怎样并如何练琴How and What to Practice©本文选自《练习曲》杂志1901年12月BY FRANK J. MCDONOUGH本文从属于该杂志的钢琴家/教学板块。

我们将陆续更新更新该系列的内容。

这篇文章主要讲述老师在教学中如何指导学生有效提高，重视练琴的作用。

In the present we live, and we must conform our ideas to conditions that confront us, that exist, and shall continue to exist until we eradicate them. So the pianist should eliminate all that is not essential, and find what is best and most needed for his ad­vancement. 在我们如今生存的当下，我们必须使我们的理念符合实际状况，这些条件已经存在，并将继续存在，直到我们将其消除。

因此，钢琴家去除冗杂，并找到什么是适合的，最大有裨益的。

To do this, the pupil or student should be shown what he particularly needs, by his teacher; where his weaknesses are, what he lacks; and taught the easiest and best way to obtain results sought after. But how often they are told these facts, and have not the will or the mind to comprehend what is asked of them!为此，应该老师应该向学生展示他所需之处；了解他的弱点在哪里，他欠缺什么；并用最简单和最好的方法来传授，从而获得最好的结果。

但是也致使学生只是被动接受，却并没有意愿或头脑去理解老师的要求！The question at the present time is not “What do you know?” but “What can you do?” You will find this question put to you in every trade or profession. A pupil who goes to the teacher will find that the first question is not “How many etudes have you studied?” but “Play me something.” The lady in the parlor or drawing-room does not ask “Who was your teacher?” “How long do you practice every day?” or “What method have you been taught?” but “Play a solo for us.”目前的问题不是”你知道些什么？你会发现这个问题在每一个行业或职业都会遇到。

一个学生去老师家上课，他被问到的第一个问题不是“你学了多少首练习曲?”而是“给我弹点什么”。

会客厅里的女士不会问；“你的老师是谁?”“你每天练习多长时间?”或“你学过什么方法?”而是“为我们独奏”。

Life is too short for the average pianist to master all the beautiful works in piano-literature. He can­not learn all of Chopin’s nocturnes, waltzes, or bal­lades; but he can learn some of them if he practices in the way he should.对于一般钢琴家来说，生命太短暂了，无法掌握钢琴文献中所有美丽的作品。

他不可能学习肖邦所有的夜曲，华尔兹，或叙事曲;但是如果他以适宜的方式练习，他可以了解其中部分精粹。

One good composition thor­oughly learned and mastered is worth a dozen which have been carelessly studied, some parts of which have never been properly practiced, but have been hur­riedly run over. The temptation is (to one who reads music easily) to attempt to play the compositions heard at the last concert or recital of an artist, enchanted and delighted as one becomes at the marvel­ous beauties brought out by a master of the key­board. 经过彻底学习和掌握的好作品值得研读十几遍，走马观花的学习会使得其中某些部分从未得到正确的练习，而被匆忙撇在一边。

对一个容易读懂音乐的人来说，他们很乐意去尝试演奏艺术家在最后一场音乐会或独奏会上听到的乐曲，当一个人被键盘演奏高手所带来的不可思议的美丽所吸引时，他会沉迷其中感到欢欣愉悦。

The student must be careful of the folly of attempting to play solos that he has neither the tem­perament nor technic to render; but, alas! it seems that what is forbidden or beyond our reach we hanker after. Something within our reach we seldom appre­ciate at its value.学生必须当心并试图避免独奏的愚蠢粗疏，他既没有演奏家的气质也没有足够的技术表现；但是，唉！似乎什么越是禁止越是超出我们能力范围，我们越是渴望。

我们力所能及得到的东西，却很少被我们重视。

Remember it is not the number of pieces we are intimate with that improves our playing, nor is it the length of time spent at the piano that always im­proves one’s plaything, but it is the benefit derived from careful, intelligent practice. Some one has said: “Practice is the prelude to the Song of Victory.”请记住，既不是我们精心钻研的作品的数量，也不是在钢琴前花费的时间的长短提高了我们的演奏水平，而是从细心的、睿智的练习中获得的益处。

有人说：“练习是胜利之歌的序曲。

”本文选自THE ETUDE网