TUTORIAL教程
1. Welcome, this is Terry Ewell. Study #9 presents many musical challenges. Perhaps the greatest challenge is coinciding breathing with musical phrasing. I encourage you to stop the video now and spend some time marking breaths in the music. Time spent doing this will educate you for future decisions about where to breathe in music.
1。大家好，我是特里.尤厄尔。练习＃9有很多挑战。也许最大的挑战是呼吸如何与乐段相呼应。我建议你现在就停止观看视频，花一些时间在需要呼吸的地方做标记。这样做你会学到以后应该在何处呼吸。
2. By now you may have noticed in prior videos that I have marked breaths in the music. Too often students don’t consider where to breathe. Instead they play until a mistake is made, breathe, then continue until another mistake and breathe again. If practiced correctly, this study will force you to breathe only in musically appropriate places.
2。现在，从之前的视频教学中，你可能已经注意到，我在音乐中会标记呼吸记号。很多时候，学生们并不考虑应该在哪些地方呼吸。相反，他们一直吹到出错了，呼吸，然后继续吹直到下一个错误，再进行呼吸。如果练习方法正确，今天这堂课练习将迫使你只在音乐上适当的地方进行呼吸。
3. Let’s now lay down some general principles for where to breathe. Naturally as wind players we need air in our lungs to play the instrument and avoid from passing out. But beyond our physical need for air we should take into account musical places for the breaths.
1) Breaths should coincide with musical phrasing where possible.
2) Place breaths in musically consistent places.
3) As a last resort you can hide breaths between leaps, large intervals.
3。现在，让我们制定一些哪里需要呼吸的基本原则。作为管乐器演奏者，我们自然需要有空气进入肺部去吹奏乐器，才能避免昏倒。但是，抛开身体需要，我们应该考虑在音乐需要的地方进行呼吸。
1）呼吸点应与乐段尽可能一致。
2）在音乐继续的地方保持呼吸。
3）作为备用手段，你的呼吸可以藏在跳跃或大音程之间。
4. I hope you have examined study #9 already and determined the musical phrases. In Western music phrase endings are often indicated by a falling melodic line, longer note values at the end, and a harmonic cadence. Furthermore in this study areas of repetition provide an indication of phrases.
4。我希望你已经吹过了练习＃9，并且划出了乐段。在西方音乐中，乐段经常会中止于一个下降的旋律线，结尾的长音，或是一个和谐的终止式。此外，在这节课上我也会重复提到乐段的划分。
5. The study starts with two gestures, each has three eighth notes and ends with a half note. Measure 3 then continues with patterns of eighth notes until a half note on Eb4 which then descends to an Ab3 half note in the second measure of the second line. Many students are tempted to take the first breath after the Eb4 since at about that point the lungs need more air. However, that is the very worst place to breathe! The Eb4 is the climax of the pattern which started in measure 3 and clearly is not the end of the phrase. The phrase ends in the second measure of line 2.
5。这个练习始于两个指示，每一个都有三个八分音符，并结束在一个半音符上。第三小节继续使用八分音符，直到一个Eb4 上的半音，然后第二行第二小节下降到半音Ab3。很多学生都会在吹完Eb4之后禁不住第一次呼吸，因为在这里肺部需要更多的气流。然而，这里却是最不应该呼吸的地方！这个Eb4起始于第三小节，是这个乐段的高潮，很明显，此乐段于第二行第二小节结束。
Two gestures:
Opening and start of line 2:
6. Complicating the issue, however, is the musical technique of “dovetailing.” Dovetailing is where the end of one melody overlaps the start of another melody. The term dovetail comes from carpentry where pieces of wood are joined together. The second measure of line 2 is thus two things: the end of the prior phrase and the start of the gestures we saw in the opening.
6。看似把问题复杂化，但是却与音乐技术“衔接”。衔接是指一个旋律的末端与另一段旋律的开始相重叠。专有名词“衔接”是来自木工，指不同木材连接在一起的地方。因此，第二行第二小节涉及了两个方面：前一乐段的结尾和我们在最初看到的开始指示。
Dovetailing:
7. A breath is possible after the Ab3 in line 2, measure 2 but I think the best solution is to breathe after the second half note in line 2. For consistency sake, then I also breathe after the second half note in beginning.
7。在第二行，第二小节的Ab3之后，是可以呼吸的，但我认为最适合呼吸的地方是在第二行第二个半音之后。为了保持一致性，在开始的第二个半音之后我也会呼吸。
8. The eighth note pattern started in line 1 measure 3 is repeated up a step in line 2, measure 3. This phrase ends in line 3, measure 2 on the downbeat. A quick breath here is appropriate.
8。八分音符的模式起始于第一行第三小节，在第二行第三小节升高一级继续重复。这一乐段在第三行第二小节的第一拍结束。在这里可以进行快速呼吸。
9. A new pattern is then started in the music in line 3 measure 2. This is a sequence that ends at the top of the next page. A quick breath should be taken here.
9。然后一个新的乐段在第三行第二小节开始。这是一个模进，它结束在下一页的上面。这里应该要快速呼吸。
Line 3 with sequence:
Page 2:
10. I won’t comment further on breathing here, but I encourage you to carefully study the breaths that I have indicated in the music. Consider the musical decisions I made.
10。关于呼吸在这里我就不说太多了，但我鼓励你去仔细研究那些我已经在音乐中标注出的呼吸点。去想想看我为什么那么做。
11. Notice that staccato marks are provided after slurs in the first few measures. Although not marked through the rest of the study the leggiero mood with the light separation after the slurs should continue through the entire study.
11。请注意，跳音符号在开始最初几个小节的连线之后出现。虽然在之后的“轻巧的”风格中都没有继续标记，但是应该在整篇练习中继续这种轻巧的断奏。
REFLECTION沉思
12. “Play or practice only twenty-five minutes out of every thirty; get away from the instrument and do something else for the other five.” (William J. Dawson, Fit as a Fiddle, p. 45).
12。“每次练琴的30分钟，只拿出25分钟演奏，剩下的5分钟放下乐器去做其它的事情。”（威廉·道森，身体十分硬朗，第45页）。
13. This is excellent advice! Personally my sessions are fifty minutes of practice followed by ten minutes of rest. This method has been an efficient way for me to practice for years. In addition, I often adjust my reeds during the practice session, which creates additional breaks from performing on the instrument. Remember that being a musician is not a sprint, rather it is a marathon. You must adopt healthy practice habits that will serve you well for many years.
13。这是一个很好的建议！我本人会花50分钟练习，10分钟休息。这个方法对我来说很多年都很有效。此外，我经常在练习过程中调试哨片，这也提供了额外的休息时间。请记住，作为一个音乐家不是百米冲刺，而是一场马拉松赛跑。你必须养成好的练习习惯，而它会帮助你很多年。