1. Welcome, to Weissenborn study #20.
欢迎来到维斯伯恩练习视频 20 。
2. I want to include thanks for my students who have helped me with this project. Without their help recording the videos, I probably wouldn’t have been able to provide an edited video for each performance. Originally when I started the project I didn’t intend to complete a video performance for every study.
3. Even with their help, however, I did not have recording time in the hall or even the endurance to play every note in the studies. For instance, the day I recorded the performance of this study I also recorded fourteen other studies.
4. In study #20 I have indicated several double breath signs. These designate places where I need to inhale as much air as possible. The reason for this is not just the amount of air needed in the lungs, but also in order to maintain oxygen levels to keep up my concentration. I find that I make more mistakes at the end of phrases when my lungs have less oxygen.
5. One important way to retain good oxygen levels is to exhale first the residual air from your lungs before you take a big breath. So when you start the first line, don’t fill your lungs completely. Expel most of your air when playing before you take the bigger breath during the quarter rest in line 1. Before the meno mosso totally exhale before taking a deep breath. This is a key strategy for playing the long phrase all to the end.
6. Students often rush the dotted quarter notes. Subdivide these dotted quarter notes. Take for example line 4. You can practice this first by tonguing all the eighth notes. Then perform as written.
7. This study features the chromatic scale up and down. However, there are several areas where this is broken by whole steps. One way to avoid mistakes is to mark the whole steps. I use square brackets over the notes.
Example with line using square brackets
8. Bb3 is an unstable note on the instrument, particularly at the end of a phrase where a diminuendo is needed. For instance, the famous solo in Tchaikovsky’s Fourth Symphony, the second movement, ends on this Bb. I will play the last three measures.
9. I add the Db key to help stabilize the note at the end of the Tchaikovsky solo. Last Bb3 Alternate fingering.
This fingering also works for the last note at the end of the sixth line.
Example from music. Pause
10. In the meno mosso, hold down the C flick key for multiple notes. In the first measure this is done for C4, B3, Bb3, and A3.
…when He, the Spirit of truth, has come, He will guide you into all truth; for He will not speak on His own authority, but whatever He hears He will speak; and He will tell you things to come. (NKJV, John 16: 13)
11. This is the third of three reflections on hearing God’s voice. If you have not listened to the first reflection contained in the video on Weissenborn study #18 I encourage you to do so now.
8. Discipline vs. destruction. God's Spirit disciplines us and this makes us stronger. The adversaries seek to tear us down. Don't think that since God is full of love, He has no interest in correcting us and helping us grow. He is a good parent, not a neglectful parent.
9. Reassures vs. accuses. These two words perhaps best describe the differences between God and the adversaries.
10. Facts of the Word vs. feelings. The Spirit of God brings forth the facts. The adversaries want our feelings to override the truth.
I pray that you will listen to God’s voice and have His blessings in your life.
Reference:Harry Leesment, The Evidence (November/December 1985): 33.