Old-time musicians

After using a rational approach to dismantle several major emotional passages in La Er, Viadlin began to talk about the fingering design of the entire work.

"The sound group after the introduction starts with a decomposed octave, and then a circuitous ascending arpeggio with a fifth interval. Like if I remove the octave, the rest can be completed with one hand. You can't compare with me. You wrote it too fast. If you only use your right hand to complete the arpeggio after the octave interval, the speed requirement will be very difficult. "

"That's what it is." Fan Ning agreed.

What's even more terrible is that the main melody here is still in the band, and the piano just creates a violent background of the sound flow. It has to join the band, not dominate the scene, but also take into account the lowest impact in the sound flow.

In other words, "keep ringing the bell while running".

"How did you deal with it?" Viadrin asked.

"Play the first four notes with your left hand and cooperate with your right hand to complete the entire set of arpeggios." Fan Ning answered the method that he found comfortable.

"principle?"

"Principle" Fan Ning frowned and thought.

"The core is to use the 5-1 finger to 3-1 finger to turn the wrist to play the octave and the upper fifth of the left hand. This is in line with the human body's habit of exerting force and is also convenient for emphasizing the accent. Therefore, by analogy, in the subsequent octave-based This method can be used for arpeggiated textures of the same structure.”

"I see."

Viadlin began to explain the fingering method of "pull two" or the design principles of the pedal one by one, allowing Fanning to make an analogy.

In some clips, he used a pen to draw arcs.

"Look at my connection groups on the right hand here. Each group starts with 1 finger. All the internal fingering methods are reduced to regular methods. Your breathing is also processed by this group."

In some clips, he used a pen to write down the consecutive numbers 2 and 3.

"The core idea you remember here is to use 2-3 fingers as the axis to perform finger-turning movements. All similar sound patterns can avoid the risk of large spans in this way, thereby maintaining the smoothness of the music and the comfort of playing."

In some clips, he divided his left hand into two parts.

"Here the triplet and the root note of the left hand are processed as two parts. After using the finger-turning technique above, the root note will naturally end with the 5th finger. Any composition in this form can be solved in this way."

"The left hand in the third movement has different fingering methods but a similar principle: shorten the distance from the root. The upper chord should avoid the fifth finger as much as possible, and use wrist rotation to create a sense of position between the chord and the following notes to shorten the distance. The role of, well, the sense of positioning in this kind of fragment is very important."

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"Your harmony here changes every two beats. With such dense notes, the pedal must be turned off on the second and fourth beats. Don't you think the tone is very sticky?"

"It's so strong, there won't be any trace left."

From fingering to pedaling, Fanning nods her head like garlic.

"What should I do with these two fragments?" After several pedal analysis cases, Viadlin asked, pointing to two sections with complex harmonic functions.

Fan Ning immediately applied what he had learned and followed the previous ideas to mark the passing tones and lingering tones in the harmonic progression, and highlight the main functional blocks.

His left hand played a double-layered complex harmony, and he used his foot to grasp the big and small notes, switching out the changes in the root note. When he played the subsequent arpeggios, he turned to a shaking pedal method.

"Great, what's next?"

Fanning thought for a while and decided not to press the pedal when the first chord entered. He then pressed the pedal until the complex function was superimposed and held it until the end of the passage.

"The second steel association class is over."

Four hours later, Viadlin waved his hand.

To be honest, he felt that Fan Ning's comprehension ability was simply a monster.

He was asked to repeat the playing method he imitated at most three times. He could apply solutions with strong universality and draw inferences. As for theoretical things at the principle level

In short, dry fuel has been laid in his mind, and it only takes one spark to burn it into pieces!

Viadlin felt that in comparison, the public school children or aristocratic ladies he had taught before, even if he taught them selectively, were simply too much.

If I had met students who had such a fun teaching experience earlier, maybe my voice would not be so loud now!

"Take a rest first?"

"It mainly depends on you." Fan Ning shook his head.

Looking out from the floor-to-ceiling windows of the "super large flat floor", the evening twilight has fallen outside.

"I don't care, it mainly depends on you."

"I'm in better shape than when I arrived."

"You don't need a meal? You can ask someone to bring you some food."

"Eating? After taking this kind of class, do you still need to eat?"

Fan Ning only felt that his spirit was getting brighter and brighter, his thinking was getting clearer, and his whole fingers and body were ready to move.

I am afraid that my spiritual state is no longer at the level where I can enter the ninth level.

He put the score of Prokofiev's "Piano Concerto No. 3 in C major" up one shelf: "President, if you have no objection, I can play until dawn tomorrow!"

"Continue." Viadlin took a sip of fruit tea.

Fan Ning walked through the melodious orchestra prelude in his mind, and the string tremolo in his mind gradually increased, and then the soothing and tranquility was broken. He played the bright, joyful and rhythmic piano theme with both hands in unison.

The playing was a little rushed. In less than half an hour, the three movements came to an end. He played a violent and airtight octave ending with both hands, pushing the music to a climax with a dazzling and suffocating brilliant sound.

Sweat dripped from the tip of his nose. Fanning panted as he straightened his clothes, then took out a handkerchief from his chest and wiped his forehead.

It was too difficult, the third concerto was too difficult.

I always felt that something was missing.

"The style changes in your three concertos are really interesting. You can see the distinct characteristics of the Hoffman people in the northern continent, but the radical degree of the compositional vocabulary is increasing in sequence."

After Viadrin finished his evaluation, he continued to summarize and point out what Fanning expected.

The keywords he used for Tchaikovsky's first concerto were "point", "line" and "surface", for the second concerto were "fingering" and "pedal", and for the third concerto, he only used one word.

- "accent".

"If you want to show the characteristics of this work, the key is to grasp the essence of the accents in each section and create a vibrant or bizarre percussion effect"

"The first impression may not be perfect, but you can probably classify the accents into four categories of treatment."

Viadrin talked freely.

"The first type, fingertip accent, probably corresponds to the '＞' sign, and is generally used for relative emphasis in weak dynamic groups such as mp-p-pp. Your third joint should be actively moving, and the keystrokes should be direct and relaxed, with a little granularity."

"The second type, knuckle accent, probably corresponds to the '-' sign, and the keystrokes should be relatively slow, and kneaded in.

"The third type, wrist accent, or you can imagine that there is an inverted arch (u) symbol on the note. After the finger touches the key, the wrist drives the fingertip to rotate and then lift it up."

"The fourth type, the strongest hammer accent, imagine that the inverted arch symbol is sharper (v), and is generally used in dynamics above f and ff. The keystrokes are sharp and fast, the third joint is well-arranged, and the fingertips are stiff, highlighting the strong sense of impact."

"Look at this in bar 15, which one should be used? "Viadlin motioned Fanning to pay attention to a sol of the main theme of the first movement.

Fanning entered from bar 9. When he played that note, he imagined that his fingertips were driven by his wrist and quickly turned into a U shape at the top.

"Very good, bar 17, although you didn't write the accent yourself, the first E flat in the right hand can be given the strongest hammering accent."

Fanning re-entered from the opening. When he played here, his wrist dropped directly from a high position, and his knuckles touched the keys sharply and quickly.

Comfortable.

"In bar 27, you feel that you have found the first d note, but you only marked this one. I suggest you group three and treat all the first notes in this way. "

"This connecting part, bar 41, the chord is the same, hard! Hammer!"

Fanning tried a second time.

"No, no, no, you listen to me. ”

Viadlin sat at the piano next to him and demonstrated the touch with one hand: "You also need to emphasize the notes later. You have learned it, but you must distinguish it from the previous one and don't exceed it in strength."

Fanning imitated it for the third time.

"Don't be afraid of the sustain pedal, just follow it boldly."

Fanning imitated it for the fourth time, and he found that the two hammered chords actually produced a continuous effect like an echo.

"Keep playing back, keep pedaling, don't change so frequently."

"For chords like this that alternate between the two hands, when playing quickly, you must fix the hand shape, find the sense of position, and move upward according to the root note of the triad. In this way, your accuracy and urgency will be improved. ”

After a flurry of bangs on the piano, Fanning lifted his wrist and took a deep breath.

He actually made such a strong and stimulating sound, and at that moment he felt a great sense of accomplishment.

It was already past nine o'clock in the evening, and Pu San took the time of his first two works combined.

After thinking deeply about the accents, Pu San under Fanning's fingertips became a dramatic performance, sometimes rough and violent, sometimes charming and playful, sometimes radiant, sometimes serene and quiet, with rich contrasts and endless changes.

This 20th century piano concerto deserves to be evaluated as a "tough and pleasing work" in the previous life. The difficulty and reward of piano skills are equally amazing, and the expressiveness after playing well is simply jaw-dropping.

Viadlin finally concluded: "Note that all the accents I talked about are not just for single notes, but also for chords. You have to think about the impact of this work at all times. "

"President, I think my understanding of these three works has penetrated the clouds. "Fanning stood up and laughed a little proudly.

The breakthrough in the level of performance makes people too comfortable.

It can only be said that composing and conducting have another sense of achievement, but it cannot replace the joy of playing the piano.

"You may try to play under the spotlight surrounded by the conductor and the orchestra." Viadrin poured cold water on him, "Then you can see how much you can use your hands and brain to play these processes, and listen to whether your voice can compete with the orchestra, or even dominate the flow of music."

So Fanning's expression calmed down instantly.

Yes, there is no orchestra involved today, Viadrin is completely demanding himself by the standards of solo performance.

Fortunately, it was not me who sat in front of the piano at the opening season concert.

Art never ends.

It's not so easy to play a piano concert well?

"I learned it today, I will practice more when I go back. "

It seems like a phrase that has become so old in his ears that Viadrin couldn't help thinking. But he firmly believed that what Fanning said about practicing more was really practicing more.

Scanning his eyes to the contracts that were thrown on the coffee table in the afternoon, Viadrin walked over and picked them up

"You are quite generous."

"There are some small additional conditions, please see Article 16." Fanning reminded with a smile.

"The chief piano consultant of the old symphony orchestra" Viadlin read out the words above, "Your name is full of gimmicks, feel free to do it, it's just a name."

"This is absolutely very important." Fan Ning nodded seriously.

"But then again, for a work of this caliber, you may only need a friendly performance price of 500-1,000 pounds per performance to get a large number of world-class soloists to compete for the chance to premiere."

"No, President, your level of skills is your first commercial performance after returning to the art circle. Even if you don't deliberately raise your worth, the conditions I offer cannot be lower than your previous worth."

Fanning's contract appearance fee written above is, 3 games, pounds!

It seems that the price per game has only increased by more than 60% compared to Sheeran’s last compensation of 2,000 pounds.

That's because Sheeran's remuneration is watery. For a soloist who is so talented but lacks fame and accumulation, her appearance price should be around 500 pounds - a performance close to a small apartment is also very scary. 2,000 pounds The outrageous price must have been set at random by Fan Ning out of preference.

As for records, the ten-game standard is the same: corresponding to 5% of record sales.

In other words, under the 35% share condition that Hoffmann Records signed to him, he or the "Old Symphony Orchestra" would only get 30%, and the other 5% would be given to the soloists.

In short, Viadlin's appearance fee and other fees are definitely in line with his achievements and his former popularity.

In addition, I have learned piano for seven or eight hours today! For those learners who don't practice piano well, are not well prepared or have low inspiration, the amount of information Viadrin can handle would probably not be digested in half an hour.

If this is broken down into one hour of class per week, it would be two months of study.

You can imagine that if Liszt could be invited to give a concert in his previous life, what kind of price would each country offer? If you bid for one-on-one piano lessons, what price did the winner pay?

Can't even think about it.

The remuneration was lowered, which also reduced the value of the old symphony orchestra.

Steaming late-night snacks were delivered here, the two filled their stomachs, signed the contract and finalized some details.

As he was about to return to the travel hotel to rest, Fan Ning brought up the final topic with expectant eyes:

“The hotel on the first floor of the Woodpecker Office”

Viadlin suddenly realized: "I asked you, why are you spending so much money two months after graduation and still being so confident? Okay, how come you have been planning this hotel for a long time?"

This restaurant is not an upper-class place in Ufranser, but its unique and fascinating taste has a good reputation among small circles.

The per capita meal standard is 2-5 pounds, and the average daily passenger flow is 100 groups. This is only a small part of the revenue. Its snack delivery business has received better and better market response in recent years.

The salaries of members of the Guidance School and civil servants are uniformly stipulated, but each branch has its own various means of generating income and small treasury. The group of people in Uflanser can receive a bonus of two to three hundred pounds at the end of the year. The hotel can be said to have contributed a lot.

"The truth is not what you think." Fan Ning chuckled, "You know, as the person in charge of an art venue, it is very reasonable to consider the issue of tea breaks and snacks at a series of art salons and other activities."

Viadlin waved his hand: "You are now the president, so naturally you have full control over the branch's capital inflows and outflows."

"Public funds are naturally for the public, but the hotel is your private treasury after all."

"It's up to you."

"Ding--" The two of them knocked down the last sip of red wine in the goblet.

"Then I guarantee that its business volume will rise to a new level in the future. This is commonly known as the 'internal circulation pattern'" Fan Ning smiled broadly, then picked up his briefcase and walked towards the steam elevator on the side of the working floor. between.

"This guy" Viadlin shook his head, leaned his head on the sofa, and picked up Fanning's old symphony orchestra recruitment notice. He had not had time to read its contents carefully yesterday.

As he read, he was converting and adding up some of the numbers on the recruitment notice in his mind, and then he felt more and more something was wrong, and his whole body stood up straight from the sofa.

Can you continue to play this game?

Why does the "inner circulation pattern" that this guy just mentioned sound so weird?

Especially if you connect it to see

Something is completely wrong!

"Hey! If your band is about to go bankrupt, you can use part of the hotel's funds to meet emergency needs."

Viadlin shouted hurriedly, but when he looked up, he found that Fan Ning's body had half disappeared into the steam elevator.

"But you must not close down the restaurant! Otherwise, what will I eat next time I go to Ufranser!?"