TUTORIAL教程
1. The tenth study by Weissenborn presents two specific challenges due to the dotted eighth and sixteenth notes. Many students perform the rhythm similar to a triplet rather than the correct sixteenth.
1. 维斯伯恩练习#10介绍了关于附点八分音符和十六分音符的两个具体的挑战。很多学生会吹成三连音的节奏而不是正确的十六分音符。
2. I recognize that historically these might have been performed as triplets. See my article “In Search of the Borrowed Triplet Upbeat,” The Double Reed 31/3 (2008): 95-102. However, for this study we will perform the rhythm as dotted eighths and sixteenths. Here is the example incorrectly performed as triplets:
2。我认识到，过去它们可能被演奏成三连音。请参阅我的文章“借来的三连音弱拍研究”发表于双簧杂志（2008年3月31日）：95-102页。但是，这课练习的节奏我们要吹成附点八分和十六分音符。下面是一个错误的吹奏成三连音的例子：
Example (line 1) played with triplets
3. If you err on the side of notes shorter than a sixteenth that is better than longer value notes. Study #36 presents similar rhythmic issues. Here is the example correctly performed with sixteenths:
3。虽然把它吹得比十六分音符短是不正确的，但是也比吹得长要好一些。练习＃36也给出了同样的节奏问题。下面是一个正确演奏十六分音符的例子：
Example with sixteenths
4. The second issue is that this rhythm often causes students to pulse or accent the longer notes, the dotted eighth note. Thus the shorter notes are less audible and in addition the smooth melodic line is interrupted.
4。第二个问题是，这样的节奏型往往会导致学生去刻意强调那个较长的音符，也就是附点八分音符。因此而造成较短的音听不清楚，而且流畅的旋律线也被中断了。
Example poorly played
Example played correctly
5. There are two regions in the study that students often change the tempo. The second measure of the second line is often rushed. Also carefully work with the metronome in the passages with the sixteenth-note triplets in the last two lines.
5。学生经常会在这篇练习的两个地方改变速度。第二行第二小节会被吹得很快。另外，最后两行的十六分音符三连音也需要跟着节拍器认真练习。
6. I try to phrase in four bar units in the first section. In the middle section up to the fourth line I use two bar phrases.
6。在第一部分，我试着把每四小节划为一个乐句。中间部分到第四行我使用两小节划分的乐句。
Line 1, phrasing
Line 4, two measure phrases
REFLECTION沉思
7.“Some simple techniques can decrease excessive pressure on wind instrumentalists’ hands and fingers.” (William J. Dawson, Fit as a Fiddle, p. 43).
7.“一些简单的技巧可以减少管乐器演奏家手和手指过多的压力。”（威廉·道森，身体十分硬朗，第43页）。
8. I remember as a student and a young professional my reluctance to use a neck strap in addition to the seat strap support. I viewed it as a sign of weakness. An injury one day to my left shoulder, however, required me to use regularly another support for the bassoon. Immediately I notice not only relief to my left shoulder, but also less weight on my left hand. I could move my left fingerings better as well! After that time I never went back to only using the seat strap.
8。我记得在我做学生和年轻演奏家的时候，我只靠座椅背带支持，而不喜欢使用颈带。我认为那是软弱的表现。但有一天，我的左肩膀受伤了，我需要经常使用巴松管的另一个支持。我马上发现，它不仅缓解了我的左肩，同时也减轻了我的左手重量，并且还让我可以更好的移动左手手指！在这之后我再也没有像过去一样，只是依靠座椅背带了。
9. Tall people with long torsos will have more weight of the bassoon on their left hands than short people. While the neck strap was an improvement for me, it did, however, put additional pressure on my neck and back muscles. More recently I have been using the body harness instead of the neck strap. The body harness is great! I encourage you to consider using a body harness with a seat strap when playing the bassoon.
9。比起个子矮的人，高大的人四肢更长，演奏巴松管时会有更多的重量在他们的左手上。而颈带对我来说确实有很大帮助，但是，它也会对我的脖子和背部肌肉产生额外压力。最近我一直在使用全身式背带，而不是颈带了。全身式背带太棒了！我鼓励你在吹奏巴松管时，可以考虑同时使用全身式背带和座椅带。