Qin Jian solved the first two stages of the problem on Little Brown - 'What is the voice of Little Brown' and 'What is my voice on Little Brown'——, and now comes to the problem of the third stage.

"What is Chopin's voice. “

Of course, we can't just consider the small brown here, but also the small black in the canteen, the small yellow and the little white in the factory.

Even if you can't consider the problem of the piano alone, the modern piano has to be covered by this.

To be honest, Qin Jian has never asked himself the question of 'what is Chopin's voice'.

Obviously, at this point, the problem seems to have become truly profound.

At this point, we have to start with Mozart.

It is worth mentioning that at present, Qin Jian can barely be described as 'a little famous for playing Mozart' in the entire keyboard field.

In Mozart's works, he is supported by exquisite technique and unique understanding.

This stems partly from the inspiration given to him by Amadeus's last wishes, but his rigorous approach to his work is also one of the necessary factors for his success.

When confronted with each Mozart's work, he uses an X-ray scan-like analysis to analyze each part of the work independently and clearly.

So in the end, the beautiful flow is accompanied by interesting ancillary details or a certain intellectual brilliance at first glance.

Everything is based on careful thinking, but it does not give people a sense of artificiality.

His meticulous attitude towards Mozart also allowed him to unconsciously establish his own Mozart voice.

So he was thinking about how to use this process again to find the 'Chopin voice' at this stage. ‘

It is true that if a pianist has the intelligence, taste, and ingenuity, but does not have the corresponding technical means to deliver them, then everything will be meaningless.

Temporarily bidding farewell to the modern piano and coming to the ancient piano, Qin Jian also began to re-examine his skills in playing Chopin.

Different from the performance of modern pianos, after half a month of practice, he has thoroughly figured out the temper of the piano.

Take Little Brown as an example, Little Brown has a restrained personality, but decisive, although its voice can never make a ff strong make people tremble, but as long as you give it a moderate amount of stroke, it can still give you a satisfactory answer for the first time.

The volume is limited, the response is sensitive, and the timbre is thin, this is the final conclusion given by Qin Jian after another morning.

When he talked to Liao Linjun about this at lunch, the other party gave him a positive answer and attached a message: "When you sketch a long sentence, it can also make complex problems simple." ”

When he practiced again in the afternoon, Qin Jian almost immediately understood the beauty of this point in the process of playing.

In the afternoon he began his first attempt at a piece by choosing a torrent etude, an entry he no longer needed.

The technical characteristics of the torrent are not very complicated, Qin Jian and Duan Ran discussed it a few times when they were in Tokyo, and the two of them had the same opinion, mostly focusing on 'There are many tricks and strong comprehensiveness. ’

How to play clearly and fluently is the key to this.

After clarity, you will see smoothness, and smoothness can make clarity more expressive

The two are mutually reinforcing.

In the music of the Romantic period, it is difficult to hear the unclear sound of the piano as smooth.

At this time, the thin timbre of the timbre made the little brown show a good sense of clarity, and Qin Jian keenly grasped this characteristic.

When objective existence is captured by subjectivity, its agency is greatly strengthened.

Qin Jian only used it three times to get a layer of goosebumps on his back, and when the third time was over, he regretted why he didn't record.

This time he heard a small brown voice, and it was his own voice, and the two voices seemed to merge into one—a new voice appeared.

This sound has a fragmentary style, as if it is depicting a landscape, but the overall aftertaste is full of a sense of wholeness.

Qin Jian exactly—about the rapids—he hadn't ever played it on any piano.

He couldn't immediately conclude that this was Chopin's voice, but there was a faint expectation in his heart. Beautiful

He spent the rest of the afternoon analyzing what made the difference.

In the end, he still didn't get a specific answer before dinner time, but the process still gave him a new discovery.

Chopin's counterpoint in this work.

...

It is not difficult to understand that counterpoint is the technique by which composers make two or more independent melodies sound at the same time and harmonize with each other in musical composition.

To put it more plainly simply, if you want to make the "blending" experience more beautiful, the importance of alignment is self-evident.

Of course, it's not right, the more accurate the experience, the better, and the clever composer will use a clever way of misalignment to make the music more magical.

Behind all of this is – knowledge.

But the current Qin Jian has not unlocked so many advanced postures, and some of the furs he once learned in college have long been thrown away by him.

So before solving the question of what Chopin's sound is, he felt that he should add a little knowledge beyond the piano.

At dinner, Qin Jian asked some unbelievable questions about the alignment method.

So he was mercilessly mocked by the old bartender.

"That's stupid, Jian, it's the stupidest question I've heard this year," the old bartender said with a beer.

Qin Jian's question was even almost revealed in front of Liao Linjun, and Liao Linjun really couldn't understand why a person who could write Keqi Variations didn't even have a little basic composition common sense.

In the end, she could only take it for granted that this guy Qin Jian was a complete genius.

However, Qin Jian's question also made Liao Linjun think about another question, don't - in the end, Qin Jian can't be blamed for this problem.

Qin Jian is still just a sophomore in college, he still doesn't have a lot of music-related knowledge, and he runs around the world all year round, how much time does he have to juggle other disciplines while busy with his major.

After thinking about it, she felt that as Qin Jian's teacher, she should take responsibility for this.

After dinner, Qin Jian said hello to the two and went to the beach.

Only Liao Linjun and the old bartender were left at the dinner table.

"Let's start giving him extra lessons tomorrow. ”

Liao Linjun's words were immediately agreed by the old bartender, "It's really necessary." ”

The two looked at each other and reached a consensus.

It's just that the next question is, who will teach Qin Jian the counterpoint method.

It was Liao Linjun who spoke first: "I only got a passing grade in Vienna when I graduated from Vienna, you know that." ”

The old bartender shook his big nostrils and opened his big eyes: "I'm better at harmony!"

The two men looked at each other again, and both smiled.

The two dignified big performers couldn't find a suitable teacher to teach Qin Jian counterpoint for a while?

Not really.

They understood each other so well, they just wanted to give Qin Jian the best guidance.

After a moment, the old bartender spoke: "Let Assad come, he is better at this thing than we do." ”

The old bartender's words made Liao Linjun's eyes light up, how could she forget this person for a while, old Assad was born in the Hannover composition department.

The two of them made up their minds at the moment.

Leaving the cafeteria, the old bartender was about to go to find Assad, but Liao Linjun stopped the other party.

"I'll go myself. ”