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像一个打击乐乐手一样去跳舞——Conga节奏的原理与练习

热度33票浏览254次【共6条评论】【我要评论】时间：2009年4月28日 21:49

用你的脚在地板去演奏salsa的节奏，就像你是一个打击乐乐手一样。

之前转了一些E文的技术文章，但发觉点击率都很低，所以这次试着翻译一下。不过阿苗是一个标准的理工科学生，自小就是数理化成绩很好，语文外语很差，语言表达能力实在不敢恭维，翻译的文章质量就可想而知了，所以还是强烈建议大家越过我的译文，把进度条拖到下面直接去读原文。

Conga是salsa舞曲中最常见的一种乐器，其最常见的演奏方式就是在第4拍有个咚咚的声音，在第2拍有个哒的声音，如下图所示：

这种节奏样式有个名字，叫做tumbao moderno(不知是西班牙语还是什么语，名词就不翻译了）。5到8拍重复1到4拍的节奏。

听力练习

现在你应该很容易就可以分辨出咚咚（open tones)和哒（slap troke)的声音，你可能已注意到这两个标志性的声音中间存在空隙。这个空隙就是我们这篇文章所要探讨的主题。首先我们需要一些小技巧去听这个空隙。

这可能听起来有点奇怪，不过等一会你就明白了。

这个空隙是专门让你去填充的，为了很明确地感受到这个空隙的存在，我们来做一个练习，当你听tumbao moderno这个节奏的时候，用一些声音去填充那个空隙，然后再把这个声音停掉，这样可以让这个空隙更明显。

现在去听你刚下载到的声音文件，你应该会听到:

咚咚——哒——咚咚——哒——咚咚——...

在这两个声音标识之间拍手，这样声音就变成了：

咚咚——啪（拍手）——哒——啪（拍手）——咚咚——啪（拍手）——哒——啪（拍手）——咚咚——...

多练习几遍，直到让你拍手的声音正好处于咚咚和哒两个声音的正中间。

<译者按——

在你脑子默念咚咚-啪-哒-啪-咚咚-啪-哒-啪，让你脑子里咚咚和哒的声音与音乐里的声音相吻合，然后在你脑子啪声音的地方拍手。这样这个练习你就可以很容易做到了。

——>

一旦你习惯了这个节奏，停止拍手，继续听这个节奏，遇到那个空隙时，在你脑子里想像着拍手。这样你就会觉察到这样的节奏：

咚咚——（空隙）——哒——（空隙）——咚咚——（空隙）——哒——（空隙）——咚咚——...

交替做拍手和不拍手的这两种练习。

你需要在不同速率的音乐中去做这个练习并掌握它，因为这是接下来的salsa练习中很关键的一部分。

Tumbao moderno节奏的原理

很多非洲系的音乐都有一个特点，那就是弱拍(backbeat)会强调一下。tumbao moderno,作为一个非洲系的音乐节奏也不例外。salsa的音乐节奏中的弱拍(backbeat)常会被Conga的咚咚(open tones)和哒(slap stroke)这两个声音强调一下。

你刚做了去识别弱拍之间空隙的练习，这些有节奏的空隙就是强拍(downbeat）。就像你刚才做的那样，在每一个空隙处拍手，这些拍手的声音所形成节奏叫做节拍(pulse)。再做一遍这个练习，听听节拍(pulse）是怎样和tumbao moderno节奏相配合的。

能从音乐中分辨出节拍(pulse）对于跳salsa非常关键。所以你需要理解，在非洲系的音乐中，节拍是由这些空隙所构成的。

现在你就会明白，为什么不习惯这种非洲音乐的人会很难辨认出tumbao moderno的开始（即第1拍),因为第1拍是被一个空隙所标识的。新手经常会寻找一个音乐节奏开始处的明显标识，但事实上它并不存在。这个节奏的开始处是一个空隙，你需要去听这个空隙之前的标识，即咚咚的声音(open tones）。

我希望这些解释能让你明白下面听力练习的重要性。接下我们就开始这些练习吧。

Salsa 练习

[使用你刚才下载的Conga声音文件]

我们的练习分为两部分，第一部分练习节拍(pulse)的节奏，第二部分练习salsa舞的节奏。

第一部分，分辨节拍

练习 3.1

节拍练习，单人，坐下，任何速率的Conga音乐都可以，只要你觉得舒适。

我们先做这个拍手的练习（具体方法上面的听力练习已介绍过）：

哒——啪（拍手）——咚咚——啪（拍手）——哒——啪（拍手）——咚咚——啪（拍手）——...

练习 3.1.1

每次你拍手的时候，同时用你的脚轻踩地板（任意一只脚都可以）：

哒——啪(踩地板）——咚咚——啪（踩地板）——哒——啪（踩地板）——咚咚——啪（踩地板）——...

练习 3.1.2

轮流使用两只脚踩地板。

哒——啪(左脚）——咚咚——啪（右脚）——哒——啪（左脚）——咚咚——啪（右脚）——...

练习 3.1.3

停止拍手，稍用力踩地板，以让你脚踩地板所发出的声音代替你拍手所发出声音。

练习 3.2

节拍练习，站立(这个是练习3.1.3的扩展)，用原地踏步代替上面坐着轻踩地板，不同点是原地踏步带有重心的转移：

哒——踏步——咚咚——踏步——哒——踏步——咚咚——踏步——...

现在的你其实是在听着tumbao moderno的节奏跳merengue。把你自己想象成一个鼓手，正在演奏节拍的节奏，和tumbao moderno节奏相配合。所不同的是，你不是用手在鼓上演奏，而是用脚在地板上演奏。闭上你的眼睛，去感受你的步子是怎么和tumbao moderno节奏相配合的。

继续做练习 3.2, 我们不再原地踏步，而是向前迈步。试着均匀迈步，以反映出节拍的节奏，你会发现很容易去踩一个高速率的节奏。

第二部分 Salsa舞的节奏

Salsa舞的节奏是由节拍(pulse)的节奏和tumbao moderno节奏中“哒”的声音所构成的(见下图)。我们已经讲了节拍的节奏，你也应该很容易找到“哒”的声音，所以现在我们已掌握了salsa舞节奏中所有的组成部分。

单人，坐下，这个练习和练习3.1.2一样，只不过你在“哒”声前后用同一只脚，交替使用两只脚

咚咚——啪（左脚）——哒——啪(左脚）——咚咚——啪（右脚）——哒——啪（右脚）——...

单人，坐下，在“哒”声的时候轻踩另一只脚，其他的都是练习3.4相同。

咚咚——啪（左脚）——哒（右脚）——啪(左脚）——咚咚——啪（右脚）——哒（左脚）——啪（右脚）——...

单人，站立，做和练习3.5同样的练习，用踏步（带有重心转移）代替3.5中的轻踩地板。

咚咚——左脚——哒（右脚）——左脚——咚咚——右脚——哒（左脚）——右脚——...

集中注意力用你的脚去踩节拍。

总结

你可能注意到我们没有使用数字去数节拍。我是故意这么做的，因为我认为你应该去相信自己的耳朵，而不是把节拍简化成几个数字。

你现在应该有能力去辨别salsa舞中的四个节拍了，还需要再做一件事情，那就是把这些节奏和节拍数字联系起来。对，我知道这和我刚才说的相反，但是事实时很多老师教学时会用数字数节拍，而你以后很可能会去上这样的课。

这是tumbao moderno的节奏和节拍数的关系：

(Translated by Stanley.Miao)

附原文：

The Percussionist Dancer

Listening Practice

Now that you're able to pick out the slap stroke and open tones easily, you may have noticed that there are gaps in between the two rhythm markers. These gaps are the theme of this lesson but in order to explore them, we first need to develop the little trick of listening to what isn't there.

That may sound a little strange but bear with me a moment.

The absences are there deliberately for you to fill. To crystallise the “presence” of these absences, there is a practice you should use as you listen to the rhythm: you're going to fill the space with sound and remove it again to make the gaps obvious.

Listening to a “tumbao_without_clave” track, you should hear:

Open Tones - Slap - Open Tones - Slap - Open Tones -…

I'd like you to clap your hands once in between the rhythmic markers, so you get:

Open Tones -clap- Slap -clap- Open Tones -clap- Slap -clap- Open Tones -clap-…

Try to keep your clapping even.

Once you're comfortable with the rhythm, alternate between clapping and not clapping. Even when you're not actually clapping, listen for the gaps and clap your hands mentally, so you come to perceive the rhythm as:

Open Tones -(gap)- Slap -(gap)- Open Tones -(gap)- Slap -(gap)- Open Tones -(gap)- …

You'll need to master this exercise at different tempi, because it is a key component of the Salsa practices later.

Rhythm Principles

Much of African-descended music has a rhythmic structure where certain beats, called backbeats are accented (see Extras). The tumbao moderno, being of African descent, is no exception. The rhythm structure of salsa has its backbeats accented by slap strokes and open tones.

The absences that you've been training yourself to recognise fall on the rhythmic counterparts of the backbeats, called the downbeats. Clapping your hands on every absence (i.e. downbeat), as you have been doing, creates a complementary pattern called the pulse. Try the practice again and listen to how the pulse meshes with the tumbao moderno.

Being able to identify the position of the pulse is the key to dancing salsa in time. It's crucial for you to understand that in African rhythm, absence is defined as the presence of nothing. Hence from listening to the tumbao moderno, the pulse is identified by the absence of rhythmic markers.

It's easy to understand why people unaccustomed to African drumming have difficulty identifying the start of the tumbao moderno. That's because it's marked by the absence of a marker. Beginners often make the mistake of listening for something marking the beginning of the cycle when none exist. To complicate matters further, there are two absences and to tell them apart, you would have to listen to the marker preceding it.

Hence the start of the dance cycle is marked by an absence preceded by the double open tones. If you understand this point, then you should also understand why we began the first tutorial addressing the double open tones.

I hope this explanation places the importance of the listening exercise in context. We shall now proceed to the long awaited…

Salsa Practices

[Using the “tumbao_without_clave” tracks.]

Our exercises are divided into two sections: the first addresses the pulse rhythm, the second addresses salsa's dance rhythm.

Internalising the pulse

Exercise 3.1

Pulse practice, solo, sitting down, and using any track tempo that you're comfortable with.

Begin with clapping the pulse (as detailed in the listening practice section earlier):

Slap -clap- Open Tones -clap- Slap -clap- Open Tones -clap-…

Exercise 3.1.1

Every time you clap your hands, tap your foot (your choice of which one):

Slap -tap- Open Tones -tap- Slap -tap- Open Tones -tap-…

Exercise 3.1.2

Tap using alternate feet:

Slap -(left)- Open Tones -(right)- Slap -(left)- Open Tones -(right)-…

Exercise 3.1.3

Stop clapping, and tap/stamp your feet on the floor a little harder, such that the sound previously generated by your hands is now provided by your feet.

Exercise 3.2

Pulse practice, standing (this practice is an extension of Exercise 3.1.3). Substitute the tap with a step (i.e. include a weight transfer) on the spot:

Slap -step- Open Tones -step- Slap -step- Open Tones -step-…

You are effectively performing a merengue walk pattern to the tumbao moderno and are well on the way to being a percussionist dancer. Imagine yourself as a drummer playing the pulse and complementing the tumbao moderno, except instead of using your hands on a drum, you're using your feet on the floor. Close your eyes and feel how your steps mesh with the tumbao moderno.

Exercise 3.3

As in Exercise 3.2, substituting steps on the spot with travelling ones. Try to keep your steps regular to reflect the pulse. You may find it easier to “drum-walk” the pulse to a higher tempo at first.

Creating the salsa dance rhythm

Salsa's dance rhythm is constructed from the pulse with the addition of a step coinciding with the slap stroke in-between the pulse beats. As we've just covered the pulse, and have already addressed the slap stroke in the previous lesson, we have all the components necessary for assembling the salsa dance rhythm.

Exercise 3.4

Solo, sitting down. This is identical to exercise 3.1.2 except: you use the same leg twice on either side of the slap stroke, in alternation:

Open Tones -(right)- Slap -(right)- Open Tones -(left)- Slap -(left)-…

Exercise 3.5

Solo, sitting down, identical to Exercise 3.4, tapping with the other foot on the slap stroke:

Open Tones -(right)- (left) -(right)- Open Tones -(left)- (right) -(left)-…

Exercise 3.6

Solo, standing, identical to Exercise 3.5, but stepping (i.e. adding a weight transfer onto every tap) instead of tapping:

Open Tones -right- left -right- Open Tones -left- right -left-…

Stay focused on maintaining the pulse with your feet.

Core conclusions

You may have noticed that we have studiously avoided learning the rhythm to a count within the core content. This is entirely intentional since we believe that you should learn how to trust your ears instead of reducing rhythms to a numerical abstraction.

You should now have the ability to discern the four beats of salsa, but we have one thing left to do; we have to correlate everything you've learned with beat numbers. Yes, I know that goes against what I've just said, but the practical truth is that most instructors still teach to a count, and you may find yourself in such a class sometime soon.

So here's the tumbao moderno summarised in terms of beat number:

Beat 1: presence of nothing, preceded by double open tones;

Beat 2: slap stroke;

Beat 3: presence of nothing, preceded by slap stroke;

Beat 4: (first of) double open tones.

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