Bassoon Digital Professor #33.
巴松管数码教授＃33。
Translation by Hanyu Qu. 译：屈涵雨
<Music:Vivaldi's Concerto in E minor for bassoon and strings>
背景音乐：维瓦尔第 E小调巴松弦乐协奏曲
1.In lesson three we are going to do what I like to call the "articulation experiments." Perhaps if you are in high school you have taken some chemistry and physics classes and you have done some experiments where you look at the data and you do a study.
第三节课我们将来进行 “演奏发音实验”，如果你还在读中学你也许在学校物理化学的课堂上做过一些实验，你记录下数据并且研究实验结果。
2.I want you to have that in mind as we are looking at these experiments. These experiments will tell us important aspects of articulation. I think they help determine what method we use for articulation on the bassoon and when it is appropriate.
我希望你记在心里的是我们将观察体验这将要进行的实验，这些实验会呈示发音方法的重要方面，这将会帮助我们选取使用适合巴松演奏时的发音的方法
3.So, let's get on with the articulation experiments. What you will need is a bocal and a reed: a reed that is soaked, that is.
下面就让我们开始实验吧！你需要准备弯管和哨片：一个湿润的哨片
4. For these experiments I would like you to take a piece of paper and make a little graph, a little chart.
在实验中我希望你准备一张纸并绘制出小的表格
5.But first I will start with a little quiz. Let's see how well you do. How many ways can you think of starting and stopping tones on the bassoon.
I can think of five ways. See how many of these ways you can put down on your piece of paper.
但是开始之前我先出一个小测试。让我们看看你表现如何。问题:你能想出多少个让巴松发音和停止发音的方法？我可以想出5种。把你的想法写在纸上让我看看你能写多少种？
6.I encourage now you to stop the video and try to think of the different ways in which we start and stop tones on the bassoon.
我鼓励你现在暂停视频然后开始思考让巴松发音以及停止发音的方法
7. OK, so how did you do?
好了！你做的怎么样？
8.Most of my students are able to find three ways in which to start and stop tones on the bassoon. The first way being stopping and starting the air. The next being the embouchure. If you close off the reed all the way, it doesn't vibrate. It doesn't matter how hard you blow, it doesn't matter, if you close off the reed all the way it doesn't vibrate.
我的学生大多数可以找出三种方法来发音及停止发音。第一种方法是控制呼出空气的开始与停止。第二种方法是控制风口，如果你把哨片风口闭合它就会停止震动，无论你怎样用力送气是不会发音的因为整个哨片已经停止了震动。
9.A third way is with the tongue. I actually split this up into two ways (3rd and 4th way). The tip of the tongue on the reed is one way to stop it, and also the tongue if it touches the roof of the mouth in what we call double tongue or varied other tonguing techniques that you might use on the roof of the mouth or the back of the tongue (which is another way to stop it).
第三种方法是用舌头来控制发音的开始与停止。事实上我把这种方法一分为二（第三种和第四种方法）。用舌尖堵住哨片是停止发音的一种方法，还有一种是我们叫做双吐的一种演奏方法，用舌头接触上颚来完成发音。运用舌头还有其他很多演奏的技巧，可以通过舌头接触上颚，或运用舌根来使发音停止。
10.The fifth way is very uncommon. It is one that we don't use with wind instruments (although a few people use it). It is called a glottal stop. If you just go "ah...ah...ah" stopping right there. You are stopping that tone with the glottis. That can also stop the tone on the bassoon.
第五种方法很不寻常，是一种我们不对管乐器是使用的方法（尽管也有小部分人用它）它叫做喉塞音或者声门塞音。如果你“啊……啊……”然后直接把声音封在喉部，这也是一种阻止发音的方法。
11．But that is not something we use for stopping the tone in wind playing. I don't advocate that.
但是这并不是一种我们演奏木管乐器阻止发音的方法，我不提倡这样做。
12. So you now have the three basic ways. You have the air stop; you have the stop with the embouchure, and the stop with the tongue.
所以你现在有三种基本的方法：你可以通过阻止气流停止发音，也可以闭合哨片风口，或者用舌尖堵住哨片停止发音。
13.Now we are going to test each method. I want you to make a diagram like the one shown on the screen right now. One for charting the air, one for charting the embouchure,and one for charting the tongue. Now take your bocal, take your reed and we are doing this experiment on the bocal because it is unstable. <Toot toot toot toot> It makes a great little party instrument. Use it on New Year's Eve!
现在我们来逐个检验。我希望你可以照着视频上显示的列一个表格。一个为记录第一种气流的方法，一个为检验风口闭合的方法和一个第三种舌尖停止方法的表格。现在拿出弯管装好哨片来试验，这样结果更稳定。〈演奏：突 突 突 〉这像一个多好的派对乐器，你也许可以在新年除夕派对上这样演奏它
14.It allows us to hear the signatures of each of these types of articulation. By signatures I mean the characteristics of these types of articulation.
So the very first one we will test is the air articulation. I want you to keep the jaw the same, the embouchure the same, and just start with the air. Increase the air speed--like a crescendo--and the decrease it. But keeping this [the embouchure] the same altogether.
I will do the experiment for you right here.
这让我们很好的听清楚这三种方法的演奏标识。所谓标识就是三种方法各自的特点。我们先来测试体验下第一种方法：我希望你保持嘴型不变风口与不变只是送气，并且加大气息流速，像做渐强一样，然后再慢慢弱下来放慢气息流速。但是一定保证风口不变。下面我来向你展示：
<rising tone with cresendo and lowering tone with diminuendo>
〈做出长音的渐强和渐弱〉
15.I started with the tongue. This time I will start without the tongue.
我用舌头起音了，这次我用气息起音
<rising tone with cresendo and lowering tone with diminuendo>
〈再一次做出长音的渐强到渐弱〉
16.Did you hear the change in pitch there? As I increased the air the pitch went up. As I decreased the air the pitch went down. OK, put that on your chart right now.
你听到音高的变化了吗？随着我气息的加大音高会升高，同样气息的减弱也会使音高变低。好，现在把它记录在你的图表里。
17.Next we are going to test the embouchure. So I want you to take the embouchure (if this is the reed and this is the embouchure) I want you to close off the reed altogether. Then you are going to drop your jaw and then release the reed, the reed is going to vibrate, and then you are going to close it off again.
So let me do the embouchure articulation.
下面我们来做第二个试验：拿起你的哨片，假设我左手为嘴巴左手为哨片风口的话，我希望你用嘴封住风口，然后再张开释放气息，有气息推动哨片震动，接下来你再控制嘴巴闭合风口。下面让我来示范。
<tone falling and then rising>
〈声音音调调先降低又升高〉
18.Did you hear how the pitch scooped down as I opened my jaw and then it went up as I closed me jaw? This is very important. This is is a characteristic of the double reed, as is the air [articluation] shape.
你听到随着我下巴的打开音调变低嘴型变紧下巴闭合而音调升高了吗？这一点非常重要。这是双簧片乐器的一个特点，就像刚刚第一个气息量图表里呈现的一样。
19.Last of all--the tongue. So take the reed, put you tongue on it, the air starts, the embouchure is all set. You release the tongue, the reed vibrates, then you put the tongue back on the reed. Let's see what the
characteristic signature of that is. <tone>
最后一个试验-用舌头发音和结束发音。现在拿起哨片，舌头轻触，呼出气息，保持风口。当你释放舌尖呼出气息，哨片震动发声，然后你再用舌头触碰哨片来停止发音。让我们来看看此类型发音的特点。〈吹奏长音〉
There is just a straight tone. OK, make sure to chart that as well.
这种发音很直接，好的，在你的表上记录下来。
20.Now with those three determinations, now we are going to find
out the speed of each articulation. So I want you to stop and start the tone as quickly as you can with the air.
<repeated tones>
现在我们脑海里已经有了这三种方法的定义，现在我们来看看这三种发音方法的速度如何。现在我希望你使用第一种气息发音方法快速发音。
〈重复快速发音〉
21. I can't do it very fast so I would characterize that tempo as slow. Next I want you to take the reed with the embouchure and stop and start with the embouchure as rapidly as you can.
我在这种发音方法的情况下达不到很快的速度。下面请你用第二种方法快速发音
<repeated tones>
〈重复快速发音〉
22.I can do that much quicker--you can hear that. But I don't have a lot of control. You can hear how the notes are sagging [in pitch]. Then with the tongue, the single tongue: <quick, repeated tones>
it is very rapid.
我使用这种方法演奏听得出来明显比刚才快得多，但是这种发音方法不能很好地控制，你可以听得到音的音调在发音时轻微变化。现在我们来用舌头发单音：〈快而重复的单音〉这种发音最迅速。
23.So we have learned some very important things, right now, as a result of our articulation experiments. These results will carry over to our playing. We have learned that if we are going to choose an articulation by itself the tongued articulation superior. It is superior 1) because it retains an even pitch; 2) for speed.
我们这堂课已经学到了非常重要的东西，这些方法将会在我们演奏的时候用到，我要在演奏时挑选最合适的发音方法去表达一段音乐。是否符合标准有两个条件1）选取此法演奏不会影响到音高的稳定2）可以很好地控制速度
24.Now like many people I don't appreciate every note being stopped with the tongue, as it were, like a sausage cut off at the end. <tone demonstrating abrupt stop with the tongue> That tends to be rude. That tends to be abrupt. So often I and many others use a combination of the air and the embouchure to shape the ending of the note. We start each note with the tongue but we shape the ending with the air and the embouchure.
像许多人一样，我不提倡每个结束音都用舌头来停止，给我的感觉就像截香肠一样生硬。〈示范演奏有着唐突结尾的声音〉这样结尾很唐突与仓促。所以我和大多数演奏者采用结合气息与风口闭合的方法来结束尾音。我们用舌头起音然后用气息和控制风口结束这个音。
<tones played demonstrating starting with tongue and ending with air and embouchure>
〈示范演奏用两种方法结合结束尾音的方法〉
25.With proper shaping--remember when the air drops--the pitch goes down. So the embouchure has to compensate for, it has to tighten.
要把尾音修饰好，记住当气息缓缓减少时，嘴要紧一些，用闭合风口来控制音高的稳定。
<Music: Vivaldi's "La Notte">
背景音乐：维瓦尔第 – 夜晚