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前言：風格需要想像力

風格是相當個人化的。

在教學上，一直以來都是老師指揮著大小聲、速度快慢，或是直接示範彈奏方法，就算完成了。

但是這個教法“模仿”成分多於“學習”。老師教的歌曲，學生照著規定做，就可以彈出相當水準的音樂，但是老師沒有教過的歌，就可能無法彈出優美的音樂性，更不用說個人風格了。

因此風格的學習，應該在模仿之外，還要有更進一步的做法，培養學習者一種能力，讓學習者能自己能夠創造風格出來。而這種能力的關鍵，就是想像力。

風格不是天馬行空，也不是堆積文字的遊戲，風格是有跡可循的，從體驗出發，完成於創造。

在這過程中，我們先提供一個目標，引發學習者的想像力，設法讓想像力與音樂的感覺連接。當想像力大量的發揮，感官擴大延伸之後，回過頭來就會影響演奏的動作與感覺，使得風格產生變化。

這樣的好處是，想像力提供了更豐富的感覺，也區別出了個人的獨特風格。

以第三首"老巫婆"(展覽會之畫)為例，我設定的題目是：大海中一艘船正在危急的情況，你說說看他遭遇著什麼困難呢？每個人對於一艘船遭遇的困難，會出現不同的想像。有可能想像船遭遇狂風暴雨，也有可能是船上發生戰鬥。兩種不同的場景當然會引申出不同的詮釋，例如遭遇狂風暴雨的場景，用到的踏板，可能就比打鬥的場景多；而打鬥有跳躍動作，跳音與短的圓滑線也比較明顯。

如果沒有想像力提供這些詮釋的內容，我們實在無法決定在27-29小節，觸鍵究竟是下沉的、還是跳躍的，甚至想都想不到可以有這些變化。當然，在風格的創造裡兩者都沒有錯，重點在於音樂是不是維持了整體性，還有你的風格是不是夠酷、夠吸引人。

創造故事永遠充滿著無窮的樂趣，馬上就動手來鍛鍊想像力吧！

Preface: style requires imagination

Style is quite personal.

In teaching, the teacher has always been conducting to the students with dynamics and speed, or simply directly demonstrating on the piano.

However, this methodology has more of "imitation" than "learning." For music that teachers have taught, students can play with good quality. However for those teachers have not taught, usually students are not able to play well, let alone play with personal styles.

Thus learning of styles should require further methodology other than imitation, so as to develop learners' ability to create their own styles. The key to this capability is imagination.

Style is not abstract, nor a game of playing around idioms. Style has a pathway which begins with experiencing and completes with creation.

In this process, we first provide a goal to invite learner's imagination, trying to connect imagination with sense of music. When imagination is in full play, and the senses enlarge and expand, they all come back to affect the movement and feeling while performing, which in turn make the style change.

The benefit is that imagination provides a richer feel, but also makes personal styles unique.

Use the third piece "Witch" (Pictures at an Exhibition) as an example, the topic I set is: a ship in sea is in a dangerous situation, please tell me what difficulties might be encountered? The difficulties everyone encounters will come from different imagination. Some may imagine that a ship to encounter a storm, others may imagine some fighting on the ship. Two different scenes will come out different interpretations, such as the stormy scene may imply more pedals to be used; as for the fight scenes, staccato and short legato may be more obvious.

Without imagination to help provide the content of these interpretations, we really can not decide at 27-29 bar, keys(articulation) should be played down(heavy) or springy; or not even possible to think of these changes. Of course, in creation of styles, both is right. The point is whether music is maintained with integrity, also whether your style is cool and attractive enough.

Story creation is always with a lot of fun. Let’s work on our imagination right away!

曲目/目錄

有力，猛烈的 marcato/feroce

幻想交響曲，第四樂章/白遼士Symphonie fantastique / Berlioz

三角帽/法雅The three cornered hat / Falla

老巫婆(展覽會之畫)/穆索斯基Pictures at an exhibition / Mussorgsky

莊嚴，有威嚴 maestoso

水上音樂/韓德爾Water music / Handel

第五交響曲，第四樂章/柴可夫斯基Symphony no.5 / Tchaikovsky

威風凜凜/艾爾加Pomp and circumstance marches / Elgar

精力充沛，有力量的 energico/con forza

交響曲第二十五號，第一樂章，K183/莫札特Symphony no.25 / W. A. Mozart

第一號交響曲，第二樂章/馬勒Symphony no.1 / Mahler