Bassoon Digital Professor #34.

Translation by Hanyu Qu. 译:屈涵雨

3rd Bassoon Lesson with Terry B. Ewell (2008, BDP #34)

<Music: Vivaldi's E minor Concerto>
背景音乐:维瓦尔第 E小调协奏曲

1.OK, So let's apply some of these principles that we have already learned about articulation. Let's apply these now to some of the studies you would have for this lesson. Well the first study we are going to do now is from Rubank [Elementary Method]. I am going to play from the first two of measures of rhythmic studies number one.
好的,这节课我们来就上节课所学习的几种演奏技巧进行应用练习。练习一我们来学习Runbank巴松演奏基础教材, 我将演示教材第八页节奏练习一的前两小节。

2. That particular stop to each note was done with just the tongue. I kept the air constant. I didn't move the embouchure. This is the reed, this is the tongue. The reed is vibrating. The tongue stops the vibration and release.
<demonstration of tonguing>

3.Just a little touch of the tongue to the reed. I will do that again.

4.I would like you to observe your embouchure. It is a good idea to have a mirror. Make sure that are no changes here [with your embouchure]. It should look the same as if you are slurring it like this.
<music-all slurred>

5.The air is kept constant. There is still pressure behind the tongue when you stop the reed. The reed is vibrating here, the tongue stops it. It is a bit like your water faucet in your house or in your tap. When you turn it on, water comes out because there is already pressure behind it.
When you turn off it off--that valve--or shut off, there is no water coming out.持续送气,在你用舌头去停止发音时要保证还有气息的压力在。哨片在这震动,舌头在风口处使其停止震动。这可以类比你家的水龙头:当你打开它时,水龙头里的压力使水流出,当你拧上龙头时,阀门关闭,所以水不会流出。

6.OK so let's go on to the second example here. This is a little bit different because every note is not stopped with the tongue, but we have some rests introduced. Where you have time to round out the note, to make a slight diminuendo, a nice a resonant ending to the note. You should do that. This is done with the air supply stopping and the embouchure closing to keep the pitch from dropping. Just as we have already illustrated with our experiments. So here is number two.好的下面我们来看看第二个例子,这个例子与第一个例子不一样的地方是音符后面跟有休止符,所以我们不用舌头来停止发音,我们有时间去修饰尾音,我们在结束时做轻微的渐弱让它有一个漂亮的共鸣的结束。要做到这一点我们要在尾音时减少气息但是收紧嘴型以免音调低下去,下面我来示范第二条


7. I don't know if you can see my embouchure here, if there is any change.

8. I am closing it [the embouchure] off slightly at the end of those notes [followed by rests.]You see it is important for us to master both types of endings to notes The ending using the air and the embouchure--the resonant ending to the note--and the ending stopping the note with the tongue.

9.Alright, let's look at one other study. Let's look at this Weissenborn study number three.

10.It is now appearing on your screen. In particular I want us to look at measures five and six. This is the first time we now have staccato eighth notes included here. With the staccato eighth notes we can play these with the two different endings. In fact I think it is good to practice the two different endings. Here in measures 5 and 6, and I will play measures 7 and 8 as well. Let me end the staccato notes with the air and the embouchure.

11.So I am actually stopping each note and rounding it out again with the embouchure closing.

12.Now the other way I can stop the notes is with the tongue. This time I am going to stop the notes with the tongue abruptly. So you can hear it [the staccato notes] stop immediately.

13.Did you hear how the ending was squared off on those eighth notes.. Now I can adjust the length of a note just by when I place the tongue on the reed. First I will make them very short. Then the next time I will make them longer for you.

14.Those were the shorter notes. Now I will lengthen the note but still stop it with the tongue.这是相对较短的音符,现在我来演奏较长一点的结束,但是仍用舌头结束尾音。

15.Could you hear how those were longer? I kept the air supply going throughout the notes. Now those were with the more abrupt ending. I can also make short notes by placing the tongue on the reed a little bit more slowly and get the effect of the resonant ending however, doing it with the tongue. Let me illustrate this in slow motion for you. So, for instance, let me play a note and make a tongued diminuendo. yes, I am making a diminuendo just by the rate at which I put the tongue on the reed.
<music: example of diminuendo with tongue>

16.Can you hear how the note closed off?

17.This is just doing it with the tongue. You can do this with a faster motion, which is what I will do now.

18.I didn't do is well. Let me try it again.

19.So you can vary the speed at which the tongue goes on the notes.
Let me give you a little study. I know this is a lot to do in the third lesson, but some of these principles can carry forward later. I am giving to you a little study here with some eighth notes followed by eighth rests. Let's set the metronome for 80. What I want you to do is three different stops to the notes. The first stop is with the air and the

<Music: demonstration of air and embouchure stops>

20.For each of those, I felt my (stomach) abdominal muscles pulsing: "hoo hoo hoo."

21.Let's try that again.
<Music: demonstration of air and embouchure stops>

22.So there was a pulse to it. Now this time for the tongued, abrupt stop. We are going to use the tongue, but keep the air constant through the whole thing. So here is the tongued, abrupt stop.
<Music: demonstration of tongued stops>

23.I missed a note there. I wasn't too happy. Let's do that again.
<Music: demonstration of tongued stops>

24.Can you hear how each note was chopped off at the end? Now, I am going to use the air constant, but the tongue less abrupt at the end [of each note].你听得出来这些音是如何结束的了吗?现在我来示范第三种柔和吐音结束的方法,持续送气,但是舌头的速度变慢结束变得柔和。

<Music: demonstration of tongued stops--less abrupt>

25.Could you hear that? Could you hear those subtle differences? It is important for you as a bassoonist to master these different techniques. It is not that one is right and one is wrong. They are all equally good [for] certain situations. Some are more appropriate for certain situations; other types of articulation for others. You want to be the type of player who has freedom, who is able to choose from all of these different techniques. You don't want to be locked into one type of articulation.You want to have varied articulations. This will give you the greatest variety, the greatest color to your playing.

26.So that is a little exercise for you to practice. Practice it at some different tempos. Explore what your tongue can do on the reed. Explore also your air and embouchure releases. So that you discover your abilities and you continue to improve your playing.

<Music: Vivaldi's “La Notte” concerto for Bassoon, Strings, and Continuo>
〈背景音乐:维瓦尔第:“ 夜晚” 巴松与弦乐协奏曲〉