TUTORIAL教程
Welcome, this is Terry Ewell. Weissenborn study #45 is another expressive delight in this collection. In the video on Weissenborn study #39 (BDP # 147) I presented ways in which music can be shaped to create goals. Please review this video if you haven’t seen it yet. To express phrasing you need to alter your dynamics, vibrato, and rubato. Using divisions of the beat to shape rubato is especially vital for this study.
你好！我是唐英伟。第45首练习曲是这套《维斯伯恩高级练习曲》中另一首极具表现力的作品。在第39首(BDP＃147)的视频中，我讲述了几种创造不同音乐目标的方式。如果你还没有看过，请参考那节课的教学视频。想要有感情地表现乐句，你需要在强弱表情、颤音以及自由节奏方面做一些变化。使用节奏细分的方法在自由节奏上做美化是这首练习曲的关键。
The rhythms in the last measure of line 3 require special attention. It is very important that you keep up the eighth-note divisions in order to properly perform the measure. Let’s practice this slowly by setting the metronome to eighth notes values.
第三行最后一小节的节奏需要特别注意。非常重要的一点是保持细分到八分音符，这样才能正确地演奏这个小节。我们练习的时候应该慢练，并把节拍器设定为八分音符。
I use an alternate fingering for Eb3 in this measure. It is the trill fingering.
在这个小节里，我使用替换指法演奏降E3，这也是演奏装饰音颤音的指法。
Have you heard of a hemiola? The third to last measure sets up pairs of eighth notes which imposed a meter with divisions of two instead of the divisions of three. This is a great example of a hemiola.
你听说过hemiola(黑米奥拉节奏)吗？也就是3:2的比例。从倒数第三个小节到最后一个小节，维斯伯恩为我们选定了两个一组的八分音符，并且利用了以两拍为单位的节奏，而不是三拍。这就是一个很典型的黑米奥拉节奏。
Be sure to hold the last note to the end. Don’t end the note too early.
注意最后一个音符要保持到结束。不要太早放掉最后一个音。
This is a great study in which to employ other practice methods. Norman Herzberg presented to me years ago a method of practice which is a reduction of the fine collection of studies written by Simon Kovar. You can pick any three, four, or more notes for practicing in this way.
这首练习曲之所以很好是因为它也包含了其他的练习方法。诺曼.赫兹伯格几年前像我介绍了一种由西蒙.科瓦编注的一套练习曲中精简出来的练习方法。你可以在这种方法中选择三个、四个或更多音符来练习。
Let’s take the three notes at the end of the second complete measure.
让我们挑倒数第二个完整小节中的三个音来练习。
Practice these three notes in various patterns at different speeds.
以不同的速度、组合来练习这三个音符。
It is especially important to match the timbre or sound quality of adjacent notes. I am grateful to Frank Morelli for this practice suggestion. Let’s take the same three notes and concentrate on timbre and smooth connections. I find that the connection between Ab3 and Bb3 is especially difficult. There needs to be precise and swift movements of the fingers to minimize the break between the notes.
使得相邻的音有相同的音色或者声音质量尤其重要。我很感谢弗兰克.莫瑞丽提出的这个练习建议。现在，让我们用这同样的三个音并且把注意力放在音色上，同时注意流畅地把它们连起来。我发现把降A3和降B3连起来尤为困难。这里需要手指精准和快速地移动以使得音和音之间的空隙尽可能小。
For instance, I find the pitch of Bb to be lower than Ab (when compared to equal temperament). So I need to make an adjustment for these notes to be in tune. Also Bb is a note with less resonance so I also need to adjust for greater resonance.
例如，我发现和平均律理论相比，降B比降A要低。所以我需要做些调整使得这些音听起来音准好些。同时，降B这个音具有较少的共振，所以我还需要调整它以获得更大的共振。
I’ve mentioned in prior videos that you can adjust timbre by means of the embouchure position on the reed. This is not something to do here! You don’t have time to move the reed inside and out of your mouth on adjacent notes, particularly at faster speeds. Instead, there will be pitch and timbre adjustments made with the tongue position. This is also known as voicing or vowels. Shifting the embouchure on the reed is something you do for a section of music. Please see examples in the video on Weissenborn Study #50, part A, BDP #158.
在之前的教学视频中，我曾经提过你可以通过调整簧片上吹嘴的位置来改变音色。在这里可不要这样做！你没有足够的时间在演奏相邻的音时把口中的簧片向里或向外移动，尤其在速度较快的时候。相反，我们可以通过改变舌头的位置来调整音高和音色。这也就是我们说的元音的改变。在遇到一大段乐段时，我们才会使用在簧片上调整吹嘴的方式。请参考《维斯伯恩练习曲》第50首的教学视频，A部分，BDP＃158。
Drawing your attention to problems of timbre is an important first step to addressing the issue. In addition to vowel adjustments, you might also need to make adjustments to your reeds to better match the timbre of notes. Don’t get too discouraged at first. This will take years of progress and dedication on your part.
把注意力集中到音色的问题上是很重要的第一步。除了调整元音之外，你可能还需要调整你的簧片来更好地配合音色的改变。一开始的时候不要气馁，这需要几年的时间才能有所进步
REFLECTION沉思
…that you may know that the LORD does make a difference between the Egyptians and Israel.” (NKJV, Exodus 11:7)
But without faith it is impossible to please Him, for he who comes to God must believe that He is, and that He is a rewarder of those who diligently seek Him. (NKJV, Hebrews 11:6)
...好 叫 你 们 知 道 耶 和 华 是 将 埃 及 人 和 以 色 列 人 分 别 出 来
(简体中文和合本，出埃及记11:7)。没有信心的人不能得到上帝的喜悦，因为来到上帝面前的人必须相信上帝存在，并相信祂会赏赐一切寻求祂的人。(当代译本，希伯来书11:6)
My wife and I have faced a few difficulties in life. While living our first married years in Hong Kong our mortgage interest rate moved to over 20%. Our payments were not capped, so we had to cover this amount. Birth tests for our second child indicated that he might be born with a birth defect. We viewed his healthy birth as a gift from God. More recently my wife and I have both had various health issues. I am thankful that God makes a difference. He has listened to our needs and heard our prayers during our times of trouble.
我的妻子和我也在生活中遇到过不少难题。当我们结婚后在香港生活的最开始的几年里，我们的按揭利率上升至超过20%。我们的贷款利率没有上限，所以不得不支出这部分金额。我们第二个孩子的出生测试表明他可能在出生时有缺陷。我们把他能够健康地降生看作是上帝的恩赐。最近，我的妻子和我都发现了各种健康问题。我很感激上帝为我们做的改变。祂听到了我们的需要，并且在我们的困难时期听到了我们向祂所做的祷告。
You have heard me speak in these videos about the difference that God has made in my life. In the videos on Weissenborn 36 and 37 (BDP #144-145), I mentioned the transformation that occurred for me as a person and a musician. I think that God can make a difference in your life as well.
你在这几期的视频中听到了我讲述上帝为我的生活做出的改变。在维斯伯恩练习曲》第36和37首的视频(BDP＃144-145)中，我提到了我从一个普通人到音乐家的转变。我想上帝也会在你的生命中有所作为。