TUTORIAL教程
Welcome, this is Terry Ewell. Weissenborn study #39 is one of those lyrical gems that make this collection so enjoyable to practice. Give this your best musical expression!
欢迎来到今天的巴松课堂，我是唐英伟。《维斯伯恩高级练习曲》第39首是这套练习曲中抒情优美的宝石之一，它使整套练习曲的练习更加有意思了。把你最美的音乐表现力献给这首练习曲吧！
Weissenborn was inspired to add several musical terms to the study such as dolcissimo (as sweetly as possible), sonoro (resonant), and espressivo (very expressive). All of these terms indicate to me that the music needs to be played with great sensitivity and expression.
维斯伯恩在创作这首曲子的时候产生了很多灵感，比如他加入了很多音乐术语，例如“非常温柔的”(尽可能的甜美)，“清脆的”(洪亮的)，以及“充满感情的”(非常有表现力的)。这些术语提醒我们，在演奏这首练习曲的时候，音乐的表达应该高度敏感、抒情而富有表现力。
I interpret the “rf” in line 8 to be in the context of pianissimo not fortissimo. I gave a careful justification for the meaning of rf in the prior videos. If you need to review the meaning of “rf” please see study #35.
我曾经解释过，例如第八行的“rf”应当出于弱的背景下而不是强的。在以前的视频中，我曾经很详细地对“rf”做了讲解。如果你需要复习一下“rf”的含义，请参考第35首练习曲。
REFLECTION 沉思
In a prior video “Music in Motion” (BDP #100) I presented the use of dynamics, vibrato, and rubato as a means of expressing movement in music. I encourage you to view that video as well.
在先前的视频“音乐的运动”(BDP＃100)中，我讲述了运用强弱标记、修饰颤音以及“自由速度”来表现音乐中的流动。我建议你复习一下那节课的视频内容。
http://www.2reed.net/bdp/home.html#bdp100
In this reflection I will further discuss the use of rubato to convey motion to and arrival at musical goals.
在今天的“思考时间”中，我们将进一步讨论“自由速度”是如何传递流动性而使我们到达音乐性目标的。
I am sure that many, if not all of you, have been on a roller coaster.
我相信你们中的很多人，尽管也许不是所有的人，都有过坐过山车的体验
Remember the feel of the ride when you are on the top and start moving towards the bottom? The motion starts out slowly and then accelerates as you reach the bottom. The motion is a smooth movement from slower to faster speeds. Once the bottom is reached then an upward slope slows your motion.
还记得当你坐着过山车到达顶部，并开始向下运动时的感觉吗？开始时很慢，并且一直加速直到你到达底部。这种运动从很慢到很快过渡得非常的平稳。一旦触底，另一个新的上升斜坡就减慢了你的运动。
A well-played musical phrase with rubato functions in much the same manner. Motion towards the goal is faster and faster while motion away from the goal slows down gradually. There are not sudden jerks or stops with the motion. The motion is continuous and progresses smoothly.
一段带有“自由速度”的乐段如果被演绎得非常好，那就应该是过山车的这种感觉。朝向目标运动的时候越来越快，而当远离目标的时候逐渐地减速。在这个运动过程中不应该有突然的颠簸或停顿。整个运动应当是连续并且平稳的。
Let’s practice these roller coaster moments, rubato drives, in the first eight measures. I will be exaggerating the motion now for our practice session. This also makes it easier for you to hear. When you perform it, you won’t give the listener such a wild ride!
让我们用前八小节练习一下这种“过山车时刻”的“自由速度”技巧。现在的练习阶段，我会夸大这个运动，这样也使你更容易听清楚。但当你真正演奏的时候，可不要让你的听众感觉在坐疯狂的过山车啊！
I will tongue eighth notes so that you can hear the motion during sustained notes and rests. This time I will make two measure phrases. The arrows with points to the right of the curves indicate motion to the goals. The arrows with points to the left of the curve indicate motion away from the goals.
我会在八分音符上用吐音吹奏，这样你可以听到在长音和休止中音乐的运动方向了。这次我会做“两小节乐句”。向曲线右边带点的箭头表示了目标的运动方向，而向曲线左边带点的箭头表示远离目标的运动方向。
Example mm. 1-8. Two measure phrases--tongued
Let me try something more complex now and give more importance to the downbeat of the fourth measure and the downbeat of the eighth measure.
现在，让我试试更复杂的东西，并把注意力更多地集中到第四小节和第八小节的重拍上。
Example mm. 1-8. Four measure phrases--tongued
Can you hear the motion? By means of rubato and dynamics I created intermediate goals on the downbeats of the 2nd and 6th measures. But the biggest goals were presented on the downbeats of the 4th and 8th measures.
你能听到运动的方向吗？通过自由速度和强弱的变化，我在第2小节和第6小节的重拍上设定了“中期”目标。但是，最大的终极目标还是呈现在第4小节和第8小节的重拍上。
Let me play it now without the tonguing, but I will hear the pulses in my mind when I play it.
现在我不用吐音来演奏，但是当我演奏的时候我要在脑海中听到拍子。
Example mm. 1-8. Four measure phrases—not tongued
Now let’s try the real roller coaster ride in the study! Line 5 can be played in a cadenza like manner. Let’s try that. I will consider the first long note (A4) to be similar to a fermata and then the motion moves to the first dotted quarter note, up a slight incline and then descending to the appoggiatura we studied at the end of the last video for Weissenborn #38. I will tongue the sustained notes so that so you can hear the subdivisions.
现在，我们试试在这首练习曲中加入真正的过山车是怎样的效果。第五行可以按照我们的习惯演奏为华彩乐段。我们试试吧。我会把第一个长音(A4)看作类似于带有延长记号的音，然后音乐向第一个附点四分音符运动，稍稍地上个小斜坡，接着向下运动到花音，就是我们在《维斯伯恩高级练习曲》第38首教学视频最后学习的那种花音。我会在长音上用吐音吹奏，这样你可以听到细分的节拍了。
Example line 5 as cadenza. Play to the end.
Well, clearly I over did it there! But that sure was fun. I am celebrating that wild ride by wearing this flashy tie!
好了，很明显，我在那里做得过了些。但这很有趣。我好像是系着一条闪光的领带庆祝我坐了一趟如此疯狂的过山车！
You need to practice your rubato by overdoing it at times to find the limits and understand how to use this tool for phrasing. Notice that the contour of the rubato must be maintained through sustained notes. You must subdivide to do this.
在练习“自由速度”的时候，你首先需要夸张地做，这样才能找到极限并明白怎样使用这个工具来美化乐句。需要注意的是，对于长音来说，“自由速度”的轮廓必须要保持。你必须通过细分节拍来做。
Precision is needed for effective rubatos. Musicality can be improved and brought to a standard of excellence with careful attention. Be sure to include rubato practice in your practice sessions.
有效并且高质量的“自由速度”需要具有精准度。只要我们仔细地把注意力集中，音乐性是可以得到改善，并达到优秀的水平的。请一定要在你的练习部分中加入“自由速度”的练习。
CREDITS 感谢
Roller coaster video by George Lungu
http://excelunusual.com/a-2d-animated-excel-roller-coaster-video-preview/
accessed 22 April 2014