Now, the audience has an experience similar to climbing the Hui Pagoda.
When it came to the 8th counterpoint, they discovered that Lesi had entered the realm of "multiple fugue"!
What is multiple fugue? For example, if you design a theme A, first develop it into a piece of music according to the rules of a fugue, then design a theme B with a different style, and then develop it again into a piece of music in the next section. Finally, theme A must be able to match theme B.
Appearing at the same time without conflict, and ending with review and sublimation in the third section of recapitulation, it can be called "double fugue"! The corresponding technique is called "double counterpoint"!
This is an extremely wonderful and rigorous structure!
Just like the 8th counterpoint played by Fan Ning, at first, people could not hear the familiar melody before.
The first theme in the elegiac style written with new materials, and the second theme in chromatic form with a sense of repetitive power, are each independently presented as a fugue section.
In the middle of the music, they appear together again, forming an expansion section that is very different from the usual.
Later, in the third theme stage, the familiar and touching "God Theme" finally appeared!
It turns out that this is an "octave triple fugue" in which three themes are presented separately in different octaves, developed together, and reproduced together!
Triple fugue?
Is the hidden knowledge of the Trinity contained in it?
In Articles 9 and 10 of Counterpoint, Fan Ning exemplified to the audience the perfect paradigms of "Twelve Degrees of Double Counterpoint" and "Ten Degrees of Double Counterpoint".
First, the first theme jumps up an octave and develops in a hearty scale, and the second theme is the "God's Theme" that emerges like a shout.
The double counterpoint pattern of the latter song is similar, but the difference is that the "God's Theme" is fully unfolded, including 4 large-scale entries and evolutions, instead of just "shout" like the previous song.
come out"!
The counterpoint of Article 11 is related to the original Article 8, both as "triple fugue". The order of presentation of the three themes here is opposite to it, and the form is also opposite to it!
The opening scene is the "God's Theme", but in reflection, then the reflection of the "Elegy Theme", and then the reflection of "Repeating Semitones".
But the entire fugue has also been further developed. Before the third exposition, the first theme returns to the dominant tonality four times, forming a complete "God's Theme" reappearance!
So far, half of the 22 parts have been completed.
The trend of revealing truths and mysteries is still changing towards higher and higher angles.
At each stop, after the temporary completion of "The Art of Fugue", there is still "Meditation of the Twenty Holy Infants" that avant-garde artists are even more fascinated by.
The revelation becomes more and more profound, and the revelation rises more and more in the skull. Thoughts are like glass, and knowledge is like light.
For example, in song 4, "The Gaze of the Virgin," they understood how Father Lavoisier could use a traditional rhythmic form—such as a lullaby style—to match modern expected material.
The motive constructed from the four tones of G-F#-E#-D# makes the music sway in a mysterious and pure atmosphere. The triplet in the connecting part presents the "stars and crosses" motive, with major second, major third and augmented tones.
The sound flow with the fourth as the core poured down mysteriously. Then, the second theme "Birdsong Chord" created by the composer using the "Birdsong Technique" appeared.
Messiaen was not only a theologian, composer, and organist, but also an excellent ornithologist.
These bird songs are filled with mysterious passion. Fan Ning uses his keen finger touches to create a charming halo, and then leads the music to the quiet and peaceful No. 5.
"The Son Gazes at the Child" once again deepens the elaboration of the mystery of the Trinity - the lower part clearly presents the "Heavenly Father theme", expressing the image of the Son gazing at himself, while the upper two parts are layers of color, crystal-like
The blocky music is like stars, looming.
As a symbol of joy, the construction method of "Birdsong Technique" appears again in the connecting part. As the "Heavenly Father's Theme" gradually becomes clear, the volume gradually increases, and the skylark jumps for joy. The ending is in the key of #F major with the added sixth tone.
In the resonance of the main chord, the bird song theme is repeated 13 times in the high range and gradually disappears
The title of song 6 is "Because of His coming, everything can be fulfilled."
The musical inspiration of this song directs believers to another teaching in the Enlightenment Sutra: "Countless time and space: galaxies, light, spirals, thunder and lightning, at a certain moment, all things will open up a glorious side for His people."
As if a sudden descent from the divine to the superficial and secular, the tranquil atmosphere of the previous song suddenly transformed into the trembling, fire-splashing movement at the beginning, giving people the impact of power and the enthusiasm of light, as if the world
The magma flames at the origin are boiling!
This piece is rarely written in fugue, but it is not the traditional vocabulary of "The Art of Fugue". From the beginning of its presentation, the unstable "Heavenly Father Theme" continues to deform, but maintains strict logic; the interludes are
The complete retrograde form is further developed; the recapitulation is composed of two parts of the theme that are self-interlocking, that is, close connection and response, and gathers overwhelming momentum at a gradually accelerating speed. The entire movement is almost swallowed up in the unrestrained skills displayed by Fan Ning.
!
At the end, in the halo of the theme chords, Fan Ning played the antithesis with three separate octaves with both hands, arousing a colorful overtone, just like the divine arm tearing open the curtain!
Probably, it was when "The Art of Fugue" was played to the 8th track, and "Meditations of the Twenty Holy Infants" was played to about the 5th and 6th track.
Most of the profound and high-level people in the church, a small number of knowledgeable people, and a very small number of believers who have different inspirations from ordinary people, they have perceived a Lord of Witness called "Endless Fugue"!
This may be the secret about Saint Sebastian, the first light-giver!
He did successfully pass through the door of the dome, as the second part of the "Trinity", after the HOS listed above, this is the name of God!!
"Do you feel that?" A bishop at the scene suddenly whispered tentatively to his colleagues.
"You mean"
"I seem to have noticed this change last night."
"Yes, I feel that my strength has almost doubled!!"
The clergy discovered one after another that their fullness of inspiration, and even the extent of their intangible power, became stronger along the way!
This is really a change that is hard to explain and hard to fathom the cause of.
Their realm has not improved yet, but it seems that something "numerical" has been changed by some kind of rule!
Check out the correct version one by one!
Just because I suddenly knew the "Endless Fugue" of the Lord of Witness.
The few people who have noticed changes through their work have secretly tried invisible forces.
Absolutely true.
It just seems to be inconsistent at times, and it seems to be temporarily unstable. I tried it about ten times, but it seemed to be able to be verified three or four times.
"Don't say anything."
Even His Majesty the Pope, faced with the questioning looks from others, made this statement without comment.
A few days ago, Scheler used "The Rite of Spring" to let the Fanghui Temple understand the ancient key, ignoring the gnosis of the existing "phantom people", and creating dozens of comprehenders at once, which has been officially organized