Case Scenerio II 例子二

There was a student who played a wind instrument needed my help for aural training and piano accompaniment for her graded exam. She seemed to feel pretty confident in her preparation. We started our practice with the first piece; however I found she was not that well prepared: the tempo and pulse were unsteady. I thought okay at least this song could be fixed in a short period of time (the exam was due in ten days!). As we proceeded to work on the second piece, I realized the way she played one repeated rhythmic pattern was just plain wrong. It was a regular two-quaver rhythm, but in this particular song, the composer indicated in the score that it was a “swing” rhythm, that means the first quaver should be played double the length as the second one, and therefore, we could view the whole rhythmic pattern as a triplet, so that the first note was a crotchet and the second note a quaver. Or in simple language, the first note should be played longer than the second one.
有一個吹奏管樂樂器的學生找我教授聽覺訓練 (aural test) 和為她的分級考試作鋼琴伴奏。她對自己的準備似乎感到非常有信心。於是我們開始練習第一首考試樂曲,但我發現她並沒有像表現那樣充分的準備:節奏和速度都很不穩定。好吧,至少我可以在短期內改善好這首歌罷(考試就在十天後發生)。然後我們開始練習第二首樂曲,我發現她對一個重複節奏的演繹方法是完全錯誤的。這是一個普通的兩個八分音符節奏,但在這個特定的歌曲中,作曲者已經在樂譜上清楚地表明這是一個 『摇擺』 (“swing”) 的節奏,這意味著第一個八分音符的長度為第二個的一倍,因此,我們可以將整個節奏模式當作為三連音,把第一個音符看成四分音符,第二個為八分音符。簡單來說,我們應把第一個音符彈得較第二個長。

It was easy to recognize the mistake, but difficult to fix it. When a student had worked on something wrong for long time, it would take much longer time and much more effort to correct it and re-learn something right. I did not want to hurt the student’s feeling and confidence, while at the same time I needed to tell her to change almost everything. It was not a smooth path to be taken.

I did not want to venture into fixing the third piece since it was a solo piece without piano accompaniment. But since the student’s parent asked for my advice, I listened to it. I was filled with headache: it was totally under preparation! There was no sense of direction, the notes were crumbled together, the tempo and rhythm were off, there was not much of dynamic contrast, etc. Fortunately, it was not a long piece of music. Still, I worked with the student phrase by phrase, identifying the repeated patterns and sequences she had never recognized before. It was like learning a new piece from scratch.

Here came the best part, or the worst case scenario: scales. The student simply had no idea which ones she should be practising on and therefore the whole time during her practice she had been working on the wrong ones. That was not something I could fix in two days before the exam. The only thing I could do was simply to tell her which ones she needed for the exam and work on them a bit with her in lesson so that she could go practise on her own at home.
最壞的部份還是: 音階(scales)。學生根本不知道哪些是她需要練習的,因此,在她整個時間都一直在努力練習錯誤的音階。這不是我能在考試前兩天可以解決的問題。我唯一能做的就是簡單地告訴她需要為考試練習哪些音階,以便她能在家裡自己練習。

At the end she took the exam, did okay with the pieces and aural test. I also practised sight-reading part with her so she should be fine with it. The scales? We could only did so much with the limited time, hope for the best and wait for the result to arrive…
最後她參加了考試,樂曲和聽覺測試也預備得算不錯。我也為她練習了視奏 (“sight reading”),所以這方面她應該還可以。音階?我們只能在有限的時間做這麼多的事情,所以只能抱着最大的希望,並等待最好的結果來臨 …

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