The piece moves on to the second theme, which begins at measure 22 and consists of three sets of modulated progressions that mimic the sound of a bell.

This is also the reason why "Bells" is also called "Bells" or "Spring Water".

In this theme, there is not a loud roar like a bell, but a crisp sound like a brass bell tied to a red rope on a girl's ankle.

Delicate and lively.

It's so light to say, but in fact, this section is used for extremely complex playing techniques, and the player's playing level is extremely high!

Skips, two-handed jumps, octave chords, left-hand arpeggios, right-hand doubles, emotional blank space for pedals and touches, and much more.

It's not worth bragging about alone, and it's not difficult for professionals, it's hard to compress these notes into just a dozen bars and perform them perfectly.

The three sets of bells continue to advance upwards in three degrees, pushing the piece to a small climax.

The alternating play of the left and right hands, and the downward modulation of the two notes of the right hand, are so crisp that there are no additional notes, as if people are brought into a secret room full of small bells.

At the slightest touch, an endless chain reaction explodes, and the realistic sound of bells tinkles.

Looking at Shen Wuhuan's hands again, the continuous big jumping movements are soft and beautiful, and the texture of the notes is coherent and clear, like a painting that has been carved countless times, even if you just look at her movements, it is worth the ticket price.

Some of the players exclaimed, "What a great skill it takes to be able to do this!" ”

In fact, as the second theme of the piece, this is just the beginning, and the melody of the right hand hand theme changes from a lingering eighth note to a short sixteenth note.

The lively tuning combined with the short glissandos of the left hand creates a particularly harmonious atmosphere for this light atmosphere.

At this point, the melody hand is no longer left and right, but is shared by both hands.

At the same time, there are also two responses and comparisons here, which is also a gift that Shen Wuhuan brought to the world!

The response is clearly visible in the volts composed of large jumps and accents.

The three sounds of F, F, and G are played prominently, as if to emphasize that people must pay attention here.

The relationship between the voices is like two friends joking with each other.

And as the conversation gradually got better, the more you got to the back, the more emotions rose.

This sense of crescendo is still quite obvious at the end of the sentence, but it is unexpectedly controlled, creating an artistic conception like "the waves of water ripple and gradually enter tranquility".

Its artistry has also been developed at this moment, and it is even more shocking to everyone.

What does it mean to be temperate in music?

I'm afraid no one has made it clear.

But it's this natural feeling that scares the most!

Shen Wuhuan used her superb music processing techniques to give everyone a textbook-like professional vocabulary and noun explanation course.

You don't need any words, just play it once.

It's like the legendary Daigo empowerment, and the mouth suddenly opens.

There are already quite a few viewers with sweat on their foreheads.

What kind of performance is this, this is obviously a lesson! Professor Shen really doesn't deserve her reputation as a university professor!

And the next few variations on the theme are even more speechless.

Variation 1 of the first theme, the fine bell of the right hand was played very briskly, and Shen Wuhuan's fingers seemed to have not moved, and those notes were naturally generated.

The sound is extremely well-proportioned, and what is even more terrifying is that in the performance of more than a dozen bars, the rhythm of the right hand has not undergone any adaptation from beginning to end.

It's like a machine playing.

In the first theme variation 2, the two occurrences of the theme are different, and this so-called "Paganini theme" is similar to the left-hand plucking strings of the cadenza of the minor symphony's "Bells".

The left hand that plucks the strings should not only pay attention to the change in volume, but also move the breath with ease.

Like wind chimes swaying in the wind.

In variation 1 of the second theme, the opening part of the key is extremely light, as if the bell is gradually disappearing.

But between the three sentences, the mood gradually rises, and the response of the hands with the melody voice also gives a completely different color.

In the whole, the pedal adopts an extremely exaggerated treatment, creating a sense of mystery that "has been called for a long time".

This treatment is once again an eye-opener.

Piano players know that pedals are a double-edged sword.

It can make your piano sound flawless, and it can also make your notes all sparse and dirty.

But Shen Wuhuan's handling was not the slightest bit unclean.

Among the above three variations, Shen Wuhuan's skills are vividly and exquisitely reflected, and the master's performance skills and master's musical processing have constructed a master's music, which is as beautiful as heaven.

By this time, no one dared to question that the original song did not have this beautiful song, because they could no longer imagine that there could be a more beautiful track in the world!

Shen Wuhuan sitting on the stage now can be said to be like a god, possessed by a fairy god, showing a rare and beautiful performance in the world, but none of the audience can be calm.

People once again appreciate what kind of performer Shen Wuhuan is!

What followed was indeed a shocking four- or five-finger vibrato.

The continuous ringing of the bell hovered between the four or five fingers of her right hand, but gradually intensified, and finally stabilized.

This four-finger tremolo is a test of Tong Zigong, and perhaps for professional performers, these four- and five-finger tremolo is not a very difficult technique.

But after seeing the level that Shen Wuhuan can show now, he can only sigh like looking at the ocean, there is no comparison at all!

The tempo of this piece is extremely fast, and even though two themes and three variations have passed on it, the whole piece is only halfway through.

But the amount of information shown by Shen Wuhuan in this piece is amazing.

In a sense, it is more difficult for this "Bells" to play this effect than "Ghost Fire".

After all, the difficulty of the ghost fire is on top of the never-ending double tone and ghost fire motive.

However, in "Bells", there are not only bells, but also wind chimes, row bells, harps, violins, and other completely different impression effects.

Not to mention that even the bell alone is different.

In the first half of "Bells", the sound of things that can be called "bells" in daily life starts from the extreme distance, and then constructs a melody with a great sense of picture.

But the feeling of the second half is completely different from the first half, and what is the difference?

Shen Wuhuan will use her piano sound to tell you.