TUTORIAL教程
Welcome, this is Terry Ewell.
1. The grace notes at the beginning of Weissenborn study #23 are played before the beat. The slashes or slanted lines through the grace notes arean important indication of this. By the way, most grace notes in the Romantic period are placed before the beat.
1，装饰音出现在维斯伯恩练习＃23节拍开始前。斜线或通过装饰音的斜线是一个重要的标志。顺便说一句，在浪漫主义时期，大部分的装饰音都被放在节拍之前。
2. I have spoken earlier about the rF—rinsforzando--in Study #12. Please listen to my comments on this.
2，我之前在练习#12中谈到过RF-rinsforzando突强 ，可以去找找那段视频。
3. The most difficult section of the study for many students is the middle section which is mark Delicato means delicate. Study carefully the written notes above the staff provided by Weissenborn. These grace notes do not have slashes, but appear as smaller sixteenth notes. Thus, these are performed on the beat with the same rhythm and placement as written sixteenth notes. Notice that this middle section also has grace notes with slashes. The two types of grace notes will need to be played differently.
3，这课练习对许多学生来说，最困难的部分是中间标记弱和精细的部分。Delicato的意思是细腻。仔细研究维斯伯恩所提供的这些术语之上的音符，这些装饰音没有斜线，但显示为较小的十六分音符。因此，在演奏时，它们是和十六分音符一样的节奏。请注意，中间部分也有带斜线的装饰音。这两种类型的装饰音需要不同处理。
4. This is the first da capo study in the set of fifty studies. When you repeat the first section again, do not play the repeats on the second time through.
4，这是50课练习中出现的第一个需要从头反复的练习。当你重复第一个部分，第二遍时不要完全重复。
5. The word fine means “end” in Italian. This is where the etude concludes.
5。Fine 在意大利语中的意思是“结束”。这里就是练习曲的结尾。
REFLECTION 沉思
6. Consider accents—There is not just one type!
6，提到重音，绝不只是一种类型！
7. I have found an excellent summary on accents contained in Wikipedia. I encourage you to take a look at this:
7，在维基百科中，我找到一个关于重音的很好的总结。我建议你去看一看：
https://en.wikipedia.org/wiki/Accent_(music)
8. Musical artists must understand how to accent. One type of accent can be made with volume. These are called dynamic accents. There are different types of dynamic accents that vary in amplitude, speed, and placement.
8，音乐艺术家必须掌握不同的重音。一种类型的重音可以用音量完成。这种被称为强弱重音。在不同的振幅、速度和位置下会产生不同的强弱重音。
9. For instance, studies 22 and 24 require faster accents presented on the beat. There should be no delay or this will interfere with the rhythm and tempo of the studies.
9，例如，练习22和24要求在节拍内较快的重音。它不应该有任何延误或被节奏和速度干扰。
10. Here are some accents in Study 22:
10.接下来是练习22中的一些重音：
11. Here are some accents in Study 24:
11.下面是在练习24中的一些重音：
12. Other accents can be more gentle and with a slight delay. This is more appropriate in slower compositions such as Weissenborn 23.For instance, the accents in the first two measures can be performed like this:
12，其他的重音可以更轻柔，有一点点的延迟。在维斯伯恩23中，较慢一点会更合适。举例来说，前两个小节的重音可以这样演奏：
13. Furthermore I can emphasize notes and thus accent them with increased vibrato. Perhaps we should call this a vibrato accent.
13，此外，我可以在强调音符的同时加强颤音。也许我们可以称它为颤音重音.
14. In Weissenborn 23 we get a chance to practice another kind of accent. An agogic accent is one of timing, placement, or duration. Instruments such as the harpsichord are unable to give different dynamics. Players of these instruments make use of agogic accents instead.
14，在维斯伯恩练习23里，我们有机会来练习另一种重音。时间、位置上的缓急法重音。有些乐器，像大键琴不能给出不同的强弱。这些乐器的演奏者就需要使用缓急法重音代替。
15. Let’s go to my grandmother’s harpsichord for a demonstration. The harpsichord is an instrument in which you can’t make notes sound louder by pushing down the keys harder. The notes have the same volume no matter how you depress the keys. For this reason, harpsichord performers have developed very sophisticated applications of the agogic accent to bring out dynamics in music.
15，让我们用我奶奶的大键琴做个示范。大键琴是一种不能通过用力按压琴键来获得大的响声的乐器。不管你如何按压琴键，它的声音都是一样的。所以，大键琴演奏家发明了非常复杂的缓急重音应用，来表现音乐中的重音。
16. Here is a passage with no accents.
16，这里是一个没有重音的段落。
Example G A B C D C B A G
17. Now here is an agogic accent of length on D (re).
17，现在，这里是一个在D上的缓急重音。
Example G A B C D C B A G
18. I didn’t vary the timing of the note only the length. The longer note makes the D sound louder and thus accented.
18，我没有改变音符的时间。只有长度，长一点的音使GD声音听起来更响亮，而且加入了重音。
19. Here is an agogic accent of timing.
19，这里是一个时间上的缓急重音。
Example G A B C D C B A G
20. The delay on the D gives the note emphasis.
20，延迟D使得音符得到强调。
21. The agogic accent with delay can be employed quite effectively on the Bb4 in the second page, second line. This is especially useful the very last time that B flat is played. Typically you want to play most expressively the last time.
21，在第二页第二行上的Bb4，延迟的缓急重音非常有效。在最后一次降B时尤其有用。通常情况下在结尾时，你想要演奏的更加富有表现力。
