Old-time musicians

Usually, at 23:59:59, people will welcome the rebirth of time in the next breath, and then the next period of time that makes people unable to sleep should be called "0 hours", and the previous period is "the 24th hour".

So now Fanning encountered a situation that he could not understand.

After the breath just now, Fanning did not know where the world was going, and could not understand whether he had entered a new day, stayed in the past day, or fell into an incomprehensible gap of loss.

The 25th hour at night.

And, the "people" outside the room were singing, with the accompaniment of Scriabin's "White Mass".

On weekdays, it would be the right choice to immediately test the dream.

But the abnormal area is a clear waking world. After swallowing the elixir made from "sneaky water" and experiencing the sparse and faint, difficult to remember dream, the current self has recovered energy and is awake.

Perhaps, there is another simple action that may help everyone understand part of the current situation -

Put aside the black curtain at the door of the barracks and look outside.

Or, take a few steps outside and observe the surrounding situation further.

But the "mysterious side principle" that is generally imprinted in the depths of consciousness is still in effect. Every team member who approaches the black curtain and listens carefully eventually retreats to his resting position. Fan Ning's reaction of standing still also acquiesces to this way of handling.

Don't inquire, don't peek, pretend nothing happened, maybe it will return to normal after a while?

Time is still ticking, obeying the beat distribution similar to drum beats as usual, and conforming to human cognition of speed as usual, 60 beats per minute.

60 is a number that can be divided by 3 or 4. Fan Ning, who stood still, could easily treat it as the most common three-beat or four-beat to replace his own spiritual rhythm.

He felt that from the perspective of musical terminology, this speed was close to the upper limit of Adagio and slightly lower than Andante, but his keen intuition told him that the unit of time flow seemed to still have uneven chaos, and the length of each second was pulsating and contracting, just like the turbulence of liquid after the layers were destroyed, and also like the actual music performance. Due to different artistic understandings and various accidental factors, a work actually does not have a constant speed in the strict sense.

This continued, Fanning wanted to try to wait for an hour.

After a long silence, the songs and poems in the outside world changed, and the team members' clocks reached the 26th hour of the night.

Time is still flowing, but the abandoned barracks behind the black curtain seem to be still.

Fanning felt very absurd, but calmed down at the same time and sat back at the wooden desk.

This "lost time" that overflowed normal cognition and was in the unknown concept layer seemed not to be an accidental error in the evolution of time and space, but there was "more than one time"?

A hidden dead corner that extends infinitely forward and contrary to the outside world?

As the most authentic record of what he encountered and a confrontation with music from unknown sources, Fanning continued to write the second movement of his "Fourth Symphony", and easily picked up the smooth inspiration that was just interrupted.

"do/re/mi——mi——fa——mi——" "do/re/mi——mi——fa——mi——"

This movement was conceived as a scherzo. At a leisurely and moderate speed, he wrote a group of signal-like C major solos for the French horn at the beginning, but the melody line was a little dull. The woodwind then played a dance rhythm with "Leander" on the dominant chord, which led to the scherzo theme with a quiet violin temperament but a little weird.

"Almost."

"In the final analysis, it's still not 'strange' enough."

Fanning's pen stopped at the 15th bar.

He felt that there was no problem with the introduction and tone matching at the beginning, and the theme melody of the violin was also done in one go, but it was still a long way from what he really wanted to record and the emotions he wanted to express.

From the chilling and magnificent scenery of the first movement, the so-called "abnormality" and "chaos" in the abnormal and chaotic zone are a kind of collapse that has subverted from the source of ordinary concepts.

The musical image he created is already leaning upward, and he has been trying to dismantle and raise his cognition, but the imitation, expression and deconstruction of it are still not enough.

Fanning glanced at the shadow behind him and suddenly had an idea that completely broke the common sense.

-The violin instrument used to play the theme was also transformed into a strange and unreasonable appearance!

For example, the open strings of the four strings are all tuned up a whole tone!

No string instrument has ever adopted such a weird pitch.

Once the idea was opened, a completely different inner hearing began to brew and unfold in Fanning's consciousness: a rough-made, detail-lacking ancient violin, accompanied by the band's dreamy background, played a strange, sharp, and harsh melody, like a skeleton dancing a strange dance in another world.

Afterwards, Fanning wrote a pastoral melody in the second part, which turned out to be the most important "wilderness theme" in the first movement of "Giant".

It develops with tremolo, bringing a sense of leisure and ease to the music, but the nostalgic color soon becomes strange and distorted. The brass with muted instruments, the violin struck by bow, the use of augmented and diminished fourths and fifths, and the frequent appearance of out-of-tune semitones drag the audience back into the mysterious, bizarre and terrifying dynamic picture.

At night at 27 o'clock, 28 o'clock, and 29 o'clock

At the time of unknown and lost, it was still like entering the abnormal area for the first time. There was no strange thing worth mentioning. The singing of the "white mass" outside the camp did not mean to intersect with himself.

Only Fanning felt smoother and more satisfied as he wrote, and he did not even stop writing in the middle to play and try the sound effect.

It was not until the main structure of this scherzo with two middle sections was completed, leaving only the orchestration and counterpoint details to be filled, that he decided to try it out.

Of course, starting with the most critical violin part.

Fanning raised his hand to the back of his body. The violin that had been used to play "Chaconne" under the banyan tree flew out of the shadows with the bow and landed in his hands.

"Dongdongdongdong——"

After grabbing the neck of the violin with his left hand, Fanning habitually raised his little finger and quickly plucked the four strings G, D, A, and E, then clamped it under his cheek and turned the pegs to adjust the string height.

But the next moment, his hand stopped in mid-air.

The four notes that came out of the strings were A, E, B, # F!

"Why has this violin been tuned up a whole tone?"

"When was it tuned?"

"Who tuned it!?"