[Music: Orefici’s Melodic Study #5, performed by Terry B. Ewell]
奥爾菲奇的旋律練習曲第十一號，“银河般的练习曲”。 由泰瑞·尤厄尔(Terry B. Ewell) 教授指導练习曲的多维演奏方面。此外，在此视频中演奏了另一种尾奏。撰寫。翻译：許嘉宇。BDP #335. www.2reed.net.
[音乐：奥爾菲奇的旋律練習曲第五號，由泰瑞·尤厄尔演奏]
Well, as you can see, I am not on the Recital Hall Stage at Towson University. The Covid 19 Corona virus has now sequestered me now in my home. I am no longer allowed access to the campus. This may be for several weeks.
1. 好吧，正如你所见，我不在陶森大学的演奏厅舞台上。 Covid 19 新冠病毒现在已将我隔离在家中。我不再被允许进入校园。这可能会持续数周。
Orefici number 11 is a very strange etude. It reminds me of a passage from one of C. S. Lewis’s books, which is out of his Space Trilogy, his science fiction literature. In the particular passage you have Ransom, who is the character constant through all of the novels in the trilogy, he is in a room and he is visited by an angel or a spirit from another planet. At this moment he notices that the angel and appearance is at a slant, at an angle. He is out of sync with the present world. The other dimension is not aligned with or at right angles with our present world. Ransom then makes the observation that actually the thing that was out of kilter is where he was. Earth and this reality, as it were, is out of kilter with the rest of the universe that is aligned in a different way. At that moment he had the awareness of his present alignment and this other alignment that should have been.
2. 奥爾菲奇的旋律練習曲第十一號是一首非常奇怪的练习曲。它让我想起了 C. S. 刘易斯(C. S. Lewis) 的一本书中的一段话，那是他的太空三部曲，他的科幻文学。在特定的段落中，你有了藍森(Ransom)，他是三部曲中所有小说中不变的角色，他在一个房间 里，被天使或来自另一个星球的灵魂拜访。这一刻他注意到天使和容貌，在一个角度，是歪斜的。
3. 他与现在的世界格格不入。另一个维度与我们现在的世界不对齐或不成直角。 藍森(Ransom) 然后观察到，实际上不合时宜的东西就是他所在的地方。地球和这个现实，可以说，与以不同方式排列的宇宙其他部分格格不入。在那一刻，他意识到了他当前的校 準方式以及本应存在的另一种校準方式都不一樣。
This etude reminds me of that too because we have an etude that is out of alignment. This is the only one of the twenty etudes that when it returns at the recapitulation at the return of the A form, it is not going back to the tonic. The etudes are A-B-A in form. The opening we have B flat major. However, when it returns in the second A section, it is apparently in F major. So, it is off in bizarre tangents. For instance, in measure 42 it takes off in a key that is not in relation to F major or B flat major. Then in measure 58 it goes off on another tangent. The way that he has written it, it ends up in G minor. However, it does not end on G, the tonic of G minor, but on B flat. B flat is the tonic where it should have ended.
4. 这首练习曲也让我想起了这一点，因为我们有一首不对齐的练习曲。这是 20 首练习曲中唯一一首，当它在 A 段落返回的重演，它不会回到原調。练习曲的形式是 A-B-A。
5. 开头我们有降B大调。然而，当它在第二 A 部分返回时，它显然是 F 大调。所以，它离奇地背離了。例如，在第 42 小节中，它以一个与 F 大调或 B 大调无关的调开始。然后在第 58 小节中，它在另一个切线上消失。他写它的方式，它以G小调结束。然而，它不是以 G 小调的主音 G 结尾，而是以降 B 结尾。 降 B調是它应该结束的基調。
So, I put together a re-written passage that aligns this etude to terra firma (earth) in B flat, in that key. Then you can hear a contrast with the way that Orefici has written it. This is off kilter, with things aligned for another dimension. Orefici’s way of looking at it is a lot richer if you hear it in both B flat major and G minor at the ending with this tension between what is now and what could be.
6. 所以，我把这首练习曲与降B大调中的terra Firma（大地）对齐了一下，在那个调中重新编写了一段。然后你可以听到与 奥爾菲奇写它的方式的对比。这是不平衡的，事物与另一个维度对齐。如果你在 B 大调和 G 小调的结尾听到现在和可能是之间的張力，奥爾菲奇看待它的方式要丰富得多。
[music: alternative ending to Orefici 11, aligned to B flat major]
[Music: Orefici’s Melodic Study #5, performed by Terry B. Ewell]
[音乐：奧爾菲奇的旋律練習曲第十一號的替代结尾，与降 B 大调对齐]
[音乐：奥爾菲奇的旋律練習曲第五號，由泰瑞·尤厄尔演奏]