Qin Fangge's music can easily mobilize the emotions of the audience, and then immerse or sink together. Music does have a charm that goes straight to the depths of the heart, which is incomparable to anything else, and to grasp the power of music, to some extent, is to manipulate people's hearts.

Qin Fangge on the stage is like a clever magician, playing with the emotions of the audience between applause. The more people who know, the easier it is to be influenced by his music.

Han Wei naturally understands this very clearly, and she knows even better, compared to his singing, his music, his fingers, and his body, the magic is greater. He plays the piano and violin so well, and his control over his fingers and body muscles is simply to the point of peaking. This not only makes him good at understanding people's clothes, but his performance on **** is particularly outstanding. He is also very experienced in this, and can always give people the best and happiest enjoyment, so that she can sink into it and linger.

It sounds romantic to do it in the car, but the actual experience is not really much, it is more of a psychological feeling. They didn't choose this location this night, or go back to Qin Fangge's residence, Chen Yushan had already slept, and her sleep quality was quite good, so she didn't have to worry about waking her up.

But Han Wei had similar thoughts to Chen Tianhong last night, and she was not in a hurry to romance with him, so she exchanged piano skills first.

Qin Fangge's birthday gift to her was a double bass concerto, which was also a direct factor that made her promise herself. Practicing this double bass concerto is of great significance to her.

In the glorious history of music, there are very few concertos composed by composers for double basses, and the real ones are only a handful, no more than twenty. Not to mention compared with piano and violin, compared to cello music, it is too cold, and it is really unpopular.

This is also the reason why Han Wei is so excited and impulsive, rare things are expensive, and the same is true for musical works.

The bass concerto that Qin Fangge gave her not only fits her requirements very well, but is tailor-made for her, and has all kinds of weird and gloomy elements. And Han Wei likes such things, negative emotions, and she has always believed that only by really seeing these things clearly can she face them calmly, even if it is the ultimate death. In her opinion, people are getting closer and closer to death since they were born, and the experience of being a child made her completely enlightened. It's just that many people don't want to face it!

In this concerto, Qin Fangge seems to take her through time and space to experience the feeling of seeing the reincarnation of the world. The mysterious Xiaohe and Loulan culture, the unearthed Xiaohe princess, the Loulan bride, there is too much room for imagination.

In terms of performance techniques, the difficulty is also quite high, especially for the player's hands, the left hand changes frequently, the right hand bow keeps changing strings, there is no considerable basic skills, it is really incompetent.

Moreover, in such a three-movement concerto, the connections in the individual movements are also quite connotative. When playing the double bass, it is not easy to change the sound between fast and slow, the timbre change between the various registers of the double bass, and especially the perfect display of the timbre of the overtone range.

During this time, Han Wei spent most of her time rehearsing the repertoire to be performed with her other sisters, and the rest of her time was basically spent on this double bass concerto. She also makes no secret of her love for this concerto, the theme is quite clear, but it is not as full and stable and melodic as other concertos. This song is more low and gloomy, mixed with weirdness and gloom, revealing a mysterious and bleak beauty.

Han Wei also conducted an in-depth structural analysis of this concerto, which is quite necessary for successful performance.

For example, in the presentation of the first movement, the contrast is very important, and the contrast between the strength and the weakness, between the legato and the abrupt bow, and between the different touch points are very strict and exquisite. Here, Qin Fangge also uses the traditional pentatonic tone to outline the artistic conception of the yellow sand and an oasis.

When playing, the requirements for the neat structure are also particularly high, that is, strong, weak, sub-strong, and weak. Qin Fangge asked her to have this clear concept in her mind when practicing, and to have a sense of strong and weak beats in her heart, so that she would not mess up the rhythm and fluidity of the piece when playing, which would help stabilize the degree of performance.

In terms of the contrast between the phrases, although there are few markings on the scoremap, after watching Qin Fangge's performance, Han Wei understands that there are too many exquisitenesses. In addition to the difference between a line and a pause, crescendo and crescendo need to be carefully considered. As the bow changes from weak to strong, the bow becomes longer and longer, the bow becomes faster and faster, the bow pressure gradually increases, and the bow should slowly move from the fretboard to the horse.

These details are also the focus of Han Wei and Qin Fangge's discussion, such as the process from ascending syllables to descending syllables, in terms of auditory effect, since it is from bass to treble, there will be a natural feeling from weak to strong, and vice versa. Coupled with the constant change of bow and bow pressure, when the string touch point is close to the saddle, the bow becomes faster, the bow pressure becomes stronger, the tool becomes longer, and the opposite is true when weak. In this way, a very clear contrast between strength and weakness can be made.

When discussing art, Han Wei is also very serious and persistent, and for her, this is also a rare time to improve her performance skills.

Qin Fangge has always said this, "I haven't spent much time on the double bass, relatively speaking, composing music is easier than playing." Let's work together and make progress together!"

This can also be said to the bottom of Han Wei's heart, the time she spends on the double bass is indeed much more than Qin Fangge, and the research on various performance techniques is also much more in-depth. Compared with performance, Qin Fangge is more talented in composition, and the specific performance is also studied with Han Wei.

For example, the old problem of playing the finger, the use of reserved fingers, is worth exploring carefully, and it is a problem that is encountered in all stringed instruments. However, the double bass is very different, the strings are thick and hard, the tone is slow, and it is difficult to play, etc., and the retention finger plays a vital role in the performance of the double bass.

For example, the first section of the exhibition section seems to be a simple melody, if you use the double bass in her hand to play, it is not simple, first if you use the G string to play, each note has to change the position, which is almost impossible under the degree requirements of this piece, the left hand will not be able to keep up with the degree of the change, but in the seventh position can not change the position of the play of these notes, this is the string refers to the horizontal position, we should pay attention to the horizontal position when playing, we need to try to prepare for the next note in advance, that is, to use the reserved fingering of this horizontal position。

In addition, Qin Fangge also told her, "When the second theme is changed in this opening part, compared with the beginning of the piece, the tone is raised by five degrees, and in terms of performance processing here, it needs to be played with more intensity." ”

He also asked her to analyze and process it in combination with the score, although it seems that there is no change in expression and velocity marks between the two sections, but the change of dynamics and expressions echoes the change of pitch and pitch, and the reason why it is necessary to raise the fifth degree here is to emphasize the theme melody, and the increase in dynamics can directly express this. This is not that Qin Fangge himself was deliberately lazy and did not write it on the score, but the composers' consistent way of dealing with it. It also takes a player and has a fairly deep understanding of this.

Qin Fangge also emphasized, "Here, although the intensity has increased, we must also pay attention to the existence of weak sounds!"

Han Wei nodded, and Qin Fangge continued to demonstrate and preach, "If you want to deal with the contrast between the two sections here, the handling of the bow is also very important. In the weak beat, the bow should not be too fast, and the bow segment should preferably be in the upper bow segment. At the same time, special attention should be paid to the speed of kneading, when playing in the high register of the double bass, because the treble vibrates faster than the bass, it is easier to be heard, but the force required is more than that of the bass, so the degree of kneading the string should be correspondingly faster than that of the low register. On the other hand, when playing in the low register, the degree of kneading of the strings should also be a little slower, so as to achieve the best effect of the performance, and to ensure the complete and beautiful sound of phrases and phrases, sections and sections. ”

I am also very particular about the sixteenth notes in large sections, especially when practicing. When Han Wei was practicing, there was sometimes a murmur, and by comparing it with Qin Fangge's performance, it was caused by too much movement of her wrist when she was carrying the bow in her right hand. He also communicated with her about this, the more actions you do, the greater the probability of noise, to reduce the appearance of noise, you must consciously control the right wrist and reduce unnecessary wrist movements.

There is no other way, only through continuous practice and getting used to this method, can you reduce the noise when changing bows and strings. By reducing wrist movements, the arms are able to use more force, and the sound becomes louder and thicker when playing.

These particularly detailed details, even Han Wei's instructor, can't teach her, because the professor can't see it. Although Qin Fangge is sometimes very modest, he is still very confident in the performance of his own works. Basically, when he was composing, he figured out how to play it. But if he can play, it doesn't mean that Han Wei can too, she still needs a period of practice and adaptation.

In every concerto, cadenza is indispensable, referring to the passage improvised by the soloist at the end of the aria in an Italian opera. Later, such passages were also commonly used at the end of concerto movements, and the orchestra usually pauses to let the soloist fully exert his virtuosity and instrumental performance. This part of the performance is more free, and the difficulty is also higher, so it is also more eye-catching, and it is not an exaggeration to say that it is a show-off. The cadenza was originally improvised by the soloist, and later the composer also began to write.

Here is the composer Qin Fangge, who wrote this wonderful and poignant and sad brilliance, he fully demonstrated the charm of the double bass, proving that the double bass can also be solo.

And the last splendor is also the focus of the two of them. Han Wei also values it the most, which is to make the most gorgeous finishing touch for the whole double bass concerto.

The brilliance of the show requires extraordinary playing skills, while at the same time always being closely linked to the theme. In terms of music scores, Qin Fangge also made very detailed marks and requirements for skills, strength symbols, emojis, bowing, fingering, etc. This is also a good thing for Han Wei, but it also shows that it is not only important to learn the skills, but also to deal with music and other aspects, and to understand the requirements of every symbol in the cadenza.

In Han Wei's understanding, "The cadenza is the sublimation of the whole piece again, and this cadenza is my favorite! No matter how difficult it is, I am not afraid, and I have absolute confidence to practice it well......"

Han Wei said this, not without purpose. Qin Fangge used a large number of double tones in this cadenza section, and these double tones undoubtedly greatly increased the difficulty of playing the brilliance, and at the same time, it also showed the magic of the double bass instrument. When practicing double tones, you need to be skilled in finger retention skills and the concept of horizontal bar position, as well as a good concept of harmony, as well as strong fingers, good intonation, these are the prerequisites for pulling double tones, and then start to practice changing handles when pulling out double tones, and slowly strengthen the accuracy of double tone changes. Without a good combination of music and technique, it is impossible to play the true essence of music.

In Qin Fangge's hands, the double bass shows a gorgeous, desolate and mournful brilliance, and at the same time, it shows the other side of the double bass, beautiful, passionate, heavy, sad and so on......

Han Wei watched his fingers play nimblely, and listened to the beautiful music he played (the more bleak and sad it was, the more wonderful it was for her). Moreover, this concerto also has a very profound ideological connotation, involving the cycle of life and death, the entanglement of love and love, and the inheritance of life and culture......

The two of them were in the recording studio, and when they got serious, time flew by, and it seemed that more than two hours had passed with just the blink of an eye. And Qin Fangge also recorded all of these at her request, whether it was the picture or the sound, she said that she wanted to keep it and go back to learn and appreciate it slowly.

After the final Huacai was also discussed, Han Wei smiled and said, "Aren't we wasting too much time, such a great opportunity, we actually used it to practice!"

Qin Fangge replied seriously, "I especially like Weiwei's serious appearance, she is very beautiful!"

"You are the same!" Han Wei said, "I don't think you know how charming you are when you get serious! Whether it's performing on the stage or when it's like this, it's very exciting!"

For Qin Fangge, such a beautiful day, it is better to take action.

(End of chapter)

Please remember that the first domain name of this book is .. Biqu Ge mobile version reading website:m.