TUTORIAL教程
Welcome, this is Terry Ewell. The first phrases of Weissenborn study #47 give us another crucible in which to refine our expressive abilities. In particular, the quarter notes can halt or distort musical motion if subdivisions are not shaped into a musical line.
欢迎来到今天的唐英伟巴松课堂。《维斯伯恩高级练习曲》第47首的第一乐句给我们提出了另一个考验，关于怎样提高我们的表现力。尤其是，如果我们不按照音乐的线条来细分节奏话，四分音符会使音乐的运动停止或扭曲。
Let me first perform this by tonguing each 16th:
让我首先按吐音的方法吹奏每个16分音符。
Notice that I am continuing the musical motion through the quarter notes. You can only do this with subdivisions.
注意，遇到四分音符的时候，我仍然使得音乐是继续向前流动的。你只能通过细分节奏来做到这一点。
Let’s use another analogy, the toss of a baseball. I am grateful to Joseph Robinson for this analogy. When a baseball is thrown, gravity causes the ball to curve in an arc as it approaches the ground. If we blink while the baseball is in the air, the motion still continues. Over years of practice with throwing baseballs you probably can guess where the baseball will be after you blink. Even though part of the motion is obscured briefly, the trajectory of the ball has already been determined. You understand where it will end up.
注意，遇到四分音符的时候，我仍然使得音乐是继续向前流动的。你只能通过细分节奏来做到这一点。
Likewise the musical motion continues through the quarter notes even though that motion is not audible. It is similar to blinking when looking at the toss of a baseball. The arch of the musical line should continue and be predictable.
同样的道理，虽然有时我们没有听到四分音符，但音乐的运动走向还会继续。这和观察投掷棒球时眨眼的道理是相似的。音乐线条应该继续而且是可以被预测的。
We also find in this study appoggiaturas. I spent considerable time in Weissenborn study #38 (BDP #146) discussing this important ornament and how it is often used for goals in music. Notice the abundance of appoggiaturas in this study!
我们还在这首练习曲中发现了装饰音花音。在第38首练习曲(BDP＃146)中，我很仔细地讲解了这个重要的装饰音以及它在音乐目标中所起的作用。注意，这首练习曲里有很多花音。
Not only is each appoggiatura placed on a downbeat, which provides some stress, but they are also approach by quicker notes. Quick notes generally move to longer notes in music, so you should direct the musical motion to the appoggiaturas.
不仅仅是由于每一个花音都在重拍上，从而产生了压力；而且在它们之前是很快的音符。在音乐中，快节奏的音通常流动到长音，所以你应该使得音乐向花音流动。
REFLECTION沉思
“Two concert tickets can easily cost as much as a week’s food allowance for a family of four, and one CD costs about the same as a work shirt, eight loaves of bread, or basic phone service for a month. Understanding why we like music and what draws us to it is a window on the essence of human nature.” Daniel J. Levitin, This is Your Brain on Music (London: 2007, Penguin Group), p. 7.
“两张音乐会的票可以很容易地和一个四口之家一周的食物花销相抵，一张CD可能和一件工作衫、八份面包或者一个月的电话基本通话费用差不多价格。了解为什么我们喜爱音乐，以及什么吸引我们是一个关于人性本质的窗口。”丹尼尔.莱维廷，《这是你的音乐大脑》(伦敦：2007，企鹅集团)，第7页。
I highly recommend that you read the book by Daniel Levitin titled, This is Your Brain on Music. He provides fascinating insights into how our brains process music. I really appreciate the last portion of the quote I read above. Indeed, it is true that there is something about music that is tied to the essence of human nature. We are privileged as musicians to be a part of this essence every day we live.
我强烈建议你读一读丹尼尔.莱维廷的这本书－《这是你的音乐大脑》。他提出了很多关于我们的大脑怎样处理音乐的独特见解。我非常喜欢上面我引用的那段话。事实上，是有一些和音乐有关的东西和人性的本质有联系。作为音乐家，我们很幸运的是这是我们日常生活的一部分。
