"This is a female character, her name is Yun Ying, and the copywriting of the background story can be referred to a little, and it is estimated that it will change, and according to the current first draft of the painting, this is a skin cough cough, a young daughter."

"Reckless and impulsive, flamboyant and impetuous, a little reckless, and a fiery tiger girl."

"But she is also righteous and enthusiastic, brave and fearless, and she is a very outgoing and energetic girl."

Talk, ADHD.

The flames are as vibrant.

Rigidity and softness are ever-changing.

It is not moving like a mountain, it is moving like a fire.

Look at the character design of one trait after another

Li Jinglin bared his teeth.

Difficult. It's very difficult, but for Li Jinglin, it's not a huge difficulty.

Merely.

Troublesome.

Quite a hassle.

In the creation and design of the piece.

If it is a male character, it can completely be imaged and flattened.

In terms of creative ideas, there is no need to disassemble into cells, according to the development of the character's story, according to the texture of the pipa martial arts, to violently promote the feeling of moving forward, seven in and seven out.

Other words.

In the process of "sketching", the piece only needs to describe the personal story linearly through melody and musical passages.

In the process of "coloring", use other aspects such as orchestration and harmony to embellish the character.

It's a lot simpler.

But the unique character characteristics of the female character, the texture of the girl, the complex character design, and the Emei marksmanship that combines rigidity and softness

How to combine the femininity with the murderous aura of the spear, and imply these qualities, will not affect each other.

has become the biggest problem at the moment.

Other words.

It is necessary to thread the needle in every detail and make multi-directional and all-round hints.

In simple terms.

One is a hamburger sandwich.

A layer of bread, a layer of meat, a layer of eggs, a layer of vegetables, a layer of sauce, a layer of bread.

Once you've taken care of the details, just separate them.

Very linear.

But the other one is boiling cabbage.

Pinch the time, strictly select the ingredients, pay attention to the heat, refine the broth, and pay attention to the steps such as steaming and pouring the soup.

I thought about it.

Li Jinglin developed according to the context of the story and gave a temporary preliminary structure.

[Childhood] - [Enter Dali Temple] - [Honglu Martial Arts] - [Learn to Sweep Fire and Defeat the Trap].

According to the four stages summarized in this copy.

Then, the temporarily settled musical structure image is

[The Character's Thematic Motivation, Extending the Musical Materials of Section A]--[The Emotional Foreshadowing and Expansion Passage of the Dream of Youth, Juxtaposed New Material B] -- [Emotional Push, Entering the C-of-Musical Trunk Area]--[The Material Retelling of A or B is Over-recounted] -- [Raising the Tone through the Modulation Technique, Pushing the Emotions of Area C Up to a Level]

Well.

It's a very simple infrastructure.

Later, according to some details, the structure of the song will be changed very freely.

Thought about it a little.

At this point, a hazy structure of the theme music began to take shape.

Watching Li Jinglin draw a large square frame on the paper.

Zhao Mingya couldn't help but stretch out her head to take a look curiously.

I found that I couldn't understand it at all.

Yes, Zhao Mingya, who is also a music artist, can't understand what strange things Li Jinglin is writing.

It's not a stave at all, and it's not a minus notation.

There's nothing to do, it's just a big block of different lengths that are connected.

"It's probably like this, it's developing here, it's unfolding here, it's turning around, it's re-expanding."

Li Jinglin explained while marking symbols and connecting lines on the frame.

"The ups and downs of the texture of the whole paragraph, from here there must be a cliff-like fall, and then a rapid rise, so as to create a psychological hint, which can greatly arouse the audience's emotions."

With explanations.

Now, Zhao Mingya can be regarded as understanding.

But it was just as shocking.

The musical motive, no, the theme, no, nothing.

But this framework and the whole piece of music have to go in style, structure, conception, promotion, development.

But it's all figured out!

"Also, you can rely on rhythm here, or rhythm, to give a certain degree of hints, and then roughly fill the hole in this paragraph, and the interval between the middle paragraphs will be about one minute 20 to one minute and 40 seconds?"

Li Jinglin is still talking.

But Zhao Mingya had a little numbness in her scalp.

glanced at Li Jinglin.

Zhao Mingya asked suspiciously.

"No, Ah Lin, have you always been so outrageous in composing?!"

Li Jinglin's musical view of the big picture.

It's a little scary.

Although, this kind of theme music does need to be conceived first.

But that's about it.

The most important thing is to first find an image, write a musical theme motive with the image, start to develop the music according to the theme motive, gradually form paragraphs, and then make changes to the details.

How can there be such an outrageous operation as "I want a hint of music material at 25 seconds, and a kickback at two minutes"?

This can only say one thing.

This person's overall view of music is terrifying.

"Yes, that's how the story is written."

Li Jinglin said seriously.

He didn't seem to realize Zhao Mingya's surprise.

"You see, first of all, Yun Ying's childhood did not love red clothes and love the bloody dream of arms, grew up, after a series of events from [Dali Temple] to [Honglu Martial Arts], comprehended the musket method, at this time, the high spirits, must be to kick back Yun Ying's youthful bloody dreams."

"A simple melody repetition can seem too low-level, and a rising modulation is just a textural shift on a wide surface."

"For the hint of dreams, we should not simply stay at [dreaming-realization], but should correspond and interact with the details of [dreams] and [the omen before realizing dreams]."

"There are a lot of ways to do it, it's all about changing the rhythm, changing the color of the drum beat, and so on."

Li Jinglin's words were well-organized and very reasonable.

But it's such a picture of "isn't this stepping on a horse common sense" look.

Zhao Mingya was a little stunned when she heard it.

I couldn't help but nod my head again and again.

"Details like this imply that there will be a lot of rebates, and among them, there are many echoes that need to be used based on Sister Zhao's same skills and different expressions."

"For example, the hint point of a small-scale bounce technique, echoing it with a large-scale, wide-open sweep at the next kickback, doesn't this have a sense of [progress] [promotion], and it can also have the effect of emotional pushing."

"It's like when Yun Ying was playing with a gun when she was young, she was very weak, but her skills were mature, and after she was able to take charge of herself, the tip of the gun broke through the air, and the momentum was like a rainbow of contrast."

“6”

Zhao Mingya's scalp was a little numb.

The technique of sweeping is actually an enlarged spring.

The normal flick is the movement of the wrist, while the sweep of the wide open bow requires the use of the strength of the forearm on the basis of the wrist.

A simple skill change corresponds to the growth of the character, the realization of dreams, and the progress of marksmanship.

Zhao Mingya glanced at Li Jinglin strangely.

Enlightened.

No wonder this person's soundtrack can be out of the circle.

It's all in the details.

Details are still details.

This horse is not hot, that's weird!

"Come, Sister Zhao, let's start with a two-tone play, just empty strings, what I want to express is the feeling of a little girl playing with the tip of a gun, with a little playfulness and cuteness."

Li Jinglin subconsciously spoke.

Zhao Mingya didn't have time to think about it.

Gently flick the pick.

Wow!

Li Jinglin nodded.

The two of them began to peruse the emotions and textures contained in these two sounds.

Immediately.

Li Jinglin spoke again.

"Sister Zhao, this time I want to give a sweep with a big bow, with a little aggression and agility."

Zheng Zheng!!

Zhao Mingya immediately had a wild sweep with a big bow, looking murderous.

"Uh-huh, that's right, that's it!"

Li Jinglin smiled.

Very satisfied.

Zhao Mingya was shocked.

It's better to try it 10,000 times, and the contrast between before and after is very strong.

"Well, next, I'll build a picture for Sister Zhao and give a basic melody fragment, you can try to expand it according to these."

looked at Zhao Mingya and nodded.

Li Jinglin began to conceive a basic musical sequence.

It is lifted, developed, and then terminated.

Form a basic "thematic motivation".

Repeat this simple thematic motive again, changing a few phonemes in the second repeated thematic motif to produce some variations.

A simple musical passage.

Immediately, he put down the pen, handed it to Zhao Mingya, and described it.

"You imagine that in the ring, a very extroverted daughter, facing a powerful enemy, on the one hand, is the fighting spirit in her heart, on the other hand, the fear brought by the strong oppressive force, and then strengthens her heart, and the spear breaks through the air and ignites the flames."

Roughly describe the texture of a pre-battle post.

Zhao Mingya nodded.

I took a closer look at the simple melody line written by Li Jinglin.

After the sight-reading was thoroughly grasped, he began to close his eyes and frown in thought.

in the mind.

A nimble and lively girl, armed with a spear, is facing a powerful enemy.

Some oppression, some fear, but then the fighting spirit made the heart firm, and the gunfire spread like a raging fire.

Then, start to solo up.

In fact, it is difficult to have any sense of melody in such a solo.

Most of them rely on the gradual change of strength, strength, speed and slowness, as well as some skills and changes in technique, to pull emotions and make people have an emotional change.

It's the texture that is expressed.

In the process of solo, Li Jinglin carefully observed the changes of Zhao Mingya's skills, as well as the selected forms of technical expression under different emotional changes.

And on the side of the record.

To know.

On the lute.

Left and right hands combined.

There are more than 60 kinds of techniques, and they are constantly innovating and changing.

These techniques are so complex that they are not at all easy to use.

This is also the reason why Li Jinglin came to Zhao Mingya.

Because, for a pipa player of this level, the skills that he has taken out under the first conscious reaction may be the most suitable.

If it is only on paper, even if there is no problem of skill and emotion, it will also cause a problem of cohesion.

Let's say the violin.

Express the girl.

In the case of not knowing musical instruments and fantasizing, whimsically want to use the jumping bow to express agility, and want to use kneading the strings to express the tenderness of the girl like water.

Well.

It's good to think about it.

But.

It's as if the clarinet can't play a portamento while still playing a staccato at the same time.

Who can knead the strings when jumping a bow?

If you can do it, the violin world is not the first to be fried, the first to be fried should be the biological world, so high and low that you have to slice it and study the diversity of species.

So.

This kind of composition is necessary to communicate with the performer.

Because only the performers in this profession know the best about the skills of their instruments.

"Can you pull the strings in this place? If you can pull the strings, it can be very tense. ”

"After pulling the strings, can you overdo it?"

Li Jinglin thought carefully.

talked about some requirements for Zhao Mingya.

"I'll try"

After giving it a try.

Zhao Mingya nodded.

"It's okay to deal with it this way, it's no problem, and the transition is smooth."

The two exchanged words.

While designing the connection and transformation of skills.

Such a joint creation makes Luo Shiyao feel very peculiar.

Rare, very rare.

"Well, these sounds need to be changed a little."

Since it is solo.

Therefore, Zhao Mingya didn't care much about the details of the melody.

The main thing is to look at the connection of skills and the expression of emotions.

And Li Jinglin.

It is through a strong sense of sound to make a roll call record of the solo played by Zhao Mingya.

Returning to the score, I sorted out the details of music theory, changed some intervals that did not conform to the tonal changes of the key, or carried out more scientific interval transformation.

Then let Zhao Mingya polish the details again according to the melody line rewritten in the score.

The reason for giving a melody first.

It is precisely because of the solo thing that it is easy to play the melody that is commonly used and practiced in the past, so as to avoid similarities.

A collaboration between the two.

It was an eye-opener for Luo Shiyao.

The cooperation between the bigwigs is really exquisite and smooth.

They can be said to be showing off each other's skills and showing each other's extremely strong musical skills.

What stands out is an outrageous.

Zhao Mingya's playing highlights a sharpness.

Jaw-dropping.

But every time Li Jinglin, he can always get the essence of it like a sharp eye, and write and change it with his hand.

Every time you change, you will feel "sucked and bright".

And after Li Jinglin changed the score, Zhao Mingya showed a strong sight-reading ability.

Give a score, take a look, and immediately start to start elastic molding, and you don't need to practice it several times at all.

It's as if I've practiced it countless times.

Playing is instinct, and it has nothing to do with whether you are familiar with the piece or not.

And in such a rapid advance

The two of them can also find time to feel, experience, and discuss some issues in the expression of the emotions of the work.

It's like on the court, O'Neal and Kobe Bryant's delicate cooperation, perfect fit.

“.”

The collision of the two musicians is really pleasing to the eye.

made Luo Shiyao stunned.

The details in the content of this piece of music are becoming more and more exaggerated.

The reason why I wrote about the creative process first is because there is a lot of essence in this music.

Of course, it's a bit of a large-scale lesson, and it won't be described in particular detail after that.

Should

It's not a sickness, is it?

(End of chapter)