與馬丁及美智老師的一堂芭蕾課 A Ballet Class with Martin Fredmann Featuring Original Music Composed and Played by Mei-zhi Shi, vol.2, Piano Score
( 第二輯 )
鋼琴譜
感謝北藝大舞蹈系 25 年來的栽培、 成全，系上所有師生、同仁、助教們的熱情友誼 及 天父上帝奇妙的帶領。
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推薦序 一 5
推薦序 一
芭蕾技巧音樂化了！ 馬丁費德曼 (Martin Fredmann 基洛夫舞校美國分校校長、日本芭蕾大賽藝術總監 ) 當我在 2007 年 9 月抵台，成為國立臺北藝術大學舞蹈學院的副教授時，史美智老師成為我 的音樂伴奏；當時，我們兩人都不知道這對我們未來會有深遠的影響。我長期穿梭在世界各職 業舞團中擔任客席芭蕾教師，並在亞洲，尤其是日本， 做兒童芭蕾教學多年了。由於對於音樂 的熱愛，是我成為舞者的真正原因，我不斷地告誡年輕的日本學生，音樂永遠第一、永遠最先。 在我進入職業芭蕾舞團成為教師開始，我就深深地仰賴音樂給我的靈感來創作基本練習及舞 步組合，美智老師的音樂就如此地吸引了我的注意！現在仍然清楚地記得，在北藝大教完我們 的第一堂課之後，我就提議一起做一張芭蕾 CD。我想用她從舞蹈動作而出的伴奏，也同時能 啟發舞蹈動作的靈感，以及充滿美麗情感的音樂，做我日本及其他地方教學用的伴奏。果然， 我們第一張的 CD 真的囊括了美智最拿手的這些旋律，而且她也精彩地實際彈奏出來！她真是 少見的優秀芭蕾課堂的音樂伴奏者，能瞬間被舞蹈啟動，即席奏出深刻又熱情的旋律，手指更 是靈巧觸鍵分明地彈奏出來。 第一張 CD 出來之後，各方都叫好！我們卻發現需要再出一張最基本的教學 CD，尤其是關 於芭蕾基本動作內在外在之各種要求的伴奏，以滿足老師每天用音樂仔細雕琢芭蕾初級的學生 們。 在這裡我要感謝一位好朋友、好老師――吳佩瑜女士，由於她在後來的音樂創作過程中的幫 助，使得我們的第二張 CD 雖然更為艱難、更富挑戰性，卻也更精準，更符合我們用音樂帶動 動作的要求。據了解，這兩張 CD 都被日本的舞蹈專賣店 Chacott Company 所相中擺在店裡， 聽說頗獲好評，尤其是第二張。 看到美智老師在第二張 CD 裡的成長真令人高興！不錯，她的音樂仍然美麗且動人，但是在 其中她築起了深刻的芭蕾邏輯基礎，使得她的音樂與基本動作穩穩相扣，絕不動搖，這也是她 這張 CD 對訓練技巧的貢獻；而且我動作中的芭蕾技巧都被她音樂化了！美智老師在北藝大退 休前，願意把她的這張 CD 作品轉寫成鋼琴譜，並出版成冊以供社會大眾參考，將她的經驗分 享給其他對芭蕾伴奏有興趣的年輕人，真是讓我為她感到十分驕傲！我認為這會是她留給北藝 大最好的工作報告。
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Foreword by Martin Fredmann Meeting Mei-zhi Shi in September 2007, when I assumed a position of Associate Professor at Taipei National University of the Arts, College of Dance (TNUA), has had profound effects both on her, and on me, ever since. I had had a long history of being a teacher for numerous professional dance companies around the world, as well as teaching children for many years in Asia, particularly in Japan. My love of music is the very reason that I became a dancer. For me music is first, number one, as I tell my young Japanese students all the time. Having started my teaching career as a professional ballet company teacher, I relied heavily on the inspiration from the music to create and inspire my exercises and combinations of steps. That is what attracted me to Mei-zhi immediately. I remember so clearly, after our very first class together at TNUA, I suggested to her that we make a ballet class CD together. I wanted her passionate, beautifully inspired, and inspiring music recorded, so that I could have it for my ballet classes in Japan, and anywhere else. Yes, CD1 was full of the most beautiful music that I knew her to be able to create, and play so wonderfully. She is a truly inspired pianist, creating instantly, wonderfully improvised impassioned melodies, played with such a glorious and almost magical touch. I've known few dance class pianists like her, anywhere. In the interim, we have both experienced and grown so much in our understanding of what is so necessary in the ballet classroom. As I was mostly teaching young children in Japan for years, often not having a pianist available to me, I had to resort to using commercially recorded class music. I was often frustrated by the endlessly fast tempi, and the often very heavy, inappropriate music for the most basic elements of ballet on these recordings. I had to gear my class to the music I had, and not the other way around. And, it was the students who, in the end, were not completely given the correct musical dynamics of the basis components of ballet, so necessary to them, in those formative years. I have always used, for many years, the Russian classical ballet technique, and its general approach to teaching as my basis. The great clarity and logic of the technique is like no other, and I have had experience with many others. Once understood, there is no question of the tremendous value of basic Russian technical ballet training. The demands made on the classroom pianists are meticulous and extremely logical, when the understanding of the dynamics of each exercise of classical ballet is applied. The technique comes from the music! This is absolute! So, if the music is not dynamically correct, the young ballet student will never be able to understand the execution of any of the particular steps, or reasoning behind them, hence, an incomplete mastery of the technique.
Foreword by Martin Fredmann 7
Well, the beautiful music of Mei-zhi's, and my first CD, really didn't help me with my teaching of those young students in Japan. We had produced a CD, beautiful for a professional company class, where anything can be used, and be effective for warming up professional dancers, but not what we were both now looking for. We both knew that the second CD had to be carefully created for the expressed purpose of carefully training young students, giving them the where with all to understand the dynamics of each of the specific exercises to be practiced and mastered on a daily basis. With the help of a wonderful teacher, and friend as advisor, Ms. Wu Pei-yu, who is vastly knowledgeable in the details of Russian classical ballet technique, and particularly where the demands of the music are concerned, our task became much more challenging, exciting and frustrating, but much more productive in the end. CD II, along with CD I, both now being sold by the Chacott Company Ltd. in Japan, have been a major success, particularly CD II. I now use it exclusively for my teaching, and am told again and again what wonderful clarity it has in relationship to the demands made of teaching young ballet students. Mei-zhi and I have already laid the ground work for CD III. It is tremendously satisfying for me to see the understanding that Mei-zhi has attained about the need for necessarily correct playing for ballet class. Yes, her music is still very beautiful and very inspiring, but she has attained a depth and logic behind all the beautiful music she plays. Just beautiful alone is without purpose, it is the support that the music must give that creates the understanding of the technique. It is the very technique itself! I am truly proud of Mei-zhi's and my mutual realizations about the musical support that careful ballet training must have if it is to produce skillful, technically accomplished, brilliantly dynamic and wonderfully musical dancers. What more could there be to want? We grew and learned together, and continue to do so. I have such a deep appreciation and respect for Mei-zhi Shi and her beautiful music, and I totally agree that this book will be a meaningful and valuable gift for her younger colleagues in the field of ballet accompaniment! Martin Fredmann Artistic Director, Kirov Academy of Ballet of Washington D.C. Director, Japan Grand Prix, Junior Ballet Competition
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推薦序 二
用音樂帶出舞技的藝術家 薇姬施奈德 (Victoria Schneider 哈雷得芭蕾舞蹈學院、美國佛州博加拉騰老師 ) 美智是一位極富才華的藝術家，她對訓練芭蕾學生及職業舞者所不可或缺的音樂特性及條件 知之甚深。 她曾與聞名國際的芭蕾專家如現任的華府基洛夫芭蕾舞校校長馬丁費得曼，以及俄國聖彼得 堡的馬林思基 ( 又名基洛夫舞團 ) 的前首席舞者馬拉高達也夫，仔細切磋工作過。在課堂中， 她時常選擇用 2/4 及 4/4 拍子配樂作曲，而不用受歡迎、較容易的 3/4 拍子。前面這兩種拍號 也同時被地位崇高的聖彼得堡的基洛夫舞校 ( 瓦岡納娃教學系統 )，以及著名的教育大師 GITIS 的泰拉索，所大力認同並推薦。 把像是 rond de jambe par terre、battement fondu、rond de jambe en l´air，以及慢板等的練習 音樂做成 2/4 或 4/4 拍子，這件事其實極重要；因為經過音樂可以幫助並影響年輕的學生們， 清楚地訓練自己跟隨課堂設定的目標、年齡和舞蹈能力，以便獲得一個強健的技巧。 史老師的功力，在了解古典芭蕾舞者的訓練所不可或缺的音樂條件這方面，是非常獨到的， 甚至少有人能及！她這方面的努力，也贏得了我們這些芭蕾老師們極大的欣賞及認同！
推薦序 二 9
Foreword by Victoria Schneider The outstanding music of Mei-zhi Shyy brings to the accompaniment of ballet an unparalleled enrichment to the art of teaching classical ballet. Not only does her music follow the important musical rhythms, tempi, and structures for the advancement of professional ballet students, her music also cultivates the important usage of dynamics and expressivity necessary for the progression of the artists. Having collaborated closely with such noted Ballet Masters as Martin Fredmann, Director of the Kirov Academy of Ballet, Washington D.C., and Marat Daukayev, former principle dancer with the Mariinsky Ballet of St. Petersburg, Russia, Ms. Shyy has structured her compositions specifically using 2/4 and 4/4 time rather than 3/4 for many of the elements of the class. These meters are recommended in the methodology program at the esteemed Vaganova Academy of Classical Ballet in St. Petersburg, Russia as well as in the writings of Nikolai Tarasov, the noted pedagogue from GITIS. The usage of 2/2 and 4/4 time for exercises such as rond de jambe par terre, battement fondu, rond de jambe en l’air, adagio and others enables the young students to work with clarity on developing a strong technique in accordance with the classroom goals, age and professional ability. Ms. Shyy is an immensely talented artist with a unique understanding of the musical requirements for the training of the ballet students and professional dancers. Her exceptional understanding of the musical demands for the training of classical dance is an inspiration and unsurpassed.
Victoria Schneider HARID Conservatory Boca Raton, Florida, USA
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前言
一路走來柳暗花明 ! 這本樂譜能出現在大家眼前，真要感謝許多的人及許多外在因素的配合！ 第一要感謝的是北藝大舞蹈系廿五年的訓練和成全。身為台灣極少數從剛創系就被接受任用 的全職舞蹈音樂老師來說，我幸運地能長時間跟隨系裡的腳步方向，從不同派別的現代舞、芭 蕾舞及中國舞蹈學習。在這樣的環境中，我不止息的向動作及舞者請益。這帶給我不僅是快樂， 也常是令人又愛又怕的事。 時間逐漸過去，經驗逐漸累積，有一天葛蘭姆 Graham 技巧越來越不可怕，我也開始能用音 樂掌握舞蹈動作的來龍去脈了！能與其他現代技巧對話起舞的感覺真好！正在沾沾自喜之餘突 然發現自己彈的芭蕾課有問題。常不知如何拿捏小跳的音樂，不喜歡自己的華爾滋，也時常苦 惱沒有新鮮的樂譜可以參考等等；再下來就連 Plie 及 Tendu 等動作也覺得是隔靴搔癢了！此時， 心中開始納悶，因為我已經彈了超過十年，而芭蕾伴奏一向是大家公認很容易上手的，以為它 的拍子單純、句子平衡，只要把握住動作的質地就可以輕鬆把一堂課做完。完全不像現代舞的 節奏句型花樣百出，質地變化難測，需要用到不同風格的樂風及樂器，讓音樂伴奏者傷透腦筋 更不敢輕鬆對待。 換言之，到大約十年前，我才無法按奈自己的著急，對自己無法掌握的芭蕾動作深自警惕； 於是，一場尋找芭蕾經脈道理的探索之旅上演了。時常我屢屢因為自己的音樂對不上舞蹈重 點而心情低落，但是除了自己課餘的探討之外，沒有人能有效地給予答案。直等到 2009 年 才發生真正的第一次突破。我開始為馬丁老師的芭蕾 CD 作樂，「A Ballet Class with Martin Fredmann， Featuring Original Music Composed and Played by Mei-zhi Shi, vol. I」 ( 與馬丁及美 智老師的一堂芭蕾課 第一輯 ) 由日本芭蕾大賽發行出版了。 其後，承蒙不少國內芭蕾老師的喜愛及推薦使用，更獲得一些國外專家的回應及指教 ( 尤 其是基洛夫芭蕾舞校美國分校當時校長 Marat Daukayev 及美國資深芭蕾教育專家 Victoria Schnider 等人 )。透過這些建議回應，我第一次有機會對自己的創作手法及原則進行深入地探 討，以尋求改進之道。又於 2009 年底旋獲北藝大出版大系的支持，出版第二張芭蕾 CD，把 我累積的突破心得放入其中，而成就了針對芭蕾初級和中級課程所創作的 CD ――「與馬丁及 美智老師的一堂芭蕾課 第二輯」( A Ballet Class with Martin Fredmann Featuring Original Music Composed and Played by Mei-zhi Shi, vol.II)。
前 言 11
多年來，我一直自詡是用彈葛蘭姆現代技巧的細膩尊敬來處理芭蕾動作，但是到第二張 CD 時卻屢屢有雞同鴨講的撞壁之嘆。直等到李巧老師及吳佩瑜老師向我傳授了許多光看不能明白 的芭蕾動作道理才使我豁然開朗。幾經切磋商討，終於不同於以往的第二張美麗生動的 CD 見 世了。我的第二張為動作量身訂做的芭蕾音樂，在毀掉初稿又把馬丁老師從美國請回來的折騰 下，於 2010 年暑假出版了！外表上看不出什麼大改變，但處理芭蕾動作的方式已發生重大的 改動，我從此走上了由動作領導音樂的道路。 換言之，從把桿的暖身 Warm-up 動作開始，我就努力試圖將舞者全身上下抗衡卻又腳掌穩 紮於地的感受表達出來。我也盡力彈出每一個手及腳位置的變換，身體高低並手勢的不同，以 及每個動作的內在艱難及外表順暢等等。每一個姿勢都是我素描的對象，技巧老師的示範教導 更成為配樂時的模擬標的物，必須謹記在心，不可或忘。當然，我們伴奏剛開始最在乎的基本 動作質地是重要的，即興能力也不可或缺。但是要彈更進一步的芭蕾，我以為就必須進到每套 基本動作裡面做分析，用樂音掌握精神並刻劃動作的每個演變，我稱這套近年來體會出來的方 法為「即興臨描法」，就是將芭蕾動作聲音化，乃是建構在原先擁有的即興能力上的。 今年的暑假我恰巧又獲學校出版組的支持，將我的第二張 CD 的樂譜集結成冊。深覺這是一 個在退休前將 25 年的工作經驗，藉著簡短文字回顧並分享的大好時機。就自告奮勇以野人獻 曝的方式，將個人淺顯的音樂經驗公開，就教於各位前輩。畢竟我能夠有的體認既然得自眾人， 也應回饋於眾人！在此，也要謝謝音樂系同學陳珩的幫忙，使得我的曲子能在短時間內順利地 聽打出來。 美智決定將此書獻給所有臺灣的舞蹈伴奏們！謝謝你們多年無怨無悔的耕耘及付出；也謝謝 所有舞蹈老師對我們的信賴，願意為了訓練更好的舞者，將動作託付給現場音樂伴奏！就像當 年葛蘭姆名師羅斯帕克 (Ross Parkes) 某次在課堂上說的：「You are the conductor now.」 ( 指揮 就是你了！ ) 於是，我們這些舞蹈伴奏就攪盡腦汁，為要成為適任的音樂指揮。 祝福臺灣的舞蹈界能持續理想，更多採用現場的音樂來與舞者互動。相信它會因著音樂人的 參與及回饋，而培養出更多世界級的舞者，讓大家的努力能不斷在國際芭蕾及現代舞台上發光 發熱！ 史美智寫於竹圍 2011/10/4
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目錄 推薦序 芭蕾技巧音樂化了 用音樂帶出舞技的藝術家 前言 一路走來柳暗花明
5 6
10
BARRE 1. Reverance 4/4 - 8cts.
17
2. Warm-up (facing barre) 6/8 - 64cts.
19
3. Plié 4/4 - 64cts.
21
4. Plié 3/4 - 96cts.
23
5. Tendu (slow) 2/4 - 64cts.
27
6. Tendu (moderate) 2/4 - 64cts.
29
7. Jeté (slow) 2/4 - 64cts.
31
8. Jeté (fast) 2/4 - 64cts.
33
9. Rond de Jambe 2/4 - 128cts.
35
10. Rond de Jambe + stretch 3/4 - 32 +16 +32 +16cts.
37
11. Fondu 2/4 - 64cts.
41
12. Rond de Jambe en L’air (mazurka) 3/4 - 64cts.
43
13. Frappé 2/4 - 64cts.
45
14. Petit Battment 2/4 - 64cts.
47
15. Adagio(Développé) 4/4 - 64cts.
49
16. Grand Battment 2/4 - 64cts.
51
17. Stretch 4/4 - 128cts.
53
18. Preparation for Jumps (facing barre) 2/4 - 32(slow).
57
+32(moderate)+32(fast)+32(faster)cts.
目 錄 13
CENTRE 19. Adagio 4/4 - 64cts.
61
20. Tendu 2/4 - 64cts.
63
21. Fondu 3/4 - 64cts
65
22. Grand Battment 2/4 - 64cts.
67
23. Changement 2/4 - 64cts.
69
24. Assemblé 2/4 - 64cts.
71
25. Jeté/Brissé/Emboîté 2/4 - 64cts.
73
26. Ballonné 3/4 - 64cts.
75
27. Ballotté 6/8 - 64cts.
77
28. Sissonne/Cabriole 3/4 - 64cts.
79
29. Girls’ Grand Allegro 3/4 - 128cts. 81 30. Boys’ Grand Allegro 2/4 - 64cts.
85
31. Pointe Warm-up 2/2 - 64cts.
87
32. Piqué Turns (slower) 2/4 - 64cts.
89
33. Piqué Turns (faster) 2/4 - 64cts.
91
34. Preparation for Fouetté turns (slow) 4/4 - 64cts.
93
35. Fouetté turns (faster) 4/4 - 64cts.
95
36. Tour en L’air/ Entrechat Six 2/4 - 64ct. 97 37. Changement + Port de Bras 2/4 - 32+ 64 +4cts. 38. Reverance 4/4 - 16cts.
99 103