(Happy New Year, friends!! Good luck!!!

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After receiving Ye Zi's conditional consent, Segovia was very happy and even very excited.

"My child, you have to know that our classical guitar should not be without the presence of a playing guru. It has such a long history and a well-established and rich means of expression that it should never be lost to other instruments. There is a grandmaster for piano, there is a grandmaster for violin, and we should have had classical guitar too, and it should have been there a long time ago. ”

"What if...... If...... Alas, forget it, don't talk about these uninteresting things. ”

The master said two "ifs", but did not continue, his expression slightly depressed and lost.

Ye Zi knew that the master was thinking of himself again. If it weren't for the terrible situation of the classical guitar in the first place, and someone needed to stand up and push the classical guitar to the fore again, the master was actually the grandmaster blank who met the most standards.

Really...... It's a pity!

But somebody has to do it!

The master can be regarded as seeking benevolence. It's just that for himself, such an ending is a bit cruel. But then again, if a master can become a grandmaster under such circumstances, then how can other musicians live!

Perfection is only possible in fiction. In the real world, to be able to achieve such an achievement as a master is already extraordinary, enough to make a strong mark in the history of music.

How can any good thing be taken advantage of?

"Thank you, my child," the master obviously "heard" Ye Zi's evaluation of him, and his mood was obviously much more relaxed at this time, and he smiled slightly: "You are right, I shouldn't be so greedy." I spend too much time spreading the classical guitar, and if I have about ten years to calm down and settle down, maybe I really have that possibility. ”

"However, I don't regret what I did!"

The master spoke softly, in a resolute tone. No remorse.

"If I had to do it all over again, I would do it anyway. Like you said, there are some things that have to be done by someone. ”

"Alright. We have time to communicate these things later, and now we have to go back to the classroom. ”

The master brought the topic back to the question at the beginning, and Ye Zi quietly breathed a sigh of relief in his heart, he really didn't want to continue to talk to the master about any grandmaster, let's talk about it later.

Will there really be a day? No one can guarantee it. Including Ye Zi himself.

Ye Zi hurriedly followed the master's words and asked directly: "Master, please also give me an explanation." ”

"Okay." This time, the maestro stopped grinding and said, "Like I said, if you just want to be a great professional performer, then you are already on the right path, and you don't need me to teach you anything." ”

"But if you want to at least become a virtuoso, then from now on, you have to learn not to get into the score as much as possible. Instead, try to make the music truly your own work according to your own judgment and needs. ”

This passage is a bit difficult to understand. Ye Zi immediately asked, "But master, isn't the starting point of the music performance to respect the score?" The music we play, except for our own compositions, is the work of our predecessors or others, and when we perform, of course, we should carefully understand the ideas and intentions of the creators, and reflect these as much as possible. ”

"Isn't that what we musicians are supposed to do?"

"Master, I'...... I don't quite understand. ”

The master smiled slightly.

"That's right, my child. This is the foundation of being a professional performer, and it is true that you should start from this point when starting your career as a professional performer. ”

"But there's one thing you might have forgotten. The musical notation we use today is not a perfect record of all the ideas of the creator on its own. ”

"So, how do you make sure that the music you are performing is what the composer envisioned?"

"No matter who you are, there's no way to guarantee that. Even if he is recognized by everyone as the authority on the interpretation of XXX. ”

"It's a dead knot! A knot that cannot be untied under the current system of notation recording! ”

The master's words were like a bolt of lightning, suddenly splitting the heavy fog in front of Ye Zi's eyes.

This passage is too TM correct!

As we all know, the stave is recognized as the most complete notation system in the world. But its flaws have persisted since the invention of the stave.

The staff is in this form of a zài in which both the treble clef and the bass clef are coexisted. It perfectly solves the notation problem of a large orchestra. It can record the overall goal of the orchestra in the form of a total score, or it can record the different requirements of various instruments in the form of instrument parts.

This is indeed an advanced and perfect notation method, which is much more convenient than the ruler notation used in China before and the simple notation used now, and it is clear at a glance.

The rest of the world also has some of their own unique notation, which is not as systematic and easy to use as the already well-established staves.

This is the advantage of staff being able to travel around the world. What is the best notation for a composer? Convenience and ease of use must be ranked first, and the stave can defeat all opponents in this regard.

But is the stave perfect?

Of course not.

It has great flaws, but these flaws are also common to other notations, so the staff can still be invincible.

What flaws?

Speed, velocity notation, and expression terms, the most important of which are those expression terms.

When a composer creates a piece of music, it must contain these aspects: melody, harmony, lightness, speed and slowness, as well as the feelings, thoughts, feelings, and so on that the composer needs to express.

There are no problems with the recording of melody and harmony.

At this point, Huaxia's ruler spectrum is obscure and has long been used. Notation is intuitive and convenient, and it's very easy to get started. However, one of the biggest problems with the notation is that it is recorded in the first key, and when it encounters a large number of transposes, temporary ascending and descending keys, etc., it requires extremely fast reaction speed to deal with it. The staff itself is a graphical mode, there is no such difference between the first key and the fixed key, once you are familiar with it, you just need to sing or play according to the notes recorded in the score, no need to toss and turn over and over.

In this regard, it is better than the simple score.

When it comes to speed and slowness, there are actually certain problems with various notations.

For the composer, the speed of the piece is not a completely constant speed, not a mechanical constant speed, but should change with the change of mood, a dynamic balance. But in this way, it is obviously impossible for the composer to record all his thoughts in his entirety on the score. If you mark the tempo you need every one or two bars, you're at a loss.

Therefore, all kinds of notation are compromised, and the average speed of a whole section is used as a mark, so that the player has a basic basis.

In this regard, the stave also has the advantage of being obscured in that its velocity markers are blurred. For example, if the rapid board is 130 speed, the player can handle it as 126 or 127, and it is not wrong to process it to 131 or 132 if it is faster. This allows both composers and performers to find relatively reliable notation and performance methods without major deviations.

The problem of velocity notation and velocity notation is not much different, they are both the same difficulty, and the stave uses a similar solution.

But when it comes to emoji terminology, the problem is difficult to solve. All kinds of notation methods have encountered problems, and the most advanced and systematic notation method of stave has also not provided a better solution.

This is one of the unsolvable problems in the history of world music so far. (To be continued.) )