1.直觉版练琴步骤

(1) Practice Routines, the Intuitive Method

Many students use the following practice routine: 许多学生会用下列的练习程序 1. Practice scales or technical exercises until the fingers are limbered up. Continue this for 30 minutes or longer if you have time, to improve technique especially by using exercises such as the Hanon series. This is when you can really work hard to strengthen the fingers. 首先，先练习音阶或是做一些技巧练习，直到手指灵活。如果你还有时间去做一些技巧性的练习，例如哈农练习曲之类的，就继续练习30分钟或更久。

2. Then take a new piece of music and slowly read it for a page or two, carefully playing both hands together, starting from the beginning. This slow play is repeated until it can be performed reasonably well and then it is gradually speeded up until the final speed is attained. A metronome might be used for this gradual ramp-up. 然后开始练习一些新曲子，先从头开始读个一两页，双手慢慢的弹。重复慢慢的弹，直到逐渐熟练后，再慢慢增加速度直到曲子的速度。在慢慢增加速度的时候，节拍器也常被用到。

3. At the end of a two hour practice, the fingers are flying, so the students can play as fast as they want and enjoy the experience before quitting. After all, they are tired of practicing so that they can relax, play their hearts out at full speed; this is the time to enjoy the music! 两个小时的练习后，手指已经完全放开，能飞快的弹奏，这时候，你几乎可以用随心所欲的速度弹奏。最后，也练累了，可以放松一下，随心所欲的弹曲子，这时候才能真正享受音乐。

4. Once the new piece can be played satisfactorily, memorize it and keep practicing "until the music is in the hands"; this is how you make sure that it is memorized. 弹好之后，就记住它，并且练“到音乐已经融入双手为止”——这才能确保是记好的。

5. On the day of the recital or lesson, practice the piece at correct speed (or faster!) as many times as possible in order to make sure it is in top condition. This is the last chance; obviously, the more practice, the better. 在演奏会或是上课的当天，再用演奏的速度（或更快）练习要上课或演奏的曲子，能练几次，就练几次，以确认他们是彻底的熟练，并且维持在巅峰状态。这是最后的练习机会，当然，多练习是好的。

Every step of this procedure creates problems, is based on false beliefs and will limit progress to about the intermediate level even if the students practice several hours daily. This method tells the students nothing about what to do when they hit an impossible passage except to keep repeating, sometimes for a lifetime, with no idea of when or how the necessary technique will be acquired. A teacher who can't even play the piano can teach this method! It leaves the task of acquiring technique to the student — the method teaches nothing. Moreover, the music will come out flat during the recital and unexpected flubs will be almost unavoidable, as explained in this book. All these problems are solved using "efficient practice methods". 每一步都会产生问题，基于错误的信念，即使学生每天练习几个小时，也会将进度限制在中等水平。这种方法告诉学生，当他们碰到不可能的段落时，除了继续重复，有时一辈子，不知道何时或如何获得必要的技巧外，该怎么办。甚至不会弹钢琴的老师都可以教这种方法！它把学习技术的任务留给了学生——该方法什么也没教。而且，如在这本书中所解释的那样，音乐在独奏会期间会变得平淡无奇，并且几乎不可避免地弄错节拍。所有这些问题都能使用“有效的练习方法”解决。

The above practice routine seems so intuitively logical. Although human intuition helps us solve simple problems, when it comes to highly developed fields such as learning piano, intuition can not compete with learning tricks that past geniuses have discovered. Without these learning tricks, students are stuck with what we shall call "intuitive methods", that are not based on the most efficient practice methods. "Talented" students, it turns out, have teachers, such as Combe, who know some of the efficient practice methods, or have discovered them through a lifetime of dedication to piano, and can learn unbelievably quickly. Any student can progress equally quickly if there is a textbook containing all the known efficient practice methods. Though "intuition" generally denotes something good, I have chosen "intuitive methods" to denote the old, discredited teaching methods because the best methods are usually counter-intuitive, as we shall see. 上面的练习例程看起来如此直观。尽管人类的直觉可以帮助我们解决简单的问题，但是在诸如钢琴之类的高度发展的领域中，直觉无法与过去的天才发现的学习技巧相抗衡。没有这些学习技巧，学生就会陷入我们所谓的“直觉方法”，而这些方法并不是基于最有效的练习方法。事实证明，“才华横溢”的学生拥有像Combe这样的老师，他们知道一些有效的练习方法，或者在毕生致力于钢琴事业的过程中发现了那些方法，并且可以超快地学习。如果有一本包含所有已知的有效练习方法的教科书，则任何学生都可以平等地进步。尽管“直觉”通常表示好东西，但我选择“直觉方法”来表示古老的，信誉低下的教学方法，因为最好的方法通常是反直觉的，正如我们将要看到的。

There are numerous books on piano [(83) Book Reviews: General Comments]; they all teach what you should play, such as scales, trills, a Mozart sonata, etc., but they seldom teach how to acquire technique so you can play them. This book is a compilation of practice methods for acquiring technique with explanations of why certain methods work while others don't. Without the explanations, there is no way to know if a method works or not. Just because a teacher used the method for 30 years is not a valid explanation because so many of them have turned out to be wrong. Textbooks will free teachers from having to teach the mechanics of practicing and allow them to concentrate on music where the teachers are needed. 有很多关于钢琴的书籍[（83）书评：一般评论]；他们都教您应该演奏的乐器，例如音阶，颤音，莫扎特奏鸣曲等，但是他们很少教如何获得技巧，以便您演奏。这本书是用于获取技术的实践方法的汇编，并解释了为什么某些方法有效而其他方法无效。没有解释，就无法知道某个方法是否有效。仅仅因为一位老师使用这种方法已有30年之久，这并不是一个有效的解释，因为事实证明其中有很多是错误的。教科书将使教师免于必须教授练习技巧的麻烦，并使他们能够将精力集中在需要教师的地方。

Piano teachers know that students must practice musically in order to acquire technique. Both musicality and technique require accuracy and control. Practically any technical flaw can be detected in the music. Nonetheless, many students tend to practice neglecting the music, preferring to "work" when no one is around to listen. Their reasoning is, "I'll practice non- musically (which is easier because you can shut off the brain) until I can play it well, then I'll add the music." This never works because learning piano is all about training the brain, not finger calisthenics. Such practice methods produce "closet pianists" who love to play but can't perform [(42) Musicality, Touch, Tone, Color]. 钢琴老师知道学生必须通过音乐练习才能掌握技术。音乐性和技巧性都需要准确性和控制力。实际上，在音乐中可以检测到任何技术缺陷。但是，许多学生倾向于练习忽略音乐，宁愿在没人周围听音乐的情况下“工作”。他们的理由是：“我会进行非音乐练习（这很容易，因为您可以关闭大脑），直到我可以很好地演奏，然后再添加音乐。”这永远都行不通，因为学习钢琴只不过是训练大脑，而不是手指健美操。这样的练习方法会产生“壁橱钢琴演奏家”，他们喜欢弹琴但不能表演[（42）音乐性，力度，音调，色彩]。

Using efficient practice methods, you can learn in less than five years, what you might achieve in fifty diligent years using the "practice, practice, practice" (intuitive) approach. This book is not claiming that it will transform you into Mozarts, Beethovens or Chopins, although that can't be ruled out. It only claims that you can learn to play their music with ease. 使用有效的练习方法，您可以在不到五年的时间内达到目标，如果使用“练习，练习，练习”（直觉）的方法则可能要五十年。这本书并不是说它将使您变成莫扎特、贝多芬或肖邦，尽管也不能排除。本书只是表明您可以轻松学习演奏他们的音乐。