TUTORIAL教程
Welcome, this is Terry Ewell.
1. Weissenborn study #13 starts with a tongued run that is best played “on the wind.” By this I mean that the player should provide the same air support and phrase shaping as if the notes were slurred. Avoid excessive jaw movements, if you can. Instead shape the length of the notes with the tongue. For further information on “playing on the wind” please see Bassoon Digital Professor video #56.
1。维斯伯恩练习13的开头最好是吹奏成“穿透音符”的舌音。在这儿我的意思是，如果是连音的话，演奏者应该提供同样的气流支持及乐段划分。尽量避免过多的下颌运动，用舌头去固定音符的长度。关于“穿透音符”的更多信息，请参阅巴松管数字视频教学第56期。
http://www.2reed.net/bdp/home.html#bdp56
2. Avoid pulsing on the dot of the dotted notes (dotted quarter notes). Here is a way that students often play:
2。要避免附点音符（附点四分音符）的不稳定。下面是学生经常吹奏的一种方式：
3. Instead the melody line shouldn’t be interrupted with these extra accents on the dots of dotted notes.
3。相反，旋律线不该被这些附点音符上强调的重音中断。
4. There are common counting errors that students make in this study. Be sure that the quarter note followed by the eighth rest in line one are accurate. Also don’t add a beat after the A4 at the end of the second line.
4。在这课学习中，有一些学生容易犯的常见的计算错误。要确保第一行八分休止符后的四分音符是准确的。而且在第二行最后的A4之后，不添加任何节拍。
5. I use alternate fingerings to help perform the sixteenth notes in line 3. Normally I play G4 with the whisper (piano) key down. Here I leave it off to move quickly to the left hand only fingering for A4.
5。我使用替代指法，来帮助吹奏第3行的十六分音符。通常情况下我会把弱音键放下去吹奏G4。在这里，我把它关闭，快速移动到左手的A4。
6. By the way you can view my standard fingerings at:
6。顺便说一句，您可以在下面的网站上查看我的标准指法：
http://www.2reed.net/EwellArticles/BsnFingerings.pdf
7. The flick key “C” is best held down for repeated tongued notes in a scale with A3, Bb3, B3, and C4. For instance, in line 5 measures 4-6 you should have the C flick key depressed to improve articulation as given here. Also this technique is employed in the second measure of the study and elsewhere.
7。在音阶A3，Bb3，B3，和C4中吹奏重复的舌音时，最好按下小键“C”。例如，在第5行4-6小节，你应该按下小键C，来提高这里的清晰度。这个技巧也同时用于这课练习的第二小节，以及其他演奏中。
8. I also use the flick key for slurred intervals of a third or more. For instance, I flick the A3 at the end of line 6.
8。在三和弦或多和弦音程的的连线时，我也会使用小键。举例来说，在第六行的最后我会用小键吹奏A3。
9. When Weissenborn gives a fermata in the music he implies a slight rallentando or slowing down prior to the fermata. Sometimes he will indicate this in the music and sometimes it will not be there.
9。维斯伯恩给出一个延长记号，他暗示在这个延长记号前可以有轻微的渐慢。有时候，他会在音乐中指出这点，有时则不会。
REFLECTION沉思
“Garbage in, garbage out (GIGO)”
垃圾进，垃圾出
4. This is an old saying in computer programming. It meant that the quality of information given by a computer program (an app) was only as good as the quality of information given to it. If you give a computer program poor or nonsensical information, it will give out the same poor quality of information.
4。这有一句计算机编程的老话。意思是，计算机程序（应用程序）所输出的信息质量和输入的一模一样。如果你给一个计算机程序输入了不好的或毫无意义的信息，它会发出同样质量差的内容。
5. Your output—your musical performances, your health, your conversations with other, the sum total of your life—is directly dependent upon what you are putting in your body, mind, and soul. Be sure to consider carefully what you are viewing, eating, and learning.
5。你的输出----你的音乐表演，你的健康，你与他人的谈话，你的生活总和，是直接依赖于你输入到身体、心灵和灵魂的东西。请一定仔细考虑你正在所看的，所吃的，所学的。