TUTORIAL教程
Welcome to this video on Weissenborn study #33. I am Terry Ewell.
大家好！我是唐英伟。今天我们来学习《维斯伯恩高级练习曲》第33首。
I play most of the notes on the bassoon with a single fingering, regardless of the dynamics of the note. C#4, however, is an unusual note because I often make use of three fingerings.
通常情况下，我在巴松上用单一指法演奏大部分的音，无论这个音的强弱标记如何。但是，升C4这个音是个特例，因为我通常用三种指法。
My standard fingering for C#4 is the “French” fingering. I choose this as my regular fingering because it is louder than the “fast” fingering and uses fewer fingers than the “full” fingering. Fewer fingers down allow for quicker movements.
我演奏升C4的标准指法是“法国指法”。我选用它作为常用指法的原因是，“法国指法”比“快速指法”响亮，并且比“全指法”用到的手指少。使用更少的手指意味着更快的运动。
The “fast” or left hand only fingering is used for the faster passages. For many Americans this is their standard fingering.
“快速指法”或者我们称作的“左手指法”被用于快速乐段。对于很多美国的巴松演奏家来说，这是他们的常用指法。
The “full” fingering provides a beautiful tone, and that is one I choose for lyrical and slower passages such as given in this study in the first four lines. I use the other two fingerings later in the study: the French C# when I want more resonance and the fast C# when the passage is difficult. I have not marked any of the C#s as alternate fingerings here so you will need to experiment with what works best for you.
“全指法”为我们提供了更美的音色，所以我会把它用在抒情和速度较慢的乐段，比如这首练习曲的前四行。在这首的作品的后面一段，我会选择使用另外两种指法：当我希望更多的共鸣声音时使用“法国升C”，而当遇到困难乐段时使用“快速升C”。在这里我没有标记出可供选择的升C指法，所以你需要尝试一下，找到最适合你的指法。
I play the turn in line 1 measure 7 with normal fingerings.
第一行的第7小节，我用正常指法演奏装饰音回音。
However, you might find it easier to use these fingerings as an alternative. In any case, you should remember these fingerings for trills and shakes.
但是，你可能发现用这些指法作为替代更容易些。在任何情况下，你应该记住这些指法来演奏装饰音颤音等等。
The C#-D4 trill in line 2 is fingered like this:
第2行的升C－D4的装饰音颤音的指法是这样的：
Notice that I start with the full C# fingering then release the C# key and raise my left third finger. Then I trill the left third finger.
请注意，我从“全指法”升C开始，然后放开了升C键并抬起左手3指，然后用左手3指演奏这个颤音。
In study #9 I presented reasons for when and where to breathe. Line 3, measure 1 is another interesting case study. I have heard many students make this choice, breathing after B3 on the bar line.
在《维斯伯恩高级练习曲》第9首中，我讲述了何时以及何处应该呼吸的原因。第三行的第1小节又是一个有意思的例子值得我们研究一下。我听到很多学生的选择是在B3后的小节线呼吸换气。
The B3 does sound as if it is a resolution from the F#4. However, this is a musically poor choice! Let me now explain.
这个B3听起来确实像是升F4的解决音。但是，从音乐性的角度来看，这个选择并不明智。让我给你解释为什么。
There is an important relationship between line 2, measures 5-8 and the following four measures ending with F#4 in line 3. These two four bar phrases are related. The second four bar phrase is an elaboration, and ornamentation of the first four bars.
第二行的5－8小节和后面延续到第三行以升F4结束的四个小节有着紧密的关系。这两组4小节乐句是有关联的。第二组4小节乐句是第一组的递进和装饰。
Here are the first two measures of the two phrases.
这里是这两个乐句的前两小节。
Here are the second two measures of the two phrases.
下面是两个乐句的后两小节。
Now, can you hear how they are related? The lower line in the example is an ornamentation or elaboration of the top line. Therefore the breath needs to come in the same place—after F#4. Thus, in line 3, measure 1 the B3 is a pickup to the next phrase.
现在，你能听到它们之间的关系了吗？这个例子中下面的一行是上一行的递进或者装饰。因此，我们应该在同样的地方呼吸换气，也就是在升F4之后。因此，在第三行，第一小节的B3是下一个乐句的弱起音。
Weissenborn further indicates this musical understanding by placing the “a” of a tempo immediately over the B3 in line 3, measure 5. He indicates that this B3 belongs as a pickup to the next phrase. You can clearly see the beginning of the phrase at the a tempo is identical to the prior phrase start. This should thus be phrased in the same way.
现在，你能听到它们之间的关系了吗？这个例子中下面的一行是上一行的递进或者装饰。因此，我们应该在同样的地方呼吸换气，也就是在升F4之后。因此，在第三行，第一小节的B3是下一个乐句的弱起音。
I will not comment on “rf,” the caesuras, and tempos leading up to the fermata since I have discussed these in other videos. You can also observe how I present them in my performance in this video.
在这里，我暂时不对突强、停顿和引导到延音记号的速度做解释，因为我们在另一个教学视频中曾经探讨过这些问题了。你也可以观察一下我在这首练习曲的演奏视频中是怎样展示它们的。
I need to give you fingerings, however, for the mordents and the trill.
我在此需要给你提供些指法，但仅限于波音（涟音）和装饰音颤音。
In line 6 the mordent on D4 to E4 is best fingered like this. The addition of the Eb resonance key gives a fuller sound to E4.
第六行的D4到E4的波音最好用这样的指法。加入的降E共振键使得E4这个音更加饱满了。
In line 6 the mordent on B3-C#4 is the standard trill fingering for those notes.
第六行的B3-升C4波音使用标准的装饰音颤音指法。
In line 10 on the fermata the trill from E4-F#4 is fingered like this:
第十行，有延长音记号的E4－升F4装饰音颤音的指法是这样的：
Last of all, you might need to lightly tongue the slur to A#2 in line 4. If you choose to do this, don’t tongue the center of the reed, rather tongue a corner of the reed. This will make the articulation less noticeable and still help the note to respond. Tonguing the corner of the reed yields a more legato articulation than tonguing in the center of the reed.
最后，在第四行，你可能需要用舌头来连接到升A2。如果你选择这样做，不要把舌头放在哨片的中间，而是放在哨片的右边角。这样做会使得发音不那么明显但音却能很好地回应。把舌头放在哨片的右边角比放在中间使我们能够得到更加连贯的发音。
I assume that you are correctly flicking the articulated notes for A3, B3, Bb3, and C4. All your notes need to start cleanly. In line 12, the downward slur from E4 to A3 comes out best by flicking the A key. If you need to review flick keys please see studies 3 and 4.
我猜想你能够正确轻弹演奏断奏的A3，B3，降B3和C4。你所有的音都要清清楚楚地开始。第12行，从E4到A3的下行连线最好用轻弹的方式。如果你需要回顾一下轻弹方法，请参考第三和第四首练习曲。
REFLECTION 沉思
A man who has friends must himself be friendly. (NKJV, Prov. 18:24)
滥交友，自招损；得知己，胜手足。（当代译本，箴言18:24）
The importance of making friends should not be underestimated in the music industry. It is often people who know you who recommend you for jobs. During the interview process for the first university where I was hired there was a person on the search committee who knew me from our days in a youth orchestra. His advocacy was important for me getting the chance to interview for the job. This was the job that started my full-time academic career.
在音乐这个行业中，交朋友的重要性不应该被低估。往往为你推荐工作的人是认识你的人。在我面试我的第一份大学教职的过程中，遴选委员会中的一人是我自从青年管弦乐团就相识的。是他极力地主张我抓住面试这份工作的机会。也正是这份工作开始我的全职学术生涯。
It is usually the case that when you interview or audition for a bassoon position in the USA, your committee will be comprised of non-bassoonists. For instance, when a university replaces a bassoon professor position, that bassoon teacher is not on the committee. The committee may contain other woodwind teachers, or performers, or professors or staff from other fields. Remember that your friendships should go out to people who perform different instruments or do other things in music. Be friendly to many people, not just those who play the bassoon.
通常，当你在美国面试巴松演奏家的职位时，你的遴选委员会委员将包含非巴松演奏者。因此，当一所大学更换巴松教授时，原来的这位巴松老师不在委员会中。委员会成员也许会包括其他木管乐老师，或者演奏家，或者其他领域的教授或工作人员。因此你要记住，你的友谊应该扩展到其它乐器演奏者或做其他事情的人。要和许多人做朋友，而不止是演奏巴松的人。