TUTORIAL教程
1. Welcome, this is Terry Ewell. These are my comments on Weissenborn study #8.
1. 大家好，我是特里.尤厄尔。今天来谈谈我对维斯伯恩练习＃8的一些自己的想法。
2. Many students always start at the beginning of a study or composition when they practice. It feels good to play over and over things that you can perform well. It takes greater courage, however, to confront the most difficult aspects of an exercise such as this. The quickest way to make progress is to address the problems and spend more practice time on them. More time should be spent on the most difficult sections of an exercise than on the easier sections.
2. 很多学生都会在练习时从一篇练习或乐曲的开头演奏。一遍又一遍的练习你才有勇气吹奏好，这是没错的。但是，面对一个像这样的练习中最难的部分，取得进步的最快方法是花更多的练习时间在它们身上。更多的时间应该花在练习中最困难的部分，而不是在容易的部分。
3. I suggest you try a new technique that will improve your practice time: Sight read through study number 8 a few times. Make a careful note of the passages where you have the most difficulty. Put an “x” over those places. You probably didn’t have too much difficulty with measure 1. In fact, you might have played this measure well every time. Other places, however, such as the fourth line probably have an “x” or two.
3。我建议你去尝试一种新的技巧，通过视唱练习8若干次，将会提高你的练习效率：在最难的地方仔细标记。用一个“x”把它们圈出来。在第一小节，你可能没有太多的问题。事实上，这一小节你可能每次都吹奏的很好。但是其他地方，像第四行可能就会有一两个“x”。
4. Decide this week to practice the problem spots first! Don’t start at the beginning. Only read through the entire study after you have worked carefully on the problem areas.
4。下决心这个星期先来练习这些标注的问题！不要从头开始。在解决了所有问题之后再来练习整首乐曲。
5. I tell my students that once they have identified a problem area, they should next find at least three practice methods to address the problem. Let’s assume that line 4, measure 3 is a problem area for you. Here are some practice methods to consider.
5。我告诉我的学生，一旦他们发现有一个部分有问题，接下来应该找到至少三个练习方法来解决这个问题。让我们假设第4行，第3小节有困难，一起来看看有哪些方法可以解决。
6. We have already seen that rhythms can help with finger coordination. Here are a few rhythms and other exercises to use for this passage:
6. 我们已经看到，节奏可以帮助手指的协调。针对刚才的部分，可以选择下面的一些节奏练习：
Example rhythms
7. Tonguing might be an issue for you as well. Let’s address tonguing separately from fingers. I call short bursts of tonguing or fingering patterns “sprints.” While slow practice is helpful for reinforcing proper technique and muscle memory, you can’t master playing rapidly without working on speed. Here is an exercise to increase tonguing speed. Be sure to push or sprint to the end of the pattern. Don’t slow down.
7。吐音也可能是你的另一个问题。让我们把吐音和指法分开讨论。我把短的爆发吐音或指法称为“冲刺”。虽然慢练对于加强适当的技术和肌肉记忆有帮助，但如果不进行速度练习，仍无法掌握快速演奏的能力。下面这个练习可以用来提高吐音的速度。一定要以推进、冲刺的模式到最后。不要慢下来。
8. Last of all, let’s do a little more work with drones. Since the first line of the study features two chords, the tonic and dominant, we can use a drone on the fifth scale degree to help us with intonation. The fifth scale degree of B flat major is F. Listen to this example of slow practice of the first line with an F drone.
8.最后，让我们再多做一些低音练习。由于这篇练习的第一行有两个和弦，主和弦和属和弦，我们可以用平衡五度的低音/练习音准。降B大调的平衡五度是低音F。来听一下用低音F进行第一行慢练的例子。
Example F drone.
REFLECTION沉思
9. "The unexamined life is not worth living." (Socrates, Apology 38a)
Then the LORD God called to Adam and said to him, “Where are you?” (NKJV, Genesis 3:9)
9.“浑浑噩噩的生活不值得过。”（苏格拉底，道歉38A）
耶和华神呼唤那人，对他说，“你在哪里？” (和合本, 创世纪3:9)
10. Too often we try to avoid our problems. I mentioned in this lesson that often students avoid the difficult areas in a musical study. All of us want to avoid difficult areas in life as well! Sometimes we even avoid thinking about life’s difficulties. However, hiding from issues won’t make the issues go away. It is difficult to examine the issues that are harmful to life. Identifying problems in musical studies is the most efficient way to master an exercise. Likewise, confronting a problem in life is the best start towards the solution.
10. 很多时候，我们尽量避免问题。我在这节课上所提到的，是在练习中，学生们往往会避开有难度的地方。我们都希望在生活中也能避免麻烦。有时候，我们甚至避免去思考人生的难题。然而，逃避问题并不会让问题消失。检测出那些有害于生命的问题是很难的。在音乐的学习中，掌握一个练习最有效的方法就是发现问题。同样，在生活中，勇于面对问题也是解决好它的前提。