"震撼心灵的天籁"指弹中国专访旋律之神 Pierre bensusan

海洛因

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！出自指弹中国论坛
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/ O9 n- f# b' f  M5 A# [当1975年，Pierre Bensusan发行了他自己的第一张专辑Près de Paris的时候，他才17岁。
% c' c" ~  ^2 t4 d! Z但是在这张专辑里，bensusan对旋律难以置信地敏感加上对节奏稳固的把握给人留下了深刻的印象。在他的后继九张专辑，包括他的新发专辑Altiplanos(Favored Nations)，展现了bensusan 对电子回路（设备）的应用研究后，挖掘扩展了钢弦原声吉他在独奏及合奏演出的场合的各种的潜在技术。
; H  H  L% I$ a6 b& s: i# iBensusan的发展融入了许许多多的风格，包括Celtic, folk, jazz, Latin，中世纪等等。他像一个专业的说故事的人，用自己的作品去传达给人们独特的视角，万物叙事的发展，对话和运动。为了做到这点，他配上了丰富多彩的旋律，活跃的BASS LINE兼收并蓄的节奏。Bensusan的另一个标志性的特点，就是他的调弦法，DADGAD调弦。而事实上，bensusan是世界上对这种调弦法理解最深的吉他演奏家，他把自己所有的职业生涯都放在研究这种调弦法的深度和广度上，没有止境的寻求这种独特的调弦带来的音乐。
此外为了录制他的新专辑Altiplanos，bensusan和两位著名的执勤大师合作，制作出了一对签名吉他。其中一把是由Kevin Ryan制作的钢弦原声吉他，现在这把吉他是他主要的乐器。另一把是由Juan Miguel Carmona制作的尼龙弦的原声木吉他。现在，bensusan每年都会开一些大师班，还有吉他研讨会，给全世界的吉他师们传授技术和智慧。

- R5 {9 j2 x3 `; I  b- ^           让我们一起走进大师的访问与聆听他的音符~！
         

7 A8 C5 ?' ]5 }4 T' {& S+ y3 \# f感谢字幕组 GAKOO 小吴 进行翻译 Trebor-TTTTT整理问题~！以及所有观看以及喜欢会员们~！
FC: Hi Mr. Pierre! Thank you for accepting our interview (www.figerstylechina.com). What have you been working on lately?
, I+ o$ a$ d9 r/ n- lPierre你好，感谢你接受指弹中国的访问，最近都在忙什么呢？

/ g* T- w' u$ C! M$ BPB: Material for a new album, a comission for the Dublin Electronic Music Festival and renovation, installation and replacing sound equipment in my
/ a3 @' I3 e/ Q1 H) U7 ]; qhome recording studio and live set up + organizing all my management and concert calendar closely with my agents for 2009.
5 f4 n, x! I! y6 t$ @* [+ a在为新专辑准备材料，柏林电子音乐节有一些活儿，还要把我家里的音响处理设备，现场演出设备吐故纳新，进行替换升级，还要为2009年安排演出计划。

FC: We noticed that you start learning playing piano since you were four years old. Why did you start playing guitar instead of keep playing piano?
我们注意到你四岁就开始学习钢琴，为什么你后来你选择弹吉他而不是钢琴呢？


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PB:
Coincidence, problems with neighbourhood due to the loud volume of the piano, the fact that my piano teacher left and moved to the south of France, and as a result, I stopped playing for a few months. My parents, who were not very rich, thought that I didn't want to play piano anymore and
sold it. My father was a big Django Reinhardt fan and offered me my first steel 6 string guitar right after the piano was sold. I was 11. 巧合吧，那时隔避的嫌钢琴太吵人了，我的钢琴老师也搬到法国南部去了，结果我几个月都没弹钢琴。我的父母不是很有钱，觉得我不想弹钢琴了，就把它卖了。我父亲是Django Reinhartdt的粉丝，钢琴卖了后，他给我买了第一支6弦钢弦吉他，那时我11岁。

FC:
7 W2 k% c9 I8 K* }- ]/ p0 b3 B# AAre you self-taught or did you study under someone?你是自学的还是有人教？
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$ M$ y. `2 g$ l2 n/ vPB: I studied classical piano 4 years with Madame Rosso from the age 7, but am self taught on the guitar.
" }/ a6 X  a, `5 R! R我在七岁时跟Rosso夫人学了四年的古典钢琴，但是吉他是自学的。



FC: You music is always so rich and colorful, covers various styles of music such as Celtic, Folk, Jazz and Latin, etc. Where do you find your place in terms of music style?
你的音乐总是充满内涵，色彩丰富，包括了很多音乐风格，比如Celtic, 民谣,爵士，拉丁等等。你觉得应该如何归类你的风格呢？
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  K: h1 n/ A( [9 z* V& T# M6 f  ZPB: I don't play "styles" but like to blend many elements and instead suggest styles, instruments, cultures, places, people, history, imaginary places,
5 l* Z5 P) H  y0 detc. I am a story teller and I am making my own "place". This is where I chosed to be right from the start. The guitar is more and more a vehicle for my
! x6 u/ E- d; l1 Y/ xcompositions, and what I play could be expressed in many different contexts including orchestra and choire ensembles.
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我并不是按“风格”来弹奏，我喜欢将很多元素混合起来，而不是强调风格呀，乐器呀，文化啊，区域啊，民族呀，历史呀之类的。我是一个叙事者，我有我自己的“地盘”。一开始我就是选择成为这样的人。吉他越来越像是我作品的一个载体，我弹奏的东西可能用其他的形式表现出来，比如用交响乐，合唱的方式。
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7 L  ?- C1 P$ ?, ~% ^4 X0 rFC: Where do you get your inspiration from?你的灵感来自何方？

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7 ]; u+ z+ V& w+ U" gPB:
( o1 ~7 p) Y' O' l+ _0 bI believe we are still wondering where inspiration (in general) comes from. My influences are global. My background is in classical music and I
have in fact taught myself how to play guitar as if I was still playing a keyboard.
My second immersion was into folk, pop, fusion and world music of
% k" ~1 l5 I, p/ v2 D* fthe seventies. At my folks, we were listening to anything from Django, Swing, Tango & Paris Accordeon Music to Opera, Judeo-Arabo Andalouse music
9 |8 l3 v9 a  {% }and Be Bop.
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我觉得我们都在寻找灵感的来源。对我影响的东西太多了，我的背景是古典音乐，其实我自学吉他时还是用键盘套路来学。接着我又学习了民谣，流行乐，Fusion及七十年代流行广泛的音乐。学民谣的时候我什么都听，有Django,Swing,Tango,巴黎Accordeon的音乐，还有戏剧，Judeo Arabo Andalouse 音乐，还有Be Bop音乐
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Today I feel a bit like a sponge, open to any sound and colour which will vehicle a musical universe, open to any sound from any ethnic
) U. C' W6 I* ~background and artistic form, and I never try to describe what would my identity be. I am a builder and I build myslef day by day...
I believe inspiration is a blessing, it comes and goes as a wave, and the real work - duty and enjoyment - is to follow its mouvements, dialogue with it
& @' x: ]2 d+ \7 q2 p. l( Nand make it stay.

# m$ Y0 n$ Z. z  I今天的我像是一个海绵，吸收任何音乐世界中的声音及音色，不管音乐有什么民族背影，不管音乐形式，一律照单全收，我从不去定位我的风格。我像是一个加工者，每天都在加工我自己。我觉得灵感是一种恩赐，来去都像一个波浪，我们所要做的－－一种使命与享受－－是顺从波浪的波动，与其对话，将其挽留。

Once I feel supported by this quality of mood, there comes the craftmanship,
) O, u* W: W  M4 Z: Awhen choices are made and the tools are used to deal
with the influences combined and play the music out loud. Imagination and inspiration are often intimately connected, going along with pleasure and
fulfilment.
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当我有了这种情绪的支持，技术的问题就摆在前面了。当做好选择，工具则是用来将各效果相组合，再将音乐大声地演奏出来。想像力及灵感常常是亲密地联系着，带着喜悦与成就感。

I cannot be intensely focused all day long. But there are specific moments of creative energy. The kind of feeling you get when it comes out with ease
2 E' k0 c! I) K7 gand result.

我不可能一整天都处于专注状态。但却有一小段时间充满创造力。感觉就是东西很容易就出来，并且很快搞定。
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- c+ {3 o4 {+ ~! _" o5 |The rest of the time, I practice, write, dig my hands in the music until the next sparkle. I should also say that I don't always have the time
8 a5 U0 v- ~0 L+ P5 Dto play, a lot of that process is mute and takes place into the imagination.

有空的时候，我会做练习，写东西，挖掘音乐，直到下一个火花的到来。我也应该坦承，我并不是总有那么多时间弹琴，很多阶段是无声的，想像需要空间。

FC: Your album "Musiques" recorded in 1979 contains elements from Irish music. As a French growed up in Algeria, how did Celtic music interest you?
你的专辑“Musiques”在1979年录制，里头包含了爱尔兰的音乐元素。作为一个在Algeria长大的法国人，为什么Celtic音乐会吸引你呢？



* N9 S9 z( h( TPB: I grew up listening to a lot of folk music, Bob Dylan, Joan Baez, Georges Brassens, Georges moustaki, Maxime Leforestier, Graeme Allright, James
Taylor, Joni Mitchell, Cat Stevens, Simon & Garfunkel, Crosby, Stills, Nash and Young, the Beatles, Doc Watson, Rev. Gary Davies and it's naturally that I
started to listen to Alan Stivell from Brittany, players and groups from the UK, such as John Renbourn, Bert Jansch, Pentangle, Martin Carthy, Steeleye
- y8 |: b2 ^- ISpan, John Martin, Fairport Convention, etc. Crossing the channel and arriving to Ireland was a natural path to go, and the first big chock was to listen
- r3 C( A  l# P0 xto Planxty and to the Uleannpiper Seamus Ennis. I felt Irish and Scottish music were deeply touching a string in me that was resonnating with my
Jewish and Northern African, oriental roots. I was a great fun and challenge to adapt that music on the guitar and as it was a very new thing, all the
1 I. D  B, d. a& l% K& }roads had to be build in order to access to it, including inventing new tunings such as Dadgad. It all felt very natural and I have recorded Celtic
melodies and then composed in that vein right from my first album "Pres de Paris" in 1974.
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  I9 [, |# F- s8 [: a5 v5 e' ^我在民谣音乐中长大，听的音乐包括Bob Dylan , Joan Baez, Georges Brassens, Georges Moustaki, Maxime Leforestier, Graeme Allright, James Taylor Joni Mitchell, Cat Stevens, Simon & Garfunkel, Crosby, Stills, Nash and Young, the Beatles, Doc Watson, Rev. Gary Davies 等.很自然地我就开始听来自Brittany的Alan Stivell 的东西以及英国的一些乐手及组合，比如 John Rembourn Bert Jansch, Pentangle, Martin Carthy , Steeleye Span, John Martin Fairport Convention等等。 很自然地就越过海峡去了爱尔兰，首先感到惊讶的是听到Planxty及Uleannpiper Seamus Ennis的音乐。我觉得爱尔兰及苏格兰的音乐触动了我的心弦，而我的犹太北非及东方的情结也与之共鸣。那时我感到非常地快乐，挑战了自己将这种音乐用在了吉他上。这是一种新的尝试，路是走出来的，而DADGAD调弦的发明也是这样。
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FC: As a composer, do you think you are more rational or emotional?
/ M/ r5 j. y/ [! W0 u  I) b- m. F作为一个作曲家，你觉得你是感性多还是理性多？
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PB: It's defenetly an emotional experience with grounded rational elements that help the music to stay together. It could be described as a form of
$ r7 A6 r* R+ x- _  j( U" Creacting to events, meetings (people and cultures), moods, weather, places, oppression, actuality, etc. but it is also a way to incarnate the very
+ z0 K" e+ X0 M5 g8 T7 E3 ~% P1 ^moment (here and now) by an act of creation, and shift to a parrallel world in which I feel familiar and connected to the people I care for. I am then
happy to cross the many bridges leading back to the real world, as long as I can go back "to my virtual home". Writing for me is a bit like taking a
) M, D; ~* }& @( v6 T1 x: csnapshot which will be always "talking" and can be seen from different angles. It has to stand the challenge of time and many listenings.
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; [4 v+ Q. m# S+ t6 J% V2 `( h2 D当然是有理性基础的感性经历才能使音乐成为一个整体。这个就像是对一个事件，一个集会（民族及文化的），一种情感，及天气、地区、压抑，现实等等的反应。但是这也是一种将当下感受用音乐纪录的方法，你可以去创造，并将其转换到一个你感觉熟悉的世界，并且可以与你所关心的人相关联。

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1 U/ |/ o  @  s# g, k$ VFC: Can you talk about your stories or feelings in different stage of your career? (Typically in the process of making each album)
能不能谈谈你在职业生涯不同阶段的个人感受及人生故事？（特别是制作专辑的过程）

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PB: Each album is a different story, and yet, I feel that this is the same story that I continue a little bit later in a journey that has started in 1974 with
playing Bluegrass music with the banjo player Bill Keith, back in Paris. The music IS the story and tells me how it should be drawned and interprated,
# {$ s# u# ]4 M& L- |even if playing for an audience gives an amazing stimulation and provocates singular reactions, it is nevertheless essential to create the dialogue with
, Z7 e% l2 b7 T8 _/ l) athe music itself so that it can stand alone. In studio, I like to be by myself in order to dig deep in me, but the audience is never far away and that
, ?+ Y9 J4 q) |# f" Rsensation also helps to pull it out. I am always playing, writing, practicing, working, in order to increase my ability to improvise and find immediately,
under the fingers, on the fretboard, the music that comes through me. As a result, I feel much more in sync with my inspiration, take more chances,
improvise and interprates with more freedom and musicality, in a more Jazzistic way, I mean freer, more harmonicaly intricated, more lively and
7 I6 K: r& m; F4 ~4 bspontaneous, a bit more complex and yet simpler in its rendition and structure. I work my right hand more in depth and play with more nuance,
mouvement and space. I feel I am going futher down into the guitar idiom and water my way of playing music... I would like, at the end that people
forget I am playing a guitar.每个专辑都有不同的故事，不过我仍然觉得故事内容都大同小异。我在1974年开始了旅程，与班卓乐手Bill Keith在巴黎演奏蓝草音乐。音乐是个故事，让我知道哪里要描绘刻画，即使是现场气氛热烈，很容易引起情绪失控，但是与音乐之间的对话仍然是首要的，这样音乐才能处于主导地位。在录音室时，我喜欢做我自己将自己深刻挖掘，但听众离我并不远，这种感觉也有助于演奏。我总是不断地演奏，创作，练习，磨炼，这样才能提升我的即兴演奏能力，并且能在指下的指板上马上找到感觉，将我身体涌出的音乐弹出来。最后我觉得我的演奏与我的灵感更加同步即时，以一种爵士的方式，演绎得更自由奔放及富有音乐性－－我的意思是说更加了自由和谐，更生动及同步，却在表现及结构上复杂而又简单。
我练习左手动作深度，用最微小的动作及空间演奏。我感觉自己进入了吉他园地，用心灵浇灌着我的音乐演奏。。。。我希望最后人们能忘了我是在弹吉他。
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I made a first album in 1974, one year after I quit school (I was 17). It was the reflection of all the things I used to listen and care about when going
out of my teens: Bluegrass mandoline and guitar, folk music from France, USA, England, Ireland and already original works in that vein experiencing
different alternative tunings. That record was done in a spontaneous way and became a big hit in the folk world with over 70 000 copies sold. Maybe
not much for Chinese standart but a lot for Europe. The album won "the Grand Prix du Disque" at the Montreux Festival in Switzerland one year later,
and helped me to tour all over the north of Europe from the age of 18.

我在1974年出了第一个专辑，一年后我退学了（那时17岁）。当时我与同龄人喜欢听的音乐基本都在这个专辑上表现出来了：蓝草，曼佗玲，吉他，来自法国，美国，英国，爱尔兰的民谣，这些原创已经开始用不同的替换调弦了。那个专辑是很自然地做出来的，当时在民谣界反响很大，销售了7万多套。可能以中国标准来衡量这个不算大，但在欧洲，这个数字是很巨大的。一年后这个专辑在瑞士蒙特尔音乐节上获得了“最佳唱片奖”，这个也使我在十八岁的时候游遍了整个北欧。

6 _! L$ d' m3 D8 y! `My second album "2" was released in 1977 and was coming more from an introverted place, experiencing a relationship that was not easy but that
8 P0 N, Q" c; [( t7 ~9 |- phelped me to grow and become attentive to the world. I was still immersed into the folk world that was widely spread in France at that time, but also
3 @5 O& ^1 p7 B) A) H% {2 j! ?needed to step away from
it, as it was a bit too conservative in my opinion. I wanted to play my own cards and fly with my own wings.


我的第二张专辑“2”于1977年发行，这张专辑更含蓄一点，经历世事磨炼并不容易，但它也使我成长，并更加关注这个世界。那时我仍然沉醉于法国流行的民谣世界里，但也要走出来，因为我觉得这个太拘谨了。我要玩自己的东西，要用自己的翅膀飞翔。

That led me to
( Y. a) k. o7 C* }6 rthe third album "Musiques" 2 years later, a very moody ambiant instrumental piece of works with various universes, using guitars,
vocals, sounds, and no guests. I was playing Paris accordeon music and tango in a fingerstyle that had never been used before, mixed with Celtic
traditional elements, improvisations and compositions suggesting places and moods, such as "Voyage for Ireland"...
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随后第二年我又出了第三张专辑“Musiques”，这是一张很动情的器乐作品集，动用了各样的元素，用到了吉他，人声，自然声音，均独立完成。 我当时演奏巴黎Accordeon的音乐，还有探哥作品，全者是用指弹风格演绎，这个是从来没有过的，它揉合了Celtic，传统元素、即兴及描述旅行及心情的作品，比如“爱尔兰之旅”。

The first total composional recording statement was "Solilai" in 1981. I felt that I had conquered a place of my own widely open to future experiences
and personal blooming.
* E3 n' W! S: q- NFrom then on, I realised an old dream which was to play this material in a band context and so I founded "the Pierre Bensusan Ensemble" with Denis
9 Q6 q  W6 I0 h" B4 VBenharrosh on percussion, Emmanuel Binet on electric bass, Didier Malherbe on winds, Franck Sitbon and Mico Nissim on Keyboards. This was also
$ W3 Q, G  l- q' Y1 Ythe time where I was signed to CBS Masterworks, the Classical division of CBS in the USA. We toured extensively in the USA before recording the
5 J. q; b) L$ S5 D0 Qalbum "Spices" in 1987.
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9 {  ^, p0 \: n/ e第一个全原创的专辑为Solilai,于1981年发行。我感觉我超越了自己，进入更广阔的天地，个人也越发成功。那以后，我想园一个很久的梦，就是在乐队里演奏，所以就成立了Pierre Bensusan Ensemble组合，打击乐手是Denis Benharrosh，电贝斯是Emmanuel Binet，管乐手是Didier Malherbe,键盘乐手是Franck Sitbon与Mico Nissim.这时刚好是我与CBS Masterworks签约，所在部门是美国古典部。1987年专辑Spices出来前，我们在美国四处巡演。
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In between "Solilai" and "Spices", I had produced my "Guitar Book".
Then came "Wu Wei" in 1993. I had left Paris and moved to the countryside with my family, became the father of a little boy whose name is Theophile.
) y8 O0 m8 Y8 ]: ?) _1 sI would say it's an in-between album, with a quest for serenity and deepening solo guitar in a contrapuntic way. I also sing lyrics, and have invited
some guests to join. "Spices" and "Wu Wei" will soon be re-released on my own label "Dadgad Music".
Until 1997, I played a duet that has lasted two years with Didier Malherbe on sax, flutes & duduk. We've recorded the "Live in Paris" album. A complete
9 j5 K1 W5 m6 h' P  Vdifferent experience, on the spot with some total improvisations, a lot of space and dialogue and a beautiful companionship. We've toured France and
( o6 i5 [9 L9 ^4 Y; h* U/ [& cUK.
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' v3 n& q8 Q# r% ]在专辑Soliai与Spices制作之间，我插空做了我的“吉他之书”。然后在1993年做了WuWei. 我与我的家人离开了巴黎，搬到了乡村，我当了爸爸，儿子名字叫Theophile。我想说这个专辑是中期的作品，主题是对宁静的一种追寻，对位法的作曲方式强化了吉他演奏的深度。我在里头也演唱，并且还叫人来客串。“Spices”与“Wu Wei”后来我自己的DADGAD音乐公司又重新发行。
" y. F  E+ ^/ N2 K7 x* j. a1997年之前，我一直与Didier Malherbe合作演奏二重奏，他吹萨克斯，长笛，都都克笛。我们录制了“巴黎现场”这个专辑。这是一个完全不一样的经历，有些地方完全靠即兴，我们完美的合作有很大对话的空间。我们一起在法国及英国巡演。

Then I recorded "Intuite" in 2000, when I had no deadline, no agenda, just music that I had writen for solo guitar. I wanted to produce for once a
complete solo instrumental album. Steve Vai heard it and decided to create an accoustic division in his brand new label "Favored Nations" and invited
( f( y1 W$ r9 {1 ^0 Y6 @7 Sme to join his electric family of progressive rock, metal, fusion, jazz and jazz rock friends.
( f3 B7 Z! i5 w/ U9 O! kIn 2001, I was invited by Brian Gore to join International Guitar Night and tour thoughout the US and Canada with him, Andrew York and Paula
Bellinatti. An enriching experience that led to a live album, 2 years later, which I have produced for Favored Nations, in that same context with Guinga
replacing Paulo Bellinatti. We were touring, playing solos, duets and a final quartet at the end, all original material. I will play again with IGN in 2009
in the USA.

! |' g! ~! V7 W; W$ l* ~接着2000年我又灌制了“intuite(直觉)”这个专辑，那时我没有工期限制，没有日程安排，就是做这个吉他独奏的音乐。我那时就是想出一张纯吉他的器乐专辑，哪怕一次也好。 Steve Vai听说了这事，就决定在他刚开的Favored Nations唱片公司里加一个原声音乐部，他邀请我加入了他的电子音乐大家庭，与摇滚，金属，迷幻，爵士，爵士摇滚为伍。

; X1 j. v! b) o+ pin 2004, I recorded "Altiplanos" for Favored Nations. An album with, in the backgound, the memory of Ingrid Bettancourt, a Franco-Columbian
politician woman who was sized by the Marxist guerilla in Columbia and held hostages since then. This is my latest album. I am still playing lots of
material from Spices, Wu Wei, Intuite and Altiplanos on stage and start playing new pieces and songs which I am working on for my next project.

2 i7 U( U- t8 f6 g3 H- j在2004看，我为Steve Vai的公司录制了“Altiplanos”这个专辑。这个专辑的背影是，纪念一个叫Ingrid Bettancourt的法裔美国女政客，她被美国共产主义游击队绑架，并一直被作为人质挟持。这是我最新的专辑，我现在在台下仍然弹很多来自于Spices , WuWei, Intuite ,Altiplanos的曲子，不过也开始弹来自下一个项目新的曲子及歌曲。

' t" {. `. S0 w0 S7 V3 H1 ?FC: You use a lot of harmonies in your music as well as smooth melodies, how you do balance those two?
7 z0 {8 u0 v/ l5 c你在你的作品中用了很多和声及舒缓的旋律，你是如何在此两者音做出平衡的？


/ ~4 ~% Q7 G9 W) _* ]" C% _! G
PB: My pieces are based on strong melodies, harmonies, rythms, groves, counterpoint and development, tensions, contrasts, a lot of expression and a
6 m: x! u6 ]( m8 S9 \$ D) A8 z/ B3 |a deep sense of unpredictability. I manipulate the guitar so that it accompanies the sound of each note I play. I don't like to repeat things unless it
# U& z8 `2 I+ P+ b' }5 M0 n5 amakes sense to do so. I am also following a simple concept which is that wherever I go, I always try to look for the commun denominator between me
/ o$ }7 I$ A, i# \4 f6 Gand the place and people I visit. Whatever I listen and enjoy is also filtered and enriches my vocabulary and perception of what is music about, and
' @# T; i" }$ _2 D1 Xhow it should be served and handled. Musicians and people I meet and their feedback are also another source of inspiration, as well as listening to the
2 J( P' A/ N% P+ pgreat musicians all over. I simply would like to translate all my emotions and perception of life into music.
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2 V' S6 H0 f0 B0 @$ G! g我的作品建立的基础是很强的旋律、和弦、节奏、律动、对位法进行、张力、对比、及丰富的表达方式与很强不可确定性。为了各个音符能协调起来，我要很好的控制吉他，除非有必要，否则我不喜欢重复弹奏乐段。我还坚守一个很简单的信条，就是不管我去哪里，我会去寻找在我与这个地方及地方的人们之间的共性。不管我听什么欣赏什么，这些都会丰富我的音乐词汇，以及对音乐的理解，并且运用到我的演奏中去。我遇到的音乐人以及他们的建议也是一个灵感的来源，同样听世界各地大师的演奏也是一个方法。我只是很简单地将我的情感与理解用音乐语言表达出来。
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FC: We love Voyage for Ireland, which is very moving, can you tell us the story behind the song?
我们很喜欢爱尔兰之旅这个曲子，很感人，你是否可
以告诉我们这个专辑后面的故事？

http://www.56.com/p_71638223.swf


* L( g' c+ L2 iPB: I wrote that song in 1977 with Ireland in my heart, as I was on a ferry boat traveling from the harbour of Le Havre in Normandy (France) to
- p/ p* ?3 j6 `( _" T, h# I2 uRoeselare in the south of Ireland.
% j  [# B9 `2 L0 c* |! v8 N我在1977年创作了这首曲子，带着对爱尔兰的向往，我搭乘上一个从法国诺曼底到爱尔兰南部的Roeselare的船。

, Q% D3 @8 V7 l, P4 u1 @5 oFC: We found that you've been humming is some of your songs (including some classic work of yours).
( s7 F; G# P" n. E+ D+ h
Did you plan to do that or are they just improvisational?
! m3 e* n/ @; V我们发现你哼唱的东西是你写的歌（包括你的一些经典作品），你是有意这么做的还是只是即兴？

5 t6 j, T: s! k/ HPB: I use the voice to vehicle the melody or a different harmony. These vocal colours are often improvised. Sometimes the humming will be replaced
2 m8 Z3 {3 \3 F# u6 v! L$ c5 bby real lyrics later on. Most of these tunes I do are songs without words or even without voice.

/ X# D1 M2 L! Z我用人声来驾奴旋律或不同的和声。这些人声常常都是即兴的。有时哼唱会在后来有实在的歌词。这些曲子大部分都是没有歌词，甚至没有人声的。
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" i+ {2 N7 l6 R1 lFC: You have a beautiful voice. Would you mind telling us something about your teacher if you have one (vocal teacher)?
你的声音很美，介意告诉我们一些你歌唱的老师的事吗？（如果有的话）

0 Y5 z* z5 I2 `8 F$ z* O/ W3 APB: Thank you ! I never had a teacher and have always used my voice to sing as far as I can remember. That's another reason why I play the guitar. At
* `. A! R) d) O1 c  F* h2 t  T5 Pthe beginning, I was only strumming and acompanying myself singing. I also like words and the fact that you can touch people this way and put any
8 w( P2 O% V; i/ j" |( K: qkind of music format in the background.

0 n( R8 c- C3 G. D" @5 `* X谢谢！我从来没有老师，只要我能记得住，我都会用自己的嗓子尽可能地唱出来。（但有时候没法唱出来）这也是我弹吉他的原因。在开始时，我只是扫弦，作伴奏。我也喜欢一些能感动人们的语言或事情，叙述时用一种背景音乐作衬托。
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' @' F7 t4 V: lFC: The Last Pint seems to have some Chinese element. Can you talk about the artistic conception in the song?
The Last Pint这个曲子感觉很有中国的特色，可以讲讲他的创作理念吗？

5 V( K  j- u; e) T( a5 H& nhttp://www.56.com/p4_67782451.swf
% n5 V. c( |; b' ?) ?; C
PB: I have always been touched by Pipa instrumental music and Chinese orchestral classical music. In "Voyage for Ireland", this is the pentatonic colour
# s5 C- M5 I; P& Uof that song which creates a bridge between Ireland and China. When I started to be aware of that, I emphased the Chinese element even more so in
the second movment. That tune is a hit in Ireland to the point where people think it's a traditional piece. There is another tune of mine which has also
0 h1 h3 @8 g$ J. N( ya strong Chinese nostalgic element to it, this is 4 AM in the "Spices" album, that vocal-instrumental became a song: "La Nuit des Meteores" in the
"Altiplanos" album.

我一直觉得琵琶及中国古典交响乐团（其实应该是二胡琵琶等组成的民乐团）很动人。在“爱尔兰之旅”里，这种五声音色成为了中国与爱尔兰的桥梁。当我开始注意到这个的时候，我在第二个制作里加强了中国的元素。那个曲子在爱尔兰很火，人们觉得这个是传统乐曲。我还有一个曲子也有一种强烈的中国怀旧元素在里头，那是Spices专辑的第四个曲子（AM?早上四点？这里应该是第四个曲子的意思），现在这个由人声器乐组成的曲子已经收编在Altiplanos这个专辑里，曲名叫“La Nuit Des Meteores”。
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FC: Merrily Kissed the Quaker/Cunla is fantastic. We love its beautiful brisk feeling. I bet there is a happy story behind it, would you share it?Merrily Kissed The Quaker这个曲子太棒了，轻快的旋律，我想背后肯定会有一个快乐的故事，请跟我们分享下吧
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; r" ~7 N9 m* x+ r0 s% Yhttp://www.56.com/n_v163_/c40_/7_/17_/heroin-_/zhajm_121212441113x_/161000_/0_/36055857.swf
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PB: I came across these 2 gigs when I listened to the first album of my favourit Irish band, Planxty. This is when the Dadgad tuning speaks it most
obvious and is in your face so to speak. I was very inspired by the playing of Martin Carthy when I approached arranging these gigs on the guitar. His
, I- K8 G2 a; n8 w6 ruse of the thumb as a percussion was very impressive and influenced my playing from then on. The idea was to have the bass to become the rythmic
commander of the piece while the melody and the counterpoint continuously pooring out. I recorded that piece in one take and yes, I was very happy
7 H+ D: _: d) p& v- \! q6 G0 Z+ Hand that made lots of people very happy, and also lots of players very challenged.
6 l) B' r; P6 X; }+ n8 i
我在听我第一张最喜爱的爱尔兰乐队Planxty的时候，想到了这两个曲子(gigs音乐人,这里翻成曲子)。（这曲子的感觉）就是DADGAD调弦很明显优势之处，当着你的面这么说（这个你也可以看得出来的）。当我创作这两个曲子时，Martin Carthy的演奏给我启发很大。他用拇指击节奏让我印象非常深刻，从那时起就影响着我的演奏。这个思路是将Bass音作为节奏的主导，同时再引入旋律及对应的和弦音。我一口气将这个曲子录完，嗯，没错，我那时很高兴，人们听到曲子也很开心，对于演奏者来说挑战很大。

$ n' R  Q) I& [7 F+ w( NFC: Some people claim that you bring the open tuning DADGAD onto the stage of Celtic Guitar. Would you talk about how you undertand this tuning
and what are the tricks when playing with it?
. C3 b/ ?& o; @: `有人说您奠定了DADGAD调弦法在Celtic风格吉他中的地位，请您谈一下你是如何把握这种调弦法的？有什么演奏诀窍吗？


4 k2 c. c2 c3 V' ?" K* _PB: I use DADGAD Tuning since 1972 and I believe to be, along with Davey Graham, widely responsible for the spreading out of this tuning in the
# i! f7 Q" y0 x6 zworld and especially among the Irish guitar and celtic guitar communities since the late seventies. My first tour in Ireland was in 1977 and I
remembered how guitar players where chocked and surprised by the sound of my playing.
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我从1972年就开始用DADGAD调弦，跟Davey Graham一起演出。我们在这种调弦的推广上负有很广的责任（为这种调弦的普及做了不少事），特别是在七十年代后期的爱尔兰吉他及凯尔特吉他上。我第一次到爱尔兰是在1977年，我还记得那里的吉他手看到我的演奏后是如此震惊，惊讶。

I came across this tuning completly by coincidence as I was fulling around with detuning strings and trying different sounds. It's only years later that
" F3 [( ^4 X) u/ Hpeople told me that the English guitarist Davey Graham was also playing in Dadgad early on in his career. As an annecdot, Davey came to one of my
shows once at the Banbury arts center in the UK and it was an amazing surprise to meet him in the line of people who were waiting for an autograph.
' J% x( k% b( Y6 u  jI was moved, humbled and very happy that in a way, he was giving me his blessings. I consider him the father of world music guitar.
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这个调弦完全是我那时在那里瞎玩，把弦调来调去，试不同的音色时无意中发现的。一年后人们才告诉我Davey Graham在他演艺生涯的初期也用这个调弦。有意思的事情是，Davey去看了一次我在英国Banbury艺术中心的演出，当他居然也跟其他的人一起排队向我要签名的时候，我真是惊讶死了。我又感动又汗颜，我很高兴他用这种方式来祝福我。我把他当然吉他世界的教父。
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/ K1 @8 B. Z9 V$ D/ zAt the beginning, I was very attracted to the open sounds, the bass in D, the fact that I could concentrate on phrasing the melody line, and just follow
5 {! ~' K, X" Gthe bass. I was playing mainly in D position and had learned a few chords to help me sustain songs and tunes. The tricks was to not play
- I/ ]5 ?( P/ w; d. z# Rsystematically in D and to not use open strings proheminently and systematically. When I wanted to change tonality, I would use a capo. I soon felt
limited anyway. Aferwards, my approach has been less empiric and more "scientific" or rational. I started to study the fretboard, harmony, chords,
( }, p7 l  o8 p: Mscales, different modes and manners to play the same things by alternating
different right and left hand techniques, harp effect styles and cross
picking strings in the style of my mentor, the banjoist Bill Keith, and adadpted his principles on the guitar that was sounding like a piano. The other
crucial element is also to study this tuning in the same way people would study standart tuning, in order to know the fretboad from inside out and
play on chords progression and experience counterpoint.
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在开始的时候，我觉得低音D空弦音很有吸引力，这使我可以跟着低音的感觉走，专注于旋律的部分的创作。我大多用D调指法演奏，也学了一些和弦为曲乐添色彩。这个窍门在于不要很系统地用D调，也不要过多地或系统地用空弦音。当我要改变音色的时候，我用一个变调夹，我很快就会感到受限制了。然后我尝试用较少的经验主义，而较多地用“科学”或“合理”的方法来做。我开始研究整个指板上的音，和弦音，音阶，不同的模式及方法来弹奏同样的东西，左右手的技巧也要做一些变动，竖琴风格，或用我的班卓琴，导师Bill Keith的隔弦伴奏技法，让吉他听起来像钢琴。另外一个非常重要的一点是要像人们学习标准调弦那样学好这个调弦，以便从内到外都到指板上各音了如指掌，自如进行和弦转换及对位伴奏。

This beeing said, the tuning is only a tool, the inspiration, the ideas, the organisation and architecture of the music, the feel, the grove, etc. all these
elements are the keys. What is important is to feel and understand what is inside that wants to come out. DADGAD helped me to articulate and
. E" [7 O2 W- x8 F* @: Qorganised my apparoach, and have very probably much more fun in the process, but I could have very well achieved different things in standard
tuning and be as happy. Maybe I am saying this because I don't even notice any more that I am playing in a different tuning. So, as long as people
1 s2 J1 B% T% V/ Z/ X$ D& ~) f( ^- k* gdon't step deep into the tuning they have chosen and study it without any self indulgence, they will end up playing superficial stuff all sounding alike
. ?, i$ t: q0 R9 J2 s. \6 Xwith no headroom for developpment and spontaneity. This being said, every phase is a much enjoyable one, the trick is to not stay too long into a
confort zone and always move on to the next.
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/ _! ~1 C6 L+ f* q) N有句话说得好，调弦只是一个工具，是一种启发，一个思路，是音乐的组织构架，是情感，是律动等等。这些元素都是要点。重要的是去感觉并理解你在这里头需要什么。DADGAD帮我表达并组织了我的方式，在这个过程中更多的是一种快乐，但我标准调弦的各方面知识也很学得很好，也一样很愉快。可能我说这个是因为我跟本没意识到我用的是另类的调弦。所以如果人们不深入研究所选调弦本身，对调弦漠不关心，他们就只会弹一些肤浅的东西，听起来全都一个味，更不用说提升的空间及即兴了。有道是诸音皆美，诸乐皆悦，关键就是别老在一个地方呆着，要学会创新。
FC: You have used standard tuning in your album too, which do you prefer?
, N% k! Y) e. @( K1 n/ e* p( T7 Z您也曾在专辑中使用标准调弦演奏，您觉得标准调弦和特殊调弦哪个更适合您？
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" B! G5 ]7 V; o; ^+ }: b& l, @& UPB: I have only recorded one piece in Standart tuning: "Altiplanos" in my latest album of the same name. I have also used other tunings in my first
album "Pres de Paris" recorded in 1974. After that, everything has been played in DADGAD, so we can say that this is the tuning I prefer.

标准调弦的曲子我只有录过一个，“Altiplanos”专辑的同名曲。1974年我在第一个专辑Pres De Parris也用了其他的调弦。后来所有的乐曲都用DADGAD来弹了，所以可以说这个调弦是我最喜欢的。
$ R" G4 _& f* ^

http://www.56.com/p_71638750.swf
1 @' u, t- e8 S; T; _1 r( |
  j' p( V6 r& s+ E: ]# [! D0 OFC: Do you have any advice for players who are obsessed with special open tuning?
# w  g9 {0 Z0 {8 I& e- B* p4 ~您能否给想要通过特殊调弦获得突破的琴友们一些建议？

1 J3 W" ?, k+ i
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" b7 H' H4 A7 r3 @' nPB: I believe to have responded to that one just above.
I would add that while it's good to use our enthousisasm when meeting a new tuning, it's
important to not be over impressed with the flattering sound and immediate fingering possibilities, but to realize at the end of the day that you will
have to express all of yourself with that tuning in order to forget the tuning, the guitar and play music, other wise this will always be the guitar that
) ~; z( M) p! j/ w, gwill play you.

这个问题我刚才在前面说过了。我补充一下，当我们遇到新的调弦时，能产生热情是很好的一件事。重要的是别过于热衷那些讨好人的音色及指法，要认识到最终你是要将自己用这个调弦表达出来，把调弦，吉他的存在都忘却，只专注于音乐，否则你不是玩吉他，而是吉他在玩你。i

) V5 G8 w& d4 F7 {+ B$ M9 F- T  I[ 本帖最后由 海洛因 于 2008-7-22 02:55 编辑 ]

海洛因

FC: The
& x- X) y0 x8 y, X! Jyou wrote for Michael Hedges is wonderful. Were you friends? Can you talk about the stories between you and Michael?
你为已故的吉他手Michael Hedges写的So Long Michael简直太棒了，您如何评价他？能谈谈你和他之间的故事吗？

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PB: I met Michael Hedges the first time when we played a doubble bill concert in San Diego (CA) in 1982. Intime, we played 4 concerts together and
met numerous times. He was very much in the music, in the art, respectful of others and attentive to what was going on around him and yet in his
own planet, always very kind to me and also very appreciative for the music I was coming up with. On stage, he was a powerful act, very charismatic,
" c/ k  a1 H$ u8 @& p- pwith a multi-dimensional earth drive. He was navigating in the space and the movment, never afraid of letting silence and notes ring. He was giving a
chance to the people to really embark in the music. The guitar was a medium, just an instrument. I didn't hear "guitar talk" throughout his production,
* ~6 \$ |8 B& B# r& R% vbut mostly inspiration, imagination, creativity, generousity and also something a bit freaky, undefinable that was creating a sense of danger. It was
% _) M( D$ i1 f8 L$ m, z/ Xvery obvious in his performances more than in his recordings.
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我第一次与Mhicheal见面时，是在1982年，圣地亚哥，我们一起弹了二重奏。后来我们一起演出了四次，并且见面无数次。他对音乐专注，对艺术热忱，个性谦恭敦厚，亦敏于世事，对我非常友善，对我的音乐也是赞赏有加。在舞台上，他的演奏霸气十足，犹如天人，给人多角度的震憾。他是在主导着空间及进行，能不露声色地让空白音与音符齐鸣。他让人们有机会登船进行音乐之旅，吉他只是一个媒介，只是一个工具。我从头到尾听不到他的吉他“在响”，只是一种精神上的享受，给人以想像，启发，一种大气的感觉，同时也感以一种不同寻常的，无法言语的危机感。这个在他的现场是可以非常清晰地感受得到的，他的录音会差一点。


We never really sat down and rehurse anything. We jammed only on stage on a Beatles song, it was in San Diego and also in the Versity Theater in Palo
Alto (CA) in 1983. I was very touched when he wrote "Bensusan". I have red in an interview he did for Guitar Player Magazine that he wrote that song
( j- f1 y* T/ u7 Safter listening to my albums for 6 weeks, every day, non stop. My song tribute to his memory "So Long Michael" was first an improvisation at a concert
5 |8 W3 O% \& N6 _& E' yin Chicago in 1999. I felt that it was defenetly inspired by my memory of him, there was a flow that was reminding me of his personality and aura, so I
went into composing the piece thinking even more about describing that metaphoric impression, without never borrowing to his style but to stay in
my way of adressing music on the instrument.

7 o! A% s" i% M$ ~我们从来没有在一起排练过。只有现场合作Beatles曲子时我们常卡壳，一次是在圣地亚哥，另一次是1983年加拿大Palo Alto的Versity大剧院。他写了一首曲子叫“Bensusan”,我真的很感动。他在接受《吉他手》杂志采访中重点提到了我，说他听我的专辑反复听了六个星期，写了这个曲子。我有一个纪念他的曲子《再见，Micheal》是1999年在芝加哥音乐会上我即兴演奏的。我对他的回忆为我提供了灵感，有一股能量使我想到了他的人品，他的光辉形象，我进入创作，思考着如何用自己的演奏方法不借用他的风格将这种抽像化的东西表达出来。

I also remember a couple of things with Michael that I would like to share with you. Once I was headlining a concert at the Great American Music Hall
, \1 m% d2 |& d; u! L& xin San Francisco, Michael came to hear me and even proposed me to open and warm up the audience for me. It was fantastic. I felt very high on that
8 x8 k" F* j( c. k" P8 s% D  dshow, he had created a beautiful momentum. And never at any moment, he was trying to steal the show. There was no ego involved, it was all artistic
and detachment. I was carried away and did a powerful show in which I used his presence as an inspiration and energy. George Winston, Mike Marshall
$ A4 J  F9 p% W& \' \/ A7 ~* hand Derrol Anger were in the audience and we all had a great time together afterwards.
8 }$ S0 z( B0 G! uAlso, the 2 last times I saw him was when we played a doubble bill concert in Theatre St Denis at the Montreal Jazz Festival. We both arrived the night
9 _5 D- W9 W( K6 F1 sbefore and stayed at the same hotel. There we've met the bass player John Pattitucci who was playing the next day with Chick Korea. John was very
familiar with our work as we were with his and the 3 of us spent a beautiful evening, eating, talking about lots of various topics: music, musicians,
2 M/ L$ [8 f# `0 `1 hreligions, the US, politics, friends we knew, etc.

我还想起一些跟Micheal的事情，跟你分享一下。每次我到美国音乐大厅演出，Micheal都会来捧场，甚至建议帮我开场活跃观众气氛。这简直太棒了。
/ E  ?. u- |6 j8 _6 c# v% n那次的演出我非常high，他创造了一个很美的氛围。并且他在任何时候，也没有想喧宾夺主，他不是个自我的人，纯粹的是艺术客串。我完全陶醉了，在他出场后给我的灵感与活力使得我那晚演出非常成功。George Winston, Mike Marshall及Derrol Anger那晚也在场，后来我们一起度过了非常美好的时光。同样，后面两次我与他碰面是在蒙特尔爵士音乐节的圣丹尼斯大剧院，那时我们合作二重奏。我们都是演出前一天到达，住同一个旅馆。我们在那里认识了贝斯手John Pattitucci，他第二天与Chick Korea一起演出。John对我们的演奏很熟悉，我们仨人在一起度过了很美好的夜晚，一边吃东西，一边聊各种各样的话题：音乐，乐手，宗教，美国，政治，以及我们所知的朋友等等。
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( z/ F" w: B, Q' |5 t# u  dFinally, as I was performing in Buffalo (NY-USA), Don Ross came to my show and told me that Michael was playing at the same time in town, at the
1 ^# o8 T  S& kTralf, so we both went and met with him after my show was over. His performance has just ended and people were heading out. You could feel and
smell the sweat and energy in that room. Don and I played some solos for Michael and he told me again that he was really hoping we could put
together a duet and tour all over with it. I told him that nothing would make me happier... This was the last time I saw Michael.
2 L0 h2 w. F7 t9 e# t9 j
最后，因为我在Bufflo（美国纽约）演出，Don Ross来捧场，他跟我说Michael这时也在镇上的Tralf演出，所以演出后我们一起过去，跟他碰面。他的演出也刚好结束，观众鱼贯而出。你可以感受室内的活力，汗水也隐约可闻。阿东跟我给Michael弹了几曲，他跟我说他真的很希望我们可以一起走遍全美表演二重奏。我跟他说，没有什么能比听到这个更让我开心的了。那次会面后我再也没见到过的Michae。
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  U; j- t) U6 x3 x  R! ]FC: Have you heard of any new finger style guitarists (like Andy McKee, Antoine Defour)? Have you listened to their music? Who impressed you most?

近年，指弹界不断涌现像Andy McKee,Antoine Defour 等的指弹新星，您听过他们的演奏吗？您对哪位新人的印象比较深，对他们有什么评价？
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, P4 B# @- n- l% Z/ T, [# B+ y
6 w. n; U6 t6 O" N) `I know their name and that they are good players but am not very familiar with what they do. When I want to listen to guitar music, I play my guitar for
& i* l' a: E' r0 i% |- ^+ ihours. After that, I listen to people like Ry Cooder, Paco De Lucia, Ralph Towner, John McLaughlin, Egberto Gismonti, Earl Klugh, Jimmy Hendriks,
3 d4 O( k. ]) W9 R8 ZDjango Reignhardt, Lenny Breau, Bill Frisel ... These people play a music that touches my soul. I am not a guitar but a music lover first, and very few
  ?5 `0 {7 B# N4 _guitarists will impress me unless they deliver something in which I can forget their guitar and dive into a genuine musical universe.
7 W! u( K0 {4 J& a$ x" _1 ^By the way, I never use the term "my music" as so many people today do without thinking. I have met very few people who can claim that they own
music, and those who could don't even use that expression. They don't need to own nothing, they just borrow and let it go.

我对他们的名字有所耳闻，知道他们是很好的吉他手，但不知道他们的音乐怎么样。我想听吉他音乐的时候，我是自己弹几个小时的吉他听。如果不是我会听一些诸如Ry cooder, Paco De Lucia, Ralph Towner, John McLaughlin, Egberto Gismonti, Earl Klugh, Jimmy Hendrixs, Django Reignhardt , Lenny Breau, Bill Frisel....这些人的音乐都很能打动我的心。我首先是一个音乐爱好者，而不仅是个吉他手，很少吉他手的演奏能感动我，除非他们的东西能让我忘了他们弹的是吉他，并让我进入真正的音乐世界。顺便说一下，我不像很多人那样，我从不用“我的音乐”这个词。我认识一些人，他们声称他们“拥有”音乐，还有一些人跟本不会用这样的词。他们不需要拥有什么，只要借用别人的东西并弹出来就好了。


FC: Many people love your "Wu Wei" in China. Can you talk about the background stories? Where did you get the name for it?
) ?" q  V- N' S* V在中国，很多人都很钟爱您的"Wu Wei"，能谈谈这首曲子的创作背景和曲名的由来吗？
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. Y/ ?8 h- G8 U5 ~http://www.56.com/n_v138_/c29_/27_/23_/mr_finger_/zhajm_119336257552_/202000_/0_/21419608.swf

  ~# N# f) z% [- }8 yPB: I got the name by ready the book "The Tao of Pooh" and loved the idea of "Wu Wei", the invisible memory of the water, the fact that water always
find a path and contourns the obstacles,
the go with the flow... I try to apply these concepts and philosophy in my every day's life, especially when I
3 @! m4 F: ?" b- Bplay music - very challenging at times. This was the mood I was in when I was making the album "Wu Wei" and that composition in particular. I
noticed also that people in Japan and Korea love that song and that many attempt to play it.
曲名是从一本名叫《小熊维尼的道》的书，并且很喜欢无为的思想，那种水流无形，利万物而不争的水性。我想将这些思想及哲学用在我每天的生活上，特别是我演奏上面－－有时这个很困难。我在做“无为”这个专辑的时候就是这个心境，我发觉日本韩国的很多人也很喜欢这个曲子，很多人在学这个曲子。
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FC: Since your songs are not easy to play, there are not many cover playing of your songs on YOUTUBE. Can you give some advice to people who are playing your songs?
- W, m; s2 t$ b5 k可能由于您的曲子难度比较大，在Youtube上您曲子的翻弹并不是很多，你能给想练习你的曲子的琴友们一些建议吗？


PB: I guess a lot of people want to play my tunes because they have an intimate connection with them, where the music speaks to them in a way that
6 S! b# D  U' Mmakes the guitar become secondary. They believe it is technically accessible, it speaks to them directly in a non guitar language, where technic is
$ {7 P$ x, U, Edomesticated, transparent and hidden in a way.
& v! v$ e! b. g( l" k1 {% OWhen people try to play this music, they realise that it is about sound, sustain, voicings, and that
technique must be dominated in order to let the interpration reflect the music, otherwie it won't work.
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我猜很多人想弹我的曲子是因为曲子跟他们之间有某种亲密的关系，音乐向他们倾诉的方式使得吉他成为次要的。他们觉得技术上这个是可以进入的，这个曲子是用一种非吉他的方式向他们表达，而技术在某种程度上是大众化的，透明的，隐蔽的。当人们要弹这个曲子，他们会发觉这是与声音、保持、及制音有关，而这个技术应占主导地位以便能够将音乐表达出来，否则就不行。
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3 G" ^- }. V; s, ~1 ^" fIf for instance, I take a piece like "l'Alchimiste", every student has struggled in exactly the same spots, and I keep telling them: if you read attentively
; D2 ]; p& I8 Z3 Vthe rhythmic values in the written music , you'll know that some fingers must keep the position while others are on the move, we have to stretch and
' Q& B! B( Q; s9 ?if you release a position because of a difficult stretch, it will kill the sound and won't help the momentum and the drive to approach any new difficulty.


比如，我举个“L'Alchimiste”里的例子，每个学生都无一例外地在同一个地方卡住。我一直跟他们说：如果你很注意地看谱面的节奏时值，你会知道有些手指要保持一个手型，而其他的手指则在弹奏，我们（手指）要伸展开来。但如果你觉得这样伸展着很困难，把这个手型去掉了，这会使音色出不来，碰到新问题的时候你就失去了进取的动力。

' {* ]- u4 ?1 m& W( M; O! ?: UIt's important to keep in mind the bass line must sing and have its continuity, when you stop pressing on a bass note before its term, you interupt
! t. \7 D, a- k) M, I6 ktheir voice, it stops singing and as a result creates a hole in the music. The same is valid for the actual central melody of the tune. Not only it must be
heard but in such a way that all other voicings are turning around it, like the clothing around a body. Every note is there for a reason, those who are
not can go. A lot of people are absorbed and distracted by technical issues to the point of playing without carefully listening. I can only remind people
- H1 n! I- |6 U/ h5 C6 V/ yto listen attentively to what they are playing and then all the answers will come accordingly.

  N( }/ N0 N  _- W! C& ]: u  Z记住低音进行并保持其连续性是很重要的，当你把低音在拍子结束前靠住，你就打断了其发音，它停止发声的结果就是在音乐的中间留下了一片空白。旋律部分也是这样子的。我们不仅要让其发音还要在某种程度上所有的声音都要围绕着其进行，就是身体上穿衣服一样。每一个音符在那里都是有原因的，而那些没来由的音就可以去掉。很多人满脑子都是技术思想，弹的时候甚至听都没认真听。我只能提醒他们要注意倾听他们弹奏的东西，所有的疑问自然迎刃而解。

While I do not play or write music for people to play it, I widely make it accessible and provide all acurate elements for people to play it and have fun
with it. Most of the tunes are contained in books or accessible as pdf files downloadable from my website. I also address residential seminars every
year out of my home in France and run workshops and masterclasses all over the world. We work on finding the ways to keep the beauty under our
* q3 s# d0 S! s! E# }1 ^fingers, on playing the right notes, composing or arranging music on the guitar with a musical meaning and emergency.
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* \' O2 V7 G# [. \) Z当我不弹奏或作曲让别人来演奏时，我会广泛选材，提供各种准确的元素让别人练习并从中获得乐趣。大多的曲子都在书里，或者在我的网站上以PDF形式下载。我也每年在法国的家乡的学校里演讲，在世界各地举办培训班，大师班。我们致力于找到一些能够将美丽留在我们的指下的方法，弹出正确的音符，在吉他上创作或改编有意义的、适合人们需要（emergency ）的音乐。


FC: We've seen many videos of your shows, which of them impressed you most?
% I# z8 Z  O+ l1 m我们看到您很多的演出视频，可以给我们讲讲，哪次演出对您的印象比较深刻？

PB: I don't keep watching my videos. I am happy they are around and reflect a moment of where I was with the music. I encourage people to come and
; L. |+ U% a% O8 Q4 m8 ^% n. ssee me live. Recording and live performances are two different things. I love both.
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* x# ]0 s* X2 M% o我不会一直看我自己的视频。我很高兴这些都被纪录下来，记载了我与音乐的瞬间。我鼓励大家都来看我的真人现场。录音与现场是两个不同的东西，我两者都喜欢。

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. H- ^: c# Y1 [) lFC: Any advice for guitar players who are trying to write their own songs?
# O- t! P" }! E. n2 e2 Z; W8 |$ ]请给现在正在想创作的琴友一些建议？
% W( m6 S$ f: Q3 K$ u# Y
http://www.56.com/n_v156_/c40_/9_/9_/heroin-_/zhajm_121070555938_/172000_/0_/34879038.swf

PB:
The idea of becoming an autonomous person and musician is always present to my mind. If you are sensitive and a good observer, music itself
, U$ n* K4 ]+ ktells you what to do and where to go next. It's about identifying what you want to hear out loud and then find the way and the method to make it
6 c: t0 i, u. J1 s4 F9 S: X/ X5 ]happen and learn it under your fingers, to validate it technically and even, further down the road, discover what else could be played instead that
might even sound better. It's often about creating something of an orchestral nature that would work on a solo guitar, or with a voice. It's aslo about
% @6 Q* T' [' d; ~5 tcultivating your own pleasure, life fulfilment, personal contract with oneself and the music, and the desire of sharing.

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一直以来我都想着要成为能够即兴演奏的音乐家。如果你是一个很敏感的人，观察力也够好的话，音乐本身就可以告诉你下一步该怎么做。这个过程是：将你所喜欢听的东西选出来，以某种方式方法弹出，并让你的手指对它进行学习，将其技术方面的问题解决，然后进一步探索看看有没有什么其他的东西可以取代现在的乐段，使其听起来更好。通常这是一个在一把吉他上的带有交响乐性质的创造；这也是在开发你自身的乐趣，生命的使命感，个人的自我实现及音乐与分享的渴望。



FC: What kind of equipment are you using?请介绍一下您的设备。



" Q- P* ~2 S' C" V2 z& SPB: When touring, I am trying to be as light as possible.
. q. o$ F! B4 T/ \8 I: b! sI am playing my old Lowden "the Old Lady" with a Headway piezo pick positioned underneath the saddle and a Schoeps mic - or equivalent -
7 \7 w1 C; p0 d; c% u; s2 tpositioned in front of the 12th fret. I am also using a Blue Tube Sonic pre-amp for the piezo.
I am also using my Greenfield Signature "Archtop" with a stereo output, one is a Proprietary Kent Armstrong hum bucking pickup (12 adjustable pole
pieces), and the other one is for a K & K sound “Pure” arch top soundboard transducers + a K & K sound quantum bender preamp.
I sometimes tour also with my Potter baby guitar with equiped with a Headways piezo pickup.
) V5 T5 D0 P3 a1 u. |# T9 i$ |A Rod vocal mic. or a countryman head set mic,
2 W6 x5 L! N' BA Boss or Ernie Ball volume pedal,
. r0 X# M' D" zA Zoom H4 for reverb and basic EQ (because it's very light and good enough),
' m! y# g2 O* P: i! _$ ?$ TA Garwood in ear monitor system,
I am currently working with electronic wizzard Danny MacKinney, founder of Requisite Audio in Los Angeles, to build a Signature Tube Pre-amp that
will suit all my needs, connections, EQ, Dynamics and Reverbs...
In my studio, I use Adam SA3 speakers, a Mac Book Pro G5, Pro Tools, GML 2020, Pal Requisite audio, Studio Technologies and Avallon Pre-amps,
AKG, Cad, Beyer, Charter Oaks, Schoeps mics, Appogee Rosetta 800, etc.

( Q3 A+ z7 Z1 _8 l当我巡演的时候，我会尽量轻装上阵。
我用的是我的那个“老女人”，一把老Lowden琴，Headway牌的压电拾音器，装在琴码下方，还用一个Schoeps牌的麦或跟这差不多的麦放在12品前的位置。我同样也用蓝管 Sonic的前级放大器接驳到拾音器。我还用Greenfield签名款Archtop吉他（拱型面板）。加一个立体声输出，一个Proprietary Kent Armstrong 滤频拾音器（带12个调节钮）还有一个是K&K的纯Archtop的声板转换器加一个K&K的效果前级放大器。
有时候我也带上Potter小吉他一起巡演，这把吉他上装有Headway压电拾音器。
  m2 f! v  l5 ^0 Z4 c2 u（我还有）Rod人声麦一个，或者是头戴式的耳麦。
8 ^2 a1 {. h5 }( }0 H一个Boss or Ernie Ball 声音调节器,
0 n$ e8 |7 x  l一个Zoom H4 的混响及基本的EQ均衡调节（主要是这个轻便，易携）
一个Garwood耳戴监听系统,
我最近与RequisiteAudio的创办者，电子天才Danny MacKinney 合作，设计制造签名款管型前级放大器。这个可以满足我所有的要求：接驳，EQ，动感及混音音效….
我的工作室里，我用的是Adam SA3音箱，一个苹果ProG5笔记本，Pro Tools,GML2020, Pal Requisite Audio, Studio Technologies,以及一个Avallon前级放大器。还有AKG, Cad, Beyer, Charter Oaks, Schoeps 麦，及Appogee Rosetta 800等。
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8 n0 l- Q1 E1 @+ d+ g: ~+ qFC: How do you like Kevin Ryan guitars?
1 B, V# p$ F& T4 \! Y) A9 ?/ H  B对Kevin Ryan的琴有什么评价？

PB: 5 years ago, Kevin Ryan, luthier in Los Angeles and myself have collaborated to the construction of a Pierre Bensusan Guitar Signature Model, and
6 [$ c$ O4 f/ H* W, Nthe result was really special indeed. I had played my Lowden guitar for almost 25 years and it was difficult to play and perform with another guitar.
) Q( y6 [/ P, z* [! \: e( F* kBut the Ryan was so good that I played wth it these 4 last years in order to break the sound in and equally record my latest solo album "Altiplanos". It
* g( l* b% p: g- ^( k) I, rwas about having different sensations, a renewed stimulation, get different reactions from the instrument. I am grateful to Kevin whose skills and
: h2 o6 h+ y) J7 }6 O2 Wtalent are huge.
Now I am back playing my old Lowden guitar, which is just unbeatable, like an old Stardivarius. I am selling this Ryan and I am also
- K5 j: c+ ~3 V  Nworking with George Lowden to design a new Signature model that will come out for the NAAM show in Los Angeles in January 2009.
五年前Los Angeles制琴师Kevin Ryan与我合作做Pierre Bensusan签名款吉他，成果真的很特别。我那把Lowden都弹了快25年了，我很难用其他的吉他练习或演奏。但是Ryan非常优秀，我用他的琴弹了四年，开了声，并且录制了独奏专辑“Altiplanos”。这是有一种不同的感觉，对于一种新的刺激会在乐器上产生的不同的反应。 我很感谢Kevin 他真的有很高的技术及天份。现在我还是用那把老Lowden琴，它是不可取代的，就像Stardivanrius老琴那样。我在卖Ryan吉他，但同时也与George Lowden合作新的签名款吉他。这款吉他会在2009年Los Angeles的NAAM(美国乐展)上亮相。
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6 A$ n8 \$ U3 j# dFC: What kind of wood do you like for a guitar?
您在选择琴的时候对木材有什么要求？
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  ?7 n6 G1 X) c( p# C& gPB: My original Lowden has Mahogany back and sides and Cedar for the top. MyRyan Signature is in Brazilian Rosewood for the back and sides and
Cedar for the top. My Greenfield Archtop is in Mapple (Canadian west coast) and Adirondak Spruce for the top, my Carmona Nylon string is in Eastern
3 I* `" J7 i6 O  n1 W/ n( [% fIndian Rosewood and Cedar, my Potter baby guitar is in Brazilian Rosewood and Spruce, my Dave Evans Harp Guitar is in Mapple and Spruce, I will
soon have a Baritone guitar by Mal Brady (from the UK) in Tasmanian Blackwood and Cedar, and my 12 strings by Julien Gendre is in Cherry Tree and
Spruce.
6 T* Y. z: s$ L/ R- h8 U5 @我那把Lowden是桃花心背侧，红松面板。我的Ryan签名款吉他是巴西玫瑰木侧背，红松面板。我Greenfield Archtop那把琴是枫木（产于加拿大西海岸）及Adirondak云杉面板。我Carmona尼龙弦吉他是东印玫加红松，我的Potter小吉他是巴西玫加云杉，我的Dave Evans竖琴吉他是枫木加云杉。我很快会有一把中音吉他，英国的Mal Brady帮我做，用的是塔斯马尼亚的黑檀木及红松，我的12弦吉他Julien Gendre帮我做，用的是樱桃木加云杉。

4 D- E* K' ]3 MFC: Do you have special requirements to the tone while you are recording?

. ~8 W0 B$ R. i4 s% i您在录音的时候有没有很特殊设备来录制你想要的音色？
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; H3 @9 W6 U' w) C+ ]9 K6 uPB: Yes I do,
9 n8 _3 J5 V/ Q8 B# B2 TI priviledge the use of 2 condenser mics, Charter Oaks, or Cad coupled with with Requisite Audio Pal Tube Pre-amps, or GML 2020 or
Avallon Pre-amps. I like to record dry, without headphone, nor effect, and add reverb when listening and mixing. On stage, I use a mic coupled with a
' U8 ?6 t( d& H5 ]Headway piezo pickup that goes into a pre-amp, EQ and reverb effect, but the best is when I can perform into a great acoustic hall, completly acoustic
without mics and PA.
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是的，我有。我会优先考虑两个Charter Oaks 或Cad的电容麦克风，加一个Pal Tube前级功放，或者用GML2020或者Avallon的前级放大。我喜欢先录一个干音，不用耳机，也不用效果，在听的时候再加入混响。是舞台上，我用一个麦连到Headway压电拾音器上，然后再接入前级放大、EQ、混响。但最好还是能在很大的原声音乐厅演奏，这个就是纯粹的原声，无需麦克风与音响。
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: P& {' b( x* N- xFC: Which guitarist affected you most? Who is your guitar hero?
5 l" O2 ^+ Z# b在众多大师中谁对你的影响最大，能说说您心目中的“吉他手中的吉他手”吗？
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" M' o+ B- l. u: \PB: I don't have one guitar hereo but loves many players whose some I already named earlier.
我没有崇拜的偶像，但是我很喜欢一些吉他手，我在前面已经提到过了。
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5 b+ h/ S' X& ZFC: Would you please recommend some of your favorite albums (in fingerstyle guitar or in other music) ?
6 B* ~; R% c/ R. M5 ~: E& i请推荐您最喜欢的5张专辑（指弹音乐和其他领域）

PB: the truth is that I listen to much more symphonic music, jazz, ethnic and choral ensembles than guitar music. When I feel like listening to guitar,
after I am tired of playing orchen I am driving, I chose often Paco De Lucia's or Ry Cooder's albums. Else than that, I love listening to Bill Evans solo or
8 \: m, c$ K$ A0 s  t. i2 C! qwith Tony Bennet or with Toot Thilemans, Keith Jarrett, Jaco Pastorius, Weather Report, "Native Dancer" by Wayne Shorter, Herbie Hanckock, Sentinella
by Milton Nascimento, Blue by Joni Mitchell, T-Pain and some Rap, Slam and Hip-Hop crowds, etc.
I invite your readers to visit this page on my website to know more about my musical picks: http://www.pierrebensusan.com/modules.php?
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我其实听的大多是交响乐，爵士，民乐，还有类似于合唱的音乐，吉他音乐听得比较少。当我想听吉他的时候，我弹得累了或开车的时候，我会听Paco De Lucia's 或者 Ry Cooder的专辑。除了这个，我还吉他听Bill Evans的独奏或者Tony Bennet或Toot Thilemans Keith Jarrett, Jaco Pastorius, Weather Report, Wayne Shorter 的"Native Dancer"
Herbie Hanckock, Milton Nascimento,的Sentinella ，还听Joni Mitchell的布鲁斯，还听一些Rap，Slam, Hip-hop的音乐。
# h! z) b' U3 s) p" j! S' W( v* M我请各位读者上我的网站看一下这个网页，了解一下我都选择什么音乐。
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FC: We don't know much about the development of fingerstyle in France.
# m+ o0 }# L8 u8 C我们对法国的指弹发展所知甚少。
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PB: France has a few fingerstyle guitar festivals such as Issoudun, Douai or Dunkerque. I don't really follow that scene and am not really aware of
, ^, s+ o6 {5 ^$ kwhat's going on. France has a huge Gipsy guitar culture. As you've maybe guessed, I am not found of the guitarist tendency to corporation, because it
) O! W) P" K$ H6 C$ scould lead to forget that the first aim is to play music and not guitar.

法国有举办几个指弹吉他音乐节。比如Issoudun, Douai or Dunkerque.我不知道搞得怎么样，也不是很关心这些。法国有一种很浓重的吉卜赛文化。你可能会猜到，我不太喜欢吉他手与公司合作，因为这样会忘却首要的目的是演奏音乐，而不是演奏吉他。
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- h3 m1 }+ D, [% q  a% qFC: Can you introduce us some French guitarist?可以给我们介绍几位本土的演奏家吗？
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# E) z( a+ N$ S4 xPB: Birelli Lagrene, Sylvain Luc, Michel Haumont, Olivier Louvel, Louis Winsberg, Roland Dyens, Claude Barthelemy, Serge Lazarevitch, Christian
- x5 f" Q) [0 K$ f  z) O. VEscoude, Patrick Rondat, Gerard Rebours, Boulou Ferre, Nguyen Lee, Yan Vagh, ...
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FC: Have you been to China? How do you view the fingerstyle atmosphere in China?
您来过中国吗？对中国的指弹氛围有什么印象？

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PB: Never, I connected planes in Taiwan once and that's all. I have no idea what the guitar atmosphere is like in China and hope to find out one day by
2 ]$ z& B# g8 sgoing there.

- A0 _4 Q& {7 I- ^, H- V从没去过，我坐飞机到过台湾一次，再也没去过。我不知道中国吉他的氛围怎么样，希望有一天我可以去那里找到答案。
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5 W% j2 W" ]1 Y' H' nFC: Would you say something to encourage players in FungerstyleChina?
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请对指弹中国的琴友说两句话

http://www.56.com/n_v156_/c40_/4_/9_/heroin-_/zhajm_121070538127_/244000_/0_/34878963.swf

, ~6 j2 u2 N9 {1 g: U  B% C( lPB: First, play a lot to water that drive and keep up the effort and pleasure of progressing through the journey. To do a lot of hear training, study
chords, scales, harmony and play following an inner idea and apply onto the instrument. That's the best way to learn a polyvalent technique. Also to
look into the Classical and Flamenco techniques which constitute a treasure of ways of doing things in the most ergonomical way. Also make sure to
5 s) Q. C7 N! [3 Z' F$ m: |; {. kunderstand that the guitar is only an instrument: it's about music, not about only playing guitar. To not be impressed with technique only, the good
+ j. ?1 B- x: S5 `and undispensable servant, but rather to make up your opinion by listening carefully and "seeing" the ideas. For me, what is said from within, in tri-
' z* a4 Z6 Y0 Cdimensions, matured to the point of reaching other people's soul, is what's impressive, virtuosity beeing always used along the way but discretely.
8 d: e. ~/ \2 D首先，多做练习，让自己兴趣浓厚起来，坚持不懈，让自己能够享受整个过程的乐趣。多做听力练习，多学习和弦、音阶，按自己内在的想法，把它在乐器上弹出来。这是最好的学习多方面技巧的方法。同时也要古典与弗拉门哥音乐齐头并进，这两种音乐类型能让你以最符合人性化的方法进行学习。还要明白，吉他只是一种乐器，我们要的是音乐，而不只是弹吉他。不要被技巧所迷惑，技巧是音乐不可分离的仆人，但是最好你能有正确的观念，用心倾听，这样可以“看”到这些思路。对我来说，从内心来说，以立体、成熟的方式触到听众的灵魂，感动他们，你精湛的演奏技巧是不可缺少的，但又是独立于音乐的。
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' s, ]- i4 r" s$ h4 k& m' T! g% k4 EFinally, to recognise what is "our" inner chant and identify which technique is required. Most of the time, the "call" for that vocation is very natural and
you find yourself making some kind of living and earning money with playing without even knowing about it. Then, it all has to do with what you stand
4 j; x3 w, x+ ~& C- f7 l7 Qfor and what kind of energy you use. You have to chose your side and make sure to convince your folks (parents) so that you gain their support. I am
4 w6 b. i9 M+ i& \sure with the rich musical and cultural heritage of your country, guitarists should come up with great original and powerful ideas.
* ~; ]3 M( a4 j+ ]1 [6 ?Victor Hugo said that if God wanted Man to look behind, he would have put an eye at the back of his head. If you want to give a chance to your
" ]2 j% a- q9 w' A% vproject, don't look back and be there all the way for it.
I personally always try to look at life with the glass half full. I still have a lot to play and come up with, it's endless.
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最后，认清我们“内在”的音乐，然后选择我们（将其演奏出来）所需要的技巧。大多时候，（走上职业化的道路）是很自然的，你会发现你靠某种方式生存，当你在靠演奏赚钱时可能你甚至不知道你弹什么。接下来就是你自己的立场，及时间的分配了。你要选择你的立场，然后你要说服你旁边的人（父母）这样他们才会支持你。我知道你的国家有很丰富的音乐底蕴及厚重的文化。作为吉他手，要有很强的原创精神及很棒的创意。
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Pierre Bensusan
(Boston, June 27, 2008)

FC: We are looking forward to watching your show in China. We sincerely appreciate for you time and good luck with your career!
. T; x' u+ h7 A6 T8 ^' f4 i我们期待你来中国演出，衷心感谢你能花时间接受这个采访，祝你万事如意！
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欢迎大家访问 DAD GAD Pierre Bensusan的个人网站
9 n/ n+ \$ L: i! ]* RDoatea
Dadgad Music
http://www.pierrebensusan.com
# E7 p4 A$ z9 `- n& B  y& Mhttp://www.myspace.com/pierrebensusan
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吉他

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Cliquer dans le nom vous amène à la page dédiée au modèle


Le Modèle Signature "Altiplanos" Arch-top par Michael Greenfield

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Le Modèle Signature Carmona-Bensusan


% O: m" T) u+ u  M+ c4 _La 12 Cordes de Julien Gendre
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/ b# n/ ^$ ?$ d& yLa Guitare-Harpe de Dave Evans
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: N' z8 J$ x# {/ z5 \5 ELe modèle Baby Brazilian de Bruce Potter
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琴弦




4 K" g, K1 I6 B! x2 ANOUS VOUS PROPOSONS 3 FORMULES D'ACHATS:
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1 - ACHAT D'UN JEU SIMPLE
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2 - ACHAT DE 5 JEUX, AVEC REDUCTION DE 10%

3 - ACHAT DE 10 JEUX, AVEC REDUCTION DE 15%
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% _* d) t" z6 q; g( qConçues pour Pierre et son accordage en DADGAD, ce nouveau jeu de cordes est le fruit de l'étroite collaboration entre Pierre et Nick Walton, président de Wyres Strings, compagnie basée à Toronto.

Avec un revêtement P.T.F.E. (polymer tetra-fluoro-ethylene) sur leur surface, qui n'étouffe ni ne diminue le son, tout en offrant une barrière à l'air, l'humidité et la transpiration, les cordes Wyres ont une durée de vie plus longue qu’une corde normale. Elles sont douces au touché, élégamment musicales, en offrant un son plus précis et la possibilité de “travailler” en profondeur l’histoire et le sustain de la note.
De plus, elles sont faites à la main !

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9 I1 E& r' l$ A; h% SLes Videos

Pierre en concert au Freight & Salvage Music Club à Berkeley/San Francisco (Californie/USA).
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. g! a" D9 Q; zPERSONNEL:
1 N" O* u& M3 t2 T& I+ KPierre Bensusan: electro-acoustic guitar & vocals

4 X4 H& l$ V/ J1 w8 VTITRES:
La Femme Cambrée
+ D4 _- r% h- c5 O9 p5 hWu Wei
Bamboulé
% g' P9 _  a4 a! j  _Jardin D’Amour
- Y9 K% c$ x* ACordillière
2 {9 o% {! i& O1 o1 R: KSlow Air
The Last Pint
0 V% r5 a4 s6 {7 E5 q3 pAwali
Agadiramadan
4 AM
Montségur
Around The Day In 80 Worlds

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( c( J7 w0 L! r& R"Bensusan also bridges musical passages that many artists wouldn't even dare trying due to the technical difficulty. His music is heavenly and guitar lovers will discover a major aural treat." The Video Librarian/USA

Enregistré en 1995 - 75 MINUTES - COULEUR - STEREO
2 D1 E' K7 D5 f, g7 hVestapol Videos/Music Sales
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Les Videos

4 T6 U6 x, b' [/ P6 _Sur cette première video pédagogique, Pierre enseigne et joue à vitesse normale puis plus lentement plusieurs de ces compos et arrangements, avec beaucoup d'indications:
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8 g1 ?) f! |! X& W% hCONTENU:
* d8 g% p0 Z7 L$ [4 j- iHekimoglu
Le Lendemain de la Fête
! g6 {0 @' R  N+ a* ?La Danse Du Capricorne
The Return From Fingal
1 F, J' N$ @" C1 ?- M8 \- X" ZVoyage For Ireland
/ t; ^1 e: ^& F- N8 [/ C) O; }The Rakish Paddy
Heman Dubh
Maurice In Wonderland
Climats Doux et Tempérés
Gigues: Merrily Kissed The Quaker/Cunla
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La musique écrite en tablature & solfège est gratuite et disponible au téléchargement. L'adresse du lien est contenue dans le DVD.
NB: Tous les commentaires de Pierre sont en langue Anglaise et aucune traduction en Français n'est sous-titrée. D'autre part, la partition écrite et la musique jouée ne correspondent pas toujours note pour note.
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$ V- B1 w9 h: l5 s+ ?) XEnregistré en 1995 - DVD - 90 MINUTES - COULEUR - STEREO Stefan Grossman’s Guitar Workshop/Music Sales
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, ?8 h- ]& J) W8 R0 R) RLes Videos
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4 F$ y! M  f: XSur cette deuxième video pédagogique, Pierre enseigne et joue à vitesse normale puis plus lentement plusieurs de ces compos et arrangements, avec beaucoup d'indications:
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CONTENU
' t3 N) n  Z' T* N5 bLa Suite Flamande aux Pommes
Nice Feeling
4 A.M.
La Femme Cambrée
Shi Bhig Shi Mhor
The Last Pint
Flamorgan Aire.



8 ~/ r/ I. q% w# m8 {La musique écrite en tablature & solfège est gratuite et disponible au téléchargement. L'adresse du lien est contenue dans le DVD.
NB: Tous les commentaires de Pierre sont en langue Anglaise et aucune traduction en Français n'est sous-titrée. D'autre part, la partition écrite et la musique jouée ne correspondent pas toujours note pour note.
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Enregistré en 1995 - DVD - 75 MINUTES - COULEUR - STEREO Stefan Grossman’s Guitar Workshop/Music Sales
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- i9 v/ j) Z& \( D" ~2 o$ jAvec PIERRE BENSUSAN
7 G* _1 A3 g- h- v9 jMARTIN SIMPSON
4 b8 p5 L8 N! B; x0 X7 mDUCK BAKER
PAT KIRTLEY
* e+ e. e; o. ^, k/ hEL MCMEEN
TOM LONG
STEVE BAUGHMAN

3 j# E8 ~) K3 H5 U. APierre joue:
Reels: The Pure Drop/The Flax In Bloom
3 R' ?& H) X0 ^9 F' K" F7 lShi Bhig Shi Mhor
1 p+ B1 o* N/ M* N0 Y( ^/ d* @Heman Dubh


La musique écrite en tablature & solfège est gratuite et disponible au téléchargement. L'adresse du lien est contenue dans le DVD.
62 MINUTES - COULEUR - STEREO
: t8 F; V8 o" M7 KEnregistré en 1999 - Stefan Grossman’s Guitar Workshop/Music Sales
CD disponible
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1 ?% o- I) N" d$ U- n% m1 {(Photo fond: Pierre B.)
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Les Videos

Avec PIERRE BENSUSAN
MARTIN SIMPSON
- ~+ s' |/ Q# }DUCK BAKER
PAT KIRTLEY
EL MCMEEN
TOM LONG
STEVE BAUGHMAN

3 @0 _! A; i# Q0 p9 F: vPierre joue:
Murtagh McKann
Flamorgan Air
Gigues: Merrily Kissed The Quaker/Cunla.
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La musique écrite en tablature & solfège est gratuite et disponible au téléchargement. L'adresse du lien est contenue dans le DVD.


. o9 S# }4 n" c8 K, E2 R62 MINUTES - COULEUR - STEREO
Enregistré en 1999 - Stefan Grossman’s Guitar Workshop/Music Sales
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CD

+ m$ J$ p8 |% b; xALTIPLANOS   c, Z1 i% T, [5 [	INTERNATIONAL GUITAR NIGHT (cet album n'est plus en vente) % N( D; M- ~% ]0 f/ ^- p	1 n; q- W: X4 i4 ?: l  Y3 m* zINTUITE	- J, G0 G4 J. U' `3 w% x/ aNICE FEELING 3 Q; r( ?  ?( m
0 A  a* U2 C7 F/ kANTHOLOGY	! n1 }) F. X# a% kLIVE IN PARIS / n. n/ Z- x0 }3 |6 t	WU WEI	2 K2 z( \) g' ~+ JSPICES
; u6 Q" G- O6 a, R9 HSOLILAÏ	0 e1 O1 ^9 w7 L7 T  N  y/ QMUSIQUES	P. BENSUSAN 2 ) s" L  }$ V' p% j# q	PRES DE PARIS 7 v  u% J2 s# r% N
/ L5 ?# L0 f5 SRAMBLE TO CASHEL : O2 h( n. R& r1 w' Vceltic fingerstyle volume 1 7 {' l  h, ?4 w' j	6 Q- `# _7 x0 y( b  Z9 UBLARNEY PILGRIM # G- `; {# ~( L6 ?1 qceltic fingerstyle volume 2

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谱

THE INTUITE GUITAR BOOK	THE GUITAR BOOK	GUITARISTES VOL. 1

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8 a* q4 R) ^9 [' ?' ?; @# U2 K" o[ 本帖最后由 海洛因 于 2008-7-21 03:41 编辑 ]

zhuyingqiao

终于更新了,辛苦了,先顶再看~

aburamevjin

很厉害,我先顶了
0 X0 `7 m$ g' `( z不过我有事,就先看一个了
下次再来

弹琴猪

打开网页这是什么音乐？  天！  太震撼了！

弹琴猪

我没点播放啊？哪儿蹦出来的？   叫什么？啊
很久没听过这么过瘾的东西了！

guinan

是啊  哪蹦出来的啊   这种风格有味道啊

jbw2010

辛苦了，刚刚看完。
- z1 B4 ?4 Y) bbensusan一直是我超级喜欢的一个指弹大师，我本来记得wuwei好像是和中国的道家思想有关系
但bensusan好像没怎么提到，难道以前看到的东西不对

sj1982

这个背景音乐有点中国的特色。

worldyuan

对待吉他和音乐的态度值得学习 嘿嘿 咋没问他对老T的演奏有些什么想法哩;P

trliden

晕啊，，怎样停背影音乐，，我想听其他啊~

staystay

不得不说 皮埃尔 是个天才
) F6 B1 t2 _* I8 c虽然弹琴的手型都很奇怪·

很玄的东西

今天终于出来了，这个访问，也是耗时一个月左右。

BESUSAN大师 为我们指弹中国琴友做了详尽的回答。
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在他的官方网站也为我们指弹中国作了连接。感谢所有参与这次采访的朋友，真的。

没有你们，我们知识可能还很狭隘。
7 g( ~8 B4 c8 [3 ^) z
他的音乐并没有多么绚技，但平淡是最真的。

ˊ飛﹖﹏.

:D 这听起来很有趣。。呵呵。。

markinbfa

http://au.youtube.com/watch?v=rv8aPd18V1U
这是我翻弹的背景音乐这首The Last Pint
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[ 本帖最后由 markinbfa 于 2008-7-21 03:27 编辑 ]

gakoo

楼上的翻弹跟原版很接近。

弹琴猪

15楼的 COVER 很剽悍！！！

zhuyingqiao

15楼,很厉害,能做个朋友么,交流一下啊

Trebor_TTTTT

终于见到了……太好了……就是有一点  别把我名字打错呀……

海洛因

Trebor 我是无心的主要是太激动了~马上修改了