TUTORIAL教程
1. Welcome, this is Terry Ewell. Weissenborn study #24 is a real finger twister and a brain strainer! It features descending and ascending thirds in E flat major.
1. 大家好，我是唐英伟博士。维斯伯恩练习＃24对演奏者的手指和大脑都是一个真正的考验！它的主要特点是围绕着降E大调的上行和下行三度。
2. Let’s consider line 6, the three measures before the fermata. My rule is that you need at least two ways to practice a difficult passage. But in this case I expect you to come up with at least six practice methods! I want you to stop the video now and write down all of the ways you can think of practicing these three measures.
2. 让我们来看看第6行，延长记号的前三小节。我的原则是，你至少需要两种方法来练习一个较难的段落。但是对这个例子来说，我希望你拿出至少六个练习方法！现在就请你关上视频，写下所有你能想到的关于这三个小节的练习方法。
3. OK, let’s compare notes. If you have been watching all of the prior videos, you should have at least six ways to practice this passage. Here are some of the ways I developed to practice these three measures:
3. 好了，让我们来比较一下。如果之前所有的视频你都看过，你应该至少有六种方法来练习这个段落。这里是我发明的三种练习方法：
4. Rhythms that coincide with the meter
4. 节奏与节拍一致
5. Rhythms that don’t coincide with the meter
5. 节奏与节拍不一致
6. Beat displacement
6. 节拍移位
7. Beat displacement with rhythms. Of course you can do all of the prior rhythms given earlier with beat displacement. Here is one example.
7. 节拍与节奏移位。当然，你可以把之前所有的节奏和节拍一起移位。来看这个例子。
8. Repeated notes
8. 重复音
9. Sprints. Remember to practice small sections first. I mentioned in the earlier studies that it is best to start from the last measure first and then add the measures before it. For instance, practice the measure before the fermata first, then two measures before, and the three measures before.
9。提速。记得首先进行小部分练习。我在之前的视频中提到过，最好是从最后一个小节开始，然后依次加入它前面的小节。例如，首先练习延长记号前一小节，再是前两小节，然后前三个小节。
10. Also use this additive method for your work with rhythms.
10. 这种添加方法也可用于节奏练习。
11. I mentioned in Study 11 that it is helpful to think of the scale and allow the fingers to follow. This also helps with this difficult passage:
11. 我在练习11中提到过，让手指按照音阶的移动去练习是有帮助的。对于像这样一个难的段落也可用此方法：
12. Sometimes the solution to a fingering problem lies with the way you think about the passage. In the second to last measure I continued to have difficulties until I fixed my attention on the problem note. For me the G2 is the key note. I greatly improved my accuracy by concentrating on that note. You might find similar issues with other difficult passages. The solution could be focusing on a certain finger motion in a key area or giving attention to a single note in a passage.
12. 有时解决一个指法的方法在于你如何思考这个段落。从第二到最后一个小节，我一直都有困难，直到我把注意力固定在问题音符上。对我来说，G2是关键音。特别注意这个音，让我极大地提高了准确度。你可能会发现其他的困难段落存在着类似的问题。解决的方法可以是在音区内特别专注于一个特定的指法运行，或者是特别注意一个段落中的某一个音符。
13. Practice for success! Always end your practice sessions with successful performances. When you practice you will increase the difficulty (here the speed of the passage) until failure or mistakes occurs. Then reduce the speed until you are successful. Ending with successful repetitions will give you a positive attitude about the difficult passage.
13.实践成功！要一直很好的完成你的练习部分。在练习的过程中，你应该一直增加难度（在这里就是加快速度），直到失败或错误发生。然后降低速度直到成功完成。不断重复好的结尾，可以给你积极的态度去面对困难段落。
14. I use the alternate Eb fingering except for when the Eb3 starts a phrase:
14. 除了降E3开始的段落，我用的都是降E的备用指法：
15. Be sure to use the little finger key on every G3 to keep these notes in tune.
15. 请务必用小指按键上的每一个G3来确保音准。
16. Last of all, fermatas in the studies imply a rallentando prior to the fermata. I have included this in the music accompanying the edited performance.
16.最后，这些练习中的延长记号的意思是在此之前要有一个渐慢。我把它涵盖在随附的音乐演奏中。
REFLECTION 沉思
17. In weight training, you can't just keep doing the same thing. Somewhere along the line, you have to train with more intensity. Either you need to lift more weight, to go through your routine at a faster pace, to add more exercises to your program--or all of the above....
17. 在重量训练时，不能只是依然做同样的事情。你必须加强训练，继续向前。要么你需要承受更多的重量，或者相比往常加快步伐，或是增加更多的练习，或是以上的全部....
18. I challenge you to consider how to improve all aspects of your life. Be your best! When you practice bassoon, don’t keep doing the same things over and over again. Consider if there are superior and more efficient ways to practice and improve your bassoon technique.
18.我挑战你去想想如何改善你生活的各个方面。做最好的自己！在练习巴松管时，不要一遍又一遍总是做同样的事情。考虑是否有卓越的，更有效的方法来练习提高巴松技术。
19. In study 24 there are two problems: one of rapid fingerings and one of oxygen regulation and concentration. You need to adopt efficient ways to move your fingers. I have prepared a video on fingering technique (BDP#23) that will be helpful for you. In particular advanced players need to pay attention to the end of that video (5:20 and onward).
19. 练习24有两个问题：一个是快速的指法，一个是气息的控制和集中。你要采取有效的方法来移动手指。我准备了一个指法技巧视频（BDP＃23），会对你有所帮助。高级演奏者尤其需要注意视频（5分20秒以后）到结束的部分。
http://www.youtube.com/watch?v=yFKcaPGQ4b4
http://www.2reed.net/bdp/home.html#bdp23
20. The second issue of breath control, oxygen regulation, and better concentration will be mastered in several ways. Learn to relax your whole body when you play. Use only efficient motions because this will increase your lung capacity and provide a more efficient use of oxygen. Efficient breathing and exhalation will also improve your playing. My monograph “Wind Performer’s Guide to Increasing Endurance” provides information on efficient breathing and several exercises to increase performance endurance. It is available on lulu.com.
http://www.lulu.com/shop/terry-b-ewell/wind-performers-guide-to-increasing-endurance/ebook/product-20941958.html
20. 第二个问题：控制呼吸，氧气调节，以及用若干种方法更好的掌握。在吹奏时学习如何放松全身。只能使用高效的运动，因为这会增加你的肺活量来更有效地利用氧气。高效呼吸和吐气也会提高你的演奏水平。我的专著《木管演奏者增加耐力指南》提供了有效呼吸，增加演奏耐力的多种练习方法。它可以在lulu.com找到。