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I have to say that the gap between such a large-scale concerto and a musical sketch of only a few minutes is quite obvious, even if Qin Fangge only uses the pipa to play the piano part now, and omits all the orchestra concerto parts. That's it, the rich expressiveness of the piano is also fully reflected, Qin Fangge is a super pervert, the piano part of the piano concerto is much more difficult than a separate etude, a narrative or even a sonata, and a nocturne serenade and a sketch are even more incomparable.

And when the piano concerto is adapted and transplanted to the pipa, even a genius like Qin Fangge can only do subtraction, deletion, and subtraction, and only retain the most essential parts.

But this kind of adaptation still makes Chen Tianhong dizzying and even dazzled, his hands are too dexterous, the speed is also fast, and the key is particularly accurate, especially the wheel fingers of his right hand, which is pleasing to the eye.

Chen Tianhong is Qin Fangge's pipa enlightenment teacher, of course, he knows that his initial pipa foundation is zero, and she also taught him all her learning experience. She has studied under a famous teacher since she was a child, and after more than ten years of hard work, there is no problem with basic kung fu.

Generally speaking, pipa learning starts with the left hand, first playing single, that is, the index finger plucks the strings outward, and then adds the big finger to pick back, so as to make the sound grainy and saturated, clean, and reduce noise. Among them, it is important to learn when and how to exert force. The most commonly used on the right hand is the wheel finger to make the sound appear in a line. Among them, the half-round jumping and cheerfulness are the methods that can achieve the effect of "big beads and small beads falling on the jade plate". But how to achieve such an effect is not as simple as words, nor is it a simple theory.

When teaching Qin Fangge, Chen Tianhong also experienced the excitement and a slight inexplicable sense of loss when Huang Jing was his erhu teacher, because Qin Fangge really made many people who study music even feel desperate, because the talent gap is too big. Teach him everything over and over again, if he can't pass, it must be that she didn't make it clear, and after she demonstrates and plays again, he can even draw inferences, and there are all kinds of whimsical subversive ideas in his head, and new ideas seem to pop up all the time.

Chen Tianhong is also a person who does not like to be constrained, which she has the same characteristics as Huang Jing Kanako, in short, she is very rebellious, likes freshness, pursues excitement, and has the courage to challenge her own limits.

For example, in the classic pipa song "Autumn Colors of the Han Palace", she only played it once in front of him, and Qin Fangge could play it as it was, and even improved it somewhat. In this typical pipa song, the long wheel has a singing sense, and the most common problem is unevenness, the index finger is very loud, the ring finger is weak, the little finger is more vague, and the big finger suddenly becomes very loud. Of the five fingers, the ring finger is the least independent and the most difficult to control, resulting in uneven force or points. In addition, the left hand should not only press the strings, but also exert the same force as the right hand, and feel the same point and develop evenly.

Qin Fangge's explanation for this is that when he learns piano, all 10 fingers have independent ability, and he has done a lot of various subdivision exercises and is particularly professional. But Chen Tianhong was still a little unacceptable, why hadn't she done these exercises, and she was still playing the pipa! How could she never see the same as him, who could move his fingers like flying, and accurately control every inch of muscle and strength? What's more, even the timbre he played was much more perfect.

This is also what Chen Tianhong dreamed of, perfect pure sound, with elastic graininess and smooth naturalness at the same time.

Qin Fangge explained that it is directly related to the speed, angle and tightness of the right hand, and if it is not grasped well, it will be noisy. In order to produce a good tone, it is necessary to increase the precision of the technique, and to strike the strings with the right force at the right time and at the right point, which is what he has always emphasized to do all the details well. And then it's still a cliché secret, which is nothing more than listening more, practicing more, choosing more, thinking more, embracing music, loving music, and specializing in music.

Qin Fangge, who has a strong learning ability, has not been learning from her for a long time, and after squeezing out her knowledge and experience, it will be Chen Tianhong's turn to learn from him, which was more than half a year ago, although he still said that he would communicate with her and make progress together, and he didn't have time to study the pipa.

Chen Tianhong is different, she has spent more than ten years of hard work on the practice of pipa, and her feelings for pipa are far deeper and more loving than Qin Fangge. But when it comes to the depth of understanding, she doesn't dare to make this conclusion, and can only laugh at herself that the gap between mortals and geniuses is too big. It is precisely because of this particularly deep understanding that Chen Tianhong also understands his horror and evil more and more, and after the birthday gift "Pipa Xing" to her was born, she completely fell into it, giving up some reserve and discipline, and just wanted to discuss and exchange more and more in-depth art with him for the rest of her life, including but not limited to pipa.

Chen Tianhong loves to do a lot of things with him, kissing and hugging Ai Ai and Ai both like it very much, but it makes her feel more when he plays the pipa, just like now. In particular, he had to bravely challenge himself and play the pipa version of the "Silk Road" concerto for her alone, and she was also keenly aware that it was very likely that this would be the opportunity in her life! It was really difficult for him to play again, and this was what made her most excited and even trembling.

Regarding the aesthetics of pipa, pipa music, and pipa players, Chen Tianhong dares to say that she will not be inferior to anyone.

Each instrument has both commonalities and individuality in terms of performance aesthetics, and the pipa also has its own unique way of expression, and the requirements for performance aesthetics are also different from other musical instruments. The pipa is a unique folk musical instrument in our country, and its performance is almost without the help of non-musical means, and we did not invent music scores in ancient times, but mainly rely on the performer's own secondary creation to complete the performance.

In Chen Tianhong's education from childhood to adulthood, the most important key to playing the pipa is: first, to grasp the relationship between points and lines, lines and points; second, to control the aftersound to express the "rhyme" of the pipa, and then to reflect the various connotations in the music with both form and spirit.

As a musical instrument with a strong personality, the pipa is played well, and the sound is as clear and translucent as "big beads and small beads falling on the jade plate". It is based on dot articulation, and different "dots" are connected into "lines" to outline the melody of the music. Pipa performance is characterized by strong granularity, leaving people unlimited imagination space between the particles, due to the short sustain of the pronunciation of "point", when playing melodic music, there will be a problem that the particles are too clear and the melodic lines are not obvious.

Chen Tianhong knew all of this, and Qin Fangge also made quite an example here, he didn't even have time to look at Chen Tianhong, who was already in a trance, and only concentrated on playing the pipa. There are a lot of emotions in the whole concerto, and there are landscapes and even the inner monologues of the characters just in the foreshadowing. For example, when he plays a smooth and lyrical movement, the "point" is contained in the line, and it is not too prominent.

The techniques of the pipa are complex and varied, and he also often uses various techniques such as wheel fingers, rolling playing, finger shaking, and double flying in his performances, not to show off his skills, but to better express the musical image. When playing, the control of finger force is also quite high, whether the big finger is too heavy, or the ring finger and little finger are too weak, which will destroy the lines of the music. It is necessary to have a sense of melodic singing, and play the lines of the music evenly, giving people a sense of coherence and flow.

In Chen Tianhong's commentary, which describes the natural scenery of the Silk Road, he uses the medium-speed slow wheel fingers to express the melodious and lyrical melody, if the grain is too clear, it will destroy the fluency of the melody, although the "point" is the basis of the pipa pronunciation, but it is not possible to blindly emphasize the "point", and to pursue the harmony and unity of "point" and "line" according to different music.

Chen Tianhong was fascinated, and felt more deeply the incomparable beauty produced by the collision of Qin Fangge's left and right hands plus ten "points" when he was playing the pipa. When playing the piano with him, it was two completely different visual and auditory experiences, but she especially enjoyed both.

When she only taught him, she told him that in the performance of the pipa, you can't simply pursue the "point" and ignore the melody, and of course, you can't only pay attention to the melody and ignore the "point". Many times the work needs to highlight the effect of some "dots" in the lines, so that the smooth music becomes angular, so as to highlight the personality of the music itself. Some music needs to deliberately find "dots" in the "line", without which the melody will become blurred.

In fact, she didn't talk about this, with Qin Fangge's understanding of music, he understood these universal truths. For example, in this section, he uses slow but constant wheel fingers to express a weeping melody that seems to describe the hardships encountered by people along the Silk Road. At the same time, he highlights the accent of "point" in the large lines of the slow wheel, which makes the musical connotation more profound. If there are only "lines" and no "points", it will not give people a shocking feeling, and the music will become flat and lose its luster. In pipa performance, according to the specific needs of music, the "point" and "line" are perfectly combined, so that the music is both beautiful and flowing, and can show the unique artistic charm of pipa, which is also one of the criteria for judging the level of a pipa player.

As for the beauty of the rhyme, Qin Fangge has been in contact with national music for so long, and he has also deeply understood that this is actually a vague concept, but it is the soul of Chinese national music, and it is also the key to distinguishing it from other music in the world. In fact, this kind of sound can only be perceived by hearing. It can also be said that "rhyme" is the embodiment of the player's aesthetic taste and performance style, and the performer's feelings about the music are different, and the rhyme expressed is also different.

Specifically for the pipa, how did this beautiful "rhyme" come about in the performance? It is mainly because after the right hand plays the strings, the left hand immediately makes the coordination of techniques such as chanting, kneading, pushing, pulling, squirming, and annotating, so that the aftersound of the music produces various changes.

However, due to the short pronunciation of the aftersound, if you do not pay attention to retention, the aftersound will disappear quickly, and without the aftertone, you cannot produce "rhyme", so the retention and beautification of the aftersound has become a problem that every pipa player must pay attention to. When Qin Fangge was playing the pipa, no matter how talented he was, he couldn't violate the laws of physics, he always deducted the details, and used these laws to play more beautiful and shocking music. Just like now, even if Chen Tianhong is the only one in the audience, it does not prevent him from continuing to ponder and study, and he has also put a lot of effort into winding the aftersound.

In this way, a single sound can produce a color change, and the technique can be used to prolong the aftersound, and a "rhyme" can be formed, that is to say, the subtle change produced by the aftersound after pronunciation is "rhyme". There have also been predecessors who have made the following concise explanation of "rhyme": "The rhyme of the husband is also the wave of sound."

In pipa music, such "rhyme" can be seen everywhere, when Qin Fangge expresses sad and sad emotions, he uses string pulling at different speeds and pitches to express the changes in the emotions of the characters, and cooperates with a variety of left-handed techniques such as pushing, pulling, groaning, kneading, beating, and belt to express the inner melancholy of the characters on the Silk Road. In addition, the timbre he played is full of variety, the music image is vivid and touching, and the appeal and artistic value have been greatly enhanced. These are also things that Chen Tianhong learned when he watched him play the pipa up close.

Of course, Qin Fangge's performance is not everything worth learning. This guy seems to be very stingy with his expression, which is different from the education and habits that Chen Tianhong and Huang Jing have received since childhood, they still pursue both gods and forms.

With rich experience in music performance, Chen Tianhong also understands that different performance states can express different musical content and emotions. Like Qin Fangge, the performance state does not change, but he still performs colorful and shocking music, after all, it is only himself.

For these performers, the demeanor and momentum when playing are particularly important, Wang Zizi said even more exaggeratedly, "No matter whether the performance is good or not, the image must be beautiful!"

The reason why the stage can stimulate the state of the performers is actually because of the desire of the performers' hearts, and the stage that attracts the attention of thousands of people can stimulate the performance state of the performers. Only with the state can the real emotions of the performer be expressed, and the inappropriate performance state will destroy the overall expression of the music. I also see a lot of counterexamples, and overly exaggerated actions may be very hilarious, but for the audience, it is a kind of torture. For example, Zhou Jia, who is known as an emoji, is really excited and immersed in music, but for many audiences, it is very easy to play, and even don't even watch him at all, just listen to his music, it's best not to even associate his image.

Pipa players are the same, as a performing art, it is particularly important for pipa to be consistent with both form and spirit. Whether it is Chen Tianhong, or Wang Zizi and Huang Jing, they are resolutely not to learn Qin Fang's songs, and they do not plan to change the habits they have developed since childhood, which can show their understanding of music, and it is also convenient for them to substitute their feelings, under the premise of grasping the music style, feel the music with their hearts, expand their rich imagination, devote themselves to the music, and express the music with true feelings, such music is the most beautiful.

Of course, it is also very important that this is also a moment to show their beauty.

The beauty of national music is not only to pay attention to the connotation, but also to the external image, which is also pursued by them unremittingly.

This performance of Qin Fangge, in Chen Tianhong's opinion, is simply impeccable. Fast, clean, powerful and delicate, rich and free. It seems that all good adjectives can be used on him.

His playing is natural and explosive, as if it were at hand. His playing style is delicate and rich, his performance is clear and smooth, and the emotional interpretation of his music is unparalleled in the world.

In addition to these big and generalized praises, Chen Tianhong also pays special attention to the connotation of the music he plays, but after all, it is the first time to listen to it, and now it is only the surface of it. As far as pipa performance is concerned, the connotation of "beauty" includes many aspects, and the "beauty" of pipa performance embodies the aesthetic concept in traditional Chinese philosophical thought, and the performance pays attention to subtlety, simplicity, naturalness, and harmony, and pursues a noble charm and artistic conception.

Although Qin Fangge's piano concerto is played through the pipa, the core and artistic ideas, as well as the composition techniques that are more worthy of careful study, are still the standard of classic piano concertos.

For this research, Chen Tianhong is a lot worse, she is not a composition department like Teng Shuting, and her homework is related to this. Structural analysis, harmony, chords, textures, rhythms, counterpoint, etc.

But her level of music appreciation is not bad, and she also deeply feels that he has created a huge, magnificent, and epic music world with this piece. To put it mildly, even if it is a piece of music, there must be so many things to fill it. If Chen Tianhong is arrested, there is no way to kill her.

However, she thinks that composers don't seem to be able to make the most explicit explanation of their musical works, and it is quite good to be able to write that Qin Fangge's piano concerto can clearly state that it is the theme of the Silk Road. Composers are more accustomed to leaving space for other performers and audiences to imagine and create for themselves, perhaps they feel that this is how the life of the musical work will be longer. Of course, there is also malicious speculation that the composer doesn't know exactly what he wants to say.

Chen Tianhong naturally doesn't see it this way, especially since she is fortunate to enjoy such a musical work that has not yet been performed in public in advance before people all over the world. It was still played only for her, using her favorite instrument, the lute, which perfectly matched her expectations of him.

After Qin Fangge's half-hour pipa performance, only the lingering sound was left echoing in the small classroom, as if a feeling of happiness filled Chen Tianhong's heart. To watch late-night welfare movies, please pay attention to the WeChat public account: ok movie heaven

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