试试另一种5的标准指法，具体是左手食指+无名指，右手食指+无名指，拇指按住泛音键。记住了：左手食指是放在B键（7）上，不是放在第三泛音键或“叉键”（即7下面那个小键。三根手指像不像叉子，够形象的）。这个指法很管用，我自己吹曲子根据需要，一半的时候在都用这个指法。一些学生也觉得这个指法简单些.
Another fingering you can try if F# is fine but G cracks involves adding the first finger of your right hand then releasing the second finger of your left hand.
如果你吹#4没问题，但一到5就破音了，那不妨试下另一种指法：松开左手中指，加按个右手食指。（难道不就是所谓的front G fingering么，这个我没搞明白。）
6) Apply dynamics and vibrato.
吹出5后，加强气息，并加上颤音。
Once you’ve hit the note, hold it as long as you can and crescendo. Eventually, you can try using vibrato to “test the boundaries” of what your control of the altissimo G can withstand.
一旦吹出了5，尽可能长地屏住，加大音量。最后，你可以试着加颤音，目的是测试你对超吹5的控制力的边界。
7) Practice hitting the note with a breath attack.
试着突然猛吹5。
Once you’ve achieved a bit of control, walk up to the note as described in step 3, let it go, and try to re-start it with a breath attack. When you let it go, keep your mouth and tongue in the same shape.
获得一定的控制力后，根据第三步里的介绍，一点点爬到5，放掉手指，再重新猛吹一次5。放掉手指的时候，让嘴型和舌头保持同样位置。
8) Take rests on the way up.
往上吹的时候，当中要休息。
Practice walking up the chromatic scale From E to G but with rests between each note. This is something you can do once you’ve attained some more control over the altissimo register, but a great way to take your high G skills to the next level.
练习用半音阶指法从3爬到5，但每个音之间要有停顿。当你对超吹的控制力又上了一个台阶后，你可以这么练，这对提升你在5上的超吹技术很有裨益。
9) Hold down the low Bb Key
按住最低音b7键。
Adding low Bb to the G can stabilize things if you feel like you’re “close” or if you’re getting a noisy sound. This fattens up the sound as well. However, it is a big reach down there with the pinky finger, so you’ll have to give it a try and see how it works for you.
如果你觉得你快要能成功吹出5了，或者已经得到了一个不太干净的5，加b7键就能增加稳定性。这也会让音更平实。不过，这个指法的问题是小拇指会扒得很开（我草，我这种手小的人扒断了都扒不到），所以你得试吹一下，看看效果如何。
10) Try taking in a little bit more mouthpiece.
试着多咬一些笛头。
Nearly all beginner and intermediate students tend to play with too little mouthpiece. If you’re having trouble with both high and low notes speaking and projecting, there is a chance you can improve things immediately by taking in just a little more mouthpiece. Never drift towards the tip of the mouthpiece when going after altissimo notes. Sometimes it will seem like it helps or makes things easier, but it is a dead-end road!
几乎所有新手和中阶学生都有一个毛病，含入笛头的部分太少了。如果你的高音和低音音色都很憋闷、不够响，那多含一点笛头有可能会有立杆见影的改善。在吹超高音的时候，嘴唇千万别退到笛头开头处。有时好象这样做管用，能吹得轻松些，但这种做法其实是死路一条！
11) Relax your left shoulder!
左肩放松！
It’s tense isn’t it? Let it drop.
是不是很紧张，自然下垂点。
12) Try a chromatic exercise to improve your high G skills.
试着练练半音阶，提高吹高音5的技巧。
If you’re handy with your chromatic scale I would recommend this quick exercise to get the “feel” of the altissimo notes necessary to consistently achieve the high G.
如果你的半音阶吹得很溜，那我建议你快速地做下这个练习，体会一下超吹音的“感觉”，这样能稳定地吹出5。
1.First, overblow low D up an octave. This is easy to do, just play 4th line D but remove your thumb from the fingering.
首先，吹低音2的泛音。这很容易，只需要吹五线谱第四线的中音2，松开拇指泛音键。
2.Then walk up the chromatic scale as high as you can go. Your fingers move up starting on low D with everything coming out an octave up. Start slowly but increase the speed as you get the feel for it.
然后爬半音阶，爬到你能达到的最高音。从低音2开始，手指依次向上按出其他音，所有音都要高一个八度。一开始可以吹慢点，有感觉后加快速度。
3.Go up as high as you possibly can. In order to hang on as you go up, the shape of your mouth and tongue will have to change. This is the shape of altissimo. Remember to use a lot of air, never let up on your air, and don’t bite.
吹到你能达到的最高音。爬音阶的时候，为了坚持住，你的嘴型和舌头得调整位置。这就是超吹的口型要求，记得气息要充足，千万保持气压，别咬笛头。
_______________________________________________________________________________________________
补一段在其他地方看到的论述，应该是出自学院派之手。
There is often a noticeable change in tone quality when using the front E and F fingerings. This is why it may be advisable to only use these fingerings as a passageway into the altissimo fingerings.
前置3和4的指法会导致音色明显变化，这就是为什么建议吹奏者把这种（替代）指法仅仅作为超吹的过度。
当然，我觉得这位斑主关于泛音那段还是很有借鉴意义的，杜银鲛也是这么说的，吹好泛音，对吹超吹会有很大帮助，我想他说的应该就是固定住嘴型和舌头的位置。这点感性认识还是蛮重要的。
andreas_nt发表于吹萨克斯网
看到后随便翻了翻，不是很精细的翻译，也许有理解错误，还望斧正。不太清楚原文里的vent是不是就是指front F键，即第三泛音键。
We all know that some notes on the saxophone are tougher to hit than others, especially as we begin to delve into the altissimo register. While there is a great deal of information out there about the art of altissimo as a whole, I thought that it would be good to hone in on a specific note in the altissimo register that seems to give folks a bit of a tougher time than some of the others above it.
我们都知道萨克斯的一些音符比其他的难吹，特别是当我们接触超吹时。虽然现在关于超吹这门学问的资料已经汗牛充栋，但我觉得有必要练习一个特定的超吹音，练习这个音的难度比其他音高更高的超高音要难一些。
My suggestion is that you read everything here then try the things that you think will enhance your abilities in this area.
我的建议是你读完我写的诀窍，然后尝试你觉得能提高自己超吹技艺的练习方法。
Keep in mind that different fingerings apply depending on whether you’re on alto or tenor, but similar concepts should apply in either case.
要记住，吹alto和tenor，超吹指法是不同的，不过理念差不多，可以通用。
1) Make sure you’re always using plenty of air.
确保吹的时候气很足。
Some notes allow you to push them through with very little air support. The altissimo G is not one of them, so make sure that you’re blowing a solid stream of air from the diaphragm.
一些音吹起来只需要用很少的气去顶住，超吹的5就不行了，所以确保你要用丹田发力，吹出扎实的一股气柱。
2) Make sure your fingers are doing what you think they’re doing.
确保你的手指听使唤。
Sometimes our problems occur when fingers lift up slightly or bump other keys. Be deliberate in what you play!
有时如果手指抬得微微过高，或者搭到其他键，就会碰到问题。要做到吹什么音就得是什么音！
3) During your initial practice sessions, walk up to G from “vent” or “front” E.
一开始练习的时候，要选择从加前F键（即第三泛音键）的高音E（食指+中指+无名指）的吹法一点点吹到5。
Of course, you must be prepared to hit the altissimo G from any other note on the horn, but this will serve as a sort of “training wheels” since you’re not making the big shift in the throat and mouth as you would were you coming from a bigger interval.
当然，你必须准备好从管子上的任何音一下子切换到超吹的5。但这（从E吹到G）会起一种类似“辅助轮”的作用，因为如果两个音之间是一个大跨度的音程，你的喉咙和口型就会做出较大的变化。（但从高音E到G就不会）
The palm key notes lay the foundation for creeping up just a bit higher to the G.
练好左手侧键的音，为一点点爬升到G打好基础。
4) “Think down”
脑子里要想着“气息下沉”
If F# cracks up, simply think of blowing the air downwards with ample diaphragm support and as you move into the G.
如果#4破音了，那就用丹田气把音撑住，吹到5也是这样。
5) Experiment with a different fingering.
换种超吹指法试试。
As soon as you can play the front G reasonably well, try the other standard G fingering which is 1st and 3rd fingers of both hands plus the thumb/octave key. Note: first finger of left hand is on the B key – not the vent or fork key. This is a handy fingering that I use about half the time depending on the context. Some students find this one easier as well.
一旦你会用前置指法吹出5之后，试试另一种5的标准指法，具体是左手食指+无名指，右手食指+无名指，拇指按住泛音键。记住了：左手食指是放在B键（7）上，不是放在第三泛音键或“叉键”（即7下面那个小键。三根手指像不像叉子，够形象的）。这个指法很管用，我自己吹曲子根据需要，一半的时候在都用这个指法。一些学生也觉得这个指法简单些.
Another fingering you can try if F# is fine but G cracks involves adding the first finger of your right hand then releasing the second finger of your left hand.
如果你吹#4没问题，但一到5就破音了，那不妨试下另一种指法：松开左手中指，加按个右手食指。（难道不就是所谓的front G fingering么，这个我没搞明白。）
6) Apply dynamics and vibrato.
吹出5后，加强气息，并加上颤音。
Once you’ve hit the note, hold it as long as you can and crescendo. Eventually, you can try using vibrato to “test the boundaries” of what your control of the altissimo G can withstand.
一旦吹出了5，尽可能长地屏住，加大音量。最后，你可以试着加颤音，目的是测试你对超吹5的控制力的边界。
7) Practice hitting the note with a breath attack.
试着突然猛吹5。
Once you’ve achieved a bit of control, walk up to the note as described in step 3, let it go, and try to re-start it with a breath attack. When you let it go, keep your mouth and tongue in the same shape.
获得一定的控制力后，根据第三步里的介绍，一点点爬到5，放掉手指，再重新猛吹一次5。放掉手指的时候，让嘴型和舌头保持同样位置。
8) Take rests on the way up.
往上吹的时候，当中要休息。
Practice walking up the chromatic scale From E to G but with rests between each note. This is something you can do once you’ve attained some more control over the altissimo register, but a great way to take your high G skills to the next level.
练习用半音阶指法从3爬到5，但每个音之间要有停顿。当你对超吹的控制力又上了一个台阶后，你可以这么练，这对提升你在5上的超吹技术很有裨益。
9) Hold down the low Bb Key
按住最低音b7键。
Adding low Bb to the G can stabilize things if you feel like you’re “close” or if you’re getting a noisy sound. This fattens up the sound as well. However, it is a big reach down there with the pinky finger, so you’ll have to give it a try and see how it works for you.
如果你觉得你快要能成功吹出5了，或者已经得到了一个不太干净的5，加b7键就能增加稳定性。这也会让音更平实。不过，这个指法的问题是小拇指会扒得很开（我草，我这种手小的人扒断了都扒不到），所以你得试吹一下，看看效果如何。
10) Try taking in a little bit more mouthpiece.
试着多咬一些笛头。
Nearly all beginner and intermediate students tend to play with too little mouthpiece. If you’re having trouble with both high and low notes speaking and projecting, there is a chance you can improve things immediately by taking in just a little more mouthpiece. Never drift towards the tip of the mouthpiece when going after altissimo notes. Sometimes it will seem like it helps or makes things easier, but it is a dead-end road!
几乎所有新手和中阶学生都有一个毛病，含入笛头的部分太少了。如果你的高音和低音音色都很憋闷、不够响，那多含一点笛头有可能会有立杆见影的改善。在吹超高音的时候，嘴唇千万别退到笛头开头处。有时好象这样做管用，能吹得轻松些，但这种做法其实是死路一条！
11) Relax your left shoulder!
左肩放松！
It’s tense isn’t it? Let it drop.
是不是很紧张，自然下垂点。
12) Try a chromatic exercise to improve your high G skills.
试着练练半音阶，提高吹高音5的技巧。
If you’re handy with your chromatic scale I would recommend this quick exercise to get the “feel” of the altissimo notes necessary to consistently achieve the high G.
如果你的半音阶吹得很溜，那我建议你快速地做下这个练习，体会一下超吹音的“感觉”，这样能稳定地吹出5。
1.First, overblow low D up an octave. This is easy to do, just play 4th line D but remove your thumb from the fingering.
首先，吹低音2的泛音。这很容易，只需要吹五线谱第四线的中音2，松开拇指泛音键。
2.Then walk up the chromatic scale as high as you can go. Your fingers move up starting on low D with everything coming out an octave up. Start slowly but increase the speed as you get the feel for it.
然后爬半音阶，爬到你能达到的最高音。从低音2开始，手指依次向上按出其他音，所有音都要高一个八度。一开始可以吹慢点，有感觉后加快速度。
3.Go up as high as you possibly can. In order to hang on as you go up, the shape of your mouth and tongue will have to change. This is the shape of altissimo. Remember to use a lot of air, never let up on your air, and don’t bite.
吹到你能达到的最高音。爬音阶的时候，为了坚持住，你的嘴型和舌头得调整位置。这就是超吹的口型要求，记得气息要充足，千万保持气压，别咬笛头。
_______________________________________________________________________________________________
补一段在其他地方看到的论述，应该是出自学院派之手。
There is often a noticeable change in tone quality when using the front E and F fingerings. This is why it may be advisable to only use these fingerings as a passageway into the altissimo fingerings.
前置3和4的指法会导致音色明显变化，这就是为什么建议吹奏者把这种（替代）指法仅仅作为超吹的过度。
当然，我觉得这位斑主关于泛音那段还是很有借鉴意义的，杜银鲛也是这么说的，吹好泛音，对吹超吹会有很大帮助，我想他说的应该就是固定住嘴型和舌头的位置。这点感性认识还是蛮重要的。
andreas_nt发表于吹萨克斯网
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