TUTORIAL教程
1. Hello, this is Terry Ewell. This study is in the wrong place in the 50 advanced studies. It is far too difficult to be number 11! Weissenborn originally gave this study number 57 out of 60. He grouped this study in a section titled “Studies of Virtuosity.” It is one of the most difficult studies in the collection.
1。大家好，我是唐英伟博士。今天这课练习在这本50课高级练习中被排错了地方，作为第11课，它太难了。在维斯伯恩60课的版本里，它最初被排在57课。他把这课练习收集于最困难的研究之一，归纳在一个标题为“最具潜质的研究”之中。
2. In addition to practicing with rhythms you will need to do “sprints.” Sprint means to run very fast in a short distance. Similarly in music I practice small segments at very fast speeds.
2。除了练习节奏，你还要准备“冲刺”。“冲刺”是指在短距离内，快速运行。同样，在音乐中，我用非常快的速度练习小片段。
(Example line 2, five notes)
3. I then connect these smaller segments to make a larger segment.
3。然后，我将这些小片段连接成大的部分。
(Example line 2, nine notes)
4. Each of these larger segments is then connected for even longer sections.
4。这些每一个大的的片段，再组成更长的部分。
(Example line 2, thirteen notes)
5. Observe that I started my practice from the end of the segment not the beginning. Playing the ending more often gives me confidence that I will finish it well. The endings are often more difficult because our concentration is strained after so many notes. In this way I finally work the entire study at the faster speed.
5。注意，我从最后的部分，而不是开头去练习。更多的吹奏结尾部分会给我一种我会完成得很好的信心。结尾往往更难演奏，因为很多音符花费了我们大量的注意力。用这个办法，我终于以较快的速度完成了这课练习。
6. Often playing something rapidly is not only a matter of good practice habits but also a proper mental construct. For example, the way in which you think about the notes can help you perform better in rapid passages. In the last three measures of line 3 I find it particularly helpful to think of the ascending scale—just the first notes.
6。经常快速练习不仅是一个好的习惯，而且也有益于脑部结构。例如，你考虑音符的方式可以帮助你把快的乐段演奏得更好。第3行的最后三个小节，每小节第一个音符，我觉得它们可以具体帮助你去思考上行音阶。
(Example play scale, give scale example)
7. I then concentrate on that scale and the fingers follow with the downward notes. However, it is still difficult and I didn’t perfectly perform it at the end of this video!
7。然后我用下行的指法练习那个音阶。但是，它还是很难，在这期视频的结尾我并没有吹奏的很完美！
(Example as given)
8. I use two alternate fingerings in this study. I use this fingering in line 3, m. 1 for F#4. For the C#4 I use the left hand fingering only.
8。在这课练习中我使用了两个交替指法。第3行第一小节升F4，我使用了这个指法，而升C4，我只用左手指法。
9. This study was inspired by a portion of the Symphony in B flat by Robert Schumann. Students should practice this also. Move the phrase—drive—to the accented C sharp. Here is that segment performed:
9。这课练习的创作灵感来自于罗伯特·舒曼的降B大调交响乐的一部分。学生也应该同时练习。拿出这个乐段，从音阶最低音开始吹到重音升C。下面是这部分的演奏：
REFLECTION沉思
10.“Vary the musical stress in each practice session. Don’t concentrate on a single piece or passage for long intervals;…” (William J. Dawson, Fit as a Fiddle, p. 46).
10.“每一段练习都有不同的音乐重点。不要花大量时间集中在一块或一段；……”（威廉·道森，身体十分硬朗，第46页）。
11. I have purposely presented the material on healthy practice habits in prior reflections to prepare you for this study. If you have not seen the reflections for lesson 9 and 10, please consider them.
11。我之前在“沉思”部分提到的关于好的练习习惯的内容，就是特意为今天的学习准备的。如果你还没有看第9和第10期视频教学中的“沉思”，可以去看一下。
12. Long sessions of practicing rapid passages such as the one in this study can lead to injury. It is important to limit your work on rapid fingerings to short, intensive sessions. In the span of 50 minutes (my usual practice session) I might have three sessions on a passage such as this. I will work various portions of the passage intensively with different practice methods. I will vary the method of practice in each of the sessions and work on different passages. Then I will move on to other practicing with phrasing, melodic material, or tuning with drones.
12。像这课练习一样大篇幅的快速练习，可能会导致受伤。把快速指法变少变集中是非常重要的。在50分钟（我平时的练习时间段）内，我可能会把它分成三段。我选择用不同的方法去集中练习不同的部分。然后，我会转移到乐段，旋律，低音音准部分去练习。
13. Practicing just this passage for a long period of time will not only frustrate you but it could lead to an injury. Musicians are athletes—micro athletes. The muscles we work are much smaller than a swimmer or a runner; however, these muscles can be injured with over use or incorrect practice techniques.
13。长期的练习这一段，不仅让你感到灰心，还可能会让你受伤。音乐家是运动员---微运动员。我们锻炼的肌肉比游泳或跑步运动员要小很多，但是，如果练习不正确或过度使用，这些肌肉可能会受伤。
14. My monograph Wind Performer’s Guide to Increasing Endurance provides further information on the muscles we employ to perform. It also supplies practice regimens drawn from research with athletes. This information may help you to practice more effectively.
14。我的专题论文《管乐器演奏者增加耐力指南》提供了我们使用肌肉的进一步信息。它还涉及了对运动员的研究所得出的实践方案。这些信息可以帮助你更有效地练习。