Translation by XiaoXiao Zhu. 译：朱潇潇
This is a remake of BDP#1. Bassoon Digital Professor #87.
这是一个翻录的BDP # 1。巴松管数码教学第87期。
<Music: Hummel, Bassoon Concerto, I, Terry B. Ewell, bassoon, and Peter Amstutz, fortepiano, Oct. 1997, Kent University.>
<音乐：哈默巴松管协奏曲第一乐章，巴松管演奏：唐英伟博士；钢琴伴奏：彼得.阿姆斯特茨；1997年10月，肯特大学。>
1. There are a myriad of scrapes that are available for bassoon reeds. These are two of the hypothetical types of scrapes we have for the bassoon reed. The parallel scrape features of a quick sloping tip area and then is largely the same thickness from the heart to the back. Obviously you have reeds that are a compromise of these two types. The sloped shape you also have the tip area but then it slopes on up to where we find the bark or the area of the first wire. As I mentioned, some of the sloped or pyramid shapes will not feature called a collar or an abrupt ridge in this area here.
1.尽管对哨片苇片刨面的规格没有限制，但我们所需要的苇片刨面只需要两种，一种是平行刨面，一种是倾斜刨面，任何哨片无论怎么变化无非此两种情况。在理想形式下，平行刮削起音区并逐渐向后倾斜上升至苇心处，从苇心至哨肩处厚度一致。在倾斜刨面情况下也是从起音区开始，但是还要找到第一铜环的位置。正如我所提到过的，一些倾斜或金字塔刨面的这个地方没有哨肩。
2. I prefer the term "sloped" and we will use the term here, but there are other reed makers who prefer the term "pyramid."
2. 在这里我更喜欢用“倾斜刨面”这个术语，但也有其他的哨片制造者喜欢称之为“金字塔刨面”。
3. Now we are going to talk a bit about the "aperture" of the reed. The aperture is what you see when you look at the tip of the reed or the opening of the reed. Here we have two different types of apertures. We have one aperture that is basically a single curve and then we have another aperture where we have a curve that reverses direction. See right where the arrows point we have a change in direction. There are more complex curves to this aperture. We call this area of change "the point of inflection." These two reeds types will of vary in response. These apertures produce different types of reeds that we will discuss later on in this video series.
3. 现在我们来谈谈哨片的“风口”。在你看哨片的起因区或者开口端时可以看到“风口”。这里我们有两种不同类型的“风口”。一种风口曲线单一，另外一种曲线有凹凸不平的变化。看右边的箭头指示我们会看到一种方向的变化，这个风口有更多较复杂的曲线变化。我们称这部分为“风口拐点”。这两种类型会带给哨片不同的反应。这些风口是如何产生了不同类型的哨片，我们将以后在这个系列视频中讨论。
4. Now when we are referring to aperture we can talk about the height of the aperture, that is the distance between the two blades in the middle point of the reed (the tip opening that is the largest), and we can also talk about the width of the aperture, that is the point at which air is allowed to go into the reed. See right here at the edge here it is all black? That part of the reed is not allowing air through it. That part is not participating (at least as much) in vibration. This part is allowed to freely vibrated in the center section. So we talk about the aperture width, it is the width that is actually vibrating on the surface. This becomes important particularly for the reed with points of inflection.
4. 现在我们来谈谈风口的高度。“风口高度”是指哨片两叶苇片之间在风口处的距离（起因区开口为最大）。我们也可以谈谈风口的宽度，“风口宽度”是指哨片风口处自由振动区域中两个叠合点间的距离。看到边缘区这里都是黑色的吗？哨片的这些地方是不允许空气通过的。这一部分是允许自由振动的中心部分，不参与（至少大部分）振动。所以我们所说的风口宽度，实际上是振动表面的宽度。这就是风口拐点的重要性。
5. You can see how in number 1, 2, and 3 the width of the aperture (as well as the height) varies considerably. In fact this is the fantastic thing about a bassoon reed--particularly one with points of inflection. You are creating as it were, multiple reed shapes and multiple reed sizes. By reforming your embouchure on the reed, with various pressures of your embouchure on the reed you are actually changing the vibrational surface area of the reed.
5. 你可以看到，在1号，2号，和3号当中，风口的宽度（以及高度）有很大的差别，事实上这就是有关奇妙的巴松管哨片——具体说就是风口拐点。你把这些哨片制作成多种多样的类型和尺寸。通过改造哨片吹奏口的各种压力表面积来改良吹奏口，你实际上是改变了哨片的振动簧片。
6. So here we are looking on were looking on.... Number 1 is too open as an aperture. You probably won't find many reeds that will work with an aperture like that. But it is highly stylized so that you get the idea. Notice that the width of the aperture in 1 is greater than the width is this aperture in 2. Here in number 3 we have a much smaller aperture width. So the vibrational area of this particular reed of this number 3 aperture is right in this area. This part does not participate as much in the vibration.
6. 所以在这里我们也来仔细看看…1号作为一个风口开口太大了，你可能不会找到太多像这样的风口。但你知道它是高度程式化的。请注意，1号的风口宽度比2号要大得多。而3号风口宽度更小。所以3号风口的主要振动面积就集中在这部分。这一部分不怎么参与振动。
7. If we look at the lay [blade] of the reed I think you will begin to understand the vibrational surface. So what I show as number 1 had the aperture that was from here to here. You can see the edge of this black area in number 1 was not participating in that vibration. But everything else was freely vibrating and participating in that reed opening. Now as that reed opening closed to the 2nd aperture the black shaded area was closed off here and here and neither of these areas vibrated freely. This area (grey and white) all vibrated freely. In the 3rd all white--we've got a different lay of the reed all vibrating.
7. 如果我们看看哨片苇片我想你就会开始了解振动的表面。我所演示的1号的风口，是从这儿到这儿。你可以看到1号的黑色区域的边缘部分，不参与振动。但是，其他部分都是自由振动并且参与到哨片的开放中去的。现在，由于哨片的打开导致了第二号风口的黑色阴影区被关闭，这里、这里和这些地区没有自由振动。灰色和白色的这些部分都在自由振动。3号全部都是白色的——我们已经搞清楚了哨片振动的所有不同层面。
8. We will discover later that to the smaller the vibrating area of the reed, the more it favors the high register. The larger the vibrating area the more it favors the low register. So the number 1 aperture would be when you are playing with as loose an embouchure as possible, generally playing in the low register. The number 3 aperture would be where your embouchure is exerting more force on the reed and therefore is playing high notes, in the high register.
8. 我们之后会发现，振动面积较小的哨片，可以演奏出较好的高音。振动面积较大的哨片则倾向于低音区的处理。所以1号风口更适合配以较松动的吹奏口，在低音区吹奏。而3号风口适用于施力较大的吹奏口去在高音区演奏。
9. If we look at a reed with no points of inflection, it's different in that although the aperture height changes, there is generally little difference in the width of the aperture. So the reeds without points of inflection, despite the fact that you increase the embouchure pressure on the reeds, still freely vibrates along a large surface area.
9. 我们再来看看一个没有拐点的风口，尽管风口高度的变化不同，但是风口的宽度一般变化不大。所以对于没有拐点的哨片，尽管我们对吹奏口施压，它仍然可以沿着大面积自由震动。
10. Here's a comparison, side by side, of the openings of the reeds. Again you can see that that reed number 3 has a very small aperture here with a reed with points inflection and then there is still a pretty large aperture here.
10. 我们在哨片的吹奏口这里来作一个对比。你可以再次看到，3号这里有一个很小的风口和风口拐口，然后这里仍然有一个很大的风口。
11. The height has changed but again the width is pretty much the same for that particular aperture. I want to also talk about a couple of other terms that we have in this video series.
11. 这些不同的风口高度改变了，宽度却几乎是相同的。我还想谈谈一些系列视频中所涉及到的其他术语。
12. When we are addressing wire adjustments...let me go back to my reed here... if you round out a wire, making the tube rounder, that would be squeezing with tube with pliers on each side of the reed. If you flatten the wire, that is squeezing on this point and on opposite side, actually closing the wire down. That rounding and flattening the wires will be an important concept that will have later on in our video series.
12. 当我们试着调整铜环……让我回到哨片这里…如果你围了一个铜环，把哨片夹圆，那会像钳子一样夹住哨片侧边。如果你把哨片夹扁，平行于哨片上下夹合，实际上就会使铜环更接近底部。将铜环夹扁或夹圆是非常重要的概念我们将在以后的视频中讨论。
13. Well, this closes the first of all the video series here. I want to close with a little prayer for you. I know that reed making can be absolutely frustrating. There have been many times in my life when I've been frustrated. as well with reed making. So I just want to pray for God's mercy in your life. So Lord I would pray that those who are working on reeds now and learning these new skills, you would be blessing them, God, and helping them to understand these concepts and quickly master the making of reeds. Amen.
13. 好的，在结束这系列视频的第一期之前呢，我想为你做一个小小的祷告。我知道，哨片的制作过程可能会令人沮丧。在我生命中有过很多次让我沮丧的时候，当然也发生在制作哨片的时候。所以我只是想祈求上帝的怜悯。我向上帝祷告，请他来帮助那些现在正在学习新的技术来制作他们哨片的人，求上帝祝福帮助他们理解这些概念并且迅速掌握哨片的制作技巧。阿门。
<Music: Hummel, Bassoon Concerto, I, Terry B. Ewell, bassoon, and Peter Amstutz, fortepiano, Oct. 1997, Kent University.>
<音乐：哈默巴松管协奏曲第一乐章，巴松管演奏：唐英伟博士；钢琴伴奏：彼得.阿姆斯特茨；1997年10月，肯特大学。>