When Fu Diao went back, the door in the room was already closed, and after Fu Diao returned the card to him, he went to bed directly.

In the next three days, at six o'clock in the morning every day, Fu Tiao did not turn on the alarm clock, so he woke up directly from his sleep, got up and got out of bed to wash, and prepared to take the earliest bus to school.

None of the roommates in the house had woken up yet.

In the last few days, he came back too late and didn't communicate much with his roommates, just said hello a little and went straight to bed.

It is not polite to wake up others before the relationship has reached a particularly familiar level, and Fu Tiao also went downstairs in a very soft voice as much as possible to prevent waking them up.

It's okay to roll, but it's not good to affect others at the same time.

The morning in Haicheng is not cold, many shops are already open at six o'clock, and dense crowds shuttle through the alleys of the city, receiving a steaming breakfast from various shops.

Unlike the people in Zhongzhou Wucheng, the people here don't like to eat while walking with noodles, they prefer to sit down and enjoy breakfast slowly, or take it away.

Breakfast in one of those traditional dim sum shops is perhaps the only place in the fast-paced city of Haicheng where you can slow down.

Fu Diao's memories at sea and the stomach of the Chinese people made Fu Tiao choose rice cakes.

The fluffy and soft rice cake is wrapped in a golden fritter, and the sweet fat penetrates deep into the pure white rice cake, even if you haven't eaten it, you can feel the wonderful combination of this traditional Chinese breakfast.

The taste is not limited to rice cakes full of carbs, nor is it limited to dry and greasy fritters, the combination of the two makes the taste synthesized and extremely harmonious.

Fu Tiao asked the boss for four fritters and two slices of cakes, plus a small bowl of soy milk, and sat on the bench in the store, while pulling rice crackers with fritters, taking a sip of soy milk, while watching the traffic on the road until the end of breakfast, and the time came to seven o'clock.

Haicheng Conservatory of Music is worthy of being one of the top three conservatories in China, even if it is just seven o'clock, the piano room has just opened, and there are already dense students running to the door of the piano room to make an appointment for themselves.

After Fu Tiao honestly arranged a few piano points for himself, he turned around and walked directly to the library.

He has now developed a habit of taking out the piece he is going to play today and analyzing it before he practices.

I didn't just take the score and start playing.

The analysed performance helped him to better understand the work and to understand more deeply what Chopin was trying to convey in the work.

He was going to continue to disassemble Chopin's music, to completely disassemble Chopin's music, and then to understand it.

At the same time, in conjunction with Chopin's historical records, I think about what Chopin was thinking in his head when he was writing music.

The music is gradually broken down into several sections, and then continues to be broken down into phrases.

The direction of music has become extremely thorough in front of Fu Tuo, no longer pure music, but has become a more precise expression.

Fu was able to see everything that Chopin wanted to express in his music, and all the problems he encountered when writing this work.

Chopin's childhood image has gradually made a little progress on Fu Tiao's side.

It's just that it's not enough.

At present, there are only five or six works in Fu Tiao's hands, plus a new work that has just been analyzed, all of which are Chopin's unnamed polonaise collections.

That is, when Chopin was just beginning to learn to write, the works he wrote, Fu Tiao, barely constructed an image of Chopin's childhood, a genius boy.

To put it a little narcissistically, Fu Tiao looked at Chopin's feelings, and always felt that Chopin might be similar to when he was on the ship?

Just by listening to a general type of music, you can draw inferences and write a lot of music.

It's just that Chopin's compositions are more in line with classical music composition and can be regarded as canonical writing, while Fu's previous writing on the ship is pure improvisation.

Fu Tuo shook his head, removed his strange thoughts, and looked at the work in his hand.

Now the number of works he has completed is a bit too small, and the number of Chopin's works is far more than five or six.

This is only the simplest Chopin polonnaise at the beginning, and it has not yet reached the peak of the etude in romantic music, and it has been played by later generations to Chopin Etudes, which are not etudes at all.

There are also several sonatas and concertos by Chopin.

Now the works are only a few minutes long, and the rest of the works are all about ten minutes, or even longer.

Forget it, no matter what, continue to brush the work, right? Strive to finish the work as soon as possible and build a complete Chopin.

Fu Tuo shook his head helplessly, quickly brushed the score in his hand, kept understanding and analyzing, and confirmed that there was almost no room for analysis, then put down the score in his hand, changed to another piece, and continued to start a new round of practice, finding an absolutely perfect state of Chopin in his music.

The feeling of Chopin in his own music is slowly pulled out through continuous training and in-depth study of details.

Fu Tune gave up his proud listening.

He doesn't think about what other people's Chopin is like, he just listens to other people's Chopin, which doesn't mean anything to him, what he needs is his own Chopin!

And listening can only play a rough game, and there is no way to make the details of the music extremely perfect.

And classical music, the most important thing, is the details!

Time passes quickly, and the music repeats itself.

Compared with the first analysis, this repetition is more about the repetition of the details, and every time I practice, there seems to be a little bit of progress.

Finally, it was time for the piano room to close, and Fu Tiao walked out of the piano room, his expression was not particularly comfortable.

This time, he did succeed in capturing all the details of Chopin's three polona, but Chopin's image was not particularly unified.

Chopin is not something that can be practiced directly by simply practicing.

Chopin, it seems that more thought is needed?

And how should this kind of thinking and special feeling be interpreted?

He felt as if he had fallen into a state of stuttering, which made him uncomfortable, but he was helpless.

The process fell into a stuck, and Fu Tuo felt that he might have reached a state of about level 10.

This may really be the same as previously predicted, a threshold of ten levels.

The early upgrade is fast, basically you can make rapid progress on your own, but the more you go to the back, if you don't have a systematic learning, the smaller your progress will be, and you will eventually stop in a dead end and can't leave.

Therefore, even though the time to close the door at night has not yet arrived, Fu Tiao still walked out without any thoughts.

However, when he had just walked out of the school piano room building, his footsteps suddenly stopped, and he couldn't help but look into the distance.

Near the school's concert hall, a new standing sign is being pulled up by a group of students, with posters plastered everywhere.

Fu Tiao glanced at it, and this stand seemed to be about the content of the music pedagogy seminar, to be precise, the International Piano Teaching Conference.

Just as Fu Tiao was about to leave, he suddenly noticed a very important piece of information from his perspective.

The content of this seminar seems to have Chopin in it? The fourth day is Chopin Day?