那么 我刚才听你弹过了这个《小星星变奏曲》 I heard you play the Variations on "Ah vous dirai-je, Maman".
你自己也查到了 它的曲目来源 You have searched by yourself the origin of the melody
是一首叫做《啊！妈妈，我要告诉你》的民谣 which is a song named "Ah vous dirai-je, Maman",
对不对 right?
好 OK.
那么光知道这些背景是不够的 But it is not enough only to know the background of the melody.
从你弹奏的过程中 From your playing,
我意识到你的识谱和背谱发生了问题 I can hear there are some problems with your music reading and memorizing.
那么 今天我们要解决的就是识谱和背谱的问题 So! Today we are going to resolve this problem.
你以前是怎样做的 How do you usually memorize the score?
嗯 就是拿到谱子 把它练熟 As soon as I get the music score,
通过反复练 把它背下来 I practice it several times, then I can memorize it.
可一到上台的时候会因为紧张而忘记 However, if you were on the stage,
很难在停顿处再接上（前面的内容继续弹） it would be difficult to continue after a stop because of your nervousness.
显然你用的是机械记忆的办法 That is mechanism memory failure.
这一次区别于你以前的记忆方法 Today, let's learn a new memory method called
我们来看啊 用的什么办法呢 我们来看啊 transpositional thinking which differs from
我们学会一种东西叫做"换位思考" what you've learned.
也就是说 假设你是莫扎特 你有这样一个主题 Suppose you are Mozart and write such a theme,
你希望怎样去发展它 then how do you develop it?
对不对 OK?
我不知道该怎么做 Maybe you would say, "I don't know how to do this."
好 我来给你举个例子 Now, I'd like to take an example.
他（莫扎特）在第一、第二、第三和第四个变奏中 Mozart used the variation skills of
用的是改变音型的变奏方法 changing the tonal patterns in Variation I to Variation IV.
你看 他在一拍之内 Look! He changed the original quarter note
将原来的四分音符改成了十六分音符 to the sixteenth note within one beat.
或者是在第三变奏当中 Or he converted the quarter note
将主题中的四分音符改成了三连音 to triplets in Variation III.
他用这样的办法来变奏 He used this skill to write the variations
演奏效果也是很不错的 and the playing effect was pretty good.
然后第二变奏 Then, Variation II,
对不对 right?
这样的一种变奏方法 With this kind of variation skill,
演奏效果还是不错的 the playing effect is melodic.
那么 如果是你的话 Besides
除了音型和节奏型的改变之外 the tonal patterns and rhythm pattern changes,
你还希望通过其他什么样的方法去实现变奏 is there any other method for you to write the variations?
嗯 Er...
思考过这个问题吗 Have you thought of this question before?
给你时间想一想 Please try to think about it.
可以变化更多样的音型吧 Maybe we can have much more various tonal patterns
然后加上有点现代感的元素 and add some modern-characteristic elements into it?
有点现代感的元素 Modern-characteristic elements?
嗯 比方说 Yes. For example,
可以把2/4拍改为3/4拍 we can transform 2/4 beat to 3/4 beat
或者是现在很流行的爵士乐的节奏 or the rhythm of jazz which is very popular nowadays.
爵士乐的节奏 Rhythm of jazz?
对 我觉得这个比较新颖 Yes. I think it is very novel.
好 让我来记一下你说的变奏方法 OK. Let me write it down.
就是说 第一 That is to say,
你希望能将它改成爵士乐的节奏 you want to change the rhythm patterns
对不对 right?
改变它的节奏型 such as jazz rhythm patterns.
有其他的办法吗 Any other method?
嗯 因为主题是C大调的嘛 Yes. Since the theme is C major,
我希望改变调式 从而扩展它的内容和表现力 I want to change its mode to expand its expressive force.
改变调式 To change the mode,
这也是一个不错的办法 你还能想到什么 That is a good idea. What else?
然后 我是幼师专业的学生 My major is Early Childhood Education
希望能够在课堂上与学生形成互动 I want students to form an interactive collaboration in class.
我希望它的织体能够更复杂一点 Maybe we can transform the solo piano works to
能把独奏作品改成四手联弹 a piano duet or a work for two pianos.
四手联弹 或双钢琴 The piano duet or works for two pianos.
好 这是一个不错的办法 Good! That's a wonderful idea.
那么我们现在来看一下 先暂时搁置你的想法 Now please lay aside your ideas for a moment.
我们反过来看看莫扎特是怎样发展这十二个变奏的 Let's see how Mozart developed and categorized these twelve variations.
然后将其归类 these twelve variations
首先 First,
前四个变奏改变的都是音型和节奏型 the first four variations have changes in tonal patterns and rhythm patterns,
对不对 right?
尽管我们不能说 Although we cannot deny that
第五变奏不是音型和节奏型的改变 the fifth variation also has changes in tonal and rhythm patterns,
但是它更强调的是左手和右手对话 it emphasizes the communication between the left hand and the right hand,
互相传递旋律的一个过程 the process of developing melody from one hand to the other,
对不对 right?
像对话一样 Just like a dialogue.
第六和第七变奏呢 How about Variation VI and Variation VII?
这两个变奏所用的方法是莫扎特比较常用的一种手法 The flowing scale tonal patterns are often used by Mozart
通过运用跑动的音阶式的音型来变奏 as a variation skill.
我们以前在莫扎特的奏鸣曲中也见过这样的音型 We have seen this kind pattern before in Mozart's sonatas,
对不对 right?
莫扎特的这首第六和第七变奏当中用的也是这种办法 They are the same.
第八变奏区别于前七个变奏 Variation VIII is different from the first seven
我们从两个方面介绍 and I will introduce it to you from two aspects.
第一个方面 First,
他和你的想法很相似 his idea is similar to yours.
你说的是变换调式 You want to change the mode,
莫扎特用的是变换调性 he changed the tonality.
将原来的C大调变为了c小调 Actually he transformed the original C major into c minor.
第二个方面 Second,
他运用的是复调的方法 he utilized the polyphony technique.
发现了吗 Have you noticed that?
嗯 对啊 Oh, yes.
然后 我们看第九变奏 Then, let's see Variation IX,
它和第八变奏相似 which is similar to Variation VIII
他用的也是复调的方法 and in which he also used polyphony.
只不过这回用的是C大调 But this time he just used C major,
并用卡农式canon的写作手法发展了主题 and developed the theme in canon.
然后左手 Then come to the left hand,
合起来就是 and together it plays like this.
确实是用卡农的写作手法来发展主题 Actually he used the writing skill of canon to develop the theme.
第十变奏如你前面所说 Variation X, as you have said before,
左手跨过右手进行演奏 the left hand plays across over the right.
主要旋律首次由左手演奏出来 The main melody is played by the left hand for the first time.
虽然他没有将左手中的这个主题进行变化 Though he didn't change the theme of the melody which was played by the left hand,
但最起码 他和你的想法是一样的 at least, his thought is the same as yours,
是不是 right?
好 那么再看第十一变奏 Well, let's see Variation XI,
十一变奏运用的是板式变化 in which he used the change of tempo.
运用的是慢板 The use of Adagio.
前面的十个变奏快板居多 Allegro was in the majority in the previous ten variations,
而第十一变奏他运用的是慢板 but he used adagio in the Variation XI.
（这个维度）是比较新颖的 This dimension is new.
然后再看第十二变奏 Then let's see the Variation XII,
第十二变奏也是一个新的维度——节拍 which is also a new dimension-- the beat.
前十一个变奏都是2/4拍的 The previous eleven variations are all 2/4 beat,
第十二变奏是3/4拍的 but Variation XII is 3/4 beat.
从这个角度来看 From this point of view (variation skill),
这个这首曲子的脉络就清晰了 the venation of the tune and the structure of the work are clear.
莫扎特在这里至少用了五种方法 Mozart used five methods in this work at least:
第一种方法是改变音型和节奏型 the first method was to change the tonal patterns and rhythm patterns,
比如第一变奏到第四变奏 such as that what we see from Variation I to Variation IV.
第二种方法用的是复调变奏方法 The second method was to change homophony to polyphony,
比如第八 第九变奏 such as Variation VIII and Variation IX.
第三种办法用的是板式变化 The third method was to change the tempo,
如第十一变奏 such as Variation XI.
第四种办法用的是改变节拍的办法 The fourth method was to change the beat,
比如第十二变奏 such as Variation XII.
第五种办法用的是左右手交替变换旋律 The fifth method was to use the left hand to play the melody instead of the right hand,
如第十变奏 such as Variation X.
这样我们来对比一下你刚才提出的三点 Now let's contrast these with the three points you raised just now:
我们看得出来 First,
节奏型和音型的变化 we notice that both Mozart and you
莫扎特使用了 你也用了 used the change of the tonal patterns and rhythm patterns.
挺好 That's good;
调式的变化 他没有用 Second, he did not use the change of mode,
你用了 but you do.
第三 Third,
四手联弹和双钢琴 莫扎特没把这首曲子的规模发展到这么大 你也用了 Mozart did not develop the theme to piano duet, but you do.
所以你以后倒是可以在幼师的教学过程中 So you can use these methods
运用这种方法 in the later teaching process as a preschool teacher,
我觉得效果还是很不错的 I think the effect will be good.
好 除了这些之外 Well, in addition to these,
我们看莫扎特这十二个变奏 let's see the twelve variations of Mozart.
我个人认为它们的发展并不在同一个水平上 In my opinion, their development is not at the same level.
比如说 For example,
在莫扎特的第二变奏、第六变奏和第十二变奏这三段变奏当中 in Variation II, VI and XII,
他运用的都是左手十六分音符跑动音型 Mozart used flowing scale patterns on the left hand (semiquaver).
有意思的是这些音型都集中在中低音区 The interesting thing is that these parts are all concentrated in the alto and low registers.
反过来 你再看小星星变奏的这个主题 In turn let's see the theme "Ah vous dirai-je Maman",
它的形象比较清纯 its image is relatively innocent.
它的形象比较清纯 可是在跑动的音型烘托下 However, when it is matched to the flowing scale patterns in the low register,
共鸣使得声音过于响亮 这与主题形象相矛盾 the resonance is too noisy to be harmonious.
因此这个变奏就不够成功 Thus, they are not good enough.
我来详细解释一下 Let me explain it in detail:
在钢琴上 声音越低 on the piano, the lower the sound is,
人耳所能听到的泛音就越多 the more overtones the human ear can hear.
比如我现在弹一个大字组的C音 For example, now I play C，
这一个音下去之后 你能够听到的泛音有这么多 after I play it, the overtones you can hear are as many as these,
甚至更多 明白吗 or even more, clear?
这些低音以十六分音的形式聚集在一起 These low sounds concentrate together
就会产生一种喧闹的效果 as the form of semiquaver will produce the noisy effect.
所以我认为 第六变奏在整个十二个变奏当中 So I think Variation VI is not so melodic
是创作水平最低的一个变奏 among the twelve variations.
但这并不能埋没莫扎特的才华 But it cannot bury the talent of Mozart.
同样也是在这部作品当中 第十一变奏 Variation XI which obtains the effect of pathos
它通过板式的变化来取得一种比较哀婉的效果 through the change of tempo,
这个想法真的是神来之笔 this idea is really an ingenious piece.
通常我们认为 Because,
大调表示比较欢乐的情绪 usually we think that majors show happiness,
小调来表现比较忧愁的情绪 minors show sadness.
事实上 In fact,
大部分作品也确实是这样做的 most works really are like this indeed.
但是在这个作品之中 But in this work,
莫扎特运用的是大调 Mozart uses the major
通过板式的变化 and makes it have a slight
让作品产生一种淡淡的哀愁 sadness by means of the change of tempo
这就是翻译家傅雷曾经提出的 That's what Fou Lei (a famous Chinese translator of French literature) once put forward:
莫扎特的风格里 "in Mozart's style,
有一种"含着眼泪的微笑"的感觉 there's a sense of 'smiling with tears', a slight sadness."
我们来听一下 Let's have a listen.
是不是 Isn't it?
通过变换板式的方法来实现情绪上的变化 He accomplishes the change of mood by means of changing the tempo,
这就是神来之笔 marvelous!
明明大家都认为小调是表现哀伤的 People usually think minors show sadness,
而莫扎特用一种创新的办法 but Mozart used an innovative way,
实现了情绪的变化 to accomplish the change of mood.
那么我们现在来分析这十二个变奏是出于两点考虑 Now we analyze the twelve variations taking two points into account:
第一是帮助你分析和记忆这首曲子 the first is helping you analyze and memorize the structure and characters,
实现背谱 and then memorize the score.
使你能够和莫扎特站在相似的高度去看待这个问题 This kind of transposition of thinking
了解作品的行文脉络 can make you to think actively.
第二 Second,
通过对这个谱例的讲解使你懂得不要盲目相信权威 through the analysis of the example, we have to notice that one should not
不一定莫扎特的作品就是（无可挑剔）的 believe in authority blindly, although the work is written by Mozart.
你看在这十二个变奏的作品当中 Think about these twelve variations. They are not at the same high level.
水平有好有坏 Some are better and some are not so good.
所以我们一定要学会客观地去分析问题 So we need critical thinking,
这一点在音乐学习中很重要 which is very important in music learning.
嗯 这一次的课 In this class,
我们主要讲的是 we mainly talked about
通过"换位思考"的办法去主动地发展一个主题 how to memorize a score actively by using the method of transpositional thinking.
我希望你能够尽快地将这个谱子背下来 I hope you can play it from memory as soon as possible.
下一次课我们要讲的内容是触键 In our next class, we will focus on skills at touch.
当然 Of course,
这个要在你能够将谱子背出的基础之上才能够进行 that will be based on whether you can play it from memory.
好 OK.