【译者按】1987年6月2日，20世纪的吉他巨人安德烈斯·塞戈维亚在西班牙家中溘然长逝，享年94岁。至此，巨星陨落，一代传奇谢幕。作为20世纪吉他全面发展最有力的推动者，塞戈维亚一生致力于推广和提高古典吉他在主流音乐界的地位。由于他所作出的贡献，吉他终于被视为音乐会乐器。塞戈维亚的技巧、发声方式以及他对于吉他本身的观念改变了吉他的未来。塞戈维亚使吉他演奏者成为了一项专业的职业。他是第一位使古典吉他观众的注意力从作曲家转向演奏家的人，这一点与李斯特对钢琴的贡献颇为相似。
今天，再刊发我的这篇译文以纪念伟大的安德烈斯·塞戈维亚逝世三十一周年。下面的这张塞戈维亚的肖像临摹是大连古典吉他名家王明波老师的作品。今年4月，泛美全国古典吉他启蒙教学活动期间，王老师赠予我这份珍贵的礼物，在此表示万分的感谢。
安德烈斯·塞戈维亚（1893-1987） 王明波 画
我既是我的学生又是我的老师，我到现在还在学习。在90岁的时候作为一名学艺术的学生要比14岁的时候当一名导师好多了。
—— 安德烈斯·塞戈维亚
塞戈维亚与索尔——
穿越时代的对话
From the Winter 2016 issue of Classical Guitar | BY RHAYN JOOSTE
原文选自《古典吉他》杂志2016冬季刊 / 作者 RHAYN JOOSTE
翻译：韩洪涛
费尔南多·索尔（1778-1839）
Andrés Segovia’s celebrated book of 20 studies by Fernando Sor can be found on the majority of classical guitarists’ shelves; with it, Segovia forever linked Sor (1778–1839) to the 20th century. But how many of us have actually played all of them, especially the last two? And what about their derivation? Where and when were they first composed? This lesson is going to take a closer look at Segovia’s Study No. 19, which is actually Sor’s Study No. 13 from Op. 29. Its publication in 1827 marks the beginning of Sor’s greatest period of creativity and also his last. We will delve into maintaining barre chords, right-hand tone options, left-hand stretching, and finger independence.
安德烈斯·塞戈维亚那本著名的《费尔南多·索尔练习曲20首》现在大多数的吉他演奏者的书架上都会有。塞戈维亚使用这本书将索尔（1778-1839）永远地和20世纪联系在一起。但是我们当中又有多少人真正弹过书中全部的曲目，尤其是最后两首？又有谁指导这些曲目出处？这些曲子是在哪里又是在何时首先创作完成？本讲我们就来仔细研究一下塞戈维亚书中安排的练习曲No.19,它实际上取自于索尔的作品第29号的练习曲No. 13。这部作品出版发行于1827年，这标志这索尔最伟大的创新阶段的开始，同时也是他的最后一个阶段。本讲中，我们将探究保持横按和弦、右手音色的选择、左手的伸展以及手指的独立性等问题。
OVERVIEW
概览
In 1827, Beethoven was laid to rest, Mendelssohn premiered A Midsummer Night’s Dream, and Spanish guitar maestro Fernando Sor returned to permanently live in Paris, where he published, among many other pieces, his second book of studies (Op. 29). It is easy to speculate that these had been with him prior to this moment and collated (and possibly written) during his circuitous journey the year before from a three-year stay in Russia. Sor’s second book was not composed to please patrons or to supply the ever-growing 19th century appetite for “easy” music; these were studies for guitarists and serious students who wanted to learn and improve their technique. Study No. 13, which inaugurates Op. 29, is no exception—it is a wonderfully colorful musical exercise which utilizes barre chords to support a melody in the unusual key, for guitar at least, of Bb.
1827年的时候，贝多芬已经离世，门德尔松首演了他的《仲夏夜之梦》，此时西班牙吉他大师回到了巴黎，并永久定居在那里。在巴黎，他出版了他的第二本练习曲集（作品第29号）以及其它许多作品。我们很容易就可以推测：这些作品之前早已完成，并在头一年的曲折的旅途之中完成的校对（很可能创作），他之前曾经在俄罗斯呆过三年。索尔的第二本书并不是应赞助人而作，也不是为了取悦19世纪那种越来越倾向于“简易”音乐的口味。这些练习曲是为吉他演奏家以及希望学习、提高吉他技巧的专业学生创作。练习曲No.13在作品29号中具有开创意义，它毫无例外地是一首精彩的、色彩丰富的音乐性练习曲，曲中运用横按和弦（巴列）的手法，衬托出一段至少对于吉他来说不常见的调性的旋律- 降B调。
RIGHT HAND
右手
Even though Op. 29 is a continuation of Sor’s first book of studies (Op. 6), it does not have the same cohesion of keys or range of technical development. Op. 29 does have challenging extended studies that place importance on broadening technique in a musical context. In No. 13, the right hand is a set of variants on a standard arpeggio figure (Bar 1 Micro Study 1). The challenge Sor presents us with is this: to clearly separate the melody from the bass and accompaniment. This can be accomplished with right-hand control—imagine a volume dial on each finger. Conversely, for this musical period, experimenting with finger tone, attack, and even angle is more pertinent. You could use a rest stroke, however that will cut off accompaniment notes. It would be more effective to alter the RH angle, with your wrist dropped and knuckles perpendicular to the strings, like Segovia. This gives a brighter tone to the melody, separating it from the accompaniment. Alternatively, it is also worth exploring using the backside of the a and m nails. However, this requires you to file your nails at a different angle and some patience to get the tone solid. The bass line should feel independent of the other voices, and again, experiment with tone, attack, and angle to achieve this.
右手
尽管作品29号是索尔的第一本练习曲集（作品第6号）的延续，但是它却有不同的调性衔接和技巧进阶安排。作品29号确实有一些难度扩展练习，这些练习又特别注重在音乐性的背景下拓展技巧。在练习曲No. 13中，右手在标准的琶音型的基础上展开一系列的变化（微练习一第1小节）.索尔给我们提出的难题在于：将旋律清晰地从低音和伴奏中分离出来。这个难题可以通过右手控制训练来得以完成—— 要想象成每个手指都具有不同的音量分配与控制。另一方面，为了表现音乐性，实验不同的手指音色、击弦，甚至是角度更加密不可分。你可以使用靠弦弹法，然而这有可能使伴奏音中断。改变右手的角度，就像塞戈维亚一样，将你的手腕前伸，大关节垂直悬置于所要拨弦的上方是一个更为有效的方法。这样会使旋律的音色更为明亮，并将其从伴奏音中分离出来。或者，你也可以尝试使用a指和m指的后侧拨弦。然而，这就需要你将指甲修理成不同的角度，同时还需要耐心找到结实的音色。低音声部应该让人感觉独立于其它声部，同样你需要尝试不同的音色、击弦和角度来完成这个要求。
The time signature is 2/4, however Sor has doubled up the rhythmic rate by using sextuplets, with eighth-note bass notes, and as such the sentiment is for a faster tempo. Pushing the original tempo Andante Lento a little breathes life into the melody and gives No. 13 a two-to-the-bar feel.
本曲的节拍是2/4的，然而索尔使用六连音使节奏加倍，同时低音部使用了八分音符，因此整个曲子的氛围是快速的。加强一点Andante Lento节奏，这样会使旋律呼吸更加鲜活，同时使练习曲No.13产生一种每小节两拍的感觉。
Micro Study 1 presents the five main arpeggio variations Sor utilized in this piece in a simple harmonic structure. Once internalized, they will help maintain your RH when Sor changes direction. A second aim is to experiment with tone changes. Choose either the bass or melody and concentrate on lifting the tone of those notes. We’re keeping the initial chord basic so that the focus is on the RH fingers. Once you have a grasp on the patterns and tone, then play A major into Bb major with each repeat. This will help build up LH strength alongside RH control.
微练习1 以简单的和弦结构的形式展示了索尔在这个作品中使用的五种主要琶音的变化。一旦训练成你内在的技巧，这些将有助于你随着索尔音乐走向变化时保持右手的控制。第二个目标是尝试音色的变化。你可以选择低音或旋律部分，专注于将它们从其它音符中凸显出来。保持最初基本的和弦，因此我们的注意力主要集中在右手手指上。一旦你已经掌握了琶音型和音色，然后从A大调练习至降B大调，每个调性都反复一次。这样有助于将左手力度增强和右手控制的训练相结合。
Note that the RH utilizes all of the fingers, not just the i and m fingers. We are, after all, modern guitarists trying to eke out technical prowess. Limiting the RH to three fingers for the sake of pure performance practice will curtail development.
要注意：右手应使用所有的手指，而不只是i指和m指。毕竟，现代吉他演奏家要努力精细全面地安排，以达高超的技巧。将我们的右手局限于三个手指来达到完美演奏只会阻碍我们的发展。
LEFT HAND
左手
No. 13 is in binary form (A B), with Sor recapitulating the opening material exactly half-way through at bar 29. The focus for the left hand is maintaining a series of shifting chords, the majority of which are barres—for 58 bars! Yup, there is no letup or hiding within this piece—it will train your barre technique like nothing else and also highlight any issues you have with it (see the Winter 2015 issue of CG for more barre guidance). Micro Study 2 is a great exercise for barre, and graduates by working each chord shape down the fretboard individually into using the first finger fully. Two key bits of LH advice: First, if you have not already played through these suggestions (Op. 31 No.7; Op. 35 No. 22; Op. 35 No. 20) which are in ascending order of difficulty, do so. Tackling these prior to No. 13 will help build up stamina; they also comprise a three-voice guitar texture and thus provide extra melody and tone practice. A second bit of advice is to play the first 20 bars only, until you develop the endurance for playing the rest of No. 13. Sor originally placed a repeat at bar 20 for the first section. Although no longer in modern editions, it is borne out in the music, as this is the only resting spot in the entire piece. So why not use it?
练习曲No.13的曲式为二段体（AB），索尔在曲子的一半处，也就是第29小节再现了一开始的音乐素材。左手的要注意保持一系列的和弦转换，其中大部分是横按和弦- 一直长达58小节！没错，在这个练习中，中间没有任何的中断或松懈之处—— 这比其它任何作品都有助于你训练横按技术，同样强调了横按技术的所有要点（见《古典吉他》杂志2015冬季刊更多关于横按技术的指导文章）。微练习2是个非常棒的横按技术练习，左手从高把位沿着指板的每一品练习，不断地变化和弦手型，一直到完全用第一指的横按。这里提出两点重要的左手建议：第一点建议：如果你没有按照建议的难度进阶顺序去练习这些曲目（作品31第7号；作品35第22号；作品35第20号），那么一定要照此练习。在练习曲No.13之前解决这些作品有助于你增强你的耐力，这些作品还包含了3声部的吉他织体，因此还提供了额外的旋律和音色练习。第二点建议就是：在你还没有达到弹奏练习No.13整个作品所需的耐力时，指练习前20小节。索尔在原谱中的20小节处写有重复符号。尽管在现代版本中已经没有了重复符号，但是在音乐中已经证明应该是用的，因为这是整个作品唯一可以休息的地方。所以，为什么不利用这一点呢？
STRETCHING
左手扩张
Playing any repertoire from the 19th-century requires you keep in mind that the guitar fretboard was slightly more compact (630 mm) compared to a modern guitar (650 mm), so there are going to be some challenging stretches. These stretches aren’t impossible; they just require some extra work on LH separation. Micro Study 3 has two stretching ideas that could fit nicely in a well-rounded warmup routine. Work these slowly—as in yoga-slow—one finger at a time, down the fretboard. There will probably be a fret you approach which you will not be able to stretch beyond—that is your wall; work towards breaking it each day. Bar 51 gets its own mini Micro study 3a—as this D7 shape is no longer used as a chord voicing, practice it carefully and slowly.
在演奏任何19世纪的曲目时，你要注意那时的吉他（630mm）同现代吉他相（650mm）比略小一些，所以在演奏这些曲目时，左手的扩张上会有些难度。但是这些扩张并非是不可能的，只不过需要我们做些额外左手扩张的练习罢了。微练习3有两组练习可以成为我们日常热身的很好的练习。练习时，一定要放慢速度）—— 就像在练习瑜伽——每次一个手指，沿着指板做伸展练习。很可能会有一个品你的手指伸展不到，那就是你的坎儿了；每天训练自己有所突破。第51小节会有单独的微练习3a—— 由于此时的D7手型已经不再是和弦声部，所以要仔细而慢速的训练。
INDEPENDENCE
独立性
A few bars in Study No. 13 need extra consideration. In bar 2, finger 1 stretches backwards for a first-fret F. One approach is to place the fingers in order of use: 3, 4, 2, then 1. A transition in bar 17 to 18 is accomplished by also utilizing LH fingers individually. Isolate and practice any other bars that require this level of clarity. As a general rule, when undertaking any Sor piece, keep in mind that he advocated employing LH fingers only when necessary. This is a great habit to get into, and Micro Study 4 is a template, based on Sor’s harmony, for achieving this.
在练习曲No.13中有几个小节需要特别的考虑。第二小节，左手1指向后扩张至第一品的F音。一种解决方法就是将手指按3、4、2和1的顺序放置。第17到18小节的过渡同样需要使用左手独立的手指来完成。单独分开练习其它需要达到清晰程度的小节。总的原则是：当演奏索尔的任何作品时，要记住他只有在认为必要时，才提出左手的指法使用。这是一个非常重要习惯，你应该适应它。微练习4就是一个帮你达到这个目标的样板，这个练习建立在索尔的和声结构上而设计。
LANGUAGE
音乐语言
This study is a wonderful snapshot of the musical language of Sor’s time. In modern terminology, we are at the crossroads of the Classical period’s conclusion and the dawn of the Romantic. Therefore, it is worthwhile to go through and identify the chord types and their use. Sor exploits this late-Classical/early-Romantic syntax to take the melody on a journey, consequently there are lots of passing modulations and extra chromatic notes. Sor was a contemporary of Schubert and Berlioz, and as such, use of the diminished chord on its own (bar 53) or as a dominant substitute (bar 37), and unprepared sevenths in the melody (bar 2) are commonplace.
这个练习时索尔时代音乐语言的精彩的缩影。用现代术语来讲，我们是站在了古典末期和浪漫时代初期的十字路口。因此，我们有必要再去熟悉并认识一下他们那是所用的和弦类型。索尔充分利用古典晚期/浪漫主义初期的规则去展示他的旋律，因此他的作品中有许多转调和额外的增加半音。索尔是舒伯特和柏辽兹同时代的音乐家，因此他会经常使用单独的减和弦（第53小节）来或代替属和弦（第37小节），在旋律中也会突然出现没有铺垫的7度音程。
SLURS
圆滑奏
Study No. 13 ends with slurs on string 4. Depending on which edition you use, Segovia excised two of them in his; try and keep the melody down and free from these accompaniment figures.
练习曲No.13的末尾在第4弦上有圆滑奏。根据不同的版本，圆滑奏有所不同。塞戈维亚在他的版本中采用了两处；努力保持旋律的进行，并且不受这些伴奏音符的影响。
FINAL REFLECTION
总结性回顾
Op. 29 by Fernando Sor is an underutilized resource for most guitarists, probably due to its well-deserved reputation for being challenging. Indeed, in all probability he used these exercises for himself. They provide a wealth of information on technique and musicality, if one is daring enough to play through the dots. His early studies will help you improve your tone and, more important, extend your technique and understanding of 19th century repertoire.
费尔南多的作品第29号对于大多数吉他演奏者来说都是没用充分利用好的作品，这或许是这部作品当之无愧的具有难度的名声吧。其实，很有可能他将这些作品作为自己练习使用。这些作品在技巧和音乐性方面提供了丰富的信息，如果你足够勇敢将它们完整练习。他的早期的练习曲会有助于你改善你的音色，更为重要的是，会拓展你的技巧并使你对19世纪的作品更加理解。
（全文完）
20世纪早期杰出的古典吉他演奏家们
相关链接：
安德烈斯·塞戈维亚是20世纪最伟大的吉他家，由于他的演奏，各国的作曲家才对吉他加以注意，渐渐产生许多吉他独奏曲与协奏曲。
在文艺复兴时期吉他在欧洲宫廷里处于垄断地位,而到了十九世纪吉他衰退为沙龙乐器，此期间这件乐器的确历尽沧桑。世界各主要的音乐学院里都已经有了古典吉他专业（如茱莉亚音乐学院、英国伦敦皇家音乐学院，中国的中央音乐学院等），有了一大批具有世界声望的古典吉他演奏家和一大批世界著名的作曲家也纷纷为吉他创作乐曲。吉他音乐进入了第二个黄金时期，这里不能不提到一位振兴这件美妙乐器的音乐家--塞戈维亚。
很多人说塞戈维亚有很多地方与卡萨尔斯极其相似，这不仅仅体现在他们都是西班牙出生的艺术家，在西班牙，卡萨尔斯、塞戈维亚、毕加索并列艺术届三大国宝。而更重要的是卡萨尔斯通过自己的独特音乐和人格魅力振兴了大提琴音乐，塞戈维亚也是靠一己之力振兴了古典吉他音乐。他们都改进了所演奏乐器的技法，他们在艺术上的成就具有划时代的意义。伟大的小提琴演奏家克莱斯勒曾经说过："这个世界上真正的弦乐演奏家只有两位：卡萨尔斯和塞戈维亚"。
1987年6月2日上午，塞戈维亚仍在练琴，下午二时在看电视时平静地离开人世。
塞戈维亚与维拉罗伯斯
本文译者韩洪涛与大连王明波老师（右）在合作二重奏
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