Zhang Tao didn't say anything, but looked at the music score and the movie without dubbing, for him, whether the soundtrack is good or not, it is not because the music is good or not, more often the theme song has to be matched with the content in the movie, otherwise so much pop music, why not all of it is used as the theme song?

But after watching the movie, Zhang Tao was shocked, he thought this music was good when he read the score before, but after watching the movie, he felt that this music really matched the movie. However, his shock was only very short-lived, after partnering with Tang Yin for so long, he was used to Tang Yin's grasp of the theme song, and he only needed to do a good job of other soundtracks, so after Tang Yin edited the movie, Zhang Tao felt it after watching ****.

"How about I use the piano for the soundtrack of this movie, and then use dazzling music to accompany your theme song and jazz interlude?" After closing his eyes and thinking about it, Zhang Tao asked Tang Yin to the side, with this theme song, other music can't be too out of line, and you have to follow the theme song after all, so Zhang Tao asked Tang Yin like this, in fact, it also includes Tang Yin's several jazz episodes based on the original play. Tang Yin is a director, he must be clear about the tone of his films, and Zhang Tao has also been exposed to some foreign music in recent years, absorbing the essence of others to enrich himself.

After listening to Zhang Tao's words, Tang Yin's real rest was shocked, it turned out that not only was he improving, Zhang Tao was also improving, he really had the demeanor of a soundtrack master now. just watched the movie **** once, and then immediately got the soundtrack tone of the whole movie out according to the content of the movie and a few episodes of his own, and it completely met his own requirements, and the rest depends on him getting the soundtrack, and his skills have skyrocketed. You must know that the soundtrack in the original movie is basically based on this tone. So Tang Yin decided to directly leave the soundtrack to Zhang Tao to deal with, he needs to rest for a few days, and then just watch the film directly, and there is no need to follow Zhang Tao to the soundtrack.

When Tang Yin rested enough, Zhang Tao's soundtrack was also ready, and then let Tang Yin watch it together, Tang Yin was shocked again. First of all, the most common part in the whole movie is the piano part, which is the main soundtrack. To be honest, Zhang Tao is a little fascinated by the handling of this part of the piano, Tang Yin is not only amazed but also amazed, presumably this guy has studied these all these years.

He uses the dubbing of the piano as a bridge, so as to achieve the role of connecting the previous and the next paragraphs of the film, so that people unconsciously complete the transition of the plot in the quietly flowing piano sound. Moreover, in some empty shots and no dialogue scenes, the piano is also used to replace the language of the characters, which is used to portray the inner activities of the characters, and with the excellent performances of the two rookies who were taught by Tang Yin*, Tang Yin couldn't help but applaud when he saw it.

Because the tone of the film is a romantic comedy, the ridiculous actions of the "sassy girlfriend" can be seen everywhere in the film. Therefore, the appearance of the piano here also has a dual function: to alleviate the atmosphere of the film, adjust the audience's feelings, and make the rhythm of the film galloping, so that it will not degenerate into a cheesy comedy.

Secondly, in the background of the relaxed and lively comedy picture, with a soft piano, it creates an auditory contrast for the audience, thereby enhancing the dramatic effect of the film. What is impressive is that on the anniversary of the 100th anniversary of the boy's acquaintance with the "Sassy Girlfriend", the boy received an order from the "Sassy Girlfriend" to come to her school with a rose. At this time, the "savage girlfriend" was playing the piano on the stage of the school's auditorium, and the boy walked down the stairs with the sound of the piano, and gradually removed the baseball cap, sunglasses, masks and other disguises and walked onto the stage under the infection of the peaceful and warm piano sound.

At the end of the song, the male protagonist presents a rose to his beloved girl. In this scene, the piano no longer appears as a background soundtrack outside the picture, but uses the counterpoint of music and painting in the real scene to render the love xù, which also further deepens the feelings of the hero and heroine, promotes the development of the plot, and makes the piano perfectly integrated with the plot.

Then there is the application of the string part, Zhang Tao has also put a lot of thought into this aspect, you must know that the soundtrack in this is all made by Tang Yin not communicating next to him. From the beginning of the film, the strings brought out the boy's memories of the "savage girlfriend" standing under the tree on the top of the mountain, and then led to his acquaintance, acquaintance, love, and a series of stories such as breakup and agreement.

And in the ** scene in the second half of the film - "Savage Girlfriend" stood under the big tree on the top of the mountain and apologized loudly to the boy who was deceived to the opposite mountain, the strings in the background could begin to pull the audience's heart, and finally when the "Savage Girlfriend" cried and cried silently, the strings hit like a surging tide, which made Tang Yin feel that his nose was sour, if those audiences who were not determined were afraid that they would immediately accompany the "Savage Girlfriend" to tears.

When the piano is the main instrument, and the strings appear as an accompaniment, the strings present the theme of the film loomingly, and a slightly sad memorial feeling is expressed in the music, which plays a role in fueling the infection of the piano on the emotion. In addition, the accordion lead and the three-beat waltz soundtrack brought by jumping strings create a kind of childlike fun of a carousel in a playground, and Tang Yin feels that the soundtrack of this film can win an award at next year's Golden Dragon Awards.

Finally, Tang Yin provides a jazz interlude, a musical form that was originally used in taverns to accompany drinkers, and here Zhang Tao's adjustment coincides with the light-hearted and humorous comedy atmosphere of the film. The recurring piano trios, improvisational improvisations and bouncing beats, coupled with the syncopated loop themes and morphing phrases of the jazz piano solos, bring out the comedic nature of the film.

Especially when the drunken "savage girlfriend" yells aggressively at the boy in the tavern, and the kind and cowardly boy mutters submissively, the jazz music in the background is buzzing, and a large number of syncopated notes are speeding through the piano, guitar, bass and drums, setting off the strange scene of a man and a woman. (To be continued.) )