After playing three notes, Qin Jian stood up and raised his hand to signal to the audience, "Who wants to come?"

Qin Jian saw a little fat man with glasses and was the first to raise his hand high.

"Here you come. ”

Qin Jian clicked on the little fat man.

The little fat man stood up with a thud and said excitedly: "Teacher, the three dos are all the same!"

The answer given by the little fat man also expressed the answer of most of the people present, whether it was parents or piano children, and even a few 'peers' mixed in the parent team.

Qin Jian was not surprised by the little fat man's answer.

After motioning for the other party to sit down, Qin Jian asked again, "Is there anything else?" ”

After a while, a little girl with a ponytail stood up and said a little timidly, "Teacher, I think I heard two tones. ”

As soon as the little girl spoke, many people looked at her.

She replied and sat down quietly.

Qin Jian nodded again, "Is there anything else?"

Qin Jian looked around, and made eye contact with Qin Gang, who was standing in the last row.

Seeing Qin Gang stretch out two fingers, Qin Jian smiled.

"Is there any other answer?"

The scene was silent.

"Okay, please come to the stage with the two children who answered the question just now. ”

The little fat man stood up neatly, and the little girl squirmed a little, but finally stood up with the encouragement of her mother on the side.

Everyone in the audience was also waiting with great interest for what would happen next, and Qin Gang also wanted to know what medicine his son was selling in the gourd.

"What's your name?"

Qin Jian looked at the little fat man in front of him and asked.

"Li Wang Xiangrui. The flesh on the little fat man's face trembled as he answered.

Holding back a smile, Qin Jian asked like a little girl again.

"Teacher, my name is Zhou Mengmeng. ”

Qin Jian took the two children to the piano, and he sat down.

"Can you both play the C major scale?"

"Yes. "Two children reached at the same time.

Qin Jian nodded, "Okay, I'll play a one-handed scale now, and then you can play it separately, and the request is to imitate my timbre as much as possible." ”

Saying that, Qin Jian played it at a relatively slow speed, and the timbre was relatively dark.

Then the little fat man also played it again, putting aside everything else, the timbre basically reached the timbre feeling of Qin Jian.

After that, the little girl also played it again, and it also reached Qin Jian's timbre feeling.

"Good. ”

After the two finished playing, under the leadership of Qin Jian, the audience applauded, and it sounded to them that the two children had indeed fulfilled Qin Jian's requirements.

"Well, it's still what you just asked. ”

Qin Jian said as he played the scale again at the same speed.

This time, after the little fat man and the little girl finished playing respectively, the audience became less quiet.

From their imitation, it is easy to hear that the little girl's performance this time is still more than 6 points similar to Qin Jian in timbre, but the little fat man is completely out of the situation, and his performance is almost no different from the first time.

At this moment, it seemed that everyone in the audience understood what was going on.

The different answers given by the little fat man and the little girl six minutes ago were tested at this moment.

"Thank you both. ”

sent off two friends, and the audience gradually quieted down.

"Music is the art of listening. ”

"Each composer's work has its own characteristics, in other words, in the face of different periods and styles of works, we as performers need to prepare different timbres. ”

Qin Jian sat down in front of the piano again and played a passage of Beethoven.

As soon as the melody came out, someone in the audience said, "It's a storm." ”

Then the hazy and powerful timbre slowly pieced together a dark cloud, and the whole room was easy-going and the music entered a depressed mood.

Suddenly, with the piano stopping.

The atmosphere just returned.

Qin Jian said: "If I use Beethoven to play Mozart, everyone listen to it." ”

As he spoke, he began to play again, this time Mozart's Turkish March.

The Turkish March is very familiar to everyone in the room.

But the march that should have been crisp and smooth not only became heavy in Qin Jian's timbre at this time, but even the kind of air flu in Mozart's piano disappeared.

After only playing ten bars, Qin Jian felt that the effect he wanted to express had been achieved.

He stopped.

"So, timbre has to be used as a stylistically defining element. ”

"Every composer's work has a specific timbre to match. ”

"Even a babbling child can occasionally play a correct Chopin note on the piano. ”

"But it was just a sound, a note. ”

"What we need to be able to master is to be able to play a second note that matches the first sound quality and hold that tone for a loop, or a long phrase. ”

"Until you can control it as you want, it's crucial. ”

"So before that, we first have to learn to listen, listen to the masters, listen to the piano tone you like, find the piano tone you like, and then imitate it. ”

"Here's a way for everyone. ”

"The first step is to try to play a piano sound that you like. ”

"When you hear a tone that you like, after you've memorized it for sure, then try to imagine that tone in your head as much as you can, as much as you can, because the more realistic you think, the closer you play. ”

"No, listen to your own recordings. ”

"The sound that everyone hears when playing has subjective emotions, maybe what you hear is not the same as the actual one, the sound in the recording is your most real sound, from the recording to improve the timbre you like. ”

In the following time of the first topic, Qin Jian introduced several listening and practice methods for the audience on the topic of how to develop the timbre, combined with Chris's piano guide and some of his own experience.

Judging from the positive reaction from the audience, both children and parents were particularly interested.

...

After responding to this master class, Qin Jian also carefully studied the topic of the course.

In the two-hour open class, Qin Jian carefully calculated, no matter what technical things he talked about, there was not enough time.

In the end, he decided to talk about 'how to listen' and the opposite of 'timbre' – an issue that he considered extremely important but also the most overlooked.

'The same sound, there is no difference between playing the master and playing it yourself. This misconception of most pianists was established during the childhood.

By asking questions, finding someone to demonstrate on stage, then demonstrating in person, and finally explaining.

Through this process, he hopes to give some inspiration to the children who come to listen to the lecture today - music is also an art of listening.

Qin Jian hopes that they can use effective methods to listen to more experienced performances, and then listen to their own performances, and finally find a balance between the two.

When a player can find a voice of his own, then in the process, he will get more than just one sound.

As for how complicated it is, it varies from person to person.

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