TUTORIAL教程
1. Welcome, this is Terry Ewell. In Study #17 Weissenborn does not give staccato markings at the end of slurred pairs. This is different than Study #6 where staccato marks are given with each pair of slurred notes.
1.欢迎来到维斯伯恩视频教学。在第17课练习中， 维斯伯恩没有给出连线内的跳弓标记。这和练习＃6中每一组连线内都标注了跳弓是不同的。
2. Therefore the eighth notes should be rather connected and they should be separated only briefly with the tongue between the slurs.
2。因此，演奏的时候八分音符应该一组组连接起来，连线之间要用舌头清楚地把它们断开。
3. You will notice in line 4 that I have indicated two breaths quite early in the phrase. This is in order to keep air in the lungs to complete the phrase and also to avoid big gaps when breathing is needed in line 5. Similar breathing choices are made later in the study as well.
3。你会发现在第4行，我在乐段的开始已经呼吸了两次。这是为了在第5行，需要用到肺部气流完成乐段，避免大的空档。类似的呼吸选择在这课练习的后面也会用到。
4. I have mentioned before that the quickest way to breathe is by dropping the jaw not raising the head. I encourage you to practice this study breathing that way.
4。我以前也说过，呼吸的最快方法是放下下巴，不要晃头部。我建议你可以在吹奏这课练习时用这种呼吸方法。
5. The alternate F# fingerings in line 7 are to help move to Bb3.
5。第7行，F＃的替换指法会帮助移动到Bb3。
6. There will be many examples in the Fifty Studies where those two notes (F# and Bb) are slurred. Leaping the thumb over the E key (pancake key) will interrupt the slurs.
6。在五十课练习中还有很多这两个音符（F＃和Bb）连线的例子。抬起拇指放在E键会让连线中断。
7. Practice the motion from the little finger F# to the thumb Bb until you have mastered it.
7。练习小指F＃到拇指Bb，直到你掌握它。
REFLECTION沉思
8. I sat down, removed the little bandage, felt the pain had suddenly stopped, and discovered that the finger was—miraculously, it seemed to me—healed.—Igor Stravinsky
(Igor Stravinsky and Robert Craft, Dialogues and a Diary (Garden City: Doubleday & Co., Inc., 1962), p. 9.)
8。我坐了下来，拆掉绷带，感觉疼痛突然停止，发现手指，在我看来奇迹般地，愈合了。------ 伊戈尔·斯特拉文斯基
9. We saw in the last video that J. S. Bach’s encounters with God are shown in his music and his study of the Bible. Igor Stravinsky’s encounters with God were in different contexts.
9。我们在最后一个视频中看到巴赫在他的音乐和圣经学习中，阐述了他如何遇见上帝。伊戈尔·斯特拉文斯基则是在不同的环境中遇见了上帝。
10. Stravinsky gained great fame with his compositions of pagan rituals and Russian folk tales in the 1910s. Later in the mid-1920s, however, his spiritual life was transformed. Stravinsky stated that two items led to his faith in God: 1) a convincing answer to a private prayer and 2) the healing of his finger immediately before a performance of his Piano Sonata. These two experiences had such a profound effect on his life that he dedicated his next major orchestral work, Symphony of Psalms, to the glory of God.
10。在20世纪10年代，斯特拉文斯基通过他的异教和俄罗斯民间故事作品声名鹊起。但是后来在20年代中期，他的精神生活发生了转变。斯特拉文斯基表示，有两个方面导致了他信仰上帝：1）给了祷告者一个令人信服的答案；2）在他的钢琴奏鸣曲演奏前，他的手指很快的愈合了。这两次经历对他的生活产生了深远的影响，他紧接着创作了他的下一部主要的管弦乐作品，《诗篇交响曲》，赞美上帝。
11. If you are interested in reading more about composer’s encounters with God I recommend the book The Spiritual Lives of Great Composers by Patrick Kavanaugh. There are many musicians, well known and obscure, that have chosen to follow the teachings of Jesus.
11。如果你有兴趣了解更多关于作曲家与上帝相遇的故事，我推荐帕特里克·卡瓦纳夫的这本《伟大作曲家的精神生活》。书中讲述了许多著名的或者鲜为人知的音乐家，都选择了跟随耶稣的教导。
CREDITS
Patrick Kavanaugh, The Spiritual Lives of Great Composers (Nashville, Sparrow Press, 1992).