TUTORIAL教程
Welcome, this is Terry Ewell. Many editions of this study miss the important note that Weissenborn gives to the student. The original text to this study explains Weissenborn’s inspiration:
欢迎大家，我是唐英伟。这首练习曲的很多编者都错过了维斯伯恩标注给学生的一个重要的音符。这段关于这首练习曲的原文解释了维斯伯恩的灵感来源：
“Study based on the main motive of the 2nd movement of Beethoven’s 4th Symphony. A rhythmical tongue and a sensitive ear are needed above all to play this well.” (Universal Bassoon Edition #18122, Study # 49)
“这是一首源自贝多芬《第四交响曲》第二乐章动机的练习曲。有节奏的舌头运动和敏感的耳朵是演奏好这首练习曲的前提条件。”（环球巴松版＃18122，练习＃49）
Before we examine the study, let’s first consider the excerpt.
在我们研读这首练习曲之前，先来看这个摘录。
Line 7 of the study is not identical to the excerpt, but you can clearly see Weissenborn’s imitation of that portion of the bassoon solo although not all of the notes sound the same.
第七行和摘录并不完全一样，但你可以清楚地看到维斯伯恩对那段巴松独奏乐段的模仿，尽管他并不是完全照抄原来的音符。
This study is quite demanding for the reasons stated by Weissenborn. The student is required to keep the rhythm precise, the tempo steady, and to maintain a “sensitive ear.”
这首练习曲明确地证明了维斯伯恩阐述的要求。学生们需要保持节奏的准确性，速度的稳定性，以及“灵敏的耳朵”。
Lines 9 and 10 provide an opportunity to practice phrase shaping during articulated notes and rests. Mastering the exercises I give to you below will really help you to gain control over your articulation.
第九和第十行为我们提供了一个练习在断奏音和休止符中美化乐句的练习。熟练地掌握我下面给你的练习会帮助你更好的控制不同的发音方式。
First let’s practice the section with different articulations. Also use a metronome. I use the tempo 84 for the eighth note.
First all slurred.
首先，让我们用不同的发音方式练习这个乐段。还可以使用节拍器来练习。我把八分音符的速度设定在84。首先，先试试连奏所有的音。
I suggest practicing it slurred several times so you can really sense the phrasing you are making with your air. When you achieve a phrasing you like, you will need to keep this regardless of what the tongue does.
我建议先练习连奏几遍，这样你可以感受到用气息支撑做的乐句。当你吹奏出令你满意的效果了，你就可以在这个过程中忽略舌头的作用了。
The 32nd note is very relatively fast so I don’t think I can distinguish five different articulations on that note. I should be able to make three different articulations, however: legato tonguing (5), medium (3), and staccatissimo (1). Just for our practice here I will keep the 16th note with legato tonguing and vary just the 32nd note. First I will do it on a single tone and then as written.
1.
32分音符在这里相当短，所以我不能在32分音符上明显地做出五种不同的发音了。不过，我可以做其中的三种，也就是连奏吐音（5），中等（3）以及非常短的断奏跳音（1）。为了我们此时的练习，我把16分音符演奏为连奏吐音而只变化32分音符。首先，我先在单音上这样练习，然后再按照乐谱所写的演奏。
Voice over. Let’s take a visual look at the sound waves I produced. I created a short audio clip from the video and then I have lined up the graphics of the sound waves in a software called “Reaper.” The top channel is length 5, the next channel is length 3, and the last channel is length 1.
现在我们不谈声音了。来看看我创造出的声波。我从视频中抽离出了一小段音轨，然后我用一个叫做“Reaper”的软件把图像和声波对应起来。最上面的轨道是长度5，下一个是长度3，最后一个是长度1。
Visual observation shows some inconsistencies with the length of the 32nds and especially the timing of the notes. Boxes number 1, 4, and 5 are pretty good. The notes show the correct lengths and generally start at the right time. Boxes 2 and 3, however, show timing problems especially with note length 5. I am also not quite as pleased with the note lengths.
1.
从图像上观察，我们发现32分音符的长度并不一贯，尤其是这些音出现的时机。方框1，4和5很不错。音符的长度正确，并且开始的时间也是对的。但是2和3，显示出出现时机的问题，尤其是当音符长度为5的时候。我对音符的长度也不太满意。
Remember that the starts to each note should occur with the same timing. It is only the duration of the 32nd note that is varied here.
1. 记住，每个音应该在同样的进入时候开始。变化的仅仅是32分音符的保留长度。
Now let’s practice by varying the length of the 16th note from 5 to 1, with all of the articulations. I will keep the 32nd note at number 5.
现在我们练习从5到1，同时加上各种发音方式，改变16分音符的长度。我把32分音符保持在长度5。
It is a real challenge to keep the phrase shape the same and change the articulations.
保持同样的方式做乐句而只改变发音方式是很具有挑战性的任务。
Again we are looking at a representation of the sound waves in the Digital Audio Workstation called Reaper. The channels are arranged from length 5 at the top to length 1 at the bottom. You can see that I have excellent control over the note lengths. With few exceptions there are clear differences between the lengths of the 16th notes in boxes 1-3 and the following sound waves. However, there are inconsistencies with my timing of the notes. This is something I need to work on more!
提醒一下，我们是在一个叫做“Reaper”的数码音频工作站软件中观察音频的表现方式。其中的音轨排列是长度5在最上面，长度1在最下面。你可以看到，对于音符的长度，我有足够好的掌控能力。有几个特例是，在方框1-3中16分音符的长度有明显的不同，并且接下来的声波也不一样。不过，我的音符进入的时机也没有保持一致。这是我需要再练习的。
When you have mastered those articulations, “mix and match” the notes. For instance, try playing “5” on the 16th notes and “1” on the 32nds. Or “2” on the 16th notes and “5” on the 32nds. Gaining this command of your articulation will open up a whole new world of musical expression for you!
当你掌握了这些发音方式，试着“混搭”这些音符。比如，尝试在16分音符上用长度5，32分音符上用1。或者16分音符上用2，32分音符上用5。能够灵活地运用不同的发音方式将会为你的音乐表现打开新的世界。
REFLECTION沉思
“Almighty God, you look down into my innermost soul, you see into my heart and you know that it is filled with love for humanity and a desire to do good.” QUOTATION Maynard Solomon, Beethoven Essays, (London: Harvard University Press, 1988), p. 218.
“全能的上帝，你看到我内心深处的灵魂，你看到我的内心，你知道它充满对于人性的爱和行善的愿望。” 引用自梅纳德所罗门，《贝多芬散文》，（伦敦：哈佛大学出版社，1988），第218页
We don’t know the suicide rate for those living in the 1800s in Europe, but Beethoven was certainly a candidate for an early death. His own writings detail his despair with life due to his loss of hearing. The document named Heiligenstadt Testament indicates the severity of his despair and his thoughts about giving up on living. The quote I read at the beginning of this reflection is taken from the Heiligenstadt Testament. This is Beethoven’s prayer to God.
对于19世纪欧洲的自杀率，我们不得而知，但贝多芬一定尝试过。从他的作品中，我们可以品到他由于听力丧失而产生的对生活绝望的那种痛楚。他的《海利根施苔特遗嘱》揭示了他无尽的绝望和想要放弃自己生命的想法。在今天的“思考时间”的开始，我所引用的就是出自《海利根施苔特遗嘱》。这是贝多芬向神做的祷告。
Beethoven’s faith in God played an important role in helping him through this difficult time. Despite his torment and problems, Beethoven had much beautiful music yet to give to the world. Perhaps you are going through difficulties now. My prayer for you is that God will help you through those problems so that you can provide others with many blessings from your talents.
贝多芬对于上帝的信仰帮助了他度过这段艰难的日子。尽管他那样痛苦，贝多芬依然给世人留下了那么多美好的音乐。也许你现在也面对一些困难。我对你的忠告是，上帝会帮助你解决这些问题，这样你就可以用你的才华为别人带来美好了。
PERFORMANCE表演
I regret that I am not able to supply you with a performance of this study. Upon listening to my recording I realize that I slipped into a very common error: performing with a triplet rhythm rather than the divisions of four required.
I will perform for you here portions of the study, but regrettably the recording will not be to same standards as those performed in the Towson University Recital Hall.
很遗憾，我不能提供这首练习曲的演奏资料了。因为当我听我的录音时，我发现我陷入了一个常见的错误：我演奏成了三连音节奏而不是要求的细分为4拍。我在这里为你演奏这首练习曲的一部分，但这个录音的效果不能与在陶森大学演奏厅里的录音相提并论了。
CREDITS 感谢
Beethoven 4th graphic
http://javanese.imslp.info/files/imglnks/usimg/2/2a/IMSLP35615-PMLP01585-Beethoven-Op060.Bassoon.pdf
Beethoven quotation: Maynard Solomon, Beethoven Essays, (London: Harvard University Press, 1988), p. 218.