卡夫亚斯利宝记谱法(Klavarskribo在世界语解作「键盘作曲」
我不精通英文,请求那位高手能翻译一下吗?资料难得!说个大概意思也是好的,多谢了!Why I'm using Klavar?
As I already mentioned, I started playing the organ at a time when I was very busy. Spending much time by studying a musical notation I considered (and consider still) a waste of time, that better could be used by playing the music. In fact I started studying the traditional notation, but very soon I had the feeling, that the result would be a repertoire of about three pieces of music, learned by heart for the most part of it. I did not like that perspective very much. The solution I found was Klavar. You may not expect to become a top artist without any practice. Even with Klavar that's impossible. The fact that reading Klavar is easy, can't eliminate the need for practicing your fingers to do what the notation indicates they must do. That will cost some time. But I'm sure, I never would have learned playing the organ if Klavar did not exist.
It is said before: KLAVAR is FUN!
Using Klavar, playing an instrument becomes an occupation giving you "a joy for ever". Very quickly after the start there will be a lot of music available, that you can play. Sometimes that's a kind of disadvantage, because you may feel the temptation to switch quickly from one piece of music to another,without learning the previous one well. In such cases some discipline will be needed.
[ 本帖最后由 hzszr 于 2007-2-13 16:56 编辑 ] Klavar is a complete musical notation, all the intentions of composers can be registered with it and it can be used for all sorts of musical instruments and for singing. But the great advantages of Klavar will undoubtedly be discovered while using instruments with a 'piano-keyboard'. Many of the Klavar publications are meant for that kind of instruments. But it is very well possible, that users of either kind of musical notation play together, because, where the notation may be different, the music is not!
[ 本帖最后由 hzszr 于 2007-2-13 16:55 编辑 ] The stave
As you can see in the adjacent picture a Klavar-stave is made up of groups of 2 and 3 lines in turn. The lines of the group of three are drawn somewhat thicker than those of the group of two lines. The key-board at the bottom makes it clear, why this arrangement of lines has been chosen. The black keys of it show the same pattern. And the black keys are the player's guides to the correct key. Notes, chords and stems
Notes that sound simultaneously, e.g. for the left and right hand or as a chord, are put at equal level in the Klavar stave. Notes or chords played in a sequence are put underneath each other. So you read Klavar notes from the top of the stave to the bottom. If a black key must be struck, the note on the stave will be black and drawn on the line representing the black key. A white (open) note indicates, that a white key must be struck and lies between the black lines, as the white keys do between the black ones. Black notes are drawn above the stem (the small horizontal line on the note), white notes under the stem. The stem indicates with which hand the note or chord must be played. If the stem points to the right, the right hand must play the notes. When the stem points to the left, the left hand must play them.
If for some reason notes must be played that do not fit on the present stave, some help lines will be temporarily added in the above mentioned arrangement of two and/or three lines.
In the picture, only meant as an example, not as a piece of music or a tune, is indicated, that first the right black key of a group of two must be played. The right hand must do that, because the stem points to the right. Then a white key must be played. This key is situated directly to the left of the left black key, that belongs to a group of three. Then again a white note appears on the stave, so a white key must be struck. This one is situated between two black keys, the middle and the right one of the same group of three, mentioned before
Then the left hand must start playing because the stem of the next note points to the left. The note is open, so a white key must be played. This key you can find directly to the left of the group of two black keys. Then you see a group of two notes on one stem. Such notes must be played simultaneously and form a "chord". For the black note you must strike the right black key of the group of three, the white key lies between the two black keys forming a group.
-------------------------------------------------------------------------------- Bars and counts
Until now I did not mention the duration of the notes and the way Klavar indicates that. But I hope I made it clear, that the colour of the notes (black or white) has nothing to do with it. The colour is only determined by the position of the note on the stave. A note to be played on a black key is black and drawn through the corresponding black line. When a white key must be struck the note is white and drawn between the lines. The slanted line, that connects the two first notes of the example, has nothing to do with the duration of notes either. So it must not be mixed up with beamed notes of the traditional notation. Klavar uses such lines only to clarify the structure of a piece of music. These lines are called 'grouping lines'.
Because you already can find the keys, when you see the notes on the stave, the keyboard at the bottom is left out. In addition to the well known notes, you will see some new things, in and next to the stave. First of all there are horizontal lines. If a line is drawn across the stave and the only place left open is used by the notes, then the line is called a 'bar line'. In the example there are three bar lines. A bar line separates bars, which are the basic parts of the time division in a piece of music. The bar line is drawn somewhat thicker than the other horizontal lines (but not always as much as in the example). The horizontal dash lines in the example are 'count lines'.
At the start of every piece of music you will find some figures next to the Klavar-stave, as in the example. These figures are found at the same level as the bar and the count lines. In this way is indicated in how many counts a bar is divided. In the example a bar contains four counts. Other divisions of a bar are possible, of course. If the division of the bars is changed during the piece, then Klavar will indicate this new division by placing according figures next to the stave.
You will already have discovered, that the stems of the notes coincide with the bar or the count lines. In Klavar the stems (and not the head of the notes) indicate the exact time on which a note must be played. From the example you can see, that exact on the first count of bar 1 a black note must be played, on count 2 a white note and on count 3 another white note. All these notes are played with the right hand, because the stems point to the right. The last note of the first bar is a white note, that must be played with the left hand. Duration of the notes
I told you when to strike a key, but I did not tell you, when to release it. In principle a key is released at the same time that a new key is played by the same hand. The first (black) key is released at the moment that the second (white) note must be played. So the duration of the first note is one count. The next white note sounds for one count too, because a new white note must be played on count 3.
Let's look, for a moment, only at the right hand notes. Then you will see, that it lasts 4 counts before the next notes appear. But above the bar line of the second bar, so two counts after the last right hand note was played, you can see a little sign, looking like a 'v'. That sign is called a 'stop sign' or a 'rest' in Klavar terminology. This sign indicates, that the note above this sign has to stop at that moment. So the key must be released, without striking another key with the same hand. This is an exception to the rule I stated before. And another is coming.
Now let's look at the left hand. This hand has nothing to do during the first three counts of the first bar. But on count 4 of it a note must be played. One count later, so on count 1 of bar 2, this note is released, because a chord must be played. On count 2 of bar 2 you will see another sign, that has not been discussed. In this case it's a dot underneath the white note of the previous chord. At the same level, so at the same time, you will see a black note, that must be played again. According to the rule the white key should be released, but the meaning of the dot is to indicate, that the note above it must continue sounding, so the key must not be released. The dot is called a 'continuation dot'. And here we have our second exception to the rule. With the knowledge now available we can complete the rule as follows: a note is released as a new note must be played by the same hand or when a rest for that note is found, except for the case a continuation dot prevents that. On the next count line you will see two rests, indicating that the notes of the chord must stop. From there on the left hand has nothing to do anymore.
Let's complete the example. At the moment, that the left hand releases the notes of the chord, so on count 3 of bar 2, the right hand plays a chord of two white notes and that during 2 counts, as you can see from the two rests at the bar line of bar 3 (that has been drawn for only a very small part).
The example doesn't show the possibility to start or stop notes between two count lines. Notes with a duration, that not equals a count, are very often used in real music. In Klavar these notes or rests are placed between the count lines exactly on the position on which they must start or stop, considering the stave to be a linear time ruler. Where are we?
If you look accurately, you will discover, that I did not tell you, where exactly on the keyboard you must play. You can find groups of two and three black keys all over it. So the relative position of the notes was given, but not the exact pitch. To pin-point the stave to the keyboard, Klavar uses a set of two dash lines. These two lines coincide with two black keys directly to the right of what is called the 'central C' (also c' or the C with a frequency of about 261.6 Hz). This C is mostly found in the middle of the instrument. The manual of it can tell you more about that. 转载大众乐谱爱乐学乐网友的帖子
"卡夫亚斯利宝 记谱法"音乐学校国际有限公司网站唯一的一则中文推广
今日从网上搜索到"卡夫亚斯利宝 记谱法"音乐学校国际有限公司网站(http://www.klavarmusic.org)提供的一页用中文推广此记谱法的文字.看来外国朋友的步子走得既快且宽，值得国内从事记谱法改革研究的朋友参考。
现将该页的中文推广文字复制于下：
简化(Klavar)音符及英国简化音乐协会
好消息！！！
一九三一年，荷兰发明家、工程师兼音乐家Cornelis Pot发明了一种新的写音符方法。他将音符写在从琴键延伸出来的线上。他使用两种音符，黑色音符代表钢琴上的黑色琴键，白色音符代表白色琴键。他同时亦革新了表示音符弹奏时间长短的方法。他称这个系统为Klavarskribo，简称Klavar，它是音乐写作的世界语言。英国简化音乐协会於一九七六年注册成为一慈善机构和非牟利教育信托基金，接管一九三四年在伦敦成立的Klavarskribo音乐学院，将这个新的系统发扬光大。
简化音乐协会备有详细介绍该协会各项函授课程、音乐目录、录影带、镭射唱片及录音带(包括由音乐教授Barbara Lister-Sink所制作备受赞赏的录影带(Freeing The Caged Bird)的小册子，你可致函该协会索取，地址是：The Director,Klavar House, 50 Po Wah Yuen G/F, Lamma Island, Hong Kong。电邮至 director@klavarmusic.org 与该协会的营业经理联络，要求免费试学。现在，我们已经开始向中国和中国香港地区提供免费的简化音符乐谱下载，帮助广大音乐爱好者学习简化音符，如果你想学习弹钢琴，阅读复杂的五线谱可能让你望而生畏，那就请加入简化音乐协会，成为会员，你会惊奇的发现，原来音乐就是那么简单，尽情享受钢琴演奏的乐趣。
[ 本帖最后由 hzszr 于 2007-2-13 11:13 编辑 ] 看不懂啊！有那位高手翻译一下？ 卡夫亚斯利宝记谱法（Klavarskribo）是由荷兰人歌尼列斯‧朴(Cornelis Pot)于1931年首创的一种乐曲记谱法。Klavarskribo在世界语解作「键盘作曲」，跟传统的记谱法颇有不同。这记谱法是为了使乐谱更易读而创的。
历史
歌尼列斯‧朴(Cornelis Pot)出生于一个造船世家，曾担任一家轮船发电机制造厂的总经理。同时，他热爱音乐，并希望人们都能够从歌唱和弹奏乐器享受音乐带来的乐趣。歌尼列斯‧朴(Cornelis Pot)研究另类的乐曲记谱法，「卡夫亚斯利宝 记谱法」的意念就是从这类记谱法发展而成的。歌尼列斯‧朴(Cornelis Pot)期望音乐界会接纳他发明的记谱法，但事实并非如此，使他十分失望。音乐老师对他的记谱法也不表兴趣，相反，这些老师感到地位到受威胁，反对推广「卡夫亚斯利宝 记谱法」。朴(Pot) 拥有的财富让他可以个人能力开始出版他写作的教程，并以「卡夫亚斯利宝 记谱法」将乐曲译写出来。三十年代时，「卡夫亚斯利宝 记谱法」的用家大量增加，很多散页乐谱都以「卡夫亚斯利宝 记谱法」译写乐曲，然后出版。第二次世界大战期间，这些活动均告中断，但那段时期过后，朴(Pot)又以一股全新干劲投入工作。歌尼列斯‧朴(Cornelis Pot)成立的「卡夫亚斯利宝 记谱法」学院 (The Klavarskribo Institute) 进行了大型扩充，规模大得需一次过雇用多达五十人，并备有英语、法语及德语授课的课程。
不过随着时代变迁，电视机的出现减少了家庭音乐创作活动。朴(Pot)于1977年去世，其后成立的「卡夫亚斯利宝 记谱法」基金会 (Klavarskribo Foundation) 的资金更为短缺。位于荷兰里德刻克市(Ridderkerk) (邻近鹿特丹) 的「卡夫亚斯利宝 记谱法」基金会译写乐曲，将之出版，主要的服务对象为教会的风琴手。他们是支持基金会的重要成员。基金会亦提供多种乐器的书面教程，这些乐器包括结他、手风琴、直笛、特别适用于这记谱法的钢琴及其它键盘乐器。目前，在荷兰及海外采用「卡夫亚斯利宝 记谱法」的人数估计至少达一万人。
记谱法
Black Keys: 黑键
Black Notes: 黑音符
White Keys: 白键
White Notes: 白音符
A Keyboard with the stave growing out of it 依键盘编成的谱表。
Put your five fingers above these 5 keys. 把手指放在这五个琴键上。
Play each note twice. 每个音符弹奏两次。
A melody with the note stems pointing to the right, indicating that the right hand should be used. 乐谱中的音符棒指向右方，表示弹奏者须用右手。
Count:时值
This is a bar: 小节
Bar line: 小节线
Count lines: 时值线
Each bar has 3 counts here. 这里每一小节有三时值
A measure in three-time with bar lines and count lines 一小节三拍，以小节线及时值线表达。
「卡夫亚斯利宝 记谱法」跟传统记谱法在几方面有所不同。写上音符的谱表是垂直的，因此乐谱由上至下阅读，谱表上每个音符均有各自的位置，低音符在左方，高音符在右方，就如钢琴上琴键的位置。这谱表由一组组两条及三条的垂直组合线构成。这些线相等于钢琴键盘的黑键。黑音符写在五条黑在线，白音符写在线与线间的七个空白位。由于每个音符在八度音阶上均有各自的位置，因此不再需要标上升号及降号。谱表与钢琴之间明显的对应性，启发了朴(Pot) 选用Klavarskribo这个名字。虽然「卡夫亚斯利宝 记谱法」是普遍使用的记谱法，适用于歌唱和弹奏所有乐器，尤其当用于键盘乐器这类须同时弹奏多个音符的乐器时，这记谱法便能发挥最大的效用。
音符维持的时间及节奏以图像显示。乐谱分为一个个小节，每个小节长度相等，小节再细分为节拍。短小横向的小节线显示小节间的分界线，虚线表示节拍。所有音符都附着「符棒」(「符棒」向右表示以右手弹奏，「符棒」向左表示以左手弹奏)。这些音符所安排的位置，能准确指示出拍子系统中一个音符在什么时候必须弹奏或歌唱。如果下一个以同一只手或同一部份弹奏的音符尚未出现，原来的音符会一直持续，出现休止符或符点则例外。
因此，音符的形状或颜色跟音符维持的时间没有关系。于是，各种不同的休止符、不同的「音符点」、「连音线」和谱号都不再需要了。 「卡夫亚斯利宝 记谱法」使用一个谱号：将表示C#及D#的线变成虚线，以指示键盘的正中。因此可以轻易找到中音C音的位置。这记谱法没有属于左手及右手的不同谱号。
这个设计令弹奏者接受简短的解释之后，就可以清楚知道记谱法的显示方式，因此初学者很快就可以开始弹奏乐器。弹奏者可清楚看到要用哪只手和要按哪个琴键或要弹哪条弦线。这个记谱法就是要人切实尝试。只要切实尝试，就会用上这套记谱法。
「卡夫亚斯利宝 记谱法」不单为初学者而设，即使出自肖邦及李斯特等作曲家的那些最艰深的乐曲，也可见于「卡夫亚斯利宝 记谱法」，可见造诸高深的弹奏者也采用「卡夫亚斯利宝 记谱法」。差不多所有现时以管风琴、钢琴、手风琴等所演奏过的乐曲均可见于「卡夫亚斯利宝 记谱法」。「卡夫亚斯利宝 记谱法」基金会为钢琴、簧风琴、手风琴 (乐团)、电子管风琴、键盘及结他这些乐器所译写过的乐谱超过二万五千份，又给乐器提供概览册。此外，个人计算机软件KlavarScript更为广泛使用。这个软件可以把以传统记谱法编写的乐曲通过三个途径以「卡夫亚斯利宝 记谱法」译写。这三个途径为 (一) 使用乐器数字接口(midi files)；(二) 使用电子键盘把乐曲扫瞄输入计算机 (三) 使用电子键盘弹奏乐曲输入计算机。
机构
「卡夫亚斯利宝 记谱法」基金会及荷兰「卡夫亚斯利宝 记谱法」工会(Klavar Vereniging Nederland) 是荷兰的两个主要组织。后者自1978年活跃起来，有八百名会员。工会的宗旨是与基金会携手推广「卡夫亚斯利宝 记谱法」，使之薪火相传。工会在荷兰聘用了一班愿意以「卡夫亚斯利宝 记谱法」教学的老师。为了使「卡夫亚斯利宝 记谱法」用家弹奏的造诣得到最大的提升，工会又尝试激励「卡夫亚斯利宝 记谱法」用家跟这班老师上课。 「卡夫亚斯利宝 记谱法」基金会及荷兰「卡夫亚斯利宝 记谱法」工会，均认为向那些希望演奏音乐的人或开始学习音乐的人介绍「卡夫亚斯利宝 记谱法」的好处，是他们的任务。 书写成几种语言的散页乐谱及课程，可以下列途径得到：
「卡夫亚斯利宝 记谱法」 基金会 (Klavarskribo Foundation)
英文地址：Postbus 39, 2980 AA RIDDERKERK , the Netherlands
http://www.klavarskribo.nl/, mailto:info@klavarskribo
钢琴、管风琴、手风琴及结他的英语课程及散页乐谱也可从下列地方得到：
于1976年创办的英国「卡夫亚斯利宝 记谱法」音乐基金会 (The Klavar Music Foundation of Great Britain)
网址：http://www.klavarmusic.org/.
于1984年创办的香港「卡夫亚斯利宝 记谱法」音乐学会( Hong Kong Klavar Music Club) 为英国「卡夫亚斯利宝 记谱法」 音乐基金会的分支机构。 (甘秋健老师的文章中说)卡夫亚斯利宝记谱法即LLAVARSIKRIBO记谱法，或译为“克拉瓦斯克利波”竖式键盘记谱法。从克拉瓦国际音乐学校（KLAVAR MUSIC SCHOOL INTERNATIONAL LTD）（可能设在英国）看，主要是钢琴和管风琴课程。
卡夫亚斯利宝记谱法即LLAVARSIKRIBO记谱法，或译为“克拉瓦斯克利波”竖式键盘记谱法
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