Qin Fangge doesn't like to engage in Yiyantang, they put forward their ideas as much as possible, and he also tried his best to help them rehearse, and then shine on the stage in the best condition.

Lin Baoqing naturally has her own unique ideas for this "Spring River Flower Moonlight Night", and after making it into the form of such a guqin concerto, it is also a particularly interesting thing for her. She also actively expressed that in terms of attainments and understanding of national music, she can be regarded as the highest in the Jinse Huanian Orchestra.

When discussing art, time always flies very quickly, and because Qin Fangge didn't have time the next day, the evening time was requisitioned by Zuo Shuqin and the others. They also quickly decided that they would rehearse collectively on the first day of the holiday, and they would really arrange it for everyone in the next two days.

Qin Fangge was also going to rehearse the opera on the first day of the holiday, and they all encouraged each other, cheered each other, and worked hard.

He didn't have any other arrangements, so he agreed to come down and go to class.

In the afternoon, there was a professional vocal class, which was taught by their department head Shen Jianping himself, but now, Shen Jianping also gave full play to Qin Fangge's effect, and used him as a teaching assistant, and it would be too wasteful to use him as a piano accompaniment. Moreover, you have to give the piano accompanist a chance to perform, right?

Shen Jianping doesn't have to care so much about her own words, if Qin Fangge is willing to help, she can teach more students. It's not just her who did this, Zhou Xiuying is the same, she also taught Qin Fangge before, but his learning progress is too fast, and soon there will be nothing to teach. Then, they also made full use of him and asked him to help guide other students, but they didn't have the name of a teacher! Shen Jianping and Zhou Xiuying also praised him more than once for his special talent as a teacher, and they were all singers to educators at the beginning.

Qin Fangge naturally can't say that he was originally a music teacher at the Conservatory of Music, although the level was not particularly high at that time, but the teaching experience was still quite rich, and he got along with the students quite happily.

But in addition to other courses in addition to professional courses, Qin Fangge will not go to "be a good teacher", which can also save him a lot of worry.

In this regard, his classmates are also quite aware of and expecting it, but his strength is too strong, and the gap is too big, even if he is jealous, it is useless. Have a good relationship with Qin Fangge, and even if you don't have a bad relationship with him, you can get some guidance and benefits from him, why not!

When it comes to the most basic interests, Qin Fangge doesn't compete with them for the opportunity to perform at all, and he doesn't look down on student-level performances like Liu Yu and Wei Chu at all. On the contrary, he has also created quite a lot of performance opportunities for his peers.

This is the case with his original opera "Don Juan", and the same is true of the operas he has participated in, and many comments say that even their department head, Shen Jianping, the top drama soprano singer in China, is hugging Qin's thighs. Although the words are a little rough, they are also true.

On the side of media fans, Qin Fangge is touted as a star of hope for Chinese music and a model for the country to win glory, in the eyes of those who really study music, not to mention exaggerated, even the truth is far from the truth. Because it is not clear to the layman how big the gap between the level of classical music at home and abroad was.

Qin Fangge was born, not blowing or black, completely beating singers, pianists, composers and other musicians, the Western classical music market as a whole is also going downhill, and now there are very few who can be called masters, especially in composition, which has been rare in the past hundred years.

Returning to the most familiar major in the Department of Vocal Opera, Qin Fangge's tenor is really a complete blow to famous tenor singers such as Rossini Puccini, and his current state is much more powerful than when these tenor singers were at their peak.

Moreover, judging from the current situation, Qin Fangge was completely in a state of ease when he sang, and he didn't show all his strength at all, and his treble could be higher. At the limit, an octave higher is very possible. It's just that with a vocal opera leader like Zhou Xiuying in charge, it is difficult to hear Qin Fang sing higher in a short period of time.

The key is that Qin Fangge himself seems to be particularly satisfied with his current state, and he has already beaten invincible opponents all over the world!

Of course, when it comes to female classmates like Wei Chu, Liu Yu, and even Zhou Shiyu and Xiao Yiyi, the biggest help that Qin Fangge can give is to work with Shen Jianping and Zhou Xiuying to help everyone lay a good foundation.

Yes, they are still in a state of laying a solid foundation, and the five-year undergraduate program is less than a year. According to the normal situation, when they graduate from college, they can still play an unimportant role in the opera performance, and it is not the kind of opera that sells tickets to the National Center for the Performing Arts on the commercial stage.

The current market is also particularly cruel, not to mention little-known students like them, even singers who have been famous in the industry for a long time, and there are many who are not popular with the audience. They themselves can judge it, but if they just perform it themselves, they will only do worse. They also need to study hard first and improve their strength and level.

If you are particularly good, you will also be promoted by the school to participate in vocal opera competitions at home and abroad.

Although there are many complicated competitions and a lot of money, I have to admit that this is also the best opportunity for students to strive for through hard work. Basically, only after winning the vocal opera competition, can you have the opportunity to be valued by the opera house, and after passing the observation, you will have the opportunity to perform and sign a contract. But whether they can gain a foothold depends on their respective strengths.

Everyone knows that the path of a singer is not easy, but it is always good to have ideals, what if they come true!

In reality, most of the graduates' jobs are still in major choirs, and there are only a few people who can get out of the way and become singers who provoke various opera performances. Those who stay in school to teach students as teachers must also be particularly good, and it is okay to lead students by themselves. There are also many people who are completely engaged in jobs that have nothing to do with music after graduation.

However, the teachers of the Conservatory of Music did not say that they gave up on them because the vast majority of students could not become independent singers, and they also worked hard when teaching them, and they all hoped that the students would have a bright future.

Qin Fangge was also a teacher at the beginning, so he naturally understood the greatest wish of the teachers, and teaching excellent students is the greatest achievement in life. Like now, although he has no title and no pay, he is also attentive when he is in need.

has been with the classmates for almost a year, and he is also very familiar with their respective characteristics, and even knows them better than Shen Jianping and Zhou Xiuying. After all, they bring more students, and they don't have as perverted ears as him.

In the vocal class, Qin Fangge can give his views and suggestions to each student, and also share some of his own experiences when he is singing, selflessly with other students. Don't look at what he's tossing and turning now, but he hasn't pulled down the basic vocal practice every morning. He and other colleagues are completely in the same opinion, and they all believe that vocal music will be more difficult to grasp than instrumental music playing piano and violin, because it is basically based on one's own body as an instrument, and it is far more difficult to protect the vocal cords and adjust the state well than the maintenance of other instruments.

During the recess, Qin Fangge couldn't stop, and the students still had a lot of problems accumulated when they were usually practicing. He also answered one by one, and his classmates knew that he was a busy man, and they basically didn't bother him much at other times, even if they knew that he was actually going to flirt with his sister. Qin Fangge's willingness to help is love, and there is nothing to blame if he doesn't help. There is an opportunity to be above board, and everyone will seize it, even Zhou Shiyu, who has always been relatively cold.

Of course, when she talks to Qin Fangge, she is basically exchanging the art of vocal singing, rather than chatting nonsense.

He has long been accustomed to it, because everyone's physical conditions are different, the vocal cords, the head cavity, the chest cavity and the size of the lung capacity, etc., cannot all apply the same vocal practice method. Not to mention the difference between tenor and baritone bass, the same is true for soprano and mezzo-soprano. Even sopranos can be roughly divided into lyrical sopranos, dramatic sopranos, flowery sopranos, etc.

Qin Fangge, Shen Jianping, and Zhou Xiuying What they are doing now is to help the students find their respective positions. Fortunately, the number of people in the class is not particularly large, and with Qin Fangge himself, there are only twenty-eight in total. Among them, there are eight tenors and six mezzones, and Qin Fangge came in as a baritone when he first applied for the exam.

Shen Jianping, the head of their vocal opera department, is a typical dramatic soprano, and her understanding and research of dramatic soprano are also deeper. But the general rules of the three in singing and vocalization are the same, and in Qin Fangge's view, even the physical vocal principles are the same. However, there are some differences in training requirements, vocal range, or stylistic characteristics.

A dramatic soprano like Shen Jianping is mainly used as a soprano voice in the opera. It is characterized by a relatively large volume and high sound color concentration, which shows that this type of soprano has better control of pan-resonance in harmonic resonance. Its harmonic and unified control of the resonance effect is the first of the three sopranos. The most important feature of a dramatic soprano is that she is able to sing for a longer period of time.

Among the female classmates in the class, the ones with the most potential for dramatic soprano are Xiao Yiyi and Yu Xiaohong, who will be one size bigger.

The flowery soprano is known for her flowery technique in singing and vocalizing. This type of soprano has a lower volume and average sound density in the comparison of the three. However, in terms of vocal singing, the technical requirements for bounce, technique, speed, height and so on are very high, and it is also very difficult. Its biggest feature is that it is flexible and changeable. The vocal range is also the widest of the three, and the treble is generally more than two and a half degrees higher than the average soprano. The flowery soprano is generally performed as a soloist, and it also appears in foreign operas.

There are also quite a few famous flowery soprano singers, and they are particularly shocking when they perform special flowery movements in operas. For example, in Mozart's opera "The Magic Flute", the flowery aria of the queen of the night can be called a classic. This opera, Qin Fangge also plans to take it out in the future, and this aria can't be bypassed, and he has to find a suitable flowery soprano singer to sing it.

This aria of "The Flame of Vengeance Burns in My Heart" is in F major, in 4/4 time, at a faster tempo, and the vocal range is between f and f. The opulence and dynamics of the music are extraordinary, reflecting the high level of skill and expressiveness of the soprano voice, which is considered to be one of the most difficult in the opera repertoire. But it is generally not used as a singing teaching repertoire, because few people can sing well, and there are many restrictions in terms of skill and vocal range.

Qin Fangge can't expect the classmates in the class to sing this aria after practicing now, but in the future, take it out as a goal to inspire female classmates like Zhou Shiyu and Qiu Min who have the potential of flowery sopranos is no problem.

Then, among the sopranos, there is also the lyrical soprano, which is a soprano with a beautiful voice. This type of soprano is very good at expressing artistic beauty. Rich feelings, beautiful timbre, clear articulation, and attention to artistic conception are several aspects that lyrical soprano pays more attention to. It is characterized by the perfection of vocal art and the rich expressiveness of song art. Mainly as a solo performance, generally soloist in the music world.

Of course, such a classification is not absolute, and there can also be light lyrical soprano, lyrical soprano, lyrical dramatic soprano, dramatic soprano, etc., all of which must be specific to the individual.

Shen Jianping and Zhou Xiuying, as music educators, aim to cultivate all kinds of singers, and with the help of Qin Fangge, they can also complete their mission faster and easier.

Qin Fang is a genius in singing, not only singing well, but also composing talent. He is also very good at analyzing from the perspective of the composer, how to sing the musical effect that the author wants to express according to the score to the greatest extent. This is definitely not something that the singers decide with a pat on the head, everything still comes down to the score. The singing techniques of various singing are also in the service of the final musical style and effect.

An opera covers a lot of content, and each character has their own musical style and characteristics, emotional appeals, etc., all of which are also different. For example, Qin Fangge's opera "Don Juan" is like this, and the style difference between Don Juan, a playboy, and his servant is quite large. Moreover, different female characters, peasant girls, aristocratic ladies, mature women, and even tall, short, thin, fat, etc., have different performances, not only from the dress of the actors, but more importantly, from the music and singing.

(End of chapter)