Bassoon Digital Professor #88.
巴松管数码教授＃88。

Translation by Hanyu Qu. 译：屈涵雨

This is a remake of BDP#2.
这是翻拍的BDP＃2。

<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) If you have not taken a look at the first video about reed finishing, I encouraged to do so. There are several concepts here I will be assuming that you understand.
如果你还没有看过关于哨片修整的第一个视频，我建议你能去看看。因为这里有几个概念，我将假设你懂得这些概念。

2) This video here is essential for your understanding of the pedagogy I am putting forth for reed finishing. You may need to refer to this video several times.
此视频是对于你了解关于巴松哨片修整教学的必不可少的内容。你可能需要参考这个视频数次。

3) Again I encourage you to visit idrs.org, or look at my article, or go to 2reed.net. The number “2” for 2reed. Look up the article on the “Pedagogy of Bassoon Reed Finishing” that I have supplied.
再次建议您来参观idrs.org，或看我的文章，或去网站2reed.net。数字“2”为2reed。关于巴松管哨片教学的相关文章我已提供

4) An important part of this concept is the idea of counterpoises. I have given here the definition of counterpoise. It is a force or influence that balances or equally counteracts another.
这个概念的一个重要组成部分，是对均衡性的想法。我在这里给出的定义：它是一种影响平衡或同等抵消另一个的一种力量。

5) You will see in a moment or two that I use these concepts of specialty reed types as counterpoises for the way in which you can make reeds.你将会看到我会在对特殊的芦苇类型的哨片制作时使用这一“均衡性”的概念并为你的哨片制作提供方法。

6) Here for example are the three reed type counterpoises. These are the three specialty reed types. We have one counterpoise that is the "High Note" reed. Another counterpoise is this "Low Note/Quiet" reed. The third is this "Concerto/loud" reed.
举三种特殊芦苇类型使用“均衡”这一概念制作哨片的例子。第一种特殊芦苇是高音型芦苇，适合演奏高音。第二种是低音/安静型芦苇，适合低音域吹奏。第三个是适合演奏协奏曲音色偏响亮的芦苇。
7) We see that the normal reed is in the middle of this and in fact draws on various features from all three reed types. So you might want to think of each of the specialty reeds as being an extreme.
我们看到，正常的哨片，在这三个中间，其实是包含着三种特殊芦苇的各个特点。所以，你要考虑每种特殊类型的哨片作为极端情况。

8) If we had, for instance, just two counterpoises then we would have a continuum. Normal might be in this area and you travel towards high note or low note on this continuum.
例如，如果我们有一个苇片包含两个特点：适合演奏高音与低音特点的芦苇，我们就有一个统一体。正常情况下选择调制适中的位置或制作适合偏高音域或偏低音域的演奏

9) As you move toward "Low Note" you would borrow from concepts that create a low note or quiet reed. But I have in my idea of reed making actually three counterpoises or three reed types.
当你偏好于低音区演奏，你会用一个创造低音安静型哨片的概念去制作。但我所提供的想法是制作均衡于三个芦苇特点的哨片制作方法。

10) So this drawing best illustrate the concepts. So let's address the reed types.
因此，这个三角形的示意图图最能说明概念。下面我们来介绍一下这些哨片类型。

11) The normal read type,--that is the one that we found in the center of the different types of counterpoises--the normal reed type is the best possible compromise of the three specially reed types.
正常形态的哨片，是在三种特殊哨片之中的那一类，最好的结合了三种特殊类型哨片的特点。

12) It features stable intonation, a pleasing tone, and good articulation in all of the registers, but maybe not as well as some of the reed types. For instance, the high note reed may articulate better in the high register than the normal reed type. The low note reed may articulate better in the low register the normal reed type. So it's still a compromise.
正常形态哨片具有稳定的音准，优美的音色，以及在中，高，低音域较好的变换衔接。但是可能在某些特点上是不如特殊哨片类型的。例如，高音型哨片可能比正常哨片更好地阐释在高音区的变换。低音安静型哨片可能更好地表达低音区的曲调变换。因此，正常型芦苇是一种折衷的类型。

13) It features flexible dynamic contrasts. And it features points of inflection. That was a term we introduced in our last video of the series.
它具有灵活的动态对比和在哨片制作上设有拐点。这个概念我会在下一个视频里介绍。

14) The specialty reed types, features the three: high note, low note... (I might add that this quiet reed type is one that I use when I play continuo. This is where you want very subtle playing that perhaps joins a cello or another continuo instrument; you are able to play very quietly with a great tone. But generally you don't play much above a mezzo-forte dynamic in some of these continuo parts so you would emphasize that particular reed type.)
特殊哨片类型，有三种：高音型，低音型 （我可能会在演奏持续音的时候使用低音安静型的哨片。当演奏一个持续微弱的长音，或加入大提琴或其他演奏持续音的乐器中，这样的哨片类型可以让你诠释安静漂亮的音色。但要注意在有些持续音演奏或合奏时一般力度要小于中强，你就可以选取偏向于安静型的哨片）

15) ...and the concerto or loud reed, which is one that you would play a concerto with, hence the title.
协奏曲型响亮的哨片，这是一种适合演奏协奏曲的哨片类型，正应了协奏曲这个标题

16) Let's look at some of the features of these three specialty reed types. The high note read type in general features a narrower shape, either or
both in the blade itself or in the throat measurements as well--the tube. It has a shorter blade, rounded first and second wires, a greater heart to wins ratio, (Again review the first video for the location of the heart and wings) a greater spine to rail ratio, points of inflection, and a parallel scrape. This is again an example I introduced in the last video with extreme examples of the parallel scrape where generally from the heart area on back where we have the same thickness to the blade or the sloped or pyramid scrape where you have a sloping through most of the reed blade.
让我们来看看一些这三个专业哨片类型的特点。适合高音域演奏的哨片正常形态下应该是这样的:总体形状较窄，苇片或哨片的喉径较窄，哨座也较窄。此类哨片有较短的苇片，第一和第二铜环更圆一些，苇心至启动区的比例更大（需要再次复习关于介绍苇心与启动区的第一个视频 ），脊柱的比例，风口拐点将更大，和平行刨面。这也是我在最后一个视频里举出的关于平行刨面的极端例子，通常在苇心和后背区域苇片有相同的厚度，或在倾斜刨面的苇片上有一定的倾斜度。

17) The low note, quiet, or continuo reed features in general a wider shape (especially in the blade), a longer blade, flattened first and second wires, lesser heart to wings ratio, lesser spine to rails ratio with a thinner spine (that is going to be important for us to consider as well), a thinner tip, and often a sloping scrape. This seems to emphasize this reed a bit more.
适合演奏低沉，安静，持续声音的哨子形状通常较宽，苇片较长，一二铜环扁平，苇心至启动区的比例变小，中脊至叠合轨的比例变小（这点需要我们尤其注意）， 更薄的起音区域，并通常是倾斜刨面的这点更突出了此类哨子的特点。

18) Our third type is the concerto or loud reed. This generally has a wider shape (particularly in the throat), features no points inflection or some slight inflections at the wings, a lesser spine to rails ratio with thicker rails and actually thicker spine as well, and a larger aperture height and width.
第三种类型是适合演奏协奏曲偏亮的哨片。这类哨通常形状较宽，特别是哨片的喉径没有风口的拐点或拐点只是轻微在边缘出现，中脊至叠合轨的比例较小及相对较厚的中脊，以及更宽更高的风口

19) Now let's just further explore this concerto or loud reed.
现在，让我们进一步探讨适合协奏曲用偏亮的哨片类型。

20) In order to play loud on the bassoon it's a function not only of the amount of surface area you have vibrating on the reed, but also amount of air you can blow through the reed. So for this reason the concerto reed in general has a higher aperture height and aperture width through all of its articulation. That allows for greater air flow through the reed. That is also the reason for the wider throat shape. This can also help will reed to be louder. Again you have the ability to put more air through the reed.
吹奏强的音量不仅取决于哨片表面震动多少，还取决于你吹入通过哨片震动的气息量。因此，，一般协奏曲簧片有更高的风口高度和宽度以便于演奏者调整。这使得通过哨片的气息量变多，同时增大哨片喉径也可以达到同样效果。这也可以帮助哨片奏出更响亮的声音。再一次强调，你要学会使更多气流通过哨片。

21) Now I have to give a caveat here. Not all specialty reed types will have every feature listed. They will draw upon many of the characteristics as components to achieve the desired results. But that doesn't mean that all
these characteristics will be present. Think of these characteristics as a bit like the ingredients in a stew. More of one ingredient should be added if another ingredient is taken away or even omitted. This is sort of a recipe for playing. You might have a high note reed in which one player might find it preferable instead of having a narrow blade, for instance, instead to have a shorter blade. 
我想给你们一个提示：不是所有特殊类型的哨片都会具备所有我讲到的那些特征。特殊类型哨片会具备大多数所提到的特征，但并非所有特征都会有所呈现。你可以类比一下做汤所需的配料来更好的理解这一概念。如果一些配料消失，我们就必须加其他的来弥补。演奏是一样的：有些演奏者用偏亮的哨片可能会选取苇片较短而不是苇片较窄的方式。

22) Now let's try to understand the relationship between points of inflection and the reed types. I have mentioned that for instance, that the concerto reed does not have these points of inflection as much. You do tend to find these in the high note and often even in the low note r  eed.
现在我们试着来理解哨片风口拐点和哨片类型的关系。我提到过适合协奏曲演奏的哨片的风口拐点很小甚至没有，你在适合高音型或少数低音型哨片之中也会发现这种情况。

23) Reeds with points of inflection allow for multiple reed apertures. This is due to the spring like action of the reed. The spring like action permits the performer to select varying reed apertures as is illustrated here. So you can make a choice of having a very open aperture to having an aperture that is very small and everything in between. Since the apertures change the vibration surface, it is almost as if you are changing the size of the reed. That's why it's very helpful to have the smallest reed possible for the highest register. That's why the illustration here in 3 shows a lesser vibration area--this white area would be vibrating. This would be closed off with more embouchure pressure shown here in number 3.
哨片的风口拐点决定着哨片风口大小。这是由于哨片的振动，振动大小让表演者去选择风口的大小。表演者根据自己的需要去选择或大或小的风口，因为风口改变振动面积，这就像你在改变哨片大小一样。这就是第三区域所呈示的一个振动较少区域，这个白色的区域是震动的。如果演奏者嘴巴压力加大，这个区域就会闭合减小些

24) Conversely you have a greater vibration area with a very relaxed embouchure. Only the very blackest areas here are dampening vibration.
The rest of this would be vibrating. That would favor of course a lower register, a louder reed, and those sorts of issues as well.
相反，如果演奏者施加压力小有一个大的振动区，这里只有最深颜色的区域微弱的做阻尼振动。剩下的区域会振动，当然这样的振动更适宜于低音区的演奏，一个偏亮的哨片等的情况。


<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。> 以上版权归唐英伟博士所有（2012）