The first bass sound came from the guitar in Ye Zi's hand, and Miao Junkai was slightly stunned in his heart.

This bass is strong and powerful at the same time, full of elasticity, without the "paralysis" or "hard" that is easy to occur when the bass is not played well, but has a little bit of the feeling of beating the heartstrings.

Such a solid and powerful bass is not easy to play.

Without a solid musical accomplishment, without years of hard practice, and without a very high classical guitar playing talent, you don't have to think about playing such a bass.

When Miao Junkai was young, he also practiced classical guitar for several years. It was only when he was more gifted in violin playing that he gave up further studies on classical guitar. But for instruments like the classical guitar, he still likes it very much. In addition to violin-related tapes and records, most of his family is classical guitar records, which he will take out from time to time to listen to and enjoy.

The bass that Ye Zi popped up this time was almost the same as the bass played by those famous performers in many records, and Miao Junkai thought that he couldn't play it.

The melody continues to move forward.

This is followed by alternating bass and arpeggios, as well as a main melody played on several bass strings. Ye Zi's performance is layered, the particles are clear, the rhythm is compact, the elasticity is free, and the weight is appropriate, which immediately brings Miao Junkai into the atmosphere created by the music.

On the surface of the microwave** sea, a small bird dances briskly between the ocean and the sky. Sometimes it soars high above the blue sky, accompanied by white clouds; Sometimes he deftly swoops to the surface of the sea and is in the company of the crest of the waves. The melody of the guitar has also slowly shifted from the bass strings to the middle and high strings, and the whole musical image has become more light and agile, and it is a cute bird that appears in front of Miao Junkai.

What does it mean to "use the language of music to shape the image"? Ye Zi's performance answered this question very well.

The organic connection between the changes in the playing techniques of the right hand, such as touching the strings, leaning on the strings, striking the strings, and hooking the strings, and the various techniques of the left hand, such as horizontal pressing, skipping, double tone, kneading the strings, and glissando, as well as the control of the strength of the right hand when playing, as well as the subtle changes brought about by the different parts of the touching strings, Ye Zi easily achieved this.

Using musical notes to create an image is also not something that can be done lightly. Without a deep understanding of the meaning of the piece and the perfect control of the instrument in hand, it is almost impossible to do this.

You don't have to wait until the whole concerto is finished. Just the short section that Ye Zi began to play, Miao Junkai was already deeply impressed. He knew that even if he hadn't put down the study of classical guitar back then, he would definitely not be able to reach the level of Ye Zi's performance now.

So what else is there to say!

Just like Miao Junkai himself said just now, if Ye Zi really has this performance skills. He will help Ye Zi complete the performance of this concerto. Now, Ye Zi's solo part is coming to an end, and the concerto of the entire orchestra will be added next. Miao Junkai quickly came back to his senses, highly concentrated, and prepared to play.

The orchestra came in. Ye Zi immediately felt different.

If you say that when you played solo in the previous paragraph, the guitar in Ye Zi's hand was a relaxed and lively bird, soaring freely in the sky. As soon as the orchestra joined, the bird's wings were tied with layers of invisible silk threads, and the orchestra firmly held it in place with a rigorous rhythm and an overall emotional expression brought out by the strict performance of the score.

It can no longer fly as freely as it did just now.

Ye Zi immediately felt uncomfortable.

Not only that, this time playing with the whole orchestra, Ye Zi deeply understood the fatal point of the classical guitar for the first time - the problem of too little volume.

In the past, when he played, he played solo, and his feelings about this were not very deep. At that time, the sound of the guitar was loud enough in the ears, especially a completely different classical guitar after the makeover. Ye Zi couldn't detect the fatal problem of the low volume of this musical instrument at all.

But today, Ye Zi is playing with the entire orchestra, so that's not the case at all.

The sound of the orchestra, even Ye Zi's keen ear, if you want to fully hear every detail of the guitar playing, you need to concentrate all your energy. It's better just for the strings to play together, and the guitar sound can come out of the strings. As soon as the wind and percussion sections were added, the sound from the guitar was almost completely obscured by the massive volume of the orchestra. Even if Ye Zi has set the volume of his right hand to the maximum allowed range-

Still not enough!

You must know that the Mallorca Concerto itself is very lightly written, and it is not the kind of concerto that is very heavy and acoustic. But that's it, Ye Zi still feels that the volume of the guitar in his hand is too weak. Completely drowned in a sea of sounds.

In general, the sound of a solo instrument can be seen through the loud volume of the orchestra. Whether it's a piano, a violin, or even a flute piccolo, you won't have any problems with woodwinds, but if you switch to a classical guitar, you're just a little bit worse. The orchestra is a little louder. Sitting in the middle of the concert hall, the details of the guitar playing are basically inaudible, let alone in the back row.

It's a real question!

This question is very strict!

For hundreds of years, this problem has not been well solved.

The advent of nylon guitar strings in the mid-twentieth century has effectively alleviated this problem. However, when playing a concerto with an orchestra, it is still necessary to use amplification equipment to meet the requirements of the back row audience in the concert hall.

That's exactly the question. This limits the further development of the classical guitar, a charismatic instrument.

Now, when Ye Zi rehearsed with the orchestra for the first time, he also really felt the fatal shortcomings of the classical guitar for the first time. He had to concentrate all his energy on listening to make sure he didn't make any mistakes in his playing.

Such a performance is much more tiring than the dozen or so times he usually practices at home!

In the midst of Ye Zi's discomfort and exploration, the music progressed at a slightly slower speed than the score required under Chen Xieyang's control. Standing on the command platform, Chen Xieyang nodded slightly in his heart while commanding, and then shook his head slightly.

This is only the first joint practice between Ye Zi and the orchestra, whether it is the orchestra or the concerto between the two sides, there are many, many problems. This first performance was not satisfactory. But what made Chen Xieyang feel very relieved was that Ye Zi didn't say anything big just now, his classical guitar performance level had really reached a very high level, and there was no problem at all in participating in this performance of "Shencheng Spring".

In Chen Xieyang's memory, there are only two or three people in the Chinese mainland music scene who can play the classical guitar to Ye Zi's current level. And those two or three people are not developing in the country yet.

If you want to talk about young musicians, there is not one.

Thinking about Ye Zi's current age, and looking at the performance strength he already has, Chen Xieyang is really pleased, and he is happy for his old friend Sun Yun.

As for Ye Zi's own faults, it is a very simple question: experience.

After all, it was the first time to work with an orchestra, and there were many places where Ye Zi didn't know what to do. In some places, the force is too strong, and in other places it is not enough, and the coordination with the orchestra is even worse. Of course, the orchestra itself has its own problems. But this is the first performance in the first day of rehearsal, and it is normal and inevitable that there will be problems.

Classical music performances are different from solo performances, and even more so from popular songs, and it is basically difficult to achieve the best results by going directly to the stage without careful rehearsal.

Some people will say about temporary rescues.

Indeed, it is true that the prodigal son, a famous Chinese pianist in later generations, stood out because of a rescue performance. But there are a few factors to consider. First, saving the scene does not mean that there are no rehearsals beforehand, it will be much better to perform at night and rehearse a few times during the day, and if the performer is high enough, a few high-quality rehearsals will be enough. Second, each orchestra has its own playing style, and if the style of the performer is close to that of the orchestra, it is naturally easier to get started. Thirdly, during the temporary rescue, the conductor will direct the entire orchestra to follow the pace of the performer, and the high-level orchestra can keep up with the conductor's footsteps at any time, so as to "save" a performance.

There are many other things involved in temporary rescue, and in order to perform well in the case of temporary rescue, in addition to the high level of the performer, a high-level orchestra and a high-level conductor are indispensable. And even if all three of these points are achieved, the performance of the temporary rescue scene will be a mess, and there will be a lot.

As for the media praise after the performance, I can't fully believe it, and paid publicity is not an invention of the Chinese people.

I believe that everyone on earth will know this.

Returning to Ye Zi, Chen Xieyang was not dissatisfied with the current results of his first collaboration with the orchestra, on the contrary, he was very optimistic about the prospects of this performance. At present, these problems are actually not a big problem, and the longer the rehearsal and run-in, the tacit understanding between the two sides will slowly be established.

The most important thing to do now is to knead Ye Zi and the entire orchestra together during rehearsals.

This is what Chen Xieyang will do next. (To be continued.) )