Weissenborn 38

TUTORIAL教程

Welcome, this is Terry Ewell. Study number 38 is one that tests endurance and your ability to take quick breaths. Notice that I place the breaths after the first eighth notes in the measures. Students are often tempted to breathe on the bar line, but this is often not a good choice.

大家好！欢迎来到今天的唐英伟巴松课堂。《维斯伯恩高级练习曲》第38首是一首检验你的耐力和快速呼吸换气的练习曲。请注意，我在小节中第一个八分音符后面标记了呼吸记号。学生们通常想在小节线上呼吸换气，但这并不是个好的选择。

I have provided some dynamics since the contrast makes the study more interesting.

同时，我在这里标记了一些强弱记号，这样会使这首练习曲更加丰富，有更多的变化和强弱对比。

I remind you to make use of the flick or vent keys. When two quick notes in a row need flicking, I hold down a single key. For instance, in measure 1 I hold down the C flick key for B3 and A3.

我提醒你使用泛音键。当我们需要连续吹奏两个快速的音而需要轻弹时，我按住一个键。因此，第一小节中我按住泛音键C来演奏B3和A3。

C4 Flick

If you have not seen the earlier videos on flicking, please review studies 3 and 4.

如果你还没有看过关于轻弹演奏的视频，请参考第三和第四首练习曲。

Also work on clean articulations for G#4, G#3 and F#3. You must use half holes on these notes. Here are the opening first four measures played slowly so that you can observe my half hole and flicking techniques.

与此同时，我们还需要把升G4，升G3和升F3演奏为清晰的断奏。在这里，你需要在这些音上使用一半的孔。下面是我用慢速演奏开始的四个小节，你可以仔细观察我是怎样使用半程的孔以及轻弹技巧的。

Measures 1-4

REFLECTION 沉思

Is there a “correct or perfect way” to perform or express music? On the whole I would have to answer this question “no.” Music is ambiguous and has multiple expressions and meanings so there is often more than one way to perform musically. However, there are certainly better ways to perform and worse ways to perform. If one wishes to perform well, it must be with musical understanding and musical expression.

有没有一种“完美的方法”表演或表达音乐？总的来说，我不得不对这个问题回答“没有”。音乐是很难用语言来表达的，并且具有多种表现形式和含义，所以通常有不止一种音乐性的表演方式。但是，当然存在更好和更糟糕的方式来表现音乐。如果你希望更出色地表演，那么就一定要具备音乐性的理解和表现能力。

Let’s briefly examine some simple musical gestures and goals in phrases.

让我们简要地看一下一些简单的乐句中的音乐表情和目的。

The climaxes or goals in typical musical phrases are more like Christmas in December than Independence Day in July. Did you ever have an advent calendar? Our family had one and I remember the many days it took until Christmas was finally reached. Each day opening a new window meant we were closer to the event, but Christmas was always a long anticipated goal.

在典型的音乐乐句中，高潮或者目标就像十二月的圣诞节对比七月的独立日。你有没有过一个圣诞节的倒数计时月历？我们家里曾经有一个，我还记得等待圣诞节来临前的那许多漫长的日子。在这个倒计时月历上，每过一天你都可以打开一个新的窗口，这意味着我们距离那个重要的日子越来越近了。但是圣诞节一直是一个万众期待的目标。

Advent Calendar

December Calendar

Independence Day would make for a horrible advent calendar. After three days of the calendar, the holiday in the USA, July 4th, would have arrived. There is not much anticipation of the holiday in that month.

如果把独立日做成倒计时月历的话，那将会挺糟糕的。因为在七月的日历中，仅仅需要度过三天，七月四日，这个美国国庆日就到了。在这个月中，我们对这个节日并没有太多的期待。

July Calendar

I repeat again, typical musical phrases are like Christmas in December. The climaxes or awaited goals come after much preparation.

我再次重申，典型的乐句就像十二月的圣诞节。高潮或者期待已久的目标总在很多准备之后才到来。

Let’s examine some typical phrases in the Weissenborn studies. Standard musical phrases in Common Practice music—especially those from the Classical Period—have four measures. You can observe here that Weissenborn study #38 has four measure phrases in the opening.

现在，让我们来看看《维斯伯恩高级练习曲》中的一些典型乐句。在常见的音乐中，标准的乐句－尤其是古典主义时期－通常通过四个小节来呈现。你可以看到，在这第38首练习曲中，开头的乐句就是个“四小节乐句”。

The goals in these four measure phrases occur in the fourth measure of the phrases.

在这个四小节乐句中，我们的目标藏身于第四个小节。

Study #34 also starts with four measure phrases and the goals are best placed on the downbeats of the fourth measures. Moving shorter notes towards longer notes is a good musical practice. Placing the goal on the downbeat of the third measure is also possible, but I think this study exhibits an eagerness to get to the last notes , the longer notes without delay.

第34首练习曲同样以一个四小节乐句开篇，并且目标很完美地落在了第四小节的重拍上。使时值较短的音向时值较长的音流动是个很好的音乐性的练习。把目标放在第三小节的重拍同样可行，但我认为，这首练习曲显示出了发展到最后几个音的渴望，也就是说，我们不能耽误长音的进入。

Weissenborn 34

Study #35 has four measure phrases that start with pickups or upbeats.

第35首练习曲也从一个四小节乐句开篇，并由前面的导引音开始，或者我们称作“弱拍起”。

Weissenborn 35

In order to perform musically you must identify the phrase and the musical goal. Musical goals often occur on the downbeat of the fourth measure of a four bar phrase, however, the composer might indicate another location for the goal with dynamics.

为了表现得具有音乐性，你必须要分析乐句以及音乐的目标。音乐性的目标通常发生在四小节乐句的第四个小节的重拍上，但是，作曲家也可能出于考虑乐句强弱环境的目的而把它放在另一个位置。

Sometimes the four measure phrase is divided into two parts, each with its own musical goal. Generally the second goal of the four measure phrase is the most significant of the two. For instance, that is how I shape Weissenborn study #36.

有些时候，四小节乐句会被分为两个部分，每个部分都有各自的音乐性目标。通常情况下，四小节乐句中的第二个目标是更明显和更重要的。举例来说，这就是我在第36首练习曲中所做的音乐表现。

Weissenborn 36
Notice that there are red arched lines with arrows at their right end and left end. Arrows at the right end indicate motion forward towards the musical goal. Arrows at the left end indicate relaxations away from the music goals.

请注意，在它们的最右端和最左端各有一条带有箭头的红线。向右的箭头表示向音乐目标的移动方向。向左的箭头代表远离我们的音乐目标。

Let me conclude this reflection with a brief look at Weissenborn study #39. This will also prepare you for the next video!

让我用对第39首练习曲简要的概览来结束这节课的“思考时间”。这也会帮助你为下一课做好准备。

Weissenborn study #39 has a similar placement of goals to those in study #36. In addition, however, study #39 makes use of an important melodic device that often indicates a musical goal. This melodic device is called the appoggiatura. If you can study only one ornament in the Baroque or Classical period it should be the appoggiatura.

《维斯伯恩高级练习曲》第39首和第36首在音乐性目标方面有相似之处。此外，第39首却由于那条旋律线中存在一个重要的“零件”而使得音乐性的目标非常清楚。这个“零件”就是我们称之为“花音”的一种装饰音。如果你只能学习一种巴洛克或者古典主义时期的装饰音，那么它一定是这个花音。

The appoggiatura is so important that Quantz lists it first in his treatise on Baroque performance practice. Generally this is a very expressive dissonance placed in a rhythmically prominent position (such as the musical goal) that then resolves downward.

花音是如此的重要，以至于巴洛克时期的德国长笛演奏家、作曲家宽茨(Johann Joachim Quantz, 1697-1773)在他的巴洛克表演实践论文中第一项就讲解了花音。通常情况下，花音作为极具表现力的不和谐素材被放置在非常重要的节奏位置(比如音乐性目标)，然后再向下解决。 21. 第五行中，有一个四小节乐句，而高潮部分正是一个花音。

In line 5 there is a four measure phrase with an appoggiatura at the climax.

第五行中，有一个四小节乐句，而高潮部分正是一个花音。

Line 5 with pickup. Let me play it for you.

让我为你演奏一下这一段。

Weissenborn 38, line 5

In the opening of the study Weissenborn presents two four measure phrases with ornamented versions of the appoggiatura. Don’t let the sixteenth note confuse you. These are still appoggiaturas, dissonant notes, presented on the downbeats. Here are measures 3-4 without the appoggiatura.

在这首练习曲的开头部分，维斯伯恩呈现了两个四小节乐句，而且它们都带有装饰音花音。不要让那些16分音符迷惑了你。它们只是花音，以及重拍上有不和谐的音符。下面是没有花音的第3和4小节。

Weissenborn 39

Weissenborn 39, line 2

It sounds OK, but it really is more expressive with the appoggiatura.

这听起来还可以，但如果有花音在，那么它一定更具表现力。

I think now you can hear why so many composers favor the appoggiatura. It makes the music much more expressive! Here is how it sounds as written, with the 16th note.

现在，我想你知道为什么这么多的作曲家青睐花音了。它使得音乐更富于表现力！下面是乐谱上所写的，带有16分音符的版本。

Now that we have established the phrase and the goal, I shape each note in the phrases so that they are joined together as one family. Notes before the goal lead to the climax. Notes after the goal, lead away from it; they relax.
Performance with arrows and goals indicated.

现在我们已经对乐句和目标有了概念，我在这个乐句中的每个音上做些美化，使它们作为一个整体结合在一起。在我们的目标前的所有音都应该指引向高潮。目标后面的音，从高潮开始渐渐地放松。

In the next reflection in Weissenborn study # 39, I will present how you make motion in music by means of rubato.