“吉音奇葩”---指弹中国专访美国吉他大师Alex de Grassi！！！

qiqicano · 发表于 2008-5-3 15:54

Alex de Grassi，一个指弹界不能不说的名字，曾经和Michael Hedges齐名Windam Hill公司两大吉他手之一。今天我们非常荣幸地推出大师的访谈，希望大家能细细品味这位演艺经历30多年的吉他音乐家。在此要感谢松哥，他和Alex是多年的好友，这次访谈成功也是松哥多方的牵线搭桥所成，也要感谢老李，我们一起想了很多问题。现在就让我们进入Alex de Grassi的指弹世界。

What are you doing these days?
* @% ^) ~! K+ Z* @您近来有何动向？
After many solo concerts around the U.S. in the past six months, I am at home preparing to play Concierto de Aranjuez, the famous gujitar concerto by the Spanish composer Joaquin Rodrigo. I will perform the piece in May with a regional symphony here in Northern California. This will be my first performance of classical music with an orchestra, and I have been studying the piece for almost a year. and I will also perform a composition of my own with the symphony.
在过去六个月里我进行了许多独奏音乐会，我现在在家准备演奏「阿兰费斯协奏曲」[Concierto de Aranjuez),亦称阿兰费斯之恋,是西班牙盲人作曲家华金•罗德里戈(Joaquin Rodrigo)饮誉世界的吉他名曲]。我将在五月的加州北部和当地的交响乐团一起演奏这首作品。这将是我首次携手管弦乐团表演古典乐曲，我已经学习演奏这个曲子将近一年了。同时我也会和乐团表演我的一首作品。

I am also busy writing solo guitar music for a new recording that will be released early in 2009.
我也正忙着写我的新独奏专辑，预计2009年初发行。

How is your Tropo Records? Your latest CD <de mania> was released in 2006, I have listened to the samples availble on your website, I think the rhythms and the melodies are a combination of different culture and music styles, do you try to explore a kind of new style of music?
- E% [  z) s; E您最近的专辑<de mania>发行于2006年，我从您的网站上听了试听，我的感受是乐曲的节奏和旋律结合了不同的文化和音乐风格，您是否是在探索一种新的音乐风格呢？5 l3 ?) g6 [( m( q
I am always trying to explore new music and rhythms from other cultures.  The deMania Trio features Michael Manring on electric bass and Chris Garcia on tabla (the drum from India) and various percussion instruments.  We try to take ideas from jazz, American folk music, music from India, and Latin America.  We all write and arrange the music, but the performances include extensive improvisation. Sometimes the improvisation is structured, and other times it is very free.
我总是在尝试新鲜的来自其他文化的音乐和节奏。deMania三重奏由电贝司手Michael Manring、塔布拉（一种印度手鼓）及其他打击乐演奏家Chris Garcia，（还有我）组成。我们尝试着从爵士，美洲民谣，印度和拉丁美洲音乐里汲取灵感。我们虽然创作并编好了乐曲，但是在演出时会加入非常多的即兴成分。有时即兴会在一个框架下进行，有时则会非常自由。

And what about your next solo album?
$ K1 ~% }1 c  \2 y您的下张独奏专辑进行的怎样了？
I have been trying to join rhythms of American popular music with a more elaborate harmonic and compositional  development. For example, one of the pieces is inspired by the music of James Brown—it's very funky, but the harmonies are quite different than what you would hear in his music.  I'm very interested in building a collection of concert music for guitar that incorporates the folk, blues, and popular music idioms of North America.
我一直尝试把美洲流行音乐的节奏融入一个更为精致和声和进行里去。比如，我的一首受到James Brown影响的作品，虽然非常funky，但是你听到的和声是和他的音乐大为不同的。我现在对于创作一个包含民谣、蓝调和北美流行风格音乐现场合辑很感兴趣。

You have been a professional guitarist for more than 30 years, what is the most remarkable event in your muic career?
. m( t; @4 l, a. J6 I5 G. A# x, A2 c您作为一名职业吉他手已经过了30年了，什么是您音乐生涯中最重要的事件？% C5 v7 L" M" V7 Z% L
In 2005 I had the honor of being commissioned by the publisher of Acoustic Guitar Magazine to compose a concerto for steel-string guitar, string quartet and string orchestra. I collaborated with the very talented violinist and arranger Jeremy Cohen of Quartet San Francisco. We premiered the piece in May 2006 at Herbst Theater in San Francisco in a concert that also featured classical guitarist Sharon Isbin. It was a defining moment in my career to be a part of bringing the steel-string guitar into the concert hall with an orchestra.
2005年，我受邀为原声吉他杂志（Acoustic Guitar Magazine）的发行人创作一部钢弦吉他的协奏曲，弦乐四重奏和交响乐。我和一位天赋异禀的小提琴手Jeremy Cohen一起合作，他来自旧金山四重奏（Quartet San Francisco）。我们在2006年的5月于旧金山的Herbst剧院进行了首次公演，共同演出的还有古典吉他演奏家Sharon Isbin。把钢弦吉他带入音乐厅和交响乐团一起演奏是我事业中一个重要的里程碑。

Your have tried so many different kinds of music, do you still working on some new things?
5 v. U1 ]: i" E# o# ?您已经尝试了如此多的音乐风格，您还在开发新的东西吗？
In addition to the upcoming performance of the Rodrigo guitar concerto with orchestra, I will be performing on steel string guitar in a piece by the contemporary American composer Terry Riley later this year. So, I am always learning new techniques and discovering ways to incorporate those discoveries into my style of playing.
除了将要上演的罗德里戈和交响乐团的阿兰费斯协奏曲，我年末将在美国现代音乐作曲家Terry Riley的一首作品里演奏钢弦吉他。所以，我总是在学习新的技巧并想法子把这些元素融入到我的演奏风格里去。

Have you ever thought of putting down the guitar and looking for something else as the goal of living?
7 I5 q% I- o% ~3 T% w您有没有想过放下吉他并去追寻其他的事物来作为生活的目标呢？
7 T7 Y% a) K. E- Y- oThere have been times when I have thought about anohter career, but I don't know what else I would do, and I'm too busy writing and performing to think about it much.
曾有几次我考虑过去做其他的职业，但是我想不到我还能干哪些事情，我也太忙于创作和演出，没工夫去细细考虑了。

We know that you played banjo some time earlier, did it give you some idea to your style, how?/ x, g+ A5 G+ l: }
我们知道您早期也弹过斑卓琴，它是否影响了您的演奏风格呢，如何影响？
I had a banjo for a few months many years ago when I was at the University. I never learned to play traditional banjo music, but it gave me some ideas about fingerpicking. I have arranged a few guitar pieces in such a way as to sound a little like banjo playing.
我多年前在大学里曾拥有一把斑卓琴几个月。我从来没有学过传统的斑卓琴演奏，但是它给了我一些指弹上的启发，我已经用这种方式创作了几首吉他曲，听上去有点像在弹斑卓。

You have many tunes use a kind of fast picking techniques(which gives many ideas to other guitarists) such as <Overland>,<White Rain> and <Window>. The melody is hidding in the fast-picked chords, how to emphasize the melody and how do you write this kind of music.8 I4 B4 H% K6 U# T: M6 q
您有很多曲子使用了一种快速拨弦的技术（这给了很多吉他手灵感），比如<Overland>,<White Rain> 还有<Window>。旋律隐藏在这些快速拨动的分解和弦中，如何去强调旋律线，还有如何去创作这类的音乐呢？' p. G' R1 |/ T  L$ V& M3 Y9 Q
Yes, that is a good observation. Some people have compared that effect to the French Impressionist painting technique know as "pointillism".  I call it the Three Dimensional Sound (3D Sound).  There are many notes, but like the painting technique, the way the notes are accented or colored determines how the music is heard. The melodies appear to emerge from what appears to be a fingerpicking "pattern" or series of arpeggios. There is a complete range of accents from very soft to very loud, with individual notes orgainzied into a " hierarchy of accents" The heavily accented notes form the melody and key bass notes and others create a harmonic and rhythmic background. It is a little like using a prism to break down the spectrum of light into the many different colored components.  The result a very Three Dimensional Sound.
没错，你观察的很好。有些人把这个风格和法国印象派画风“点画法”效果相比较。我叫他三维音效(3D Sound)。这里有许多音符，但是就像那个画画的技巧，被突出或加入色彩的音符决定了音乐的聆听效果。旋律会从拨弦的“模式”或一系列的分解和弦里浮现出来。重音由轻柔转到响亮，通过独立的音符组织成为一种“有层次的重音”。被强调的音符形成了旋律，关键的低音音符和其他的音符组成了和声和节奏背景。这有点像用三棱镜来把阳光分成不同的颜色。这就是三维音效。

From 1978 to 2008, music changes in every way, folk,country, rock’n’roll, metal, jazz, new age etc. evolved in all kinds. Did they change your music and the way of playing your guitar?
' O8 `5 R9 [0 ~. o$ `9 v# ^从1978年到2008年，音乐以各种方式演变，民谣，乡村，摇滚，金属，爵士，新世纪音乐等等。这些风格是否改变了您的演奏吉他的方式？
' s6 n7 s. r  d( S0 W. TI've always enjoyed many types of music.  When I began playing at the age of 13 in 1965, I was mainly interested in American and British Isles folk and blues.  In the late 60's and early 70's I was fortunate to hear many of the famous rock and blues groups like The Who, The Doors, Chuck Berry and many more.  Then I became interested in jazz, and heard many of the great jazz artists that have since passed away.  I studied jazz guitar while in college.  After I made my first two or three recordings, I began to study classical guitar and all kinds of "World Music" from other cultures.  So, you see I have been influenced by many styles of music since I first began playing.  These days, my concerts inlcude arrangements of folks songs, pop songs, jazz standards, and original music.  The audiences get to hear many musical influences in one concert.  The common theme is that it is all guitar music.
我总是喜欢各种形式的音乐。1965年13岁的我开始弹吉他，当时我主要对美国和不列颠岛的民谣和蓝调感兴趣。在60年代末70年代初，我很幸运听到了许多著名的摇滚和布鲁斯乐队像，谁人（The Who），大门The Doors，Chuck Berry等等。然后我开始对爵士月开始感兴趣，我听了许多著名的如今已不在世的爵士艺术家的音乐。当我在大学时我学习爵士吉他。当我创作了我最初的两三张专辑后，我开始学习古典吉他还有所有形式来自其他文化的“世界音乐”。所以，你可以明白打我开始弹琴到现在，我已经受到如此多的音乐影响。如今，我音乐会涵盖了民歌，流行，标准爵士和传统音乐。听众可以在一场音乐会上听到许多音乐元素。其一般主题就是所有的吉他音乐。

Your grandfather was a violinist, did you get any influence in music from him? 6 Y3 T; r  V! B/ [, A  y" b! |; I- o' \
您的祖父是一位小提琴手，您有没有受到过他音乐上的潜移默化？
: x5 ^+ S/ J# v6 a$ \  J" B' q) X4 }I was not influenced directly by my grandfather, but he did teach me that becoming a successful musician required hard work and discipline. He used to tell me that "…learning to be a musician was more than learning to strum a few chords on the guitar."
我没有直接受到我祖父的影响，但是他确实教过我如何去成为一名成功的音乐家，他需要努力奋斗和严格自律。他曾这么和我说“…学着成为一名音乐家比学习在吉他上刷刷几个和弦意义深远得多。”

I think you have experienced the “windham hill era”, new age music and the acoustic guitar music can be found everywhere, why people in American became so crazy about this kind of music?
. ^( t k% _; s7 o我向您已经经历过“windham hill 时代”，新世纪音乐和原声吉他音乐可以在任何地方找到，为何当时的美国人民会对这种音乐如此狂热？2 ^# W$ G+ z1 v4 W! `' F# g
I think the music on the Windham Hill label represented a new sound back in the late 1970's and early 1980's. Audiences were attracted to the very personal and intimate nature of the music. I think they heard stories or something poetic in the music that they were not hearing anywhere else.
我认为Windham Hill厂牌的音乐代表了70年代末80年代初的一个新的声音。听者被独具个人特色和精致淳朴的音乐深深吸引。我想他们定是从音乐中听到了一些从未有过的故事或者诗意。

http://www.youtube.com/watch/v/n8YphOY_vY0&feature=related

Another great guitarist and musician in Windham Hill Record is Michael Hedges, have you ever worked together, can you tell some stories between you and Michael? How do you think of his music?
) o5 o1 s6 O! _0 n* R4 t另一位来自Windham Hill的伟大的吉他手和音乐家是Michael Hedges，你们有没有合作过，您能谈谈您和Michael之间的故事吗？您是怎样看待他的音乐的？
6 W; L8 g6 R- ~3 N5 p/ qMichael was a brilliiant guitarist and composer of guitar music. He was also a great performer. He was the first solo fingerstyle player I saw play standing up and moving around on stage. He put a little Rock into solo guitar, while at the same time innovating many new techniques and composing very intricate guitar music. In the 1980's we played many concerts together, and I also played music for his wedding ceremony. In later years I did not see him so much, but we often talked about working on a recording project together. Unfortunately, that never happened. The day I heard about his death, I was writing a piece called Cumulus Rising for my The Water Garden recording. That piece is influenced by Michael's way of playing guitar, and I dedicate it to his memory.
Michael是一位天赋异禀的吉他手和吉他音乐作曲家。他同时也是一位伟大的表演者。他是我看到的第一位站着演奏指弹吉他的人，并在舞台上到处走动。他给独奏吉他加入了一点摇滚的元素，同时革新了许多技巧并创作了许多丰富精美的吉他音乐。在上世纪80年代我们一起进行了很多演出，我在他的婚礼上也演奏了乐曲。后来几年我没有怎么见过他，但是我们一直谈及进行一个新的录音计划。不幸的是，这个愿望永远不会实现了，那天我听到了他去世的消息，我正在写一首在The Water Garden专辑中叫做Cumulus Rising的曲子。这首曲子受到了Michael的风格影响，我将它来缅怀Michael。

<Turning:Turning Back> is one of my favorite CD, you play <Turning> and <Turning Back> together when you are in concert, I think this tune is trying to record the change of seasons ,life and time and it sounds so wonderful. Looking back, what does <Turning:Turning Back>, the first album you released, mean to you?
4 Z/ Z! P3 `7 [6 V6 G<Turning:Turning Back>是我最喜欢的唱片之一，当您在音乐会上演出时，您会将<Turning> 和<Turning Back>这两首曲子连在一起演奏，我认为这首曲子是尝试着记录季节的更替，生命和时间的轮回，她听上去是如此完美。回顾过去，您的首张专辑<Turning:Turning Back>对您而言有何巨大的意义？
7 v2 l- h# G( h. N3 h; aI think everyone holds a special place in their heart for the first recording they made. I do. I think there's a lot of passion in that album, and I was able to take all my personal and musical experiences up to then into that recording. The piece Turning: Turning Back, is a favorite of many of my fans, and guitarists. I think partly because it is a long piece that takes the listener on a journey. Many people have told me that they used that recording for their wedding ceremony, so I think it captures the feeling of a major turning point in people's lives.
我认为所有人自己的第一张专辑在心里都会有一份特殊的意义。我就是这么想的，我对这张专辑投入了非常多的热情，并且我能够将我所有的个人和音乐上的经验放进录音里面。<Turning:Turning Back>是许多乐迷和吉他手的最爱，我想部分原因是她是一首比较长的作品（8分多钟），可以把听众带入一种听觉上的旅行。许多朋友告诉我他们用这首曲子在婚礼上播放，所以我认为她捕捉了人们生命重大转折点上的一种感受。

You like to use “water” in your master piece such as <Water Garden>,<White Rain> etc. In China, we say “women are made by water” , do you regard “water” as the most inspiration in your life and music,why?
( p4 Y/ M, E: i您很喜欢使用“水”这个概念，好比您的杰作<Water Garden>，<White Rain>等等，在中国，我们说“女人是水做的”您是否把“水”视作您生命和音乐上的一种灵感呢？
& [) S% g3 i/ t2 k X5 b' ?% {I am inspired by many things, but certainly water is a theme in many of my pieces. Water is like "white noise"; it contains all the frequencies you can also hear in music. You can also hear many rhythms occuring at the same time in water—some are steady and others are very irregular. In that sense, water is polyrhythmic, and I like to write music that has with crossrhythms, with two or more rhythms going on simultaneously.
我的灵感来自很多事物，但是可能水是我许多作品的主题。水就像一种“白噪音([物]用以掩盖令人心烦的杂音)”，它包含了所有的频率，你们在音乐里面也可以听到。你们可以同样在流水中听到许多节奏---一些比较平稳，一些则是非常不规则。从这种感觉来说，水是一种多节奏的，并且我喜欢用复合节奏来写曲子，同时用两种或两种以上的节奏来创作。

http://www.youtube.com/watch/v/tL70fd_D3N8&feature=related

I like your <Clockwork> very much, did you write this tune alone? Who played the other instruments in it?. {, |1 E5 M6 e; @
我很喜欢您的<Clockwork>您是独自完成这首曲子吗？其他的乐器是谁演奏的呢？1 D f0 d- Z) f
I wrote and arranged the parts for that piece. Chuck Greenberg played the lyricon, an electronic wind instrument. On the original recording, Patrick O'Hearn played bass, Michael Spiro plays percussion. For the live version, Michael Manring played bass and Darol Anger played violin. Some of Darol Anger's parts are improvised.
我写了这首曲子并编配了整个声部。Chuck Greenberg演奏lyricon （类似笛子的合成器http://www.obsolete.com/120_years/machines/lyricon/index.html）。在原始的录音里Patrick O'Hearn演奏了贝司，Michael Spiro演奏了打击乐部分，Michael Manring 演奏（无品）贝司Darol Anger演奏提琴。有些Darol Anger的部分是即兴的。

<Western> is one of your most popular tunes, what inspired you to write it?
2 K: s8 ~4 q$ Q, _$ j- ^<Western>是您最受欢迎的曲子之一，您从哪里获得的灵感呢？
I was inspired by an imaginary scene that you might see in a "Western" movie. The character is not such a bad person, but he ends up on the wrong side of the law, and now he will have face his death. It was also somewhat inspired by the English band The Police who had a hit with the song "Every Breath You Take" at the time (1983).
我是从一个想象的情景的来的灵感，你们可能看到过关于“西部”的电影。主人公不是特别坏的人，但是他最终还是站在了法律的另一边，并且他将不得不面对他的死亡。这首曲子同时也多少受到英国警察乐队的金曲"Every Breath You Take"(1983).的影响。

Have you ever written music for films or TV programs? 5 ^: X# U1 D3 x% B
您有没有给电影或者电视节目创作过音乐？/ u& P2 s- w( {8 Z# o" p
I've scored a low budget short film and a few television documentaries. The short film was fun, but sometimes the documentaries have so many people talking there is not much room for music. In the US, most people go to live in Los Angeles to get into the film scoring business, and I never wanted to live in Los Angeles.
我曾给一个小制作的电影写过原声，还有一些电视纪录片。那个小电影配乐非常有趣，但是纪录片会有很多人在那讲话，给音乐的空间不大。在美国，大部分人去洛杉矶定居来开展电影配乐的生意，但我从没想过去那生活。

http://www.youtube.com/watch/v/yDqiSWnjzjg

Finger-style guitar music has been evolved much recent years, it has been more and more complex, we can find drum , bass, even other instruments techniques have been used in acoustic guitar music, have you ever tried to use these brand new techniques in your music or you just evolved in the music part?! Q$ _4 R5 A4 b+ u( t
指弹吉他音乐近年来进化得非常多，它的演奏技法越来越复杂，我们可以发现鼓，贝司等其他乐器的技巧在原声吉他上的应用，您有没有用过这些技术呢，或者您只是在音乐上进化？$ d' Z7 W% b7 o& |$ D/ u
Yes, I have used many of those techniques in my music.  For example, on my 1993 album The World's Getting Loud, I have two pieces "The Monkulator" and "The World's Getting Loud" that use two hand tapping technique,  My 2003 recording Now and Then has several pieces where I play percussion on the top and sides of my guitar.  I also use very percussive slapping bass and slapped harmonics on my piece "Blue Trout" from my 1991 recoriding Deep at Night.  However, I like to integrate those techniques into the music and not depend on those techniques to impress guitar audiences.  I want people to listen to the music, not just the technique,
是的，我用过很多类似的技巧。比如，我1993年的<The World's Getting Loud>专辑，我有两首作品"The Monkulator" 和"The World's Getting Loud"使用了双手点弦的技术，我2003年的录音<Now and Then>有好几首作品我在吉他面板和侧板上演奏了打击乐。我同样使用了非常slapping的低音和拍泛音在"Blue Trout"，我1991年的专辑<Deep at Night>。然而我喜欢把这些技术融入进作品里，而不是依赖它们来给听众留下印象。我想让人们关注音乐，而不是技巧。

You use Lowden for many years, do you remember your first guitar? How was it like?+ y7 I" u7 t$ H" o5 d
您使用Lowden吉他很多年了，您还记得您的第一把吉他吗，她是怎样的一把琴？. q9 w" d# E. \$ v+ ~6 A, Q/ {: W
Yes, and in 2007 Lowden introduced the Alex de Grassi signature model.  It has a wider, flatter fingerboard and a few othe custom features.  It's a maple guitar.  My first guitar was an Aria, nylon string guitar.  It was inexpensive, but not so bad.  I think I gave it away to a friend when I was a the University.
没错，2007年Lowden推出了Alex de Grassi签名型号。她拥有更宽，更平的指板还有些其他的定制特色。她是一把枫木吉他。
我的第一把琴是一把Aria（日本知名品牌）的尼龙弦吉他。她不贵，但是还不错。我想我把她送给我一个在大学的朋友了。

You use mics in most concerts , did you ever use any pick-ups or effect systems? Please introduce some of your equipment.
% y0 s+ w/ a5 S9 G8 v( ~您在音乐会上大多使用麦克风，您有没有用过拾音器或效果器系统呢？请介绍一下您的设备。+ q% _" t9 I. J& d+ }: g4 v
When I first began playing, I use only a microphone.  After some years I began experimenting with pickups, sometimes two pickups in the guitar.  I also used Chorus effect and digital delays.  But for the past seven or eight years, I've returned to using just a microphone.  I use an AKG 460B cardioid condenser microphone.  It has a very even, float sound.  Sometimes I will have the sound engineer add some reverb in the house.  I try to avoid using monitors on stage.  I like to hear the sound move around the room and not coming out of a box on the stage.
当我刚开始演奏时，我只用一个麦克风。几年后我开始尝试使用拾音器，有时用上两个拾音器在吉他上。我同时也使用合唱还有数字延迟效果。但是最近7、8年来，我重新开始使用一支麦克风拾音。我用一个AKG 460B心指向的电容话筒。它有均衡，飘逸的声音。有时候我会让音响工程师在房间里加上一些混响。我一直避免在舞台上使用监听设备。我喜欢聆听在舞台中扩散的声音而不是单单从琴里发出的声响。

How do you write songs? What kind of suggestion can you offer to those who are ready to write their first piece?
9 c. {% j/ p( m0 q/ d您是怎样写歌的？您能给那些刚开始创作的朋友一些建议吗？
& E$ `0 ~; k1 ~I often have a rhythm and a visual image in mind. I sit down with the guitar and play a little until the rhythmic and the visual image start to come together. The melody usually comes afterward and emerges from the rhythmic idea. So for example, I might be inspired by the rain, and then I try to capture the rhythm of that particular rain and then I might have a story or a picture in my mind that I try to express through music. It's often begins intuitively, and then when I get stuck or need to develop the piece, I think more intellectually about what are the elements of the original idea. It's somewhat of a mysterious process, but I often find that the a whole piece of music usually develops from just a few seconds of music. Once I've written out that short, initial idea, it's easier to develop the piece. These days I usually write out the music notation on a computer, sometimes on a pece of paper when I'm traveling.
（在写歌时）我脑海里经常会浮现一种节奏和虚幻的图景。我会拿着吉他坐下并弹一些东西，直到节奏和我脑中的图像开始契合。旋律通常在节奏的感觉出来后开始发展。所以比如说，我可能从下雨中获得灵感，然后我开始尝试捕捉那场雨中的特别的节奏，再后我脑海中可能开始展现出一个故事或图像，于是我开始通过音乐来表达出来。这种创作方式经常是直觉化的，然后我开始想或者发展这个曲子，我对原始灵感的思考非常知性。这个过程有些神秘，但是我常常发现一个完整的乐曲往往由一些几秒的音乐发展而来。一旦我写下了那个简短，最初的灵感，写出整个乐曲就比较容易了。这些日子我常常在电脑上创作，在旅行中有时就写在纸上。

I think it's important to have an image, or a story or a mood in mind when you write music. It's important to feel a connection to something that you love or interests you intellectually as you are working on the idea. Music is an exploration, and when you explore something you make discoveries.
我认为在创作时内心拥有一幅图景或者故事或心情是非常重要的。在你们创作时，找到你们喜爱或感兴趣的东西的联系是非常重要的。音乐就是一种探索，当你们开始探索时，你们就会发现新知。

Have you any plans of releasing a new DVD or guitar book? Of all the DVDs and guitar books you have ever released, can you recommand some to the beginners who want to learn your music and styles? / `( S/ R: }! z4 I$ F. c
您有没有计划出版新的DVD或吉他教材？在您出版的DVD和乐谱中，能否推荐一些给初学者或者是那些正在学习您的乐风的乐迷？) h1 c1 \% \% G! o
My most recent DVD is Alex de Grassi, In Concert, which was released by Mel Bay Records in 2007.  It's very typical of the solo concerts I am playing these days. In 2007 I also had a new book of guitar music released on Hal Leonard called The Best of Alex de Grassi.  That book includes many of my older pieces up to the year 1993.  I also have two older DVDs.  One is  called The Six String Workshop (Tropo/Malone Media) and I playhe some piecees and discuss the arrangements.  The other is called Techniques (Homespun) in which I teach three of my pieces and it includes the sheet music and tab.  I also have some inidvidual pieces of sheet music/tab available from my website (www.degrassi.com).  Most of my pieces are not for beginners, but perhaps the easiest is an arrangment I made of a Lullaby called Sleepytime, which is available as a single piece of music from my website www.degrassi.com.  We are currently working to make those available as digital downloads.
我最近的DVD是<Alex de Grassi, In Concert>，由Mel Bay唱片于2007年录制发行。这是我近年来比较典型的独奏音乐会。2007年我经由Hal Leonard出版社同样发行了<The Best of Alex de Grassi>乐谱集。这本书包含了从1993年起创作的老曲。我同样有两张早些时候发行的DVD，一个是The Six String Workshop (Tropo/Malone Media)，我在其中演奏了几个并讨论了它们的编曲。另一个是Techniques (Homespun)，在其中我教学了3首我的曲子，其中附带曲谱。我同样还有一些独立的曲谱，它们可以在我的网站www.degrassi.com上得到。我大多数的曲子并不适合初学者，但是可能我最早改编的一个摇篮曲叫做Sleepytime，可以在我的网站上下载到。
I have thought about making some more beginning instructional materials for a DVD or book, but I have not gotten to that yet.
我有考虑过制作一些更初学者化的DVD或者教程，但是还没有具体实施。

Please give us some short comment on these guitarists’ music: Don Ross, Pierre Bensusan, Peter Finger, Preston Reed.
0 S6 k- h. g6 J8 L/ S请给以下一些吉他艺术家以简评：Don Ross, Pierre Bensusan, Peter Finger, Preston Reed。
They are all fine players.  Preston Reed is a very dynamic player who has mastered very percussive techniques.  He plays very loud, and it is almost like a rock concert.  Pierre Bensusan is a real virtuoso, and his music has a lot of ornamentation.  I like the blend of North African and Celtic influences in his music and he has a very unique style.  Peter Finger can play very fast and with a lot of Energy.  He also explores some adventurous harmonies.  Don Ross also uses many extended techniques and his music reminds me of some of the "jam" bands out there.
他们都是非常棒的演奏家。Preston Reed是一个非常精力充沛的演奏家拥有非常好的打击乐技术。他演奏的动静很大，就像在听一个摇滚音乐会。Pierre Bensusan是一位真正的艺术大师，他的音乐非常华丽，我喜欢他将北非和凯尔特音乐的融合，他的风格也非常独特。Peter Finger可以弹得非常快，能量非常充沛。他经常探索一些非常带劲的和声。Don Ross同样使用了一些扩展的技巧，他的音乐让我想起一些即兴乐队的音乐。

You have travelled a lot , we know that you have been to China last year, have you enjoyed the travel?
' x, t- `# P) @) K# a您经常旅行，我们知道您去年曾来华旅游，您的中国之旅怎样呢？9 ]: B$ k: l$ j8 p& }5 X
Yes, I visited Shanghai, Beijing, and X'ian last year with my wife and some friends and their eleven year old daughter.  Their daughter is going to the Chinese-American School in San Francisco, and because of that, our friends wanted to visit China.  Our friends asked us if we would like to go with them, and we said yes. I am not used to traveling as a tourist, but we were really there as tourists.  But I did meet a couple of guitarists while there, and I am still hoping that I might return soon to play some concerts.  My friend Luis is a photographer, and he and I also met some interesting photographers and artists while in Beijing.
是的，我去年和我妻子以及一些朋友和他们11岁的女儿一起游览了上海，北京和西安。他们的女儿将去位于旧金山的中英双语学校就读。因为这个原因，我们的朋友想来中国看看。我们的朋友问我们是否想一起同行，我们同意了。我一般不会以游客身份旅行，但是在中国真正做了回游客。但是我确实遇见了一些吉他演奏家，我也非常希望能回来开几场音乐会。我的朋友Luis是一个摄影家，他和我在北京也遇到了一些有趣的摄影师。
China is fascinating to us because there are so many people and everything is developing so quickly.  We were amazed to see how much construction was going on, especially in Beijing and Shanhai.  We saw some of the historical sites like the Great Wall, The Forbidden City, and the Terra Cotta Warriors and tombs in X'ian.  It seems like China has such a long, complicated history, and now it is changing very quickly. I also enjoyed visiting some of the famous gardens in those cities. I hope to return again soon to play some concerts.
中国对我们而言非常令人惊奇，这里有那么多的人并且所有的东西都发展得非常迅速。我们对于如此多正在施工的建筑感到非常惊奇，特别是北京和上海。我们拜访了很多古迹，好像长城，故宫，西安兵马俑。中国看似有一段很长很复杂的历史，现在的发展也非常迅速。我同样也非常喜欢游览那些著名的园林。我真希望能再回来并开几场演奏会。

Besides guitar, do you have any other hobbies?4 g; E! K9 n% N  c
除了吉他，您还有其他的爱好吗？
I live in the countryside now, and we have a big garden. I like to get outside and garden, it is a nice relief from long hours of practicing and writing music in my studio.  I studied geography at the university, and I am also a big fan of maps and books about the history of cities. I bought a beautiful book about the history and architecture of Shanghai when we visited the museum of city planning in Shanghai.  I really enjoy understanding how the landscape of places changes over time.
我现在住在郊外，我们拥有一个大的花园。我喜欢走出去进入花园，在工作室长时间的练习和创作之后，这会是一个很好的放松。我在大学时学的是地理，我同时也是一个地图迷还喜欢阅读有关城市历史的书。当我们参观上海城市规划馆时，我买了本非常漂亮的关于上海的历史和建筑的书。我非常享受去了解城市每个角落是如何随时间变迁的。

Please recommend some finger-style CDs which are important to you.
5 N% R( P) k  S% G2 t- i请推荐一些对您而言非常重要的指弹唱片：
3 P7 y4 Y6 X- A3 ]6 vThese are mostly older recording that have inspired me:
这些是大部分影响过我的老唱片：
Michael Hedges: Aerial Boundaries
Leo Kottke: Six and Twelve String Guitar (名字同样被称为 Ant and the Armadillo) 他首次在Takoma的录音.
Pierre Bensusan: Pres du Paris
John Renbourn: Sir John A lot
Bert Jansch: Lucky Thirteen, Dazzling Stranger (一个合辑)

Please say something to your fans in China, thank you!!!
: V* K0 p7 a% D7 k请对您在中国的乐迷说一些话，谢谢！！
I am thrilled to discover that there is a growing interest in fingerstyle guitar in china.  I hope I will be able to come play for all of you before too long.  Music is an international language and perhaps we can develop better international relations through guitar music!
我非常激动发现了指弹吉他在中国的成长。我希望在不久之后能过来为你们演奏。音乐是世界的语言，也许我们能通过吉他音乐发展起更好的国际关系！

At last, thank you for your time! We are looking forward to your performance in China!
! S. m! g: D( k* w/ @. z最后，感谢您的时间！我们很期待您在中国的演出！
I do too. Thanks for the interview!
也很感谢你们的采访！
Best wishes,
最好的祝愿，
Alex de Grassi

http://www.56.com/n_v165_/c24_/11_/14_/acguitar_/sc_119649264188_/3546000_/0_/24133812.swf

meet Alex de Grassi at:
http://www.degrassi.com/

[ 本帖最后由 qiqicano 于 2008-5-4 18:44 编辑 ]

很玄的东西 · 发表于 2008-5-3 16:54

这个访问，几经贡折啊，终于出来了。

感觉用了半年的时间来完成这个采访。

希望大家通过这次访问又可以更学入了解这位大师。

T-Bag · 发表于 2008-5-3 19:15

哦也。居然联系上他了。马上仔细看看

ljuber · 发表于 2008-5-3 21:36

牛啊！
我最喜欢的几位指弹大师之一
之前弹过他的Western 一直不了解这首曲子的创作动机
现在终於了解了
真是太感谢这段的访谈!

qiqicano · 发表于 2008-5-3 22:01

每次看到访谈那么多字我都在感叹，，，我的论文要是能写那么长就好了，，，虽然写了几万字，基本都是在抄书。

W.Z.Y. · 发表于 2008-5-7 22:53

顶级大师访谈啊真令人感动真希望听一场他的音乐会并和他交流，喜爱音乐心灵总是相通的。

糖博虎 · 发表于 2008-5-8 14:41

猛料找他的东西来听

iori128469 · 发表于 2008-5-10 20:37

终于找到了要好好欣赏一下

zztking · 发表于 2008-5-16 01:25

稀饭

miyavi128469 · 发表于 2008-5-16 01:25

参与下加加分

sky123b · 发表于 2008-5-20 21:02

Concierto de Aranjuez 大部分杂志上乐谱上会翻译成阿兰胡埃斯协奏曲.

想了老半天突然反应过来。。。

shizhijiang · 发表于 2008-5-26 15:02

??/????????????????:( 谁呀？？

靳柏年 · 发表于 2008-5-26 21:26

赞
大师~ 虚心学习

yawei531 · 发表于 2008-6-2 10:34

支持~~~学习~~~努力~~~坚持~!

jackyhuang1120 · 发表于 2008-6-7 09:37

又是位不错的大师，要努力了！

xlsj · 发表于 2008-9-4 16:09

多象这个帖子一样就好了有点大师的介绍以及专集推荐

mikebluse · 发表于 2008-11-6 12:48

老外里我最喜欢的就是他了。

xiushiqinxuan · 发表于 2008-11-6 23:47

学习英文的好地方

yjhmwok · 发表于 2008-12-26 22:30

紫玉兰

学名/拉丁名：Magnolia liliflora Desr.
别名：          木兰、辛夷、木笔
英文名：       Lily Magnolia，Mulan magnolia， Tulip magnolia

简述：紫玉兰

   落叶大灌木，高达3～5米，常丛生。芽有灰褐色细毛；小枝紫褐色。叶倒卵形或椭圆状卵形，长10—18厘米，宽4—10厘米，顶端急尖或渐尖，基部楔形，背面沿脉有柔毛。花先叶开放或很少与叶同时开放，大型，钟状；

花萼片3，披针形，淡紫褐色，长2—3厘米；花瓣6，长圆状倒卵形，长8一10厘米，外面紫色或紫红色，内面白色；花丝和心皮紫红色；花住1，顶端尖，微弯。聚合果长圆形，长7—10厘米，淡褐色。花期4—5月。

紫玉兰是木兰科木兰属落叶灌木，地栽高3至5米，盆栽高1至1．5米，常丛生，叶倒卵形或椭圆形，花单生于枝顶，钟状，花被9片，3片排成一轮，紫色或紫红色，春季先花后叶或花叶同放。

紫玉兰喜疏松肥沃的酸性、微酸性土，可用腐叶土与菜园土等量混合作培养土，并在土中加50至150 克骨粉或氮磷钾复合肥。盆宜稍深大些，

盆底放一些碎硬塑料泡沫块，增强透气排水性，并防烂根。每年或隔年于花后翻盆换土一次，保留1／2至1／3 的宿土。

水肥

   紫玉兰喜湿润，怕涝，因此适时适量浇水很重要。立春到开花，盆土保持润而不湿；花后盆土保持湿润而不渍水；落叶后盆土保持微润而不干即可。任何时候都不能干旱，也不能渍水，特别是雨季要注意排水防涝。

   紫玉兰喜肥，施肥要抓住花前2月和花后5月这两个关键时机，十天左右施一次氮磷钾复合肥，前者使蕾膨大，鲜花开放，后者促进多孕蕾，翌春花多。入冬落叶时施一次以磷钾为主的肥料，增强其抗寒越冬能力，其余时间少施或不施。忌单施氮肥。

光温

   紫玉兰喜光，置于向阳的庭院、屋顶花园，多见阳光生长健壮繁茂，半阴条件下虽也能生长，但较瘦弱且花少，过阴则无花。它较耐寒，北京及其以南地区都可在室外越冬。

修剪

   紫玉兰根部萌蘖力强，如不需繁殖，随长随剪，每盆保持3株主干即可。对于过高过长的枝条，可于花后刚展叶时剪短，因其伤愈能力差，剪后要涂硫磺粉防腐，如无必要则不修剪。花后如不需要留种繁殖，应将残花带蒂剪掉

紫玉兰-紫玉兰树-紫玉兰拉丁名-紫玉兰生活习性-紫玉兰形态特征-紫玉兰图片-紫玉兰价格...互连网 QQ：993471564英杰花木网http://www.yjhmw.cn 电话：0733-2575833-13469440817联系人邹英杰

sxwz66 · 发表于 2009-1-28 16:05

又是一个资深的老角色

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“吉音奇葩”---指弹中国专访美国吉他大师Alex de Grassi！！！

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紫玉兰

厉害的角色