Bassoon Video Professor
巴鬆管視頻教授
唐英伟博士
Translated by:
翻譯
朱潇潇
Comments on musicality, motion in music, and Tabuteau's "drives." Demonstration of ways to practice the musical application of dynamics, vibrato, and rubato. Performance of a portion of Alberto Orefici's Melodic Study #1. By Terry B. Ewell. Bassoon Digital Professor #100. www.2reed.net. Translated by Xiaoxiao Zhu.
有关乐性，音乐运动和塔比托的“驱动器”的讨论。运用音乐的强弱，颤音，和散板的方式进行多种示范。演奏部分使用阿尔贝托的第一旋律研究。巴松管教授唐英伟第100期视频教学。 www.2reed.net。翻译：朱潇潇。
<Music from Orefici’s Melodic Study No. 1>
1. Welcome to the 100th video in the Bassoon Digital Professor series. I am delighted to be here and celebrate this milestone with you.
欢迎来到巴松管视频教程系列的第100集。我很高兴在这里与你一起庆祝这一具有里程碑意义的时刻。
2. I have prepared for you a special video that summarizes an important aspect of my pedagogy. That aspect is motion in music.
今天我为你准备了一期特殊的讲座，来总结我教学的一个重要的方面。就是音乐的运动。
3. There are many writings on motion in music. Well known among musicians is David McGill’s book “Sound in Motion.” But McGill is not the only author to use of the metaphor “motion” to describe music.
有很多人关于音乐的运动出版了著作。其中，著名音乐家大卫·麦吉尔著有“运动中的声音”，但用“运动”来形容音乐的不仅是麦吉尔一人。
4. Many contemporary musicians, music theorists, and philosophers have also written on the subject. I have also made references to motion in music in several of my writings.
许多当代音乐家，音乐理论家，哲学家们也都就这个主题提供了参考文献。我也在我的若干文章里涉及过音乐的运动。
5. References to motion in music extend well back to counterpoint treatises in the Baroque period, if not even before.
有关音乐运动的参考书籍从巴洛克时期的对位论中就可以找到了，甚至更早。
6. If you want to explore the subject of motion in music, I have prepared a bibliography for you that is available at www.2reed.net/motion.
So let’s get started.
如果你对有关音乐运动的课题感兴趣，可以到我的网站www.2reed.net/motion里面查看参考书目。
好的，现在我们就开始今天的视频教学吧。
7. So how does a performer add motion to music? What do we mean by musical direction?
一个演奏家如何把运动添加到音乐中去呢？我们所说的音乐的发展方向是什么呢？
8. Typically we use three ways to show motion in music. These are dynamics (crescendo and diminuendo), varying the speed of the vibrato, and rubato, that is, slight speeding up or slowing down the tempo.
通常情况下，我们使用三种方法来显示音乐中的运动。这些强弱符号（渐强和渐弱），多种颤音速度，和散板，即，轻微的加快或放慢节奏。
9. There are more ways to show motion, but those are the three we will deal with here in this video.
还有更多的方式来表现音乐的运动，今天的讲座中我们具体要讲的就是刚刚提到的三种。
10. Marcel Tabuteau spoke of the term “drive.” This is something that he coined. A drive is a scaling of some aspect of music. It is a musical parameter.
马塞尔.塔比托最早提出“驱动器”这个说法。驱动器是音乐某些方面的标准。它是一个音乐参数。
11. Here is an example of a drive using only dynamics. Set your metronome for a quarter-note equals 60.
下面这个例子就是一个只运用强弱的驱动器。在您的节拍器上设置一个四分音符等于60的速度。
12. Notice that this is a five count exercise. The first measure is five counts, so is the second, etc. I am indebted to Norman Herzberg for this idea.
要注意的是这是一个五拍子的练习。每一小节都是五拍，我要感谢诺曼·赫茨伯格的这个点子。
13. When you have mastered the five count exercise add a beat to each measure. Keep adding beats to challenge yourself throughout the whole range of the instrument.
当你掌握了这个五拍子练习之后，给每一个小节都加上一拍再进行联系。然后不断的增加节拍，在乐器的整个范围内来挑战你自己。
14. You can also practice dynamic drives with articulation. There is such a great variety to the ways you can practice drives that you can entertain yourself for many hours. Be creative!
你也可以在练习强弱驱动的同时加入发音练习。并且你也可以运用多种方法丰富自己的练习时间，试着加入自己的创意！
15. Now, let’s take a brief passage from the first Melodic Study by Alberto Orefici to examine musical motion. Orefici is explicit in this passage about the location of the climaxes.
现在，让我们来使用阿尔贝托的第一旋律研究中的一小段来一起分析一下音乐的运动。阿尔贝托在文章中明确指出音乐运动中最高点的位置。
16. The downbeat of measure 2 is a musical goal. The fourth beat of measure 4 on the appoggiatura is another musical goal.
第二小节的起拍是一个音乐目标。第四小节第四拍的倚音则是另一个。
17. The last two goals are found on the downbeat of the first measure of the second line and then the appoggiatura E3 in the third measure of that line.
最后两个目标可以在第二线上第一小节的起拍和同一线上第三小节的倚音E上找到。
18. Now, you can practice musicality in several ways. Here is an example of where I play a single tone, a monotone G4, and vary the vibrato and dynamics together. I will tap my foot so that you can hear the beats.
现在，你可以用多种方式练习音乐了。下面举个例子，我吹一个单音G，结合多种颤音和强弱一起。我用脚来打拍子，这样你可以听到节拍。
<Monotone with tapping foot>
单音和脚打拍子
19. I hope that you hear that I project forward motion in the music by means of a faster vibrato and louder dynamics.
我希望你能听到我在保持音乐向前运动中的同时使用了更快和更强的颤音。
20. Conversely, motion away from a musical goal is broadcast by means of a release of tension, that is, a slower vibrato and a decrescendo.
相反，离开音乐目标的运动是不那么紧张的，一般是较慢和渐弱的颤音。
21. When I play the monotone, I am listening to the music in my mind. We call this audiation. Here is the monotone again, but this time I will point out the corresponding place in the music.
当我吹单音时，我的脑海里回荡着音乐。我们称这为试音。然后我又吹了一遍单音，但这次我要指出它在音乐中所对应的位置。
<Monotone with tapping foot>
单音和脚打拍子
22. Why is the monotone so important as a practice tool? Well, if you can’t play musically on a single tone, you really aren’t playing musically with many tones.
为什么单音是如此重要的一个练习工具呢？因为如果你无法用单音把音乐奏好，那么即使给你很多音，你也无法去表现出音乐的色彩。
23. The many tones are simply masking your inabilities.
色调再多都只是掩盖你的无能。
24. Here I will play the monotone for you again, but this time I tongue the beats.
现在我为你再吹一遍单音，但这一次我用舌头来打拍子。
<Monotone with tonguing>
单音和舌头打拍子
25. Did you notice that I didn’t restart my vibrato every time I tongued? It is a terrible habit to link your vibrato to your articulation patterns.
你有没有注意到，我一直在用舌头但并不需要重启我的颤音？这是一个不好的连接你的颤音和发音模式的习惯。
26. Don’t do it! The vibrato should operate separately.
不要这样做！颤音应该是单独分开演奏的。
27. Now, you should practice varying the vibrato and dynamics separately. In fact you want to gain such control over both so that you can vary the two independently at will.
现在，你应该分开练习颤音和强弱变化。这样的话，你才能完全掌控它们。
28. Sometimes you might want to increase the speed of vibrato as you decrescendo, for instance. Here is a figure in which dynamics and vibrato are in opposition.
举个例子来说，有时你可能想在渐弱时加快颤音的速度。这里有一个数据显示出颤音和强弱的变化是相反的。
29. Now let’s practice rubato, that is the speeding up and slowing of the tempo. I will tongue 8th notes so that you can hear the tempo changes.
现在，让我们来练习散板，它的节奏时快时慢。我用舌头打八分拍子，这样你就可以听到节奏的变化。
30. Notice that rubato needs tasteful application. You can’t suddenly speed up or slow down. You need to project to your listener a natural path for the music to follow.
请注意，散板需要优雅的来演奏。你不能突然加快或减慢速度。您需要带领你的听众自然地走在音乐的小路上。
31. It is a bit similar to a tame rollercoaster ride. Smooth descend and ascents. Nothing jerks the rollercoaster, rather accelerations and decelerations happen according to gravity.
这是一个有点类似于在坐一个温顺的过山车。平滑的下降和上升，而不是仅仅靠重力的作用加速和减速，还有猛烈撞击。
<Music from Orefici’s Melodic Study No. 1 with tongued eighth notes>
用舌头演奏八分音符，音乐来自阿尔贝托的第一旋律研究
32. The arcs of the musical lines are also much like a baseball being thrown. If you see the starting its arch and momentarily blink, you still know where the ball will end up.
音乐的弧型线条也很像一个被抛出的棒球。如果你看到它瞬间划过的弧线，你就会知道球会落在何处。
33. Similarly you need to perform rubato in much the same way so that your musical goals seem inevitable. There needs to be a natural result of the musical line.
同样地，您需要用大致相同的方式演奏散板，它需要有一条自然的音乐线。
34. Now, it doesn’t seem intuitive that in order to play musically you need to be even more exacting and calculating. But when I play musically I subdivide very carefully in my mind.
现在，它并没有很直观的表现出，但是为了演奏音乐，你需要更加严格和精确。当我演奏时，我会在我的大脑中仔细地划分。
35. I am not hearing numbers like “1, 2, 3, 4, 5” but instead I hear pulses or beats much like you heard me play the tonguing pattern.
我不是听到数字“1，2，3，4，5”，我听到的是像你听我舌头打的拍子一样的节拍。
36. Don’t fall into the trap of thinking that musicality just happens spontaneously. Just as technique needs to be practiced, so too musicality needs to be rehearsed.
不要陷入到思考的陷阱中，不要觉得音乐是自然流淌出的。正如技术需要练习一样，音乐也是需要排练的。
37. God willing, I hope I can continue with another 100 videos in this series. I have so many ideas that I want to share with you, but not enough time to produce videos and materials.
若能如愿，我希望我能继续制作这个系列中的另外100个视频。我有好多东西想与大家分享，但没有足够的时间来选材和制作视频。
38. Well, to close out this video here is a performance of the first two lines of the Orefici “Melodic Study No. 1. ” God bless you, bye.
好的，用阿尔贝托第一旋律研究中的前两行音乐来结束今天的视频教学吧。上帝保佑你，再见。