[新年献礼]“威震四方的木吉他”---FSC专访加拿大现代派指弹英雄 DON ROSS！！！

qiqicano · 发表于 2008-2-7 00:19

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注意：本帖内容为指弹中国原创出品，未经管理员许可，谢绝转载！谢谢合作！

新年到！给大家拜年了，祝大家新春快乐！合家安康！琴技突飞猛进，左拥右抱那谁谁谁

继TOMMY的访谈之后，指弹中国又为大家带来了这位世界顶尖的指弹吉他艺术家DON ROSS 的访谈，首先要感谢老李，GAKOO（如有遗漏请楼下留名，哈哈），他们完成了整个访谈的构思和翻译，这次我们运用新的双语方式来呈现访谈内容，保证原汁原味。

Hi ,Mr Don Ross, it's really an honor to have this oppotunity for this interview via email. fingerstyle.com has been waiting for a very very very long time. we all know you are quite a busy-bee so you may answer these questions when you are free.

你好，Don Ross先生，很荣幸我能够有这个机会通过email来访问您。我们指弹中国已经等了好长好长时间了。我们都知道你非常忙，所以你可以在你空闲的时候回答这些问题。

http://www.youtube.com/watch/v/uADkFy7DZXY&feature=related

1. In this 20 years, you have released about 11 albums of your personal guitar music (as far as we know). May I know which one of these 11 albums is your favorite one? and which song do you like most to play?
在这二十年，你差不多发行了11个个人的吉他专辑（据我们所知），能不能告诉我们，哪一张转辑是你最喜欢的？哪一首曲子你最喜欢弹的？

I still think that one of my favorite CDs that I have released is "This Dragon Won't Sleep" from 1995. At the time I had a recording contract with Sony Music, and the nice thing about that time was that Sony had lots of money to spend on recordings, and so the budget that I had to work with was larger than I was used to. So, I was able to invite some of my favorite musicians to play with me, and I was able to experiment with some arrangement ideas that previously I could not do because there was not the money to spend on hiring musicians. So, on that record, I was able to record an arrangement of a piece of mine called "Groovy Sunflowers" with a full band and a horn section, which was actually how I heard the piece in my head when I wrote it. Also, there is a nice mix of instrumental and vocal music on that CD, which is nice for me because I do like to sing. Overall, it was one of the most interesting recording experiences I have ever had.
我仍然觉得，我自己发行的CD中最喜欢的一张是1995年发行的“this dragon won't sleep”（不睡觉的龙）。那时我跟索尼唱片公司签约，那时好在索尼在唱片录制这块很下本钱，所以当时我与他们合作时，预算比我以前的老东家要多一些。这样我就能够邀请我最喜欢的一些音乐人与我一同演奏。当时我还能够对自己的一些乐曲改编创意进行尝试，不过现在可做不到了，因为我可没这么多钱去请那些音乐人。所以在那张专辑里头我能够录制我自己的一首改编曲，名字叫“groovy sunflower”(向日葵之舞)，动用了整个乐队，还有一个部分是管乐器演奏。因为我在作曲的时候脑海里浮现出这个声音了。同时那张CD人声与乐器的混响也很不错，我很喜欢唱歌，所以对我来说，这张CD很不错。总之，我最有意思的录音经历就是这个了。

2.In China, a lot of Fans know that you are the champion in the contest of U.S. National Fingerstyle Guitar Championship, and you are the only one who got the title twice. We'd all like to know what's the song you were playing for the first champion, and which song for the second ?
在中国，很多fans都知道你是美国指弹吉他演奏比赛的冠军，而且你是唯一一个两次获得此头衔的人。我们很想知道，你第一次夺冠弹的是什么曲子？第二次呢？

I actually don't remember exactly which pieces I've played at each competition. I do remember some of them. Something that I learned from my first two experiences at Winfield in 1986 and in 1987 was that, for me, it was important to play original music. So in 1988 I do remember that the last piece I played was my composition "The First Ride." Exactly which other pieces I played that time, I'm not really sure, except I'm almost positive that I played "King Street Suite." In 1996 I'm pretty sure that in the first round I started with "Afraid to Dance," and I may have played my piece "Catherine" in the first round as well. In the final that year, I remember that I played "Lucy Watusi" and "Jesse Helms' Night in Havana." I remember that when I played "Lucy Watusi" I played it extra funky style, partly because the player that I knew I had to beat to was doing a lot of arrangements of funky songs. So I knew it was important to out-funk him!
其实我真的记不清倒底每次比赛弹什么曲子。倒只是记得一些。我1986年1987年在winfield是我的最开始的前两次比赛，对于我来说，弹原创音乐是很重要的。所以在1988年我记得很清楚最后我弹的那个曲子是我自己作的曲子，名字叫“the first ride”(人生第一程)。若要问我那时弹的其他曲子是什么，那就真记不清了，只记得我弹过“king street suite”(国王街的套房)这支曲子。只有在1996年那场比赛，我记得很清楚，在第一回合，我先的曲子是“Lucy Watusi”及“Jesse Helms Night in Havana”。我记得我当时弹“Lucy Watusi”的时候，我弹得funk味十足，部分原因也是我知道我的对手改编了大量的funk风格的曲子，所以要打败他，我就要弹得比他更funk!

3.How 's the acoustic guitar developing in Canada? We have watched via internet the playings of a lot of young players like :Peter Ciluzzi, Antoine Dufour, Craig D'Andrea, Erick Turnbull. to me there's a kind of "taste of Don" in their music. so do you have something to say to these young musicians?
加拿大原声吉他发展如何？我们通过互联网可以看到很多年轻的吉他演奏家比如：Peter Ciluzzi, Antoine Dufour, Craig D'Andrea,Erick Turnbull,我觉得他们的音乐里面都有一种“阿东的味道”，对于这些年轻的演奏家，你想对他们说什么？
I find it interesting and very flattering that so many young guitarists have been inspired by my style. I've especially noticed it at the Canadian Guitar Festival when I have been a judge at the fingerstyle guitar competition the last few years. I think that I have had an influence especially on Canadian players and especially on players under the age of 30. My feeling is that there are basically three style streams when it comes to instrumental fingerstyle guitar music. There is one style that arose in the 1980s, influenced very heavily by the "new age" style that is very heavily associated with the Windham Hill record label. And then there is another style that is very much rooted in the 1950s, the style associated with Chet Atkins and Tommy Emmanuel. Although that style is technically challenging and makes for an entertaining show, I do not find it very interesting musically. And then perhaps there is this style that has been associated with me, which is very much rooted in Funk, Soul, R&B and other urban music styles. Perhaps one of the reasons why my style is different is because I have actually spent very little time listening to the music of other solo guitarists. I am actually not very interested in guitar music, believe it or not! I like all kinds of music, and all styles of music have had any effect on me as a listener and as a composer. I have never been very interested in appealing to guitarists or to people who listen to a lot of guitar music. But, in the process, I may have accidentally started a new guitar style. As I said before, it's very flattering that people emulate my style, and that is something that is bound to happen, especially when a player has been touring regularly for almost twenty years.
我觉得这个现象很有意思，同时看到这么多的年轻吉他手从我个人风格汲取灵感，我也感到相当地欣慰。在前几年的加拿大吉他音乐节上，当时我是指弹吉他比赛的评委，我特地留意到了这个现象。我觉得受我影响最深的是加拿大的选手，特别是30岁以下的。我个人觉得，在谈到指弹吉他音乐的时候，我们可以基本上把它划成三个流派。第一支流派在八几年的时候产生，它深受“new age新时代”风格的影响,而新时代风格则与Windham Hill唱片公司有千丝万缕的联系。在五几年的时候还有一个分支，代表人物是Chet Atkins和Tommy Emmanuel。虽然这种风格的曲子技术上相当具有挑战性，并且娱乐性也很强，但从音乐性上来说，我并不觉得它非常有意思。然后下来的一个流派可能就跟我相关了。这种风格根植于funk 灵歌，R&B及其他都市音乐。我的风格迥异之处可能在于我其实很少花时间去听其他吉他手的独奏。我其实对吉他音乐不是很感兴趣，信不信由你！我喜欢各种的音乐，所以各种风格的音乐对我有所影响，不管是作为一个听众也好，或是作为一个作曲家也好。所以对于听了很多吉他音乐的吉他手及听众来说，我的音乐可能不太吸引人。但是在这个过程中，我可能碰巧创造了一种新的吉他音乐风格。我前面说过，看到人们模仿我的风格，我感到非常欣慰。我觉得如果一个演奏者二十年定期地四处巡演，这个也是必然会发生的。

4.we can see on your space that you started playing acoustic guitar when you were 8 years old. do you think the age is a key factor learning to play guitar? would you please share with us you guitar learning stories?
在你的空间里，我们可以看到，你8岁的时候就开始演奏原声吉他了。你觉得学习吉他年龄是否重要呢？你能否同广大爱好者分享一下学琴经历？

Well, I know guitarists who started playing at a very young age, and others who waited until they were teenagers. I ended up starting very young, but I think it's because there was always a lot of music in my house, and I was very eager to find a way to be musically creative from a very young age. We always had a piano in my house, and I enjoyed playing it. But when I was eight years old, my older sister came home from boarding school one summer with an old Stella guitar that her school was giving away. Since this was during the era of the Beatles, I was very excited to see the guitar enter the house, because I was a big fan of the Beatles. But, when I was young, even though the guitar was a very popular instrument, it was not as easy to find videos or recordings of guitarists whose style you might want to emulate. In my case, maybe that was a good thing because it helped me become a more individual style of guitarist. The advantage I had from starting at such a young age was that by the time I was 13 or 14 years old I was already pretty good at playing the guitar and had taught myself a fair bit about fingerstyle without actually having a fingerstyle guitar teacher.
嗯，我知道很多吉他手很小就开始练琴了，还有一些到十来岁才开始学。我是属于很早开始学习的那种，但我觉得因为我的家里总是充满了音乐，所以我从小就是很热切地在音乐上寻找创新的方法。我们家里一直都有一架钢琴，我很喜欢弹。但在8岁那年，我的老姐从寄宿学校回来，带回了一支学校处理的Stella牌的吉他。这个时期甲壳虫乐队盛行，看到那支吉他进家门的那一刻我异常兴奋，因为是我甲壳虫的超级乐迷。但是，虽然吉他当时也是一种很流行的乐器，在我小时候也找不到什么吉他大师的音像资料可供模仿的。可能对于我来说，这倒是一件好事，因为这样我才能成为更有个人风格的吉他手。这还得得益于我年轻时早在十三四岁的时候，吉他就已经弹得相当好了，虽然没有指弹的吉他老师，我自学了一些指弹风格的吉他。

I learned to play guitar mostly by buying sheet music at the music store for songs that I really liked by the Beatles, Creedence Clearwater Revival, and other bands from the late 60s and early 70s. At the age of 14 I discovered the music of Bruce Cockburn. He was the first fingerstyle guitarist whose guitar playing really had a strong influence on me and my music. He was certainly an early guitar hero of mine. So was Leo Kottke. But in both cases, it was the music with that these players were playing on their instruments that was important to me, not really even so much the fact that it was played on a guitar.
我基本上是到音像店去买歌谱来学吉他。我那时喜欢买甲壳虫，Creedence,Clearwater Revival,还有其他的一些六几年后期到七几年早期的乐队的谱子。在十四岁的时候我发现了Bruce Cockburn的音乐，他是第一位指弹吉他大师，并且对我及我的音乐产生了巨大的影响。我绝对称得上是我心目中的偶像。Leo Kottke也一样。但是在这里，对我来说重要的是是这两位音乐人的音乐本身，而不是在于他们是否用吉他弹出他们的音乐。

5.we can find some elements like Classic, Jazz, rock, country style in your music, so where do you get your inspiration when you were writing these songs? and do you  have any musicians that influencing your music composition? do you have any guitar hero in your heart?
我们总能在你的音乐里找到古典，摇滚，乡村影子，在你创作的时候，你是怎么获得灵感的？你是否有影响你音乐创作的乐手？你心中的吉他偶像是谁？
As I already mentioned, I did have some favorite guitar players and composers. I was always also a fan of Pat Metheny.  But I also listened to a lot of modern music by non-guitarists such as Keith Jarrett, Steve Reich, Karlheinz Stockhausen and others. I also like a lot of jazz music.
就如我前面所提到的，我确有一些特别喜欢的乐手及作曲家。我是Pat Metheny的乐迷，但我同时也听大量的非吉他类的现代作品，比如Keith Jarrett ,Steve Reich, Karlheinz Stockhausen 还有其他一些人。我也喜欢很多爵士类的音乐。

6.Do you play the music from your heart through different tunings and techniques OR do you create a piece of music according to the tunings or playing techniques? what do you have first: techniques or music?
你是通过技巧及不同的调弦来表达你内心的音乐呢还是根据调弦及某种技巧创作出来一件作品？你最先有的是什么：技巧还是音乐？
Well, for me, the music has always come first. I now play in many many guitar tunings, but that is something that I started doing from a very young age. Early on, I found that there were many musical ideas that I had that were impossible to  achieve in the regular guitar tuning. So, I started altering my tuning of little bit from the age of 10. For me, it is almost always the case that I have a musical idea in my head and I use tunings on the guitar that help me achieve the idea that I already have. It's not very often that I start with a new tuning and then see what music comes out of the tuning. For me the tuning is usually a way to solve a problem.
嗯，对于我来说，音乐总是在第一位的。我现在用很多的调弦来演奏，但这个是我很小的时候就开始了。早年的时候，我发现有很多音乐灵感很难用标准调弦表达出来。所以在10岁的时候，我就开始改变调弦。对于我来说，我常常是脑海中的先有音乐灵感，然后用吉他的调弦来帮我将这些想法表达出来。
7.With the HAEVY WOOD style you invented, can you tell us what kind of feature does it have?
对于你创新的Heavy wood的风格，你能否告诉我们这种风格有什么样的特征？
I would say that rhythm and groove are very important, as is rich harmonic content. It's also nice if tunes also have a strong  melody!
我想说，节奏与律动是很关键的，因为里头包含了丰富的和声。如果曲子本身的旋律感强的是，也是非常好的！

8.You joined in a band and added in voice in the album Three Hands (released in 1993), before that, had you ever joined in any other band? how did you manage these music with band? did you finish them all by youself?
5 j8 [: \) s3 o4 H& W" o5 `5 k$ ?9 j在1993年的专辑《三只手》里你加入了一个乐队，并且加入了人声。在此之前，你是否加入过其他的乐队？这些音乐是怎么完成的？都是你一个人做的吗？
I played a lot of bands when I was a teenager, mostly in loud electric rock settings. I also dabbled in jazz styles now and then. But, I play a lot of different instruments, and have always had a lot of orchestration and arrangement ideas when I write music. So for me, even though I am a solo fingerstyle guitarist most of the time, I still really enjoy collaborating with other musicians. Unfortunately, touring with a band is very very expensive. So I rarely perform collaboratively for financial reasons. But, one day I would like to take a trio or quartet on the road with me. I love improvising and I love working with other improvisational musicians.
我十来岁的时候就在各个乐队演出，都是电声摇滚类的。我也时不时涉猎一些爵士风格的乐曲。但是我演奏过很多不同种类的乐器，在我作曲时我总会有很多交响乐及改编的灵感。所以对我来说，虽然我大部分时间是个独奏指弹乐手，我仍然很喜欢与其他音乐人合作。可惜的是，跟一个乐队巡回演出，花费过于巨大了。所以出于经济上考虑我很少与其他音乐人合作演出。但总有一天我要在巡演上来个三重奏，或四重奏。我喜欢即兴的演奏，也很喜欢跟即兴的音乐人合作。

http://www.youtube.com/watch/v/J0mUeDuMgXs&feature=related

9.In Don's music , these songs such as :《Afraid to Dance》《Loaded. Leather. Moonroof》《Michael, Michael, Michael》《 Robot Monster》《Dracula And Friends,part 1》《Tight Trite Night》are the songs all fans have to listen in my opinion. all these works give us a kind of impulse of dancing. I like this kind of a little Funk style music. would you please let us know how you complete all these works? do they have any kind of unique stories in them?
在阿东的音乐里，我觉得《Afraid to Dance》《Loaded. Leather. Moonroof》《Michael, Michael, Michael》《Robot Monster》《Dracula And Friends,part 1》《Tight Trite Night》都是乐迷必听曲目。所有的这些曲子给人一种舞动起来的冲动。我喜欢这种有点funk味道的音乐。你能不能告诉我们，你是如何完成这些作品的？这些作品的背后是否有什么故事呢？
Well, in the case of almost every piece you just mentioned, what usually comes first is a very strong rhythmic bass line. And then what I try to do is incorporate harmonies and melodies in the spaces between bass line notes. Also, in tunes like "Afraid to Dance" "Dracula" and "Tight Trite Night" you can usually hear the influence of modern urban dance music. I have always loved music that has a dance element to it, even though I would never consider myself a great dancer. But not all musicians who make dance music are themselves great dancers! I think I have very good sense of time and very good sense of groove. I think those talents work their way into my music quite often. Some of the pieces do have unique stories, like "Michael, Michael, Michael," which is dedicated to Michael Hedges. Originally it was meant to be a piece for Michael and I to play as a duet. But unfortunately he passed away right around the time that I finished writing the piece. So instead I play it as a solo piece and dedicate it to his memory. It's a little bit funkier than anything that I ever heard Michael play, except perhaps for his piece "Hot Type". But, I thought that it would sound really great with two guitars on it. Maybe one day I will team up with another guitarist and play it as a duet. But I think it works very well as a solo tune."Robot Monster" was written during a very difficult time in my life, when my first wife was dying of cancer. It was a chance for me to let a lot of anger come out in a piece of music, and also a chance for me to get something that felt like a monster purged from my system. Despite the fact that it is a very repetitive piece of music (influenced by the style of Steve Reich), it is actually a very emotional piece for me to play every time I play it. It is both a physically demanding piece and, for me, an emotionally demanding one as well.
嗯，几乎在你提到的所有的曲子里，最先突出的就是一种非常强烈的低音声线。然后我要做的就是将和声及旋律织入填补到这些低音音符的中间。同时，像“Afraid to Dance”"Dracula"及"Tight trite Night"这样的曲子，你可以听到一些现代都市音乐的痕迹。我总是喜欢那些有舞蹈元素的音乐，虽然我从不觉得我的舞跳得有多好。不过也不是所有作舞曲的音乐家都要会跳很好的舞吧！我觉得我有很好的时值感及很好的律动感。我认为这种天份常常会在我的音乐里起作用。
有一些歌曲倒真有它们的故事，比如“michael, michael,Michael”,这首曲子是献给Michael Hedges的。原来我是想写成一首我与Michael二重奏的曲子。但不幸的是，正当我快完成这首曲子的时候，Micheal离世了。所以我只好用独奏来表达到他的怀念。除了他弹的Hot Type外，这首曲子的funk味比我听到的Michael任何曲子都浓。我认为如果用两把吉他来演奏它的话，听起来会非常棒。也许有一天我会找一个其他的吉他乐手，来一次二重奏。但我觉得独奏也挺好。
Robot　Monster这首歌是我人生的低谷时创作的。我的第一位妻子因患癌症去世了，我在音乐上得以有机会把烦闷渲泄出来，这也有点像是一只野兽得以从我的内心跳出来一样。虽然这首曲子是首旋律重复较多（受Steve Reich风格影响），每次弹起它的时候，我总感到十分伤感。对于我来说这支曲子在肢体与情感的运用上要求很高。

10.Apart from acoustic guitar playing, do you play other muscial instrument? I remember there are some introductions in album of <robot master>. are all of you works finished by guitar? or by some other instrument like piano,maybe?
除了原声吉他，你是否也演奏其他乐器？我记得在专辑《robot master》里头有相关的一些介绍。是不是你所有的作品都是曲吉他完成的？是否也用钢琴什么的？
I usually write with the guitar in my hands, but sometimes I write at the piano and then learn the piece on the guitar. That's actually a very interesting and very challenging way to write. But it can also be a lot of fun.
我通常用手上的吉他创作，但有时我用钢琴来作曲，然后又在吉他上弹出来。这个其实挺有意思，也挺有挑战性的。里头也有很多乐趣。

11.we watched your performance of 2006 with Andy McKee,Michael Manring on YOUTUBE.Andy visited China twice. we were all excited that you all can work together on the same stage. So how did you feel at the moment when working together with Andy and Michael?
我们在youtube上观看了你和Andy Mckee, Michael Manring2006年的视频。Andy到过中国两次，我们都很兴奋，因为你们俩竟能同台演出。那么你跟Andy合作有什么感想？
I have admired Michael's music for many years, and I always thought it would be very interesting to collaborate with him. But it was not until he and I ended up on the same record label a few years ago that opportunities arose for us to do concerts together. I first met Andy McKee about four years ago, but I knew about him and his music for a couple years before that, because he sent me an early CD of his. He had told me in emails that I had been one of his big influences, and I was very honored to hear that. But once I finally heard him at the competition at the Canadian Guitar Festival in 2004, I realized that I was meeting one of the great new young guitar players in the world. Andy and I do a lot of work together now, including a new duet CD. We tour in many countries together including the United States, Canada and across Europe. We're hoping to come to Japan together this fall. Maybe one day we will also play in China together, who knows? Like I said earlier, I enjoy working with other musicians. It's very nice to work with people like Andy and Michael who have such great musical talent and whose styles work well with mine.
我多年来一直崇拜Michael的音乐，并且我一直认为跟他合作肯定非常有趣。直到我与他几年前在同一个唱片公司相遇，我们之间才有机会一起合作搞音乐会。我第一次碰到Andy是差不多在四年前，但我对他的音乐在多年前就已有耳闻，因为他曾经给我寄过一张他早先的CD。他给我写了封email，告拆我说，我对他影响巨大，我听到这个感到非常荣幸。但是当后来我在2004年加拿大吉他音乐节的比赛上听到他的演奏时，我意识到我遇到的是一个世界级的伟大的新一代吉他演奏家。Andy与我现在有大量的合作，包括新的二重奏CD。我们一起在很多国家巡演，包括美国，加拿大，及欧洲。我们希望在今年秋天去日本。可能我们那一天也会一起到中国演奏，这个也说不定。我前面也说过，我很喜欢与其他的乐手合作。能与Andy及Michael这样有才华横溢，并且风格能与多良好搭配的音乐人合作实在是一件幸事。

http://www.youtube.com/watch/v/ExgqnilG4pU&feature=user

12.At the beginning of this new year, you work with Andy Mckee in an album called "The Thing That Came From Somewhere") U: a0 m8 E8 R7 y# {* {# x% K
everyone 's looking forward to this album. We had a brief search on the internet, in the album some songs belong to you and some belong to Andy, tell us something about the initial motive of this cooperation.  would you please give us some more info about this album?
在今年年初，你与Andy在专辑“The thing that came from somewhere”中合作。大家都很期待这张专辑。我们在网上搜了一下，在专辑里有一些曲子是你的，有一些是Andy的。谈谈这个合作的初衷吧，还也说说有关这张专辑的一些信息。
About a year ago I started inviting Andy to come and open shows for me in Canada and United States, and then after his success on YouTube, he and I started getting invitations to do  joint concerts around the world. At first we started by each doing our own set, followed by a couple of duets at the end of the night. But, as we started to to work together more and more, we realized that a better way to construct concerts was for us both to be on stage the whole night together, alternating between duets and solo tunes. The result is a really cool concert that audiences really seem to enjoy. So back in the summer we decided to go into the studio and record an album's worth of material together. On the new CD we each play two pieces solo, and then the other seven are duet versions either of pieces that we each composed or pieces by other composers that we really admire. We just did a three-week tour of the western United States to promote the new CD, and we have many many more concerts to look forward to throughout 2008 and 2009. We still each have strong solo careers, but we are great friends and really enjoy playing music together. It's not often that fingerstyle guitar players find other solo fingerstylists with whom they can collaborate so easily. So we are both really enjoying ourselves playing music together.
在一年前，我开始邀请Andy来同我一起在加拿大及美国演出。然后他在YOUTube上成名后，他和我开始受邀加入到世界各地的音乐会中演奏。开始是个人独奏，然后晚上快结束的时候就开始弹二重奏。但是随着我们合作的日益密切，我们意识到在整晚的音乐会上我们俩人如果一直同台演奏，中间交替进行独奏与二重奏，这样其实更好。结果果然大家都很喜欢这样的形式，这样音乐会就很酷。所以今年夏天我们决定一起到录音棚录制一张两人合作的专辑。在新的CD里，我们每人都独奏两首曲子。然后其他七首曲子是二重奏曲子。曲子都是我们各自创作或由其他我们崇拜的作曲家创作。我们刚刚做了为时三周的巡演来推广我们的新CD。在2008年及2009年，我们期待会举办更多的音乐会。我们都有各自的很强的独奏职业生涯，但我们是非常好的朋友，也都很喜欢在一起演出。指弹的吉他手们难得能找到一另位他可以如此轻松合作的人。所以在我们一起演奏的日子里，我们都很开心。

13.what kind of guitar are you currently using? and any other musical equipment?  We can rarely see you playing Cutaway guitar, is there any reason? how do you get all those satisfying effect during your performance and music recording?
! c1 N6 c- V+ ^) w( X你现在用的是什么样的吉他？你是否也用其他的乐器？我们很少看到你用缺角的吉他，是否有什么原因？你是如果在你的演出及录音时得到满意的声效的？
Most of the time I play guitars made by a Canadian builder named Marc Beneteau. The most recent guitar he made for me is a very interesting instrument that uses the fan fret system and that I use as a baritone guitar with extra thick strings. You can see it quite a bit on some of the new YouTube videos that Andy and I made. There is a new video of "Robot Monster" where I play the baritone guitar, and there is a duet version of Andy's tune "Ebon Coast" where Andy plays the baritone guitar. It's true that I almost never play cutaway guitars. For me, usually I find the cutaway takes away too much sound from the instrument. It's a pretty simple reason why I tend to like more traditional style guitars. I also like guitars with large bodies because I like to get a lot of bass response out of my instruments. As soon as you use a cutaway you take away a lot of bass response.
大部分时候，我弹的是加拿大制琴师Marc Beneteau的手工琴。最近他帮我做的一支琴是扇形品的琴（品丝像扇子一样），我有一支低音吉他，上头有根特粗的。你可以到Youtube看看，我跟Andy最新的作品里常常会看到它的身影。在Robt Monster里有一个新的视频，我在里头弹的就是低音吉他。的确我很少用缺角的吉他。在我看来，我常常觉得缺角琴少了很多声音。这个很容易理解为什么我比较倾向于用传统琴。我也吉他大号的吉他，因为我想让我的琴弹时有大量的低音反馈。如果你用缺角的吉他，你会少了很多低音反馈。

Another project that I really enjoy playing with is the band that accompanies my wife, Brooke Miller.  With her I play a normal guitar, as well as lap steel guitar, and dobro. It's great, because it's a chance for me to collaborate with other musicians. We do a lot of shows with Brooke where she plays guitar, I play all my different guitars, and then we also have a bass player and drummer. She's a great singer and songwriter, and I sing harmony with her too. It's a really nice project.
另外的演出中，我很喜欢与我的妻子，Brooke Miller的乐队一起演出。跟她一同演出时我用的是普通的吉他，也用膝部钢吉他 (并且叫夏威夷吉他或膝部钢或钢吉他) 还有Dobro感声吉他。这个很不错，因为这是我同其他乐手合作的机会。我们有很多演出，Brooke弹吉他，我则弹我各色的吉他，我们也有一个贝斯手和一个鼓手。她是一个很棒的歌手及作曲家，我也跟她一起唱和声。这是个相当不错的演出。

On stage I use a multi-effects pedal, made by Boss. It's a very nice unit that has stereo chorus, reverb, wah-wah, octave and many other effects including distortion which I sometimes use when I play with Brooke. I also use an onstage mixer because I am usually using at least two guitars at a concert. When I play with Brooke sometimes I have four or five guitars on stage, so I really need to have a mixer on stage in order to keep everything organized!
在舞台上我用的是综合效果踏板，Boss出品。当我跟Brooke演出的时候，出来的合唱，混响，哇音，八度音还有其他的比如失真等，这个相当不错。我也用舞台混响设备。因为我在演出的时候常常至少用2支吉他。当我跟Brooke演出的时候，有时台上会用到四到五支吉他，所以我真的要一个舞台混响，这样才能把声音组织起来。

For recording, I tend to just like using really good microphones to record my guitar. I will sometimes use effects on the instrument, but only if the piece really needs it. I really like the sound of a really good acoustic guitar, and the guitars that I have made for myself are very fine instruments that record extremely well. So, in the recording studio, it's mostly a matter of having good microphones to record my instruments.
对于录音，我倾向于使用麦克风来录制。我有时会在乐器上弄一些效果，但都是曲子的需要。我真的很喜欢优质的原声吉他发出的美妙的声音，我自己定制的吉他质量是非常好的，用来录音超棒。所以在录音棚里，我要考虑的只是要有一个好的麦克风。

14.Quite a lot of musicians who make guitar playing as their carreer usually have some unique experiences. would you tell us some of your performing experience which you think the most unforgetable and wonderful in your life? and also we are all courious that , what does Mr Don Ross do everyday as such a well- known guitar pro?- z* }, c0 m0 E4 b3 K# W
很多以吉他以生的音乐家常常有不同于常人的经历，你能不能谈谈你的一些难忘的演出，或者你觉得一生中美妙的经历？同时我们也很好奇：作为一个著名的吉他演奏大师，Don Ross先生平时都是做一些什么呢？
Some unforgettable experiences are not necessarily good experiences! The interesting thing about being a touring musician is that no matter how many years you spend doing this there are always some very bizarre incidents that happen. For example, just last week Andy and I ended up playing in Las Vegas, Nevada  in a really terrible venue. It just seemed so strange that I, a guitarist who has played with symphony orchestras, and Andy, who has 30 million YouTube views, should be playing in a karaoke bar! Well, our agent really didn't know that it would be a karaoke bar, so I won't blame her. But, it was terrible.
有一些难忘的经验，并不一定是好的人生体验！作为一个巡回音乐家的乐趣在于，不管做这个做多少年，总是会有一些奇怪的事发生在你身上。比如，上星期，我和Andy在内华达的拉斯维加斯演出。演出会场真是差劲透了。太奇怪了，我一个曾与交响乐团合作过的吉他演奏家，而Andy也是一个在youtube上有着三千万点击率的演奏家，竟然在一个卡拉厅里演出！嗯，我们的经纪人确实也不知道这里是个卡拉OKAY厅，所以我也没怪她。但这个太荒唐了。

On the other end of the scale, I have been able to play with orchestras, which is a fantastic privilege. I have played for crowds of 60000 people. And, over and over again I say to myself, I am a very privileged person because I get to go to dozens of different countries around the world and play music for people who already know about me and my music! That is simply fantastic! Even the fact that I am talking to you, all the way over in China, and that you know so much about my music, for me is an amazing experience. There are not too many people in this world who can say that almost everywhere they go anywhere in the world there are people for whom what they do is vitally important.
在另一方面，我曾与交响乐团一起演奏，这真是一种荣耀。我为在场的6万人演出。并且我一次又一次对自己说，我是一个拥有殊荣人，因为我去过许多世界各地的不同的国家，我为那些知道我和我的音乐的人演奏！这简直太美好了！甚到我现在跟你说话，你在那么远的中国，并且你竟对我的音乐了解这么多，对我来说简直不可思议。世界上并没有多少人可以说他们走到世界的任何地方，都有人支持他们，觉得他们所做的是至关重要的。

I think many people would be surprised to see what the life of touring musician is really like. My life is not very different from many people's lives. I have children who need a lot of attention, and since I am away so much of the time I feel that it is very important to be there for them when I'm home. Ironically, I don't spend very much of my time at home playing music. I did a lot of practicing as a teenager, and so these days I don't really need to practice all that much. The bad thing is that, more and more, I find myself spending so much of my day taking care of business, and doing so many things that have to do with planning months and months ahead of time in order to make sure that my touring schedule is busy throughout the year. Even though I have people to help me to do those things, there is still so much that I must do myself. Sometimes I think that I don't spend enough time making music. In fact most of the time I think that I spent more time when I was younger playing music than I do now, as a professional musician! Isn't that strange?
我觉得如果人们看到真实的巡演音乐人的生活是什么样的，可能他们很多人会感到惊奇。我的生活跟一般人没有什么大的差别。我有几个需要我照顾的孩子，因为我长年在外，我觉得多在家陪他们是很重要的。讽刺意味的是，我在家弹琴的时间并不多。我在少年时期做了很多练习，所以如今我跟本不用那么用功地去练了。糟糕的是，我觉得自己越来越多地将时间花在业务上面了。我要花大力气进行每月及下一月份的日程安排，以便我的巡演计划能够整年地满负荷。即使有人会帮我做这些工作，也有很多事情我得自己做的。有时我觉得我没时间创作音乐。其实大部分时间我觉得作为一个职业的音乐人，我少年时期在音乐上花的时间比现在要多！这个难道不奇怪吗？
I must say, though, that one of the things I really like about being a professional artist is that I can decide how much I want to work and how much I do not want to work. It is very different from having a regular job, and that is something that I'm always very happy about. I know too many people are very unhappy in regular jobs. Being an artist is difficult at times, but, most of the time, I am so very happy that I made this decision. Although my life is not "normal," it is very unique and exciting.
但我要说的是，音乐家这个职业，我喜欢它的一点是，在工作上做多做少都由你定。而普通的工作就没法这样。这个就是我就觉得很高兴的一点。我知道太多的人不喜欢他们普通的工作了。作为音乐家，有时是挺困难的，但是大多时候我很开心我选择了这条路。虽然我的生活不太“正常”，但很奇特，很激动人心。

15.A lot of FANS are learning your works, and also some of them post their videos on YOUTUBE, do you find any playing of your works satisfying on youtube? do you have any suggestions to those who are learning your music?
% ]% ^  H: l3 N( p# E$ p' r2 B很多你的乐迷都在翻弹你的作品，有些也把他们的翻弹放在YOUTUBE上面。你是否在里面找到你觉得比较满意的翻弹？你是否可以对这些学习你音乐的琴友提一些建议？
I think it's fantastic that people want to learn my music.  I write and record the music in order to share it with people, and the fact that people are interested enough to want to learn it is really great. I do watch some of the cover versions of my tunes on YouTube, and I get a lot of enjoyment from that. It's very interesting to see people in their early-to-mid-teens who are trying hard to learn really complicated pieces of music and then who have the courage to put those performances up on the internet. To me, that takes a lot of guts! My only suggestion would be to pay a lot of attention to concepts like "groove" and "time." In my opinion, these elements are not strong enough in enough players.
我觉得有人翻弹的我作品那种感觉太妙了。我作曲录音就是要与人们分享的，知道人们有兴趣学我的作品真是太好了。我确实也看过一些youtube上我的作品的翻弹，我从中获得很多的乐趣。看到那些十来岁的楞头青，那么费力地要把那么复杂的曲子弹下来很有意思。然而要把这些演奏传到网上让别人看是要有勇气的。对我来说，这个真是要有很大的勇气。我唯一的建议是尽量多注意一些概念比如“律动”“时值”，我觉得这些元素在很多人的翻弹里不够强烈。

16.In China, fingerstyle playing is still on the early stage. quite a lot of people may ask what's the difference between classical guitar playing and fingerstyle. For this question, what's your opinion?
+ _. F+ T" m, J在中国，指弹还刚起步，很多人会问一个问题：究竟指弹与古典有什么区别？对于这个问题，你怎么看？
Classical guitar playing is very much rooted in the western classical music tradition. That is, music written perhaps hundreds of years ago in particular styles. Fingerstyle guitar music is very much a 20th and 21st century phenomenon. Fingerstyle guitarists often tend to be composers as well, and they're writing new music for guitar influenced by the kinds of music that they grow up listening to. That may or may not include classical guitar music. But the technique used for each style can be similar. If you watch the YouTube video for my piece "the thing that came from somewhere" you will see that my way of approaching the playing of that piece is very similar to classical guitar playing, and some people have commented on that fact.
古典吉他演奏根植于西方古典音乐传统。也就是说，在风格上都是一些几百年前写的作品。指弹吉他音乐是差不多20世练21世纪的产物。指弹吉他演奏者常常也同时是个作曲家，他们创作的新的吉他音乐会受他们所成长的音乐环境影响。这个环境就可能包括或者不包括古典音乐了。但是技术上两种风格可以是一样的。如果你看过youtube上我的“the thing that came from somewhere”这个曲子，你会发现这支曲子我的演奏方式跟古典吉他的演奏方式很类似，很多人也提到过这一点。

17.do you teach a lot in your career? do you write books or use other materials to teach those beginners or intermediate learners? what guitar learning text books have you published? also, would you please tell us which one(s) of your students you feel pretty proud of?
$ ]  c8 L5 Q7 @0 f: @& d你职业生涯中是否也有大量教学？你有没有出版过什么对初学者及中极水平的吉他爱好者为对像的书籍或其他材料？你出版过什么书藉没有？同时，你是否可以告诉我们，你是否有比较值得骄傲的学生？
I used to do a lot of private lessons, but my touring schedule does not really allow me to do that anymore. Instead, I'll organize an annual teaching weekend at my house and I invite other prominent fingerstyle guitar players to join me every year. Andy McKee has taught at my guitar weekends twice now. This year's edition will see a visit from Antoine Dufour, one of my colleagues on the CandyRat label. I have also published three instructional DVDs and make my guitar tablatures available on my website.
我以前常常有一些私人的课程，但是我的演出行程其实没办让我再做这项工作了。我现在是每年在我家组织一个周末教学，我每年都邀请其他的著名的指弹吉他演奏家同我一同演出。Andy Mckee在这个周末教学活动里已经来过两次了。今年要请Antoine　Dufour,他是我在CandyRat唱片公司的同事。我也出版发行了三张教学DVD，我的网站上可以买得到吉他的谱子。
To this day, I am still the most proud of a young girl named Laurie Desbarats that I taught in the 70's from the age of 10. In very short order, she became an amazing guitarist and could play almost anything by the age of 12. I don't think she decided to be a professional guitarist in the end, but I think of her often and wonder what became of her. The last time I saw her was by chance at a Michael Hedges/Leo Kottke concert in 1990. We were both in the audience. She overwhelmed me.
直到今天，我仍然觉得一个名叫Laurie Desabrates女孩是我最感到骄傲的学生，在她12岁的时候，她几乎会弹所有的曲子，这个很不可思议。我觉得她最终还是不会走职业吉他手这条路。但我常会想到她，想她现在怎么样了。最后一次我见到她是在1990年Michael Hedges和Leo Kottke的的音乐会上，当时我们都在观众席。真想不到会再碰上。

18.Some guitar players were 'born' to be genius, and some player is "trained" to be genius. which type do you think you belong to? Also some guitar learners feel so frastrated because they think their fingers are not long enough . and feel they have physical shortcomings.  what 's your opinion about that? ! z3 v1 c& s# r0 \
有一些吉他手是天生的吉他手，有一些是靠后天努力得来的。你觉得自己属于哪一种？另外很多学习吉他的人觉得他们的手指不够长，有生理缺陷，很沮丧，你怎么看这个问题？
I think that the fact that I was surrounded by music from young age helped make me into a musician. But, I also have brothers and sisters who did not become musicians. I think that really good musicians tend to be born with "something" that makes them suitable to be musicians when they become adults. But, no great musician becomes great simply by virtue of being "talented." It's always a matter of having done a lot of hard work in order to get to the point where one can make one's living as a musician. As far as physical shortcomings go, I can say that, despite being a very tall man, I do not have very long fingers. Also, my dear friend Andy McKee is a relatively short man, and he has very short fingers. Nonetheless, I feel he is one of the best guitarists that has ever lived. So, short fingers do not have to be a problem!
我觉得是我早年生长的音乐环境把我造就成了一个音乐家。但是我也有兄弟姐妹，他们就没成为音乐家。我觉得一个好的音乐家一定是一出生就有一种“品质”使得他们适合在成年时搞音乐。但也不是伟大的音乐家都是靠一种“天赋”的。如果一个人想过上音乐家的这种级别的生活，他们要做的是要做很多艰苦的努力。至于生理缺陷，我可以说，虽然我是一个很高大的人，我的手指也不是很长。另外我亲爱的朋友Andy　Mckee也是相对来是个子较矮的，他的手指也很短。但我觉得他是这个世上最优秀的吉他演奏家之一。所以，手指短也不是什么问题！

19.How's your recent activity? and new release? and also can you recommand us some CDs you like most?你最近的活动是什么？另外你能不能推荐一些你最喜欢的CD？
Right now I'm working on an all vocal record which I hope to have available before the end of this year. I also want to do an electronic record that uses a mixture of acoustic guitar and samples and other instruments that I play. As far as recommending my own CDs, some of my favorites are "Robot Monster," "This Dragon Won't Sleep," and "Passion Session." I also think that the new CD with Andy is incredibly good.
我现在工作都是有人声的唱片录制，今天年末可能会完工。我也想用混音器把原声吉他与我演奏的其他的乐器样曲编辑起来做一个电子音乐唱片。要说到我自己可供推荐的CD，我觉得我最喜欢Robot Monster, This Dragon Won't Sleep 还有Passion Session.我也认为我跟Andy合作的CD也是出奇地好。
My favourite CDs by other people right now are "Nordan" by Lena Willemark and Ale Moller, and "License to Funk" by Funk Unit.
我现我喜欢的其他人的CD有Lena Willemark 和　Ale　Moller的“Nordan”，以及Funk Unit的"License to funk"

20.How do you know anything about acoustic guitar playing in China? have you ever met any chinese guitarists in your overseas performances? do you have any plans visiting china?你对中国的原声吉他现状知道多少？你是否在你的海外演出过程中与中国的吉他演奏家合作过？你是否有计划访问中国？
Well, I do not know very much about the Chinese guitar scene. I know a well-known musician with whom I have worked in Taiwan, named Jonathan Lee, who has a guitar store in Shanghai and also has an acoustic music venue in that city. He has invited me to come and play in Shanghai sometime this year. I still have not heard when that might happen, but I look forward to it and I also look forward to meeting Chinese guitarists and Chinese musicians of all sorts.
嗯，对于中国吉他的现状我知道的不多。我知道一个很著名的音乐人，我跟他在台湾合作过，他叫李宗盛。他在上海有一个吉他店，另外他在那也有一个原声音乐演出场地。他有邀请过我在今年到上海演出。我仍然不知道具体的时间，但我对此很期待，我也可期待能见到中国吉他演奏家以及其他的中国音乐家。

also , please say something to ALL your chinese Fans!
另外请对所有的中国乐迷说句话吧。
China is a very exotic place for a Canadian musician! I have been to Taiwan and also to Japan, so I have a little bit of experience in eastern Asia, but I have still never been to mainland China. I look forward to be able to visit soon! I want to thank my Chinese fans for being so interested in the music and I look forward to meeting you face to face soon!
中国对于一个加拿大音乐人来说，是一个很有异国情调的国家。我去过台湾和日本，所以我对于东亚有一些经历，但我仍然没到过中国大陆。我期待能够尽快访问中国。我想谢谢对我音乐感兴趣的广大乐迷，我期待能尽快与你们面对面交流！

MEET DON ROSS AT:

http://www.gobyfish.com/Home.html

http://profile.myspace.com/index.cfm?fuseaction=user.viewprofile&friendid=44983337

http://www.candyrat.com/artists/DonRoss/

随枫 · 发表于 2008-2-7 00:31

抢个沙发~~
果然fc的实力越来越强大了~
祝大家新年快乐~

很玄的东西 · 发表于 2008-2-7 00:34

通过这次采访了解到这个Robot Monster原来是送给阿东去世的妻子。

感谢QIQI这么准时的贴子，太精彩了。

记得刚刚拿到稿子的时候我看了好多遍，再次感谢GAKOO。

qiqicano · 发表于 2008-2-7 00:36

虽然错过看赵本山，，，虽然今天还加班。。。。

为了DON ROSS 值

T-Bag · 发表于 2008-2-7 01:11

终于等到了。。。

错了再来 · 发表于 2008-2-7 01:51

字好小啊。。
哪位斑竹编辑下

supercl0403 · 发表于 2008-2-7 11:16

GOOD
感觉赵本山有失众望啊.(实话是这么说的)

这大师让我想起金用笔下的"金毛师王"
果然够气派..

吉他才鸟 · 发表于 2008-2-7 13:44

非常精彩的专访，另外阿东这个称呼真有意思

muddyblood · 发表于 2008-2-8 19:28

这个访问太牛了中英文各看了两遍~

蟹命 · 发表于 2008-2-9 01:29

看完了，真是无比兴奋啊！希望有朝一日可以现场欣赏don ross 的演奏！

simonsharp · 发表于 2008-2-9 11:33

新发现的论坛，好帖子拜读中。

huangzhanji · 发表于 2008-2-10 15:09

好帖，世界上的达人真多，越来越发现自己的渺小，呵呵

wjb1779 · 发表于 2008-2-22 00:37

既方便懂英语的看原汁原味的意思，又方便英语不太好的。对于想学英语又想学吉他的更是双喜临门呢。

月亮公公 · 发表于 2008-2-25 11:20

一定要去上海看他的演出！！！

u2vox · 发表于 2008-2-26 18:00

赏读完毕

大师回复还真仔细啊

gakoo · 发表于 2008-2-27 14:43

最近一忙都忘了来顶一顶阿东的访谈了。
话说采访阿东也真不容易。先是到他的MY SPACE上找他的联系方式，然后给他写邮件。等啊等，就是没回音。后来又找到他的个人网站上了。嘿，上面东西还真齐全，连这位大师在某地东西被偷，号召琴友帮他找回爱琴的公告都有。想想大师也是一个凡人啊。也会有小偷偷他的东西。呵呵。　后来试了试他个人主页上的邮址。发了一封信。嘿，竟然回复了！　于是乎玄哥弄了一堆的问题。我发给他后，又是漫长的等待，没回音。这一折腾，都快过年了。后来我实在忍不住了。又去了一封信催他。他这才回复说去巡演去了。马上回答问题。

哎呀。回复得也真是非常详细。

弹吉他的人，做什么事都是这么认真。

边城浪子 · 发表于 2008-3-22 12:48

大师级人物除了琴技其他方面也值得我们学习！

xiang117 · 发表于 2008-3-22 22:08

大师的造型看上去就好象有绝世武功一样

:

ljuber · 发表于 2008-3-23 14:36

10岁就会利用特殊调弦
真是10岁就注定要当吉他大师了

晕了
我10岁的时候不知道在做什麽
流鼻涕玩泥巴作的娃娃？？ :Q

chenyuelang · 发表于 2008-9-3 20:51

好听，，不知道什么原因，就是有点卡，卡

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