TUTORIAL教程
Welcome, this is Terry Ewell. Weissenborn study #34 is another perpetuum mobile study that tests the student’s finger technique. However, one of the most difficult parts for students is holding the half note for full value and counting out the half note rest. Subdivisions of eighth notes will help to keep the tempo steady.
大家好！我是唐英伟。今天我们要探讨的《维斯伯恩高级练习曲》第34首是另一首测试学生们手指技巧的“无穷动练习曲”。 然而，对于学生们来说，更难的一点是保持二分音符的时值并准确算好后面的二分休止符。在这里把节奏细分到八分音符有助于帮助我们使节奏稳定。
I have mentioned techniques for practicing rapid notes in earlier studies. Please refer to the videos on studies 11, 14, 16, and 27. Sprints in particular will help you to develop rapid, even, and smooth fingerings.
在前面的练习曲中，我曾经讲过有关练习快速音符的技巧。
请参考第11、14、16和27号练习曲的视频录像，特别是里面的“短跑冲刺练习”会帮助你练习快速、均匀、流畅的指法。
In line 4 I do not use an alternate fingering for E4. This is not too fast to use the regular fingerings for D4 and E4. I do, however, use the fast or short C#4 fingering here and throughout most of the study.
在第四行，我没有使用E4的替换指法。因为这里的速度并不是太快，所以使用D4和E4的常规指法就可以了。但是，在这里和这首练习曲后面出现的升C4，我使用快速或者短的指法。
In line 7 I make use of the fast D#3 fingering to simplify this passage.
在第七行，我利用快速升D3指法来简化这个乐段。
One last alternate fingering that is very helpful for this study is found in the second to last line, line 11. I start with my normal F#4 fingering, move to this alternate E#4 (F4) fingering and then proceed with the passage as normal.
最后一个可能用到的有帮助的备用指法是这首练习曲的倒数第二行（第11行）。我从正常的升F4指法开始，换到升E4的替换指法，然后正常地演奏后面的乐段。
Let me conclude this pedagogy portion of the video with a brief overview of the resources I have provided on 2reed.net. This is a website I maintain for you. It mostly contains my materials, but there are a few contributions from my other colleagues. In addition, there are links to many other resources available on the Internet.
让我简短地用我在个人网站2reed.net上提供的一些资源来结束今天的教学部分。我曾经和你提到过这个网站。这里主要是我提供的资料，也有一些来自我其他同事的贡献。另外，这里还有一些其他互联网资源的链接。
This is the top of the home page for 2reed.net. Important links for you are on the left and top of the page. There is information on auditions, careers, life and health, performance, practicing, reed making, and teaching. The “Awesome things” link provides many free materials.
这是2reed.net网站的首页。你可以在这个页面的左上部找到对你来说重要的的链接。这里有关于面试、职业、生活与健康、表演、练习、哨片制作和教学的信息。这个“很棒的东西”
(awesome things)一栏提供了很多免费的资料。
At the top are links to free music and ringtones I created, and a few music quizzes I have used in my courses at Towson University.
顶部的链接是我创作的一些免费音乐和铃声，以及一些我在陶森大学的音乐课程中使用的小测验。
Here are the links to drones and fingerings. There are also materials on the site for Korean and Chinese speakers.
顶部的链接是我创作的一些免费音乐和铃声，以及一些我在陶森大学的音乐课程中使用的小测验。
The area of the site that might interest you the most is the Bassoon Digital Professor. You can access this site directly with this address: www.2reed.net/bdp
也许你最感兴趣的是“巴松数码教授”(Bassoon Digital Professor)。你可以直接通过这个地址来访问这个网站：
Here is the top of the home page for the Bassoon Digital Professor. It contains the links we observed on the other page. However below the title you will see links to listings of the BDP videos in order.
这里是“巴松数码教授”首页的顶部。它囊括了我们在另一个页面上看到的链接。在标题的下方，你会看到顺序排列的BDP视频录像的链接。
Here, for instance, is a portion of the listing in the first 100 videos. You will find there a summary of the videos, a Youtube link if the video is posted there, and a link to the videos and materials on my website. Let’s return to the Bassoon Digital Professor main page.
这里，举个例子，是前100个视频列表的一部分。你会在那里发现视频概览，如果这个视频发布在了YouTube网站上，你也会看到YouTube的链接。同时，也会有这个视频和资料在我的网站上的链接。 现在，让我们回到“巴松数码教授”的主页。
Further down the page I have provided a recommended sequence of study and also a topical listing of the videos. This will help you to further find materials that interest you at the time.
在这个页面的下方，是我提供的学习顺序以及视频的论题清单。这会帮助你进一步找到你所感兴趣的资料。
You may be watching this video on YouTube. 2reed.net, however, provides many additional materials not available on YouTube. For instance, on 2reed.net each video is provided in multiple formats for ease of viewing and saving on your devices. I have provided transcripts with many of my videos which may be helpful for further study or translation into other languages. There are also links to other study materials.
你可以在YouTube网站上观看这个视频录像。但是2reed.net上面提供了很多YouTube上面没有的资料。比如，2reed.net为每一个视频提供了多种格式，便于查看并保存到你的设备上。我也在网站上提供了视频录像的文本文件，以方便你以后的学习或是翻译为其他语言。这里也有其他学习资料的链接。
I am sorry that 2reed.net is only periodically updated. I wish I had more time to spend on it, but I have prioritized other items such as producing the Weissenborn videos more highly.You will notice that most of my materials are presented free of charge. Since I consider it a ministry, I don’t receive payment from advertisements on the website or with my videos. I hope that you will find this resource helpful as you continue to grow as a musician and person.
很抱歉的是，2reed.net只是定期更新。我希望我有更多的时间能够花在这个网站上，但是我还有其他项目要做，比如录制《维斯伯恩高级练习曲》。你会发现，我的大多数资料都是免费的。因为我把它看作一份事工，我并没有因这些视频赚取收费或者任何来自网站的广告收入。我希望你会通过这些有用的资源继续成长为更好的音乐家和个人。
REFLECTION 沉思
One of the goals I have as a performer is to gain the skills that will allow for greater expression in music. I think this is a bit similar to being a painter. Painters want access to as many colors as possible. Being limited to just one or two colors would stifle creativity. Similarly I want as many expressive tools as possible to choose from when I perform. Then I can choose the right “color” for the moment.
作为一个表演者，我的目标之一是获得能够更好地表现音乐的技能。我想这和画家有些相似。画家希望获得尽可能多的颜色，仅仅局限于一两种颜色会扼杀创造力。同样地，我也希望在我演奏的时候能有更多的表现方法可以选择。然后，我就可以为那个特定的时刻选择恰当的“颜色”了。
Embouchure placement plays an important role in tone color on the bassoon. Let me draw out a few ideas from an article I wrote called, “Double Reed Embouchures” which is published in Celebrating Double Reeds: A Festschrift for William Waterhouse and Philip Bate.
在巴松上，吹口的位置对于音色起着至关重要的作用。让我从我发表在杂志《赞美双簧：为威廉沃特豪斯和菲利普贝特而做的纪念文集》上的文章《双簧吹口》中选取几个观点。
Here is an example of a typical embouchure on bassoon:
这个例子是巴松典型的吹口：
Notice that the lips cushion the reed over the teeth. The teeth don’t contact the reed at all.
注意，这时嘴唇像垫子一样位于牙齿和哨片之间，牙齿是不接触哨片的。
Parallel Embouchure Positions
I mentioned in the video on Weissenborn #26 that the parallel embouchure helps with downward slurs and rapid shifts between registers on the bassoon. There are, however, multiple parallel embouchures that are possible on the bassoon reed.
在《维斯伯恩高级练习曲》第26首中，我曾经提到，巴松上的平行的吹口有助于我们演奏下行的连线和各音区间的快速变化。然而，巴松的哨片上存在很多种平行吹口。
The further the reed extends into the mouth the more reed blade surface vibrates. More vibrating area means more sound. In addition, changes in the amount of the reed blade vibrating will change the timbre or sound quality. Lots of reed in the mouth such as in 1A provides a more raucous, nasal, or vibrant sound. Less reed in the mouth such as 1C will yield a dampened and darker sound. Since 1A gives a larger opening on the reed more air is needed to support the sound.
哨片越多地进入口腔，就有越多哨片苇片的表面参与共振。更多的共振区域意味着更大的声音。另外，改变参与震动的哨片的面积能够改变音色或者音质。如图1A所示的口腔中含着大部分哨片，会带来沙哑、鼻音或颤音的音色。图1C所示的使用少量哨片会导致较暗和沉闷的声音。由于图1A使哨片上有更大的缝隙，我们就需要更多的空气来支撑声音。
Also the intonation will change with these embouchures! Embouchure 1A tends to give a sharper pitch (when supported with air) than 1C. Pulling the reed out of the mouth lengthens the bore of the instrument resulting in slightly lower pitch.
同时，吹口也会改变音准。比起1C，吹口1A会使得音偏高（当我们用气支撑时）。把哨片从口腔中拉出会使得乐器的管变长从而导致音稍稍偏低。
The normal bassoon embouchure is slightly offset since the lower teeth are behind the upper teeth.
通常的巴松吹口会稍微偏移，因为我们下方的牙齿长在上方牙齿靠后的地方
Offset Embouchure Positions
The amount of reed in the mouth in the offset embouchure also determines the sound quality and to some extent the pitch.
口腔中哨片的多少以及吹口的偏移同样决定了声音的质量，也在一定程度上决定了音高。
I talk further about embouchure placement in my video on Osborne’s Rhapsody, part 1, BPD #104.
http://www.2reed.net/bdp/#SoloAdvanced
我会在我的视频《奥斯本狂想曲》第一部分，BDP＃104中进一步地讲述吹口位置。
God willing I will discuss embouchure placement further in my future video on Weissenborn study #50.
上帝期望，我会在《维斯伯恩高级练习曲》第50首中继续讨论吹口的位置问题。
CREDITS 感谢
Oil Painting Palette:
https://en.wikipedia.org/wiki/File:Oil_painting_palette.jpg
Photo of an oil painting palette. Photo taken by Max Wehlte. Max Wehlte allows use of his photographs for any purpose. Date 04:40, 27 October 2007
