Old-time musicians

Viadlin held a "big vat" of fruit-flavored sweet tea in his hand. He took a sip and shook his head helplessly.

He came up with three such large-length steel associations, and he didn’t even finish reading the scores, and then this guy started directly?

What is displayed on the piano in front of Fan Ning is not a solo score, but a complete score. The piano part occupies only two lines per page, or four lines in less orchestrated passages.

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This will undoubtedly cause the score to be turned over too quickly, but it doesn't matter, Fan Ning doesn't have to free his hands, the score will be turned over by itself.

You want me to learn and teach now, right? Viadlin clearly saw that Fanning was specifically letting him see the relationship between the band and the piano in order to better guide him.

As a master of "Chi" whose sensory acuity exceeds the scope of ordinary people's understanding, his vision can clearly browse every note and term on the score, while his ears continue to capture the details of Fan Ning's playing.

All highlights or imperfections are visible at a glance.

When he heard the opening of Chai Yi's first movement, Viadlin had already made an extremely detailed judgment on Fanning's control.

I also have a rough idea of ​​what angles I should inspire and enlighten from.

Even if this piece of music was written by Fan Ning, even if it was my first time reading the score simultaneously.

Once a musical work is produced, the right to interpret it no longer belongs solely to the composer himself. The "formats" of the two are relatively independent, and the composer cannot exclusively define which interpretation is the only authority.

The performer's second interpretation is also an artistic creation process. Some music aesthetic theories even believe that the interpretation of the listener or music critic can be regarded as a third creation.

In Fanning's previous life, a number of composer masters such as Debussy, Rachmaninoff, and Scriabin had recordings of themselves performing their own works. However, among the many versions, they may not be considered the best. Top-notch, it can only be said to be one of the most authoritative, as well as an additional unique reference perspective of historical materials.

Therefore, the phenomenon of "a pianist instructing a composer to play his own piano music" is not a paradox. As the music period progresses, there are fewer "all-rounder" musicians like in the past.

This reason is not as simple as "masters live in the past" or "descendants are not able to take over" as many people think, but that the development of this field is becoming more and more mature and subdivided, and the people's appreciation ability and aesthetic quality are also increasing day by day.

Today's professional pianists have developed finger functions, cutting-edge techniques, and the depth and breadth of repertoire that many composers or conductors have no time to take into account.

For existences like Liszt in the previous life or Lee Viadlin here, their piano skills and depth of thought have already broken through the limits of mankind and the times. In other words, the limits are set by them, and others are struggling to pursue them. Even when their backs are turned, they are still breaking through themselves every once in a while.

Fan Ning undoubtedly longs for such a realm during his performance. He is full of enthusiasm for every field of music and is willing to use all his energy in life to climb to great heights.

He was fully prepared for today's class. In other words, he started preparing as soon as he received the letter of introduction from Teacher Anton.

He has spent a lot of personal time practicing these three steel associations in his previous life.

For piano lessons of this level, it is impossible to spend time on playing familiar music, or even on refining the details.

You must have tried your best and achieved perfection within your own capabilities before accepting guidance from a higher level.

This is a habit that Fan Ning developed in his previous life: in his spare time at school, he cherished the few opportunities to receive guidance from professional professors.

For all teaching works, he will analyze the harmony and musical form in advance, and mark in advance the points that he thinks should be paid attention to in the comparative study. Of course, he will use a pencil to facilitate the teacher's correction later.

In Fan Ning's view, if it's time for class and the teacher still needs to explain the background of the work, and he still needs to combine his hands, and he also needs to proofread the fingering, rhythm or pedaling that he should have solved by himself, that is a sinful attitude and a waste of money. Also a waste of life.

You must first practice the content of the class until you can't make any progress. Only then can you be responsible for yourself.

Even a legendary pianist like Viadlin was moved by Fanning's performance.

"His understanding and insight are undoubtedly very deep and broad. I don't know how much thinking he put into it. Although the training effect of finger function cannot conquer it in a 'crushing style', every inch of his skills has been used." Maximum efficiency"

"If others want to stand shoulder to shoulder with a sound like this, their level must at least be a lot higher than his. Young pianists are absolutely incomparable."

Viadlin didn't know how long it took Fanning to write these tunes, but he knew Fanning's technical level. Even if he could write these difficult notes, it would be impossible to perform such effects in a short time.

It must have gone through a very hard practice process.

Fanning finished playing the first movement of Chai Yi, and at Viadlin's request played some excerpts from the last two movements.

"For Piano Concerto No. 1 in B flat minor, the general tip I will give you first is to think carefully about the relationship between your 'points', 'lines' and 'surfaces'." Viadlin gave instructions in an outline.

"The 'point' is mainly for those large jumps themselves, short or stuck. For example, in the third movement, you start from measure 81."

Fan Ning followed her instructions and played this jubilant and jumping sound group again.

The word "point" and the specific bar positioning allowed Fan Ning to roughly guess what Viadlin was emphasizing. He strengthened the grip of his fingertips and worked hard to make those skips clear and stable, without any softness. collapse.

Viadlin nodded with satisfaction. He was originally going to talk about two levels of questions, but Fan Ning himself had already understood one level.

"Do you feel that in addition to the single jump, there is another form of compound jump in the third movement?"

"The sound cluster in measures 85-87?"

"Yes, the quality of your tone group sheets seems to be stable, but the overall direction is too little thought, like stacking. Like this minor harmonic progression, what is your biggest preference for interval resolution when writing it?"

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"I understand." Fan Ning blurted out. "Level 7 goes to level 1, level 6 goes down to level 5, level 4 goes down to level 3, or it goes up four degrees, similar to the interval of attribute-main solution or off-key."

He played it again, intensifying the movement of these intervals, and the sound lines immediately changed dramatically.

Viadlin added: "'Line' is a horizontal melody, with strong movement or long lines. It's still this movement, 183 bars, you play it again."

This is a winding and ascending unison group. Fan Ning tried it twice and felt it was wrong. Viadlin sat down at the piano next to him, demonstrated and explained: "Listen to the 'accent' of the first note of each measure."

"There are two more layers immediately." Fan Ning understood and tried to imitate.

"right."

Fanning imitated for the second time.

"The left hand is heavier than the others, and a little weaker than the right hand."

The third time I imitated and passed the level, the four levels were more distinct.

"Look at my hands for this chromatic line."

"The finger that plays the black key lies slightly closer to the key."

"The metacarpal joints, the metacarpal joints near the big finger, move and be active. Think about it, they will be used every one or two notes."

In other clips, Fanning once again understood Viadlin's intentions.

“As for the last ‘face’, it’s about thinking vertically. For example, at the beginning of the first movement, when the orchestra plays the theme, you should use a firm sense of propulsion for the major chords that cross the range.”

Fanning returns to the first movement.

"Winter! Winter! Winter!——" "Winter! Winter! Winter!——"

"Tendency, or tendentious thinking, for example, these calibrate the direction of color." Viadlin's voice started again. In Fanning's field of vision, the note heads of several groups of adjacent chords on the score seemed to suddenly tighten. .

"Remember that you only have three sources of strength: the force of the forearm's natural drooping, the force of the palm joints holding up, and the grip of the fingertips. The rest are unscientific, so remove them all."

Fan Ning closed his eyes and played, trying to feel it a few times.

"No, you try to hold all the notes of the chord down, and then raise your finger to play these single notes."

Fan Ning did as he was told.

"By the way, it's a similar feeling."

"Bar 25, the melody is up to you here. The high note of the chord is the melody, or what I call the direction of the 'line'. Although you are playing the 'side' of the chord, your wrist must pay more attention to the movements of the four and five fingers."

For more than an hour, Fan Ning followed Viadlin's "points, lines and surfaces" prompts and solved a large number of similar fragments by analogy. He felt that his understanding of Chai Yi's interpretation had reached a new level.

Viadlin felt that he had never taught such a "teachable" student.

Yes, Fan Ning is too teachable.

He will do all the hard work he can do, and then wait for you to push those key nodes, and he will succeed in a few times.

Piano lessons at this level mainly rely on the "demonstration-imitation" cycle. Whether the teacher knows where to demonstrate, whether it can be clear, whether the students can hear the difference from themselves, and whether the imitation can be in place, all determine the transmission of inspiration. efficiency.

This cycle is the basis, but sometimes inspiration is difficult to describe, so the inspiration of language is also very important. Sometimes the teacher's brilliant description and summary can instantly break through the bottleneck.

When it comes to Rachmaninoff's "Piano Concerto No. 2 in C minor", the two key words given by Viadlin are "pedal" and "fingering".

"Two words that are extremely basic, right? In fact, the essence of this work is to design suitable fingerings and exquisite pedals. All its difficult techniques are based on these two elements. . The design principle of fingering is related to the relationship between 'points' and 'lines' in this piece, and the thinking of pedals is related to the complex harmonic processing of 'surface'."

Fan Ning had just finished playing the bell chords at the beginning of the first movement of La Er when he was stopped.

"Have you ever wondered where your initial excitement and excitement came from?" Viadlin asked.

"The interval conflict of polychords," Fanning, who is extremely skilled in harmonic analysis, blurted out.

"Be specific, what polychords, what intervals?"

“The framework of minor chords makes it desolate and exciting, while the minor second conflict mixed in makes it depressing and ready to explode.”

There is no distinction between high and low works of art, but there is a distinction between high and low aesthetic activities.

A piece of music, a painting, a dance, a poem, some people can't feel the "refreshment", but some people can. And there are people who can not only feel it, but also know what it feels like.

Generally speaking, when you know why a piece of music is good, you will feel more comfortable, which can make "ear pregnancy" evolve into "intracranial orgasm".

"Very good, this is the thinking of 'face'." Viadlin agreed with Fan Ning's "cool point" analysis, "Now, hold the tone at the top of the major chord, which is implied by the repetition and then intensification of the middle part. Little second level conflict, you try?"

Fan Ning dropped the keys again, and when he reached the third set of chords——

"Just like a thing is calm and unchanged on the outside, but the internal conflicts are getting more and more intense and have been delayed," Viadlin added.

Fan Ning's eyes lit up.

Can these 8-bar chords be understood this way?

This taste is quite good.

At the end of the second play, Viadlin asked again: "What else caused the drama at the beginning?"

"The intensity of the crescendo?" Fan Ning replied. This answer seemed simpler and more conventional.

"Then, keep the same processing of the chord intervals just now, but at the same time as the crescendo, try to emphasize the rhythm more evenly and with more self-discipline."

Fan Ning followed the prompts and played the song a third time.

"The emotional trend of the entire work is from the dilemma, depression and sorrow of life, to silence, meditation and introspection, and finally to singing in the storm."

"The beginning of the first movement is undoubtedly a microcosm and representative foreshadowing of the whole song."

"Imagine a life of restraint and suppression of nature, just like the last octave note of a deep, rich, and eager sound. The bell becomes more and more solemn, and then everything suddenly collapses, damn the temperance! Damn the etiquette! Desires and emotions burst out, bursting into a torrent of sound, like a cry to release everything!

"

Fan Ning has exchanged many opinions on how to deal with the beginning of "Pull Two", but they all stayed in the category of "imitating the crescendo of the bell", "finding the feeling" or "brewing that emotion".

Viadlin also did emotional analysis, but what he gave was three real points of change: the forced calming of repeated sounds in the high voice, the advancement of interval conflict in the minor second, and the deliberate change of the even rhythm during the crescendo. of more even emphasis

When Fan Ning hit the main chord that finally settled in the key of C minor, he truly experienced what it means to "all suddenly collapse". As his hands brought out majestic and rapid sound groups, the piano next door finally played. Mimicking the band theme for the double brass and string section.

The melancholy, deep, and broad melody lines are like a magnificent picture of the northern land slowly unfolding, with endless wilderness, desolate roads, and heavy and low clouds. The tiny travelers are running between the vast world and the rushing world. The sorrow is bottomless.

Such a sound effect, such a sound effect

At this time, Fan Ning, whose hands were flying with afterimages, was so impressed by the practical analysis made by this legendary pianist!

President, you are a real veteran! You know art!

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