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"Qin Ling!"

As Guo Changyuan called out a name, a boy wearing a black windbreaker walked out of the audience, he looked a little delicate.

Qin Ling first bowed to the judges in the audience, and then introduced himself: "Good morning, everyone, my name is Qin Ling!"

Guo Changyuan hurriedly said: "Very polite guy, come and draw lots!"

As he spoke, he asked the staff to bring a plate with six cards on it.

Qin Ling suppressed his excitement for a moment and pulled out the third one.

Guo Changyuan took it and looked at it, and said it loudly: "The first track is: "Tears of the Ginger Girl"!"

Qin Ling couldn't help but breathe a sigh of relief when he heard that it was this song, obviously he was more sure of this song.

"Here, let's move on to the second track!"

Qin Ling's heart rose again.

Reach out again and pull a card from the tray.

Guo Changyuan took the card: "The second track is "Xiaowu"!"

The second track was picked up, which made Qin Ling suddenly nervous again.

Guo Changyuan comforted: "Hurry up and behave well!"

After speaking, he took the initiative to retreat and left the stage to Qin Ling.

The boy also knew that time was limited, so he took a deep breath and sat down at the table.

The students in the audience looked at the nervous Qin Ling on the stage, and there were no jokes, because they couldn't help but be nervous when they came on stage.

Seeing that he adjusted his state so quickly, he couldn't help but take a look.

Zheng!

Zheng!

A hurried clang, euphemistic, graceful and desolate.

When Qin Ling, the boy on stage, was playing the track, the information of this piece came to Lin Qingyi's mind.

"Tears of the Jiang Girl", a guzheng solo piece, also known as "Great Wall Tune" is a ninth-grade examination song, which is quite difficult.

The whole work is divided into four parts: (1) the introduction, the mournful loose board, like the rolling white in the opera, composed of two sentences of low and high notes, warning the description of the sad and painful life of Yu Jiang Nu, and (2) "The Slow Great Wall", the sad and slower adagio, from the 26th measure onwards, the speed gradually increases, and the emotions gradually become more and more excited. Until measure 50, which doubles the tempo, (3) "Crying the Great Wall" is an allegro of crying, like a flowing board in opera; (4) "Crying the Great Wall" has a simplified melody and a stronger emotion, it is an angry allegro, followed by (i.e., after measure 147) is a variation of "The Great Wall Crossing the Gate", followed by the emphasis of the main note (徵) and the main (Shang) and secondary (gong) pillars, pushing the music to a climax.

The introduction to part (1) of this poem "Tears of the Ginger Girl" was added by the author. Parts (2) and (3) are the main body of the music, which comes from "Donglu Mihu Singing and Accompaniment" (edited by Zhang Changxing) and "Meihu Textbook" (Qiao Rongtang's biography), and its rhythm and melody have basically remained the original. Part (4) is a simplification of the melody in part (3), with the use of sweeping techniques, 3/4 beats, and two-handed plucking to bring the music to a climax.

"Teacher Lin, what do you think of Qin Ling's playing?"

The male teacher surnamed Li saw that Lin Qingyi was a little absent-minded, and couldn't help asking.

He was also quite curious about Lin Qingyi's true strength, because she was too young for a guzheng player.

In the Guzheng Society, many people speculated that there was a guzheng master standing behind Lin Qingyi, and the guzheng reform was completed under the pretense of her hands.

Lin Qingyi has now experienced countless business struggles, and he can be regarded as an old fox, how can he not see the thoughts in the heart of the middle-aged male teacher?

She said bluntly: "This Qinling is average, he should not have been professionally taught, and he has made many mistakes that should not be made. ”

"Oh?"

The male teacher surnamed Li looked at Lin Qingyi in surprise, originally he thought that she would talk to the mud that she could play well, but he didn't expect her to directly and harshly criticize the playing not good enough.

Lin Qingyi smiled indifferently and said: "For example, from the 26th measure, it should be played like a long note of crescendo and crescendo, naturally connecting to the strong phrase below, forming a small climax, and Qin Ling may be a little nervous, and it is not handled well here." ”

"Oh, this classmate, it seems that you are very good at this song "Tears of the Ginger Girl"?"

A middle-aged woman next to her didn't seem to be very satisfied with Lin Qingyi's performance.

"So-so!"

Lin Qingyi didn't know this middle-aged woman.

However, the middle-aged male teacher knew that he was the owner of Qinyin Piano Store and had organized many guzheng competitions.

"Then tell me, how to play this song "Tears of the Ginger Girl"?"

The owner of Qin Yin's piano shop said curiously.

"Yes, you say my son can't play, so tell me how to play!"

The middle-aged woman also said loudly, she heard a girl who looked younger than her son say that her son was not good at playing, and she felt uncomfortable.

The middle-aged male teacher's eyes were full of apologies when he looked at Lin Qingyi, and he didn't expect that when they were evaluating how well Qin Ling played, his mother would sit on the side.

Lin Qingyi Zhizhu said in his hand: "The music style of "Tears of the Ginger Girl" is strong, and to play this song well, we must pay attention to grasp five points. ”

"Okay! I'd like to hear what you said!"

The boss of Qin Yin Qin Store was no longer on the stage at this time, and he looked at Lin Qingyi with burning eyes.

Lin Qingyi looked at him as if he hadn't seen it, and talked eloquently as if he was explaining to a student:

"The first point: scales, keys, and melodic progressions. The scale of the Qin Zhengqu is divided into two partial tones in the Yanle scale and the Qingle scale, Fa should rise slightly and ci should be slightly lowered, and the Fa and Ci tones in the Qingle scale are in situ. In the performance, the vibrato must be emphasized on the two biases of Fa and Ci, and even heavy vibrato, and in the melody progression, it is high when it goes up and low when it goes down. When the melody is carried out, the downward multi-progression, the upward multi-jump, the two partial tones are downward, the mi is with Fa, and the la is with ci, and the Yanle scale is also called the bitter (crying) sound, and the Qingle scale is also called the Huan (flower) sound. ”

"Let's talk about the point! I'll let you tell me how to play "Jiang Nu's Tears", what kind of Qin Zheng song are you talking about for me, don't Wang Gu talk about him left and right!"

Middle-aged women are aggressive.

This made the boss of Qin Yin Qin Store very embarrassed, and he whispered: ""Tears of the Jiang Girl" is a Qin Zheng song..."

Lin Qingyi ignored the middle-aged woman and continued: "The whole song of "Tears of the Ginger Girl" is a bitter sound. In the melody of the vocal cavity sign mode, the upper part of the main tone emphasizes the minor third, and the lower part emphasizes the major second is the bitter tone, and conversely, the upper part of the main tone emphasizes the major second, and the lower part emphasizes the minor third, which is the joyful tone. ”

The boss of Qin Yin Qin Store glanced at Lin Qingyi in surprise, he didn't expect her to comprehend this piece so thoroughly.

Lin Qingyi continued: "The second point, "Qin Zheng plucked the strings more", and his big finger trembled more. Pinching strings is the usual technique of the zheng, and the northern zhengs are mostly used to pinch the play, which is conducive to the play of the effect of the left hand trembling. The alternation of the big finger of the left hand and the third finger of the index is constantly rubbed and rubbed, or octave, or fourth, third and second, which is the inevitable continuity of the music. The melody remains meandering, which is characteristic of the Qin Zheng school. ”

"The third point is that the up and down slides should be slow, so that the melody is melodious and continuous, and the effect of changing the pitch and dragging the tone on the bowed string instrument is played, so as to achieve the purpose of heavy rhyme and light sound. Just like the pronunciation of Chinese characters, the initials and finals, spelling or fast reading, there is sound and rhyme, and the combination of sound and rhyme. The method of not emphasizing the playing, and the strong granular pronunciation effect is not suitable for the bitter music of the Qin Zheng school. 'The Qin Zheng faction is amorous" and "The Qin Zheng faction is mostly lyrical singing", all of which mean this.

"Fourthly, the Qin Zheng Song belongs to the vocal cavity melody, and in the music, the melody and the interlude (passage) are often mixed together, and they should be regarded as a part of the music. It is very important to deal with changes in dynamics and tempo so that the musical performance is complete and uniform. ”

"Fifthly, all techniques must be subordinated to the requirements of tonal color. When the bitter melody descends, it should be slow and slippery, like the slow "gliding" on a stringed instrument. Only the string that is pressed is emphasized, and the other strings are just a foil. ”

When Lin Qingyi finished saying these five points in one breath, the male teacher surnamed Li and the boss of Qin Yin Qin Store had already widened their eyes.

The middle-aged woman said dissatisfiedly, "Boss Qin, is she talking nonsense?"

The boss of Qin Yin Qin Store sighed: "These five points are extremely incisive!"

The male teacher surnamed Li was really surprised, and the question pointed out by Lin Qingyi was very accurate.

It seems that she does not have a master coach behind her, as some people have guessed, but just practice diligently on some specific tracks.

Her own eyesight and accumulation are far beyond those of her peers.

At this moment, the male teacher surnamed Li is very much looking forward to Lin Qingyi coming to the stage.

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