Weissenborn 29

Transcript

TUTORIAL教程

1. Welcome, this is Terry Ewell. Today you have the opportunity to “play with fire.” Allegro con fuoco literally means “fast with fire.” The sizzle of the flames should come from the speed of your performance and the clarity of your rapid tonguing.

1. 大家好!我是唐英伟。在今天的巴松课堂里,你有机会玩玩火 Allegro con fuoco的意思是快速并带有烈火 火焰的嘶嘶声应该来自你的演奏速度和舌头快速吐音的清晰度

2. None of the Fifty Advanced Studies require very rapid tonguing. For this reason I do not recommend that my students use multiple tonguing techniques such as double tonguing. Instead they should master a fast single tongue at speeds up four sixteenth notes in a beat at metronome marking 132. If, however, you wish to learn more about multiple tonguing techniques I have some videos for you! See Bassoon Digital Professor (BDP) #18-20, http://www.2reed.net/bdp/#Double_Tonguing

2. 《维斯伯恩五十首高级练习曲》中其实并没有一首需要非常快速的吐音技术。出于这个原因,我并不建议我的学生使用多吐音技术,比如双吐音。相反,他们应该掌握快速单吐音技术,比如把节拍器设为132,每一声响能吹奏416分音符。但是如果你想更多地了解多吐音技术,我这里有一些教学视频供你参考。见BDP18-20.

 

 3. and also view my discussion of Beethoven’s 4th Symphony in BDP #78-79.

http://www.2reed.net/bdp/#Orchestral

3. 同时,你也可以看看我在BDP78-79中关于《贝多芬第四交响乐》的探讨。

 

4. Don’t allow your tonguing to interfere with your phrasing. Play the notes “on the wind.” For example, in measure 1 drive or push the notes to the downbeat of measure 2. You can test your phrasing in two ways.

4. 不要让你的吐音干扰乐句的处理。要让你的音符像乘着风飞翔随风演奏一样。举个例子在下面这个乐段的第一小节中记着要引领、推动这些16分音符到第二小节。你可以通过2种方法测试你的乐句。

Weissenborn 29 Line 1

5. 1) play the passage first slurred.

5. 1)带连线地演奏这个乐段

Example

6. And then 2) play the passage on a single note.

6. 2)断奏地演奏这个乐段

 

Example

7. Now play the notes as written with the same phrasing.

7. 现在,按照乐谱上标注的乐句演奏

 

Example

8. For further information on “Playing on the wind” see BDP #56.

 

http://www.2reed.net/bdp/#Phrasing

 

8. 关于更多随风演奏的信息,请参见BDP56

                                        

9. The two quick breaths in line 3 allow for the rest of the phrase to be completed.

9. 在第三行快速呼吸两次会帮助我们完成后面的乐句。 

 

10. There is a dramatic mood change in line 4 after the fermata. What are the ways in which you can achieve this?

10. 第四行的延长符号后,有一个戏剧性的情绪变化。你有什么方法把它表现出来吗?

11. Let me play for you the first four notes in the opening and then the first two notes in this new section.

11. 现在,让我来为你演奏一下开头的四个音符,以及这个新段落里的前两个音。

 Weissenborn 29 Line 1

Weissenborn 29 line 2

12. In addition to the dynamic differences what were the other things I did to signal to the listener the change in mood? Listen to it again.

12. 除了强弱的不同,我还做了哪些事把这里的情绪变化传递给听众呢?再听一遍吧

Example

13. Here are some of the things I was doing:

1) Different breaths, quicker in the beginning, slower in the 2nd section.

2) Different articulation. I used a faster release of the tongue in the beginning.

3) Different sound color. I sought a darker sound in the middle section.

4) Different gestures as I start playing.

13. 我做了这些处理:

1)不同的呼吸:开始时较快,第二段较慢。

2)不同的语气(发音法):在开始的时候,我的舌头释放得更快。

3)不同的音色:在中间段落,我寻求的是比较暗和低沉的声音。

4)两个段落开始的时候,我的姿势不同。

 

14. Just take a single note and practice playing it in different styles. How many different expressions can you give to it? Developing multiple expressions will be important as you progress through the Weissenborn studies. We will discuss this more in a later study or two.

14. 我做了这些处理:

1)不同的呼吸:开始时较快,第二段较慢。

2)不同的语气(发音法):在开始的时候,我的舌头释放得更快。

3)不同的音色:在中间段落,我寻求的是比较暗和低沉的声音。

4)两个段落开始的时候,我的姿势不同。

REFLECTION沉思