Guitar訓練，2-08-練習 2007-12-22

练习中一定要注重放松训练，动作可以夸张一点
I. 不靠弦（方法：触弦、绷弦、离开）
i m a 3弦上练习
1. 单指适应性练习 i m a，注意找方法和放松
2. 八拍 单指练习 i m a，节拍器速度：60，70，80
3. 两个八拍，im mi ma am ia ai 节拍器速度：60，70 ，80，

II.
卡尔卡西25首练习曲 No.2
1. 节拍器速度：72，80 练习次数：3遍
注意左手放松

III. guita etude Fernando Sor Op.31 No.20 前4句（1-16.5）小节 节拍器速度：72, 80 三遍
注意左手预备指法，保证连贯性，应单独对某些较难单元小节进行独立练习

IV. 基本练习
圆滑音 在5 4 3 2弦上练习
1. 单指打，单指连， 打后连
2. 双指组合练习（打后连、连后打）
3. 三指组合练习（打后连、连后打）
4. 四指组合练习（打后连、连后打） 加上节拍器，速度：72 80 88 96 104 112
1、2、3练习可选择性完成

PAGANINI: Guitar Music

copy from: http://edu.kuke.com/index.do?method=detail&flag='index'&item_code=8.557598

在南方基金赞助学校使用一年的KUKE数字音乐图书馆中发现paganini的guitar曲很不错

PAGANINI: Guitar Music Nicolò Paganini (1782-1840) Guitar Music Nicolò Paganini was music’s first superstar. His career as a violinist was attended by inflated concert prices, mass enthusiasm, even hysteria, rumours of supernatural powers, a pact with the devil, all supported by a superb violin technique, a capacity for daring innovation and a genuine musical gift. All very unlike the quiet life of a classical guitarist. Yet Paganini was a guitarist too, and a very good one. He wrote: ‘I love the guitar for its harmony; it is my constant companion in all my travels’. He also said, on another occasion, ‘I do not like this instrument, but regard it simply as a way of helping me to think’. It is not a real contradiction: even the most constant of companions can be irritating at times. He chose not to exploit the guitar in the same way as he exploited the violin. Had he done so, the advances in technique the guitar has seen during the last two or three generations might have come a great deal sooner. Only recently has the full extent of Paganini’s guitar compositions been revealed. Few of them were ever published, and when the Italian government was offered the collection, they turned it down. The guitar remained out of fashion for a long time, and Paganini’s connection with it was all but forgotten. Our modern age is to a large extent concerned with discovery and revival, and it was inevitable that Paganini’s work should come under scrutiny sooner or later. Because the guitar compositions do not contain the brilliance that we find in the Caprices for violin, it is easy to dismiss them as inferior, in the sense of ‘not so good’. You might as well say that Snowdon is inferior to Mount Everest: it is true only in the literal sense of one mountain being lower than the other, but they are both mountains, the chief difference being that one can be approached for a pleasant afternoon’s walk and the other cannot. Paganini left a large amount of chamber music that includes the guitar, still to be thoroughly explored. Meanwhile, the music for solo guitar is readily accessible, and guitarists are discovering it with pleasure. Why has it taken the best part of two centuries to bring this attractive music to light? Apart from the fact that most of the guitar pieces were never published – though it is worth noting that of his compositions that were published during his lifetime, all but the 24 Caprices for solo violin include the guitar – Paganini had built up such a huge reputation as an innovative violinist of unprecedented brilliance that it was hard to believe that he played the guitar at a similarly high level. Then, too, the guitar suffered a decline during the nineteenth century. Only recently, fuelled by the record industry’s insatiable demand for new music, has a culture of research grown up in which unheard music by old composers is dragged out of its obscurity, dusted down and found to be not only tolerable but very often good music and well worth reviving. One of the fascinating things about Paganini is the interaction between his violin technique and his guitar technique. He frequently played both instruments during his musical sessions with friends, even (as an eyewitness has recorded) putting the violin between his knees so that he could pick up the guitar and continue playing without interrupting the flow. We may infer from this that his left hand approached each of the two fingerboards in much the same way, and the guitar music supports this idea: linear rather than vertical harmony, arpeggiated chords aiding the forward movement of the melodic line. Both violin and guitar are integral parts of Paganini’s unique personality. It is no longer possible to think of one without thinking of the other. The links may not at first be obvious, given that the violin music was for public consumption, with all the superficial display that the public demanded, while the guitar was for music at home among friends. It remains music created by the same man, and that makes a good starting-point. Though his friend Hector Berlioz, who knew something about the guitar, paid tribute to Paganini’s guitar ability, it was his violin that people wanted to hear, and his extraordinary success with it made him a legendary figure in nineteenth-century music. Would his guitar compositions ever have aroused a paying audience to the raptures that his violin brilliance did? We can only guess what might have happened if Paganini had never discovered what he could do with a violin, if he had concentrated his efforts entirely on the guitar. It is not impossible that we would have had a set of Caprices written for the guitar and no less difficult. This is perhaps one reason why his guitar music, on a first hearing, does not glow with the fiery brilliance of those extraordinary pieces for violin, but there is plenty of good music there, as guitarists and their audiences are discovering. The Grand Sonata originally included a violin part of extreme simplicity, because it was the custom for Paganini to exchange his violin for the guitar of Luigi Legnani at the end of one of their joint recitals. Legnani’s violin playing did not approach the level of Paganini’s guitar playing, however, and the part had to be written accordingly. Its meagre proportions often lead guitarists to dispense with it altogether, apart from incorporating a few of the violin’s notes where appropriate. The rich substance of the guitar part, requiring a virtuoso’s technique, which Paganini had on both instruments, more than makes up for the loss of the violin. The first movement, a free and flowing Allegro risoluto in sonata form, is followed by the endearingly melodic Romance in a slow 6/8 tempo. The Andantino variato is a theme and six variations that becomes more and more technically demanding as the work reaches its stirring conclusion. The Ghiribizzi (whims, fancies or caprices) seem to have been written in or around 1819. The composer wrote in 1824 that they were for ‘a little girl in Naples’, and that he wanted to scribble (scarabocchiare) some popular tunes rather than compose something more serious. Like many such sketches, written impulsively without careful planning and construction, they have their own unique charm and freshness. No. 16 uses the aria In cor più non mi sento (In my heart I feel nothing more) from Paisiello’s opera La Molinara, No. 37 is based on a melody from La gazza ladra, with Rossini’s Allegro ingeniously remodelled into an Adagietto. Melodies by Mozart (Don Giovanni), Süssmayr and Paganini himself appear among the total of 43, an irresistible collection of melodies in a playable form not needing the highest of guitar techniques, though, as always, a high level of musical understanding. The Ghiribizzi are Paganini’s Album for the Young. Unlike the Grand Sonata, most of Paganini’s sonatas are in two-movement form, generally a minuet followed by a waltz, an allegretto or even an allegretto scherzando, both movements in the same key. The minuets inevitably conjure up the eighteenth century from time to time, yet they never fail to convey the essence of Paganini’s essentially Romantic music. The 24 Caprices for unaccompanied violin are Paganini’s most celebrated compositions. Exploiting the violin in daring, exciting and entirely new ways, they changed the image of the violin for ever. Yet Paganini himself never played them in public, though he dedicated them to the artists (agli artisti). It is perhaps strange that, with a few exceptions, guitarists still seem more ready to tackle the extreme technical difficulties of the violin Caprices than to investigate music that Paganini actually wrote for the guitar. That is partly because the guitar music is now virtually part of ‘Early Music’. The Caprices have never remotely approached that status, and are genuine classics, neither ancient nor modern but sublimely timeless. Colin Cooper

Guitar訓練，2-07-練習 2007-12-15

练习中一定要注重放松训练，动作可以夸张一点
I. 不靠弦（方法：触弦、绷弦、离开）
i m a 3弦上练习
1. 单指适应性练习 i m a，注意找方法和放松
2. 八拍 单指练习 i m a，节拍器速度：80，100，120，2对1，即每两拍拨一次弦
3. 两个八拍，im mi ma am ia ai 节拍器速度：80，100 ，120，2对1


II. guita etude Fernando Sor Op.31 No.20 前4句（1-16.5）小节 节拍器速度：72, 80 三遍

III. 基本练习
圆滑音 在5 4 3 2弦上练习
1. 单指打
2. 单指连
3. 打后连
4. 双指组合练习（打后连、连后打）
5. 三指组合练习（打后连、连后打）
6. 四指组合练习（打后连、连后打） 加上节拍器，速度：60 66 72 80 88

IV.
卡尔卡西25首练习曲 No.2
1. 前八个音 花两天时间 节拍器速度：60 练习次数：50
2. 分单元逐步完成，最后完成A段 节拍器速度：60 66 练习次数：3遍

decisions that revision control systems have to make

copy from:

http://bazaar-vcs.org/RCSChoices

Here is a table of the decisions that revision control systems have to make. The three columns each represent something that every revision control system must decide upon.

• History - This is the aspect of a revision that is considered essential.

• Revision IDs - This is the way that the RCS internally names the revision for purposes of tracking, merges, etc.

• Rename Handling - How the RCS records file renames and apply them when doing updates and merges.

History	Revision IDs	Rename Handling
Snapshot	Hashes	Unique IDs
Changeset	Namespace	History tracking
Semantic Patch	Pseudo-random	None

Examples

Name	History	Revision IDs	Rename Handling
Bazaar-NG	Snapshot	Pseudo-random	Unique IDs
GnuArch	Changeset	Namespace	Unique IDs
Subversion	Snapshot	Namespace	History tracking
git	Snapshot	Hashes	File content
Darcs	Patch	Namespace	History tracking
quilt	Patch	Namespace	None
Mercurial	Snapshot	Hashes	History tracking

Matrix

The "History" axis is denoted in brackets after the name of the VCS.

Revision / Rename	None	History	Unique IDS
Namespace	quilt (patch)	Darcs (patch), SVN (snap)	Arch (cset)
Hashes	GIT (snap)	Mercurial (snap)
Pseudo-random			Bazaar-NG (snap)

Merge handling

Possibly this is a function of history, but another important decision is how to handle merges and branches. Eg monotone - commits to the same revision always create new branches

古典音乐已死

copy from：
http://big5.xinhuanet.com/gate/big5/news.xinhuanet.com/book/2003-08/11/content_1020825.htm
Who killed classic music？

內容簡介
《誰殺了古典音樂》，這本令古典音樂家冒冷汗做惡夢的書出自英國著名音樂評論家諾曼·萊布雷希特之手。萊布雷希特是當今樂評界的奇才，英國《每日電訊報》和《星期日泰晤士報》專欄作家，文筆雋永生動，用字葷腥不忌、資料旁徵博引、以尖酸刻薄調味的幽默種種，他宣稱，古典音樂被謀殺了！而《誰殺了古典音樂》就是一本起訴書，控訴……少數音樂明星的報酬日益高漲，為何同時有愈來愈多的樂團經營不下去？神童、美女、通俗化是古典音樂的救星還是掘墓人？經濟人、唱片公司與樂團經理們又是如何來操縱古典音樂市場的？馬勒、R·施特勞斯、卡拉揚、比徹姆等古典巨星如何來經營自己的音樂事業？福爾特文格勒又是如何打敗華爾特而成為柏林愛樂的當家人的？《誰殺了古典音樂》綜觀二三百年古典音樂的來龍去脈，深入了解古典音樂世界每個隱秘角落，通過豐富的資料，巨細靡遺地觀察分析，最後得出驚世駭俗的結論：古典音樂死了！而他所揭露的兇手，正是這些創造榮景假象的企業、古典明星、唱片公司和經紀人。

________________________________________________________________

■相關書評　

古典音樂被殺死了嗎？

□劉大可

　　記得上世紀的80年代，日本著名的音樂學家莊野進就曾預言，正式的古典音樂在進入21世紀以後將逐步地消亡，傳統的音樂寫作與演奏的形式也將退隱。他提出的觀點是不容樂觀的，但又使人感到有些無可奈何。初聽到這樣的預測時，許多人一笑了之，並不以為然。可時至今日，《誰殺了古典音樂》將當年的話題重又被提出，而且論點更加雄辯，所依據的事實也更加充分。

　　古典音樂到底面臨著什麼危機呢？書中言到：當演奏明星登臺之日起，黑幕也就隨之升起，帕格尼尼、李斯特等人的輝煌技術後面，經紀人、專業經理、秘書、理財家和音樂騙子一起上陣，音樂的主題奏響，而鬧劇也隨之開演。

　　進入20世紀，音樂經紀人越來越顯山露水，哪一位音樂天才的後面沒有他們的手腳，不管你是卡薩爾斯、克萊斯勒，還是斯托科夫斯基、托斯卡尼尼，離開了那些幕後人他們誰也轉不了。當賈迪森控制了全世界三分之二的音樂家時，悲劇性的第二樂章已經奏響。他儼然成了拳擊界的唐金，其所作所為已無異于黑手黨的龍頭老大。

　　哥倫比亞是個蛇窩，音樂經紀人之間互相拉客，卡拉揚排除異己還賺得最多，愛樂樂團的垮臺，女高音在排練會上耍大牌，直到卡拉絲被開除、鄭明勳被攆走，這構成了本書的第三樂章——諧謔曲。

　　音樂會搞不下去就去搞廟會，活人不吃香了就抬死人出來，小夜曲唱不好就放牧歌，藝術家太嚴肅就用美女三點式來誘惑你，當三個老男人在世界杯嘶啞放歌時，古典音樂已是日薄西山、氣息奄奄了。

　　不求有才，只要有錢，誰都能圓自己的指揮夢，卡拉揚手持礦泉水的最後晚餐，傑克遜跳霹靂舞震倒SONY的大樓，古典音樂成了邊際產品，在櫥窗裏和可口可樂及百威啤酒躺在一起，茫茫四海何處是岸，只有海培利恩和馬爾波羅在奏著哀傷的挽歌。看罷翻江倒海的十五章，想來這時你耳邊的音樂，決不是貝多芬第五交響曲C大調雄偉的終曲樂章，而是老柴“悲愴”的結尾：緩慢低沉的死亡。

　　盡管作者萊布雷希特把古典音樂的衰落歸咎為經紀人的道德淪喪、唱片業的唯利是圖、音樂家的利欲熏心等等，但這還不是內容的全部，其實資本主義的虛偽以及社會背面的陰暗頑疾才是其根源所在。另外，現代社會中的科技的超速發展、事物變化的多樣性、物態保持時效短的特徵都是和古典音樂的嚴謹、深邃、陶醉和沉思冥想格格不入，甚至可以說是背道而馳的。尼採曾經說過：“對于藝術的存在，對于任何美學行為或美學感覺的存在，一種特定的心理上的先決條件是必不可少的，那就是：陶醉。”但現代文化的速食性注定是培養不出一個偉大的莫扎特的，而古斯塔夫·哈魏曼、阿爾弗雷德·科托和卡拉揚距離一個真正的藝術家也是有很大距離的。

　　本書的可貴之處就在于它的勇敢和無畏，不回避矛盾，敢于去迎接挑戰。盡管萊布雷希特沒有能夠為讀者去預測未來，但他已經揭開了潘多拉的盒子。皮之不存，毛將焉附，愛樂者的群體也是如此，當維也納金色大廳的聽眾中那些白發蒼蒼的老人離去後，誰來接替他們的座位呢？(原載《文匯報》)

Guitar訓練，2-06-練習 2007-12-08

练习中一定要注重放松训练，动作可以夸张一点
I. 不靠弦（方法：触弦、绷弦、离开）
i m a 3弦上练习
1. 单指适应性练习 i m a，注意找方法和放松
2. 八拍 单指练习 i m a，节拍器速度：40，60，2对1，即每两拍拨一次弦
3. 两个八拍，im mi ma am ia ai 节拍器速度：40，60 ，2对1

II. 基本练习
圆滑音 在5 4 3 2弦上练习
1. 单指打
2. 单指连
3. 打后连
4. 双指组合练习（打后连、连后打）
5. 三指组合练习（打后连、连后打）
6. 四指组合练习（打后连、连后打） 加上节拍器，速度：52 56

III. guita etude Fernando Sor Op.31 No.20 前两句（1-8.5）小节 节拍器速度：60 66

練習曲
IV. Tarrega练习曲
No.1 No.22 节拍器速度：176 192 208 练习次数：自由选择练习，ma指法
No.16 No.17 No.21 节拍器速度：192 208 224 练习次数：自由选择练习

No.13 No.6 节拍器速度：144 160 176 练习次数：自由选择练习，指法：imimam 和 mamimi

V. 行板 教材Page36 节拍器速度：176 192 208 练习次数：自由选择练习