let me read a little bit from the foreword.

the concept of interpretation is to express a very personal opinion as to how a particular phrase
or section of music should be played, this opinion is the creative property of the performer, and
not a matter of right or wrong good or bad accurate or inaccurate rather it is the musicians
personal assessment of the composer's musical intentions. it is very similar to creating a work of
art and depending on the eye of the beholder it may or may not be pleasing, interpretation may
be our greatest challenge but as our as musicians, it is also our greatest contribution to the art of
musical performance. Composers vary in their use of musical elements when composing many
only use the basic minimum while others flood notation with expression marks and terms and
performers. we are at the mercy of these elements to help us make musical decisions.
“诠释”的概念是表达一个非常个人的观点，即如何演奏一个特定的乐句或音乐片段。这种观点是演奏者的创作属性，而不是正确或错误的、好坏、
准确或不准确的问题，而是音乐家对作曲家音乐意图的个人评估。它与创造一件艺术品非常相似，取决于观者的眼光，它可能令人愉悦，也可能不令
人愉悦。诠释可能是我们最大的挑战，但作为音乐家，这也是我们对音乐表演艺术的最大贡献。作曲家在使用音乐元素时各不相同，许多作曲家只使
用最基本的元素，而其他作曲家则大量使用表达符号、术语和表演者的符号,我们受这些元素的支配来帮助我们做出音乐上的决定。
so that's what this is all about, first of all we're going to see in the etudes, the markings I put on
the page, and they all demand interpretation how loud is your forte how soft is your piano how
much crescendo do you make how fast you go in the accelerant oh these are all interpretive
decisions. and then use some of your own imagination when there are times when I don't put
much in the music ,should you play just straight boring rhythm, not as a soloist, right, when you
play in an orchestra the conductor is constantly addressing the musicians, explaining to them to
do this faster that's slower allowed to hear so off there he's interpreting the entire score, when
you play solo you're interpreting your part. so let's look at what composers use to express their
intentions and the first is dynamics.

这就是所有的内容，首先我们会在练习曲中看到我写在纸上的标记，它们都需要解释你的 forte 有多响,你的 piano 有多 soft, how

okay well, if the composer only writes from piano to Forte, you know a piano and a Forte maybe
a mezzo Forte, that's not going to be as exciting as for composer writes from four pianos to four
Forte's. well, look at that dynamic difference obviously there's going to be more excitement in
that. and so when we analyze the composer's dynamics we certainly can raise them a little bit
here lower them a little bit here, you know subtle differences within the context of the format
the composer lays out, that's using our imagination that happens all the time in music, what's
Forte at one place in the piece may be different than the Forte in another place it's just very
possible.
好吧，如果作曲家只从 piano 到 Forte，你知道 piano 和 Forte 或者 mezzo Forte，那不会像作曲家从 pppp 到 ffff 那样令人
兴奋。好了，看看动态差异很明显会有更多令人兴奋的东西。 所以当我们分析作曲家的动态时我们当然可以在这里把它们调高一点在这里把它们调低
一点，你知道在作曲家布置的格式中有细微的差别，这是我们的想象力，这在音乐中一直都在发生，作品中某个地方的 forte 可能和另一个地方的
forte 不一样这是非常可能的。
so besides these Forte and fortissimo and we can add forte pianos or a Forte pianissimo which
brings it down immediately, we can add a Sforzando on though on any given note which
reinforces this volume at that particular moment. another increase in drama within the music. so
let us with our imagination always concern ourselves with the dynamics of the piece to make it
interesting.
所以除了这些 Forte 和 Fortissimo 我们还可以加入 forte pianos 或者 Forte pianissimo 让它立刻降下来，我们还可以在任何一
个音符上加 sfz 在那个特定的时刻加强音量。音乐中的戏剧性又增加了。所以让我们用我们的想象力去关注作品的动态，让它变得有趣。
so the second thing composes or another thing composers do is the use of articulations. Now
articulations or marks that are put on the notes. and I'm explaining this a little bit because some
articulations that they use for the violin and the flute and the oboz may not seem to be
appropriate for the snare job. so first we'll look at different notes here.
所以作曲家要做的第二件事，或者说作曲家要做的另一件事，就是使用发音。现在来看看音符上的发音和标记。我稍微解释一下，因为他们用在小提
琴，长笛和双簧管上的一些发音，似乎不太适合用在打鼓上。首先我们来看一下不同的音符。
so this will be our normal note in any dynamic. now if I put a dot over a note, that's called a
staccato. well in a musical instrument such as the flute or a trumpet, to them it means shorten
the note that means dry staccato dry. So instead of playing a quarter note (bah bah) they go (bah
bah). well we certainly can do that, see we don't have the ability to make that note shorter, I
mean for us this is our quarter note and our eighth note and our half note and are holding, unless
we make a roll there's no difference. But what we can do is how we articulate the note. now so if
we're playing a note to have some dots on it. let me give you an example. here I'll play series of
eighth notes here, mezzo Forte dynamic. and now I'm gonna put a staccato dot on the first of
every four, it's like a small accent, so what did I do, I held my sticks a little tighter and I put a little
more weight on that note, don't play all staccato, we can do that, we can play in a staccato
manner, and that's what we should do so for composers writing sixteenth notes two normal and
two staccato, we play, we can make that little inflection, and that's what we use we make phrases
to where a composer may have a slur over it we could do it with a dot. that's how we use this
staccato.
所以这是我们在任何动态情况下的正常音符。现在如果我在音符上画一个点，那就叫做断奏。在一种乐器中，比如长笛或小号，对
他们来说，它意味着缩短音符，意味着断奏。所以他们不吹四分音符(Da Da 长音)，而是(Da Da 短音)。我们当然可以
这样做，看，我们没有能力让这个音符变短，我的意思是对我们来说，这是我们的四分音符（示范），我们的八分音符（示范）和
我们的二分音符（示范），并且保持不变，除非我们 roll 否则没什么区别。但我们能做的是如何清晰地表达音符。现在，如果我们
演奏一个音符上面有一些点。让我给你举个例子。在这里我将演奏一系列第八音符，动态 mezzo Forte。现在我要把每四音符的
第一个音加上 staccato,它就像一个小的 accent，所以我做了什么，我握槌更紧些,我在那个音上加了一点重量（示范）不要所
有的音都断奏（示范）,（正确方式示范）我们能做到这一点。我们可以用断奏的方式,这是我们应该做的。所以对于作曲家写 16
notes 两个普通的和两个断奏，我们演奏，我们可以做一些变化，,这就是我们所使用的我们创造出的短语，作曲家可能会有连音线的
地方，我们可以用一个点来做（示范）。这就是断奏的用法。

（7’52）now another articulation composers use

is a tenuto well you know if I ask

students what does the tenuto mean

that's their instrumentalists any

instrument the most common answer is

okay

so if I'm a trumpet player this tempo

I'm a bit tenuto I play but if I take

the tenuto out now how long do I hold

that quarter note

less than a quarter not really it really

doesn't matter how long the note value

is you could put it on a whole note and

you still have to count it for four

beats it has to do with the attack

No instead of just playing a quarter

note when you have a sonido on a note

for a wind instrument they would do

something like this adding a little

hairpin crescendo Bob do they stress

that note okay well we can stress it all

so here we have our normal notes it's

not yet a sharp exit it's less than an

accent and that of course would be the

next one the accent so now if we go

through these three we get this normal

we have the wedge accent now I don't

know what you call that some people call

it a teepee a high hat jazz players use

it carrot top

there's many names for that the

classical people call it a wedge accent

that is a strong accent so now we have

five levels normal

all in the same dynamic level so this

can affect how we phrase the music now

within any one of these I mean you can

put a staccato accent or wedge accent

right to noodle accent that's unusual

strength players do have that though

they all add a different level of

character to the notes so composers use

these and when you if they use them on

percussion which is not always be sure

to play them with an inflection see many

times we're playing in an orchestra here

this beautiful flute solo and all these

of a sudden the same melodies on our

Bell part and there's nothing there

there's no articulate there's no

staccato ZnO phrases they don't think

that they should give that to us or we

certainly can play music phrase so

here's a snare drum just just play

playing snare your phrases together okay

we have to play like that to play

musically now of course with the word

phrasing composes are very generous

doing that with other instruments you

know having a series of notes and

putting the slur over it which tells the

player play that in one breath you know

that's all together there's no beats in

between that and that's what we can do

by using these articulations so if I

have a melody that went

and the composer did this put it in two

phrases right so I can make that sound

there Dada Dada Dada I repeat the phrase

with my pressure in my hands we can do

it and that's how we play musically

contemporary music we do certainly see

now composes putting phrases on keyboard

percussion instruments they haven't yet

gotten the idea they can still do it for

snare drum and woodblock and whatever

else we can do all these articulations

now what else

composers put in the score our musical

directives so I've listed a few here and

these of course are words and these

words are in three languages usually

Italian French or German and as I

mentioned going through portraits and

rhythm never pass up a word you don't

understand because the composer is

telling you something even American

composers use Italian words because the

Italian word denotes something that our

there's more character to their words so

of course we know crescendo that's an

Italian word and diminuendo getting

louder getting softer Excel or on though

they're they're quite common and

we know what they mean but do you know

you know those translations in French or

in German because the French and German

composers use their own language and a

lot of them use their language plus

Italian Italian is the most common

language so for instance some common

directives are mirando cantabile Seco

marcado espressivo dolce and agitate Oh

everyone is a character gently sweetly

agitated dying away you know sonorous

gives you a word to put to the music and

of course they do the same thing with

tempo markings allegro maestoso moderato

a pissant a andante cantabile very Largo

a Grove a very important words if you

the first thing you need and your little

bag of tricks your little stick case is

a dictionary of foreign terms because

you need to look all these up eventually

they'll become common to you so I'm

recommending my own Sirhan's pocket

dictionary of foreign musical terms not

only has all these terms in the general

musical family but a section on

percussion instruments and percussion

usage terms for the percussion usage

that you'll not even find in a normal

profession musical dictionary plus a

whole section in the back for string

players with their bowing techniques

that conductors and composers asked for

so it's very complete but what ever

learned the words you'll add more to

your music so so now you should bring

this wealth of knowledge to your

performances these etudes are available

you can go to that and download them and

but even your own music now these things

you've learned here try to apply you'll

be a better performer and especially

taking auditions conductors are looking

for this musicality so thank you for

listening and I hope to see you in being

used in the etudes of fortress and

rhythm thank you