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On the stage, after saying hello to Fu Tianxia, the third-year boy Zhou Runze, also bowed politely to the audience - there are more than 1,000 people in the audience, and the performers on the stage will also be in a lot of mood.

Zhou Runze sat in front of the piano, but did not say what repertoire he wanted to play, which had high requirements for the audience's musical literacy.

Fu Tianxia stood next to the piano and encouraged him to play well with his eyes.

Zhou Runze quickly adjusted his breath and began to play.

Of course, Fu Tianxia could hear that he was playing Christopher's very famous Sonata No. 5 in C minor, also known as the "Winter Wind Sonata".

It's one of the few where everyone can play Christopher's work.

But because of this, it is particularly difficult to come up with new ideas.

Zhou Runze's performance is indeed remarkable, and his performance level is definitely outstanding in the Huaxia Conservatory of Music.

After his passionate performance, he also won a round of applause from the audience.

But Zhou Runze was very modest, stood up, asked Fu Tianxia to sit in front of the piano, and asked him for advice.

Fu Tianxia didn't need to be modest at this time, so he explained it in combination with Zhou Runze's performance just now.

First of all, he affirmed that Zhou Runze's performance was wonderful and distinctive, and he had a good grasp of the style of Christopher's works.

Then, Fu Tianxia talked a lot about the details, which can also make Zhou Runze do better in future exercises.

For example, timbre, Fu Tianxia said, "In such a sonata, we must pursue the three-dimensional sense of timbre, and the strength should be combined with soft and hard, and hard should be the foundation." Speaking of this, I have to mention that the pronunciation principle of the piano is the sound produced by percussion, so how to strike the most ideal sound?"

"Qin Fangge and I also discussed this issue, and his answer was to rely on concentrated strength, there is considerable strength, and most importantly, to grasp the balance in it. We have all experienced this, and we can try it below. ”

Fu Tianxia sat in front of the piano and said while playing, "When you are legato, don't press your fingers hard, the more you push too hard, the worse the effect." When playing the octave, the strength of the four fingers and little finger should be strengthened, and the gravity on the protruding little finger is completely different from the average force. ”

"Especially in this high-pitched melody, the bright and brilliant timbre is also very dramatic, and the structure should be strong and atmospheric. ”

"Listen, if you don't have enough strength, it doesn't sound like it sounds the same. Fu Tianxia waved his fingertips and made a wrong demonstration again.

Then, Fu Tianxia also emphasized, "What I just said, in the eyes of many people, is purely technical, but I think that this kind of performance technique itself is music, and it can also move people." Many people have heard his dazzling works, such as "Wild Bee Flying", which can still maintain considerable granularity and musicality when playing at super high speed, and the importance of technology is self-evident, and according to himself, emotions can actually be achieved through technology. I'm going to have to figure it out slowly. ”

And Qin Fangge, who he repeatedly mentioned, also attracted a lot of attention.

Huang Jing and Song Zixuan were still laughing secretly, but they didn't speak, the protagonist of this concert hall was still Fu Tianxia on the stage.

Fu Tianxia's performance is very exemplary and elaborate, "In my opinion, there are seven measurable criteria for piano technical performance, dynamics, firmness, speed, uniformity, elasticity, brightness, and granularity. Only when you can pop up clear granularity can you pop up coherent granularity. When playing the piano, the metacarpal joints are responsible for the strength, the knuckles are responsible for the fine-tuning, and the senses of hearing, sensation, and touch must be combined with each other. ”

"Especially when playing chords, the fingertips need to be dynamic and hard. Fu Tianxia played while talking, he was still comfortable controlling these things.

"In addition, it is important to pay attention to the changes in timbre and try to bring out the characteristics of each register. When Zhou Runze was playing just now, he did this very well, but I think it can be improved a little more. Regarding the change of timbre, I strongly recommend everyone to listen to the records released by Qin Fang, and the processing of each voice area and voice part can be regarded as a textbook-level demonstration. The symphony orchestra he played on the piano last night handled these changes perfectly, colorfully, and felt like they had reached the extreme. ”

"It's a pity that the environment last night was not very good for recording, and there may be a video in the future, but the effect is not comparable to the record in the studio. ”

Fu Tianxia quickly returned to the theme and talked about the sonata played by Zhou Runze just now, "In this movement, the sound of the left hand should not be too loud, and the melodic sound of the right hand should not be overshadowed. ”

"This is one of Christopher's most outstanding piano sonatas, and it is even more breathtaking in the handling of emotions. Like here at the beginning of the second movement, although it is a fixed note, just a note, many people think that it is still moving, but in fact, it is also crescendo, as if a huge, invisible impulse is surging forward until "sol". Some passing sounds must also be explained clearly, without the slightest ambiguity, slipping through and passing by. ”

"In addition, we have to learn to listen to the bass, just like the cello sounds, which also have melodic lines. At the end of the sentence, the long note should be paused for a moment, waiting for a wave, as if it were a small breathing hole. The rest, in fact, is also music, and there is something that is expressed, and a kind of tension can be shown in this song. There are so many parts stacked on top of each other, like there are many instruments, and it must feel like the music is played by a huge orchestra. The legato should be very tactful, and no accents should be made. ”

"In the middle section, it's like dancing lightly, which is completely different from the background at the beginning, and as a performer, we need to give the audience a new feeling. Learn to experience that phrases have a sense of direction, phrases that are stretched, and dynamic. There are many lines of the main theme on the high voice of the right hand, not only to make them stand out and release the sound, but also to learn to control the coherence of the sentence. ”

"Finally, I would like to say the pedal, which also plays a very important role in the performance. The need for an even, crisp sound requires the player to tap a few times with a small pedal. Like the sound of some hazy music, like a dream, then you need a pedal for the atmosphere. However, it is also wrong to abuse the pedal, many students do not play enough in their hands, and the use of pedals to make up the number needs to be corrected. ”

Fu Tianxia also emphasized that on the basis of learning, we should gradually establish a high degree of independent thinking ability, which is more conducive to the improvement of performance skills.