These words made everyone present speechless.

What do you mean by that?

Why aren't you on the same channel as us?

And, of course!

Master Liao smiled and asked, "What, is Professor Shen afraid?" ”

"How could I be afraid, I just..."

I just thought the show was going to be over!

Of course, she didn't say the second half of the sentence, since the other party did not plan to suspend this review, it means that there is still a drama in cooperation.

Shen Wuhuan was angry and angry, and his temper was great, but the big things and small things were still clearly distinguished, so he simply went to prepare.

The second question is an ancient song.

The category of ancient songs does not refer to the repertoire of folk music in ancient times, but generally refers to the top ten ancient songs.

The ten ancient songs are: Alpine Flowing Water (Guqin Song), Guangling San (Guqin Song), Pingsha Luoyan (Guqin Song), Plum Blossom Three Alleys (Guqin Song), Ambush on All Sides (Pipa Song), Sunset Xiaogu (Pipa Song), Yuqiao Q&A (Qin Xiao Song), Hu Ji Eighteen Beats (Guqin Song), Han Palace Qiuyue (Erhu Song), Yangchun Baixue (Pipa Song) These ten songs.

Guqin Shen Wuhuan himself had never been exposed to in his previous life, and he had not learned skills in this life, so he naturally had no way to start, the ensemble music was not mentioned for the time being, and now there are only erhu songs and pipa songs to choose from, after thinking about it, she finally decided to play the repertoire "Ambush on All Sides".

This "Ambush on All Sides" is not the movie "Ambush on All Sides" made by director Zhang Yimou, this song is also known as "Huaiyin Pingchu", which is the most authentic ancient song, its source can be traced back to the Tang Dynasty at the earliest, but its real creation date is impossible to verify.

In the famous long poem "Pipa Xing" written by the Tang Dynasty poet Bai Juyi, it can be found that the author Bai Juyi once listened to pipa music about scenes of fierce battles.

The pipa music of the fierce battle scene is the most vivid description of "Ambush on All Sides".

The music depicts the decisive battle of the Chu-Han War in 202 BC.

The Han army defeated the Chu army with an ambush formation on all sides, Xiang Yu killed himself in Wujiang, and Liu Bang won the victory.

At the end of the Ming Dynasty and the beginning of the Qing Dynasty, in the "Biography of Tang Pipa" in the "Sizhaotang Collection", it was recorded that the pipa player Tang Ying had played the scene: "When the two armies fought a decisive battle, the sound moved the heavens and the earth, and the roof tiles fell. Slowly and observingly, there are the sound of golden drums, swords and crossbows, and the sound of people and horses...... The one who hears it starts to struggle, and then he is afraid, and there is no way to cry. It's so touching. "You can see how the style of the music is!

It turns out that one of the most well-known performers of this piece in the world is Master Liu Dehai, when he plucks the strings, the murderous aura appears, which makes people can't help but feel terrified!

For example, the Pudong faction has 18 sections of "Ambush on All Sides", but some factions only have 13 sections.

There are even factions that play only 10 of them.

Different factions playing this piece tell the same story, but they have different positions.

For example, the 18 paragraphs of the Pudong faction tell the story of the Chu and Han rivalries from an objective standpoint, but the 10-paragraph version does tell the sadness of killing Wujiang from the perspective of Xiang Yu.

Shen Wuhuan herself doesn't know what the official scoremap of the original world looks like at this stage, after all, she is just a Western musician, and she doesn't have a score in her heart about how folk music will develop.

She didn't care so much, she decided to play the version stated from Xiang Yu's point of view, after all, this version is the most murderous, and it is also the version with the most profound contradictions and feelings!

Shen Wuhuan sat on a chair and hugged the pipa, and finally started her performance, just in response to the sentence "After a long time, she came out, still holding the pipa and half covering her face".

The first section is the pre-battle preparations, which are divided into five sections: camping, blowing, pointing, formation, and marching.

Shen Wuhuan's fingers don't have fake nails at all, and he chooses to play with his flesh fingers, which can be more integrated into the repertoire.

She uses the technique of "whisking wheel" to kick off the whole song, with a crescendo rhythm and a stirring long note, describing the imminent war background of the present.

The introduction of this loose board is like a high-pitched horn, like a roaring war drum, the golden drum is ringing in unison, the sound shakes the valley, the sword light and sword shadow, the iron horse Jingo, the tension is strict, and the atmosphere of war is imminent.

It is foreseeable that the audience subconsciously swallowed their saliva, which is exactly the image of dry mouth caused by the overflowing killing atmosphere.

"Blowing" is the only lyrical passage with a strong melody in this piece.

Shen Wuhuan used the wheel fingers to play a long note, simulating the tone of the ancient army playing the reeds, this music is like the mighty Han army, and like the last lingering between the overlord and Yu Ji.

Everything came to an end in this situation.

In Shen Wuhuan's interpretation, this lyrical passage is obviously an understatement of the serial fingers, but it has a heart-wrenching sadness.

The timbre of the pipa is almost like a soul.

At this time, Shen Wuhuan seemed to be incarnated as a pipa spirit who was endangering the world, and the hall was full of people, which would only be hotter in this hot summer.

But with the sound of the pipa, the temperature dropped sharply, and it was as cold as early spring.

Some people even couldn't help but shrink their necks.

"Point General" is a repetition of the second half of the "blowing", and the continuous sixteenth notes are played, and the rapid melody depicts the busy scene when the troops are deployed.

"Point general" is followed by "formation" and "marching".

The rhythm of these three pieces of music is compact as a whole, but it is also relatively slow to fast, and there is a faint feeling that a big war is coming.

On the one hand, this passage shows the high morale of the Han army in front of the station, and on the other hand, it shows the uncomfortable mood of the overlord's uncertain future.

The first part of this song ended here, and in just a short moment, Shen Wuhuan created the panic and worry before the big war.

Throughout the first part, by changing the melody of the piece, the tempo gradually increases, the treble fades to the bass, and the frequent change of melody is naturally aimed at further increasing the thrust of the whole piece, creating a feeling of storm coming.

Shen Wuhuan's unique expressiveness in performance has once again reached a peak, and this kind of thing cannot be condensed by skill alone.

This is the transcendent instinct condensed after countless times of giving perfect performances in front of the audience, and it is definitely not comparable to these folk music players who only know how to dominate in their own nests!

In just one part, the complex mentality of anticipation, fear, anxiety, doubt, etc. is interwoven into the music, and the unique sonorous sound of the pipa is like a vortex, which will deeply inhale the souls of everyone present.

People don't even have time to think, "She can play the erhu so well, why is the pipa so strong?" They were deeply immersed in this amazing "Ambush on All Sides" and became surrounded!

But except for one person.

That person was Oriana, a woman that Shen Wuhuan knew but didn't know, a woman she called Annie.