Originally, normally speaking, Xu Guangling would play "Scorching Qihua", which is also the song he plans to record today, but at this time, under a small accident, a moment of memory swells up, feelings change, at this time, what flows from his fingers is another song that was born at the same time as this song that night. Pen ~ fun ~ pavilion www.biquge.info

"Rotten Ke"!

At the beginning of the song, there are peach blossoms and streams in the background, and the series of overtones just now is a petal of peach blossoms, leisurely, not at all urgent, in the spring sunshine, in the wind, sprinkled in the stream.

Then, after the overtones, there is a flurry, lightly shallow, flicking the strings.

And it is in this flick that the stream, the slowly flowing stream, is presented. The next short section is accompanied by overtones and flicks, the two go hand in hand, the stream flows, the peach blossoms fall, and with the different and staggered landing points, the wind also presents this element.

Then, with the slight change of the strings, the stream flowed, and the sun shone on it, and the feeling of sparkling was also presented.

At this point, the background is laid out.

Peach blossoms, creeks, wind, and sunshine.

This is also the first section of the piece, and in the middle of this first section, it naturally cuts into the second section, and the perspective, or the descriptive center of the piece, is moved to the shore, from the petals falling in the stream, to the peach blossom tree on the shore.

The peach blossom tree is blooming brightly.

The Tao is not pear blossoms, the Tao is not apricot blossoms, white and red and red. The trees are full of delicate blooms, and the ten thousand branches of Dancai are scorching in spring!

Xu Guangling's two hands, on the strings of the zither, changed from flicking to clicking, and with that series of extremely fast and simply dazzling clicks, as if they were "white, white and red" one after another, just like that, competing for beauty, enthusiastically, joyfully, and joyfully, from the strings of the zither, "blooming".

Peach blossoms, creeks, wind, and sunshine.

It's still those four elements, but at this time, the atmosphere of the song is completely different from just now, just now it was just laid out, and now, it is the theme, it is the thick ink, this is not a brush, but there is a thing, called "synaesthesia".

Synaesthesia is good because it allows people to see the text from the picture, hear the sound from the text, and see the picture from the sound......

In fact, at this time, even Xu Guangling himself was a little drunk and a little shocked.

Of course, he is intoxicated, he is a player, but he is also an appreciator, he is a composer, but when composing, no matter how it is, it is impossible to present a real sound in his mind, so in a sense, this piece, until this time, is really completed, well, or is moving towards completion.

What shocked Xu Guangling was that he found that his current level of playing was not just the so-called difference between the present and the past, that is, the sum of 111 million of himself in the past, and it was not his current one-handed enemy.

Whether it is the overtone just now, or the later flick of the strings, or the current click, Xu Guangling feels that his hands are on the strings of the zheng, in fact, there is no order, but when the song unfolds in his mind, all the techniques required are freely presented between his fingers.

In other words, his fingers can move completely with his mind, and on the strings of the zither, he can produce the effect he needs at will.

And it worked out more than he had ever expected!

In the depth, the second section of this piece is quickly completed, and yes, the background of the first section is laid out, and the intensity of this second section is also a transition, not the real theme of this piece.

The real theme is still in the future.

What is next? That is a person, standing on the shore, standing in the sun, standing in the wind, standing under the peach blossom tree, looking up slightly, looking at the splendid tree, smiling, indifferent, loving, admiring.

Then, with his back to the peach blossom tree, he sat on the ground.

As the perspective moves downward, the sunlight changes from warm to warm, from warm to warm, from warm to shade with light spots, and the peach blossoms of the tree also change from the warmth just now, to the beginning, occasionally, some petals fall down.

Falling in the stream, on the grass, on the man's hair, on his shoulders, on the scroll spread out in his hand in front of him, and in others, just in the wind, like a coat.

This section is also the most testing section of the whole piece.

Xu Guangling himself is a composer, but when he composed the music that night, he actually only completed the general melody of this part, and the specific arrangements were made because this was not a commercial composition or a composition for others, he was going to play it himself in the future, so there was no specific setting in terms of difficulty.

Everything can be played according to his level, just like playing some games, you can choose easy difficulty, medium difficulty, and of course, advanced or even so-called hellish difficulty.

And at this time, unconsciously, Xu Guangling did not have the mentality of showing off his skills, and he could not have the mentality of showing off his skills, but the fact was that the extremely frequent and extremely difficult skills were at this moment, between his hands, just like the peach blossoms on the flower tree that was blooming in this song, blooming wantonly.

This section of the song, in terms of melody, can only be said to be melodious, and it is not high at all.

The real "brilliance" of this piece has actually passed just now, in the second paragraph, but at this time, when entering the third paragraph, not only does it not have the slightest gloomy feeling, on the contrary, it is like a mountain and a heavy water, like a willow and a bright flower, like a spring breeze blowing a peerless picture.

In this painting, there are still peach blossoms, still streams, still the wind, or the beautiful sun, but they are both the same and different from the first two paragraphs, the most important thing is that they have jointly given up the center of the scroll and no longer play the main role, and the main role has been taken over by one person.

It's not so much a person as an atmosphere.

Of course, people are presented by the atmosphere. How do you represent a person in a song? It's not that hard. When you can't express it directly, you can do it indirectly. It's like a painting, you draw an umbrella, an open umbrella in the rain, you don't need to paint the bottom of it, and the viewer will naturally make up for it, and under the umbrella, there is a person.

And if you grasp the hand of the umbrella and draw it, or even draw only one finger without drawing all five fingers, or vigorous, old, or as thin as a green onion, then next, well, the person who looks at the painting not only knows that there is a person under the umbrella, but also the image of that person is probably coming out in their minds.

But this kind of imminent call, and directly depicting that person on the painting, are two different things.

Draw it out, be concrete, but because of "concreteness", there is not much space. -- Space for imagination.

And many times, beauty is born from imagination.

At this time, even Xu Guangling himself was slightly intoxicated by the person and the image presented in the song. Because what is painted in the song is pure. It is precisely because of the virtual that we can remove all the clutter of the world, and simply show purity and beauty.

And that kind of purity and beauty is not found in the earthly world or is difficult to find.

This is a melodious and even slow rhythm, but on the contrary, when playing here, Xu Guangling's two-hand movements are the most complex and fast, and many subtle images are intertwined and paralleled, so that the presentation of this section of the piece is completely three-dimensional.

Then, this paragraph passes again, and it is the end.

The epilogue came unconsciously, when Xu Guangling's two-hand movements changed from extremely fast and complex to a little bit simple and slow, the piece gradually progressed to the end, until the final, after a series of small overtones from fast to slow and slight, the song officially ended.

At the end of the song, in the piano shop, everything is silent.

Obviously in the downtown area, obviously on the street, but at this moment, this piano shop of more than 100 square meters seems to have become an independent small world.

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Thank you for the monthly pass of "IV Xiaoxi". (To be continued.) )