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How to gain speed 如何获得速度
(notes: When mentioning 'technique' I mean by that the four base techniques - tone, chords, scales and arpeggio.)
（细致，每当提到“技巧”，我只包含以下四种，音色、和弦、音阶和琶音）
I guess the first thing about speed my readers of the 'Tremolo'-article would be curious about is the one sentence "Do not practice speed". The reason for this sentence is roughly the same as with tremolo: It is no technique and can't be practiced like a technique.
我想第一件关于速度的题目应该是读了我“颤音”这篇文章的读者好奇为什么上面说“不要演习速度”。这句话的缘故原由和对颤音的诠释雷同--它不是一项技巧。
1)What is speed?
什么是速度？
Speed is in essence the ability to maintain achieved potential in controlling one's four base techniques in different rates of time.
In other words; when you're playing a piece double the time then the four base techniques should be the quality as they were played half time.
速度从本质上讲是一种在肯定速率下控制好四种基本技巧的能力。换而言之就是当你弹奏一段乐曲时，基本技巧的控制在1/2速率时和在2倍速率时应该控制的一样好。
2)So how do I increase my rate of performance in time but still preserve my achieved potential in my technique? (How do i play fast, but still controlled?)
那么我应该如何进步我的弹奏速率，同时仍然保持我的技巧稳固。（我如何可以弹得更快，而同时可以控制的住）
When correctly practicing technique (the four base) the rate will increase by itself quite rapidly.
当你精确的演习基本技巧时速度会天然而然的加快。
3)wth...?! Really??
哇..？是真的吗？
Heh, actually, we people are extremely fast as it is. The muscle contraction in humans are so lightning quick that the sentence 'building speed' just becomes absurd: We already have the ability, by physiology, to play at incredible speeds.
呵呵，事实上，人们速度的极限是如许的。肌肉可以在一瞬间收缩因此‘进步速度’变得很荒唐。我们与生俱来这种弹得很快的能力。
The key to speed is this: Less tension and more control
因此速度的关键是：放松和更好的自力性。
A totally relaxed muscle will have no hinders in reacting extremely quick and putting this potential under control will make for what is called speed.
完全的放松可以使快速的演奏没有阻碍同时加上很好的控制就得到了我们所说的速度。
Guitarists that has practiced a great deal of control/base technique would totally disagree that speed comes by itself. This is mainly because they haven't practised less tension in order to let their control reach its full potential - and therefore speed:
Zero tension x control = full potential of speed2
经过大量控制和基础演习的吉他手都回赞成速度来自于演习自己。这重要是因为他们演习时尽量的放松为了控制尽可能快的速度。因此速度就是：
0严重 x 控制力= 最快的速度
Many experienced guitarists, myself included, has practiced in a way that forced the fingers to move at higher speeds. This works too, but like mentioned in the tremolo article that makes for a bastard technique that lacks control and can't easily be adjusted or trusted in a concert situation. (Trust me, I know
很多长期弹吉它的人，包括我，在演习的时候强迫手指作快速的活动。如许尽管也有作用，但是如许会导致在“颤音”中提到的效果，形成恶劣的缺乏控制的技巧，从而难以纠正以及参加正式的演奏会。
4)How do i practice relaxation/less tension?
我应该如何演习放松？
Relaxation isn't as easy as it sounds, so the question is very relevant.
放松并不像听起来那么容易，所以这个题目很紧张。
There are different methods to achieve greater relaxation / less tension. I will write my own personal experiences to give some example, but i encourage you to google and search this forum for more about this topic. Maybe I'll do some more research and make an article out of it.
有许多方法来实现放松。我将把本身的一些经验作为例子，同时我盼望大家能用goole等搜索更多关于这个主题的知识。兴许我可以出一本关于这方面知识的书。
First of all you should have a quiet and nice place to practice in. It's important that you leave your work, problems and personal disagreements outside the door. In time this mindset will become an habit and the time of practice will turn into a safe haven. Also consult literature and forums about relaxation, yoga, physiology and tai chi in general.
首先你应该有一个恬静优秀的演习地。放下你的工作，烦恼和不顺心的事情对于演习很紧张。这种镇静状况下的生理将成为一种风俗同时在这种心态下演习将带你进入一个镇静的天国。可以参考文献和论坛上关于休闲，瑜伽，生理学和太极都是同样的道理。
When sitting comfortably place your left hand of the fingerboard and without depressing it place the second finger on the C on fifth string.
Just keep it there for a second while just taking in how your hand feels.
首先坐在一个舒适的地方，把左手放在指板上同时用2指压住5弦上的三品其他指头什么也不按。保持这种感觉几秒钟然后发现你的手有什么感觉。
Check for tension.
检查严重的程度。
Slowly place the fourth finger on the D on fifth string, still without depressing it. Notice how the muscles react to what youre telling them.
慢慢的把小指移动到5弦的5品，同时仍然保持不要按弦。细致你的肌肉是如何在你的指挥下运动的。
Again, check for tension.
再一次检测严重的程度。
Place your first finger on the E on fourth string and proceed through the C scale. When you're through start over, only this time depress the string so that it barely touches the fret. Proceed through the scale (it surely isnt pretty tones, but thats the sign youre doing it correctly). How does your hand feel? Completely relaxed, or could you be even more loose but still retain control? One can only relax this much before losing control, So it goes hand in hand those two.
Also notice how the left hand reacts to what the right hand is doing and vice versa.
把你的食指放到4弦2品，然后从这里开始向下移动到10品。当你移动的时候手压在弦上，同时确定弦近乎遇到品丝但是不要遇到。（如许可能会发出不好听的声音，但这证实你做对了）这时你的手有什么感觉？完全的放松？或者仍然会严重但是可以保持控制？一小我要在失控之前保持尽量的放松，由于这两者相互关联着。在细致你的左手的同时也要细致你的右手，看他在左手活动的时候在干什么并且纠正错误的动作。
Sitting like this for two minutes before proceeding with practice will effectively tell your brain whats right and whats not. Ofcourse it takes some time, but it pays off well.
在你天天开始演习之前如许放松的静坐两分钟，如许有助于告诉你的大脑什么是精确的或者是错误的。尽管这会占用一些时间，但是一定是你值得支出的。
- We humans are set up in a way that makes us react with greater effort and strength when encountered with a difficult task. When lifting 20 punds of sugar we double the effort from lifting 10 pounds, thats pretty logical. So we apply this logic when faced with the challenges of the guitar: If it's hard to do, we increase tension and strength. Unfortunately this works to a certain degree and young students will apply this logic all the way through their ambitions till they eventually reach carpal tunnel syndrome. -
人们在接受过一些困难的训练之后可以变得更强壮。我们用两倍于拿起10磅重的力量来拿起20磅重的东西，这看起来是简单的逻辑。所以我们遵循这种逻辑来面对吉它上面的挑衅，当碰到困难处便增长手的力量和严重度。不幸的是如许做只能在肯定的级别起作用从而一些新手便遵循这种逻辑苦练下去知道他们患上手腕的综合症。
It has been my experience that when playing with less and less tension I have reached a certain point where I feel I can't relax anymore, or else I'll lose control over my fingers. That is just a phase where trust in the hands is put to the test.If arpeggio is practiced daily for a while the fingers just refuse to do anything but hitting the string in the right place. One just has to get used to the fingers not using any muscles besides those absolutely necessary for performing the stroke.
我的经验是在演习中尽可能的放松本身，直到感觉不能再放松了或者控制不停止指的时候作为目的。这只是演习的一个阶段。假如天天演习一段时间的琶音，你的手指将会不犯任何错误而精确弹奏每一下。一小我仅仅必要达到在弹奏时只运用相干手指的肌肉的程度就充足了。
Practicals:
演习
-When ready to step the piece up a notch make sure all four parts of base technique are thoroughly practiced and one feels in control. Then relax and take it up to where problems emerge. Then in slightly lesser tempo revisit the four techniques and practice until you feel confident in all of them. Then take it up another notch. Everytime the tempo is changed we have to 'learn' the piece all over, but luckily - as long as the fundamentals are learned - that takes less and less time as the tempo increases.
当你预备好演习更难一点的曲目时，要保证你认真彻底的演习好了四项基本技巧同时能够控制住他们。然后放松下来并起挖掘还存在的题目。接下来以稍慢一点的速度来演习这四项技巧直到你有充足的把握来弹奏他们。然后就可以进入新的阶段。每当速度产生转变的时候我们都不得不重新开始学习一段曲目，不过荣幸的是在此同时也演习了基本功，而且变速演习的结果要大大好于赓续增长速度的演习。
Sometimes You'll encounter problems that wont solve themselves no matter how patient you are. Then you should include etudes and exercises that will emulate this technical problem and include these into your daily practice.
偶然候会碰到一些无论你本身怎么耐心也解决不了的题目。这时你必要学习一些能够解决这些题目的知识和演习同时把这些内容添加到日常演习里面去。
Mind you, this article isnt meant to shoot novice guitarists into the sky and have them play Un Sueno en la Floresta after a week of practcing, thats just not how it works. But the principle of speed should be added, provided that the four base techniques are well known and practiced.
请细致，这片文章并不意味着一个初学者能很快成为顶尖高手或者让他们在一个星期后能象Un Sueno en la Floresta一样的演奏，这不是本文的主旨。而本文是在关于速度的主题下说明四项基本技巧的紧张性和演习方法。
-Relaxation is a skill in which we must invest time. Effort is the opposite of relaxation, so try to increase awareness about when you are pushing towrds, and when you are floating towards relaxation.
放松是我们必须花费时间来演习的技能。而努力则是放松的另一方面，所以我们必须能意识到本身何时偏向哪一方面。
-When practicing arpeggio patterns at a new level of less tension you will notice how you fatigue more easily than before. This is because less muscles - and eventually only the muscles required to perform the actions - are used.
Therefore it is very important to respect the fingers and not let them go on overload. Decrease the amount of time and number of exercises and slowly build upwards.
当你演习琶音到一个新的不严重的级别时，你会发现你将不再象曩昔那样感觉到委靡。这是由于更少的使用肌肉，更紧张的是只使用了有需要肌肉。因此呵护你的手指并不让他们过度委靡是特别很是紧张的。适当的削减演习的时间和数量，要循规蹈矩的取得提高。
One could say that when playing exercises and etudes faster and faster one is practicing speed. This is partly true and I would like to sum up my article with an answer to that:
One is adepting the skill of lesser tension, practicing control by employing the four base techniques and gaining speed as a result of those two.
Less tension x more control = Speed
有人可能会说弹奏的越来越快就是演习速度。这只是部分精确，我在这里总结一下我在文章中的答案：
首先适应放松的感觉，然后演习对四种基本技巧的控制，最后你将在这两者的结合下获得速度。
削减严重 x 增长控制力= 速度
I'm not trying to be an expert or an authority on these subjects, I just wanna share the stuff that made my own ability as a guitarist increase alot.I hope you can benefit from these articles.
我不预备成为一个专家或者权威在这个主题上，我只想分享我一些使我提高很大的经验。盼望各位能够从中受益。
All critizism and questions are warmly welcomed
迎接所有的评论和题目。
以下是一个关于这个帖子的题目和答案，盼望对大家有效。
Okay, here is my question. I'm well on the way to believing that slow practice leads to better results, and I also know that releasing tension as I am practicing improves my playing. There is however, that tremendous push to bring something up to tempo and I can often play something better at a faster tempo rather than a slower one. When I slow it down, the effort becomes intense and the product is more often than not unpleasing which leads to greater tension and more frustration.
ok，我有一个题目。我特别很是信赖慢练可以取得更好的结果，并且我也知道放松有助于进步弹奏水平。题目很新鲜，在加快速度以后，我可以在快速的时候弹得比在慢速的时候好。当我减速时，动作变得严重同时弹出来的声音变得不好如许使我更加的严重和更多失误。
OK here's an interesting situation. You can play the hard stuff but not the easy stuff?? That's quite a paradox.
好的，这是一个很风趣的征象，你可以弹难的却弹不了容易的？？这确实让人觉得新鲜。
Part of the "easiness" of faster playing is that we accept more sloppiness since it goes by so fast. So maybe you aren't really playing it better at the faster tempo but just are more aware of what's happening at the slower tempo.
我们认为部分让人感觉简单的快速弹奏，是由于在快速弹奏中纰漏凌乱的处理。因此你并不是真正在快速时弹奏的更好，而是在慢速中了解了更多弹奏中出现的题目。
Also we tend to try to maintain the same feel of "effort." When practicing slowly there should be considerably less physical effort. If you are trying to "carefully muscle your way to perfection" at a slow tempo this could be causing a
problem. In slow practice you should be trying to do smooth, coordinated simple movements that can easily be speeded up.
同样的我们喜好尝试感受‘努力’的感觉。当我们演习慢速时可能会认为本身支出了更少的努力。假如你在慢速的弹奏中细心的细致肌肉的活动，这时可能会发现一些题目。在慢速演习中你必须努力弹得连贯，在和谐好简单的活动之后才可以轻松的提速。
全文译完。
