475. The scene of the Yangcheng Spring Festival Gala
After playing three notes, Qin Jian stood up and raised his hand to signal to the audience, "Who wants to come?"
Qin Jian saw a fat man wearing glasses who was the first to raise his hand high.
"You come."
Qin Jian clicked on the little fat man.
The little fat man stood up with a groan and said loudly and excitedly: "Teacher, the three do's are all the same!
The answer given by the little fat man also reflected the answer of most people present, whether parents or piano children, and even a few "comrades" mixed in the parent team.
Qin Jian was not surprised at all by the little fat man's answer.
After signaling the other person to sit down, Qin Jian asked again: "Is there anything else? You don't need to raise your hands, just stand up and answer."
After a moment, a little girl with a ponytail stood up and said timidly: "Teacher, I think I heard two tones."
As soon as the little girl spoke, many people looked at her.
After she answered, she sat down quietly.
Qin Jian nodded again, "Is there more?"
Qin Jian looked around and made eye contact with Qin Gang, who was standing in the last row.
Seeing Qin Gang holding out two fingers, Qin Jian smiled.
"Is there any other answer?"
The scene was completely silent.
"Okay, please invite the two children who just answered the questions to come to the stage."
The little fat man stood up neatly. The little girl was a little nervous, but finally stood up with the encouragement of her mother.
Everyone in the audience was also waiting with great interest to see what would happen next. Qin Gang also wanted to know what medicine his son was selling in the gourd.
"May I have your name?"
Qin Jian looked at the little fat man in front of him and asked.
"Li Wang Xiangrui." The flesh on the little fat man's face was trembling when he answered.
Holding back his laughter, Qin Jian asked the little girl again.
"Teacher, my name is Zhou Mengmeng."
Qin Jian brought the two children to the piano and sat down.
"Can you both play the C major scale?"
"Yes." The two children reached it at the same time.
Qin Jian nodded, "Okay, I will play a one-handed scale now, and then you will play it separately. The requirement is to imitate my timbre as much as possible."
As he spoke, Qin Jian played it again at a relatively slow speed, and the tone was relatively dark.
Then the little fat man also played it again. Apart from anything else, the timbre basically reached Qin Jian's timbre.
After that, the little girl also played it again, and she also achieved Qin Jian’s tone and feel.
"very good."
After the two finished playing, under the leadership of Qin Jian, the audience applauded. It sounded to them that the two children had indeed fulfilled Qin Jian's requirements.
"Then, it's still the request just now."
Qin Jian said and played the scale again at the same speed.
This time, after the little fat man and the little girl finished playing, the audience became less quiet.
From their imitation, it is easy to hear that the little girl's performance this time is still more than 6 points similar to Qin Jian in timbre, but the little fat man is completely out of the situation. His performance is different from that of the first player.
There is almost no difference all over.
At this moment, it seemed that everyone in the audience understood what was going on.
The different answers given by the little fat man and the little girl six minutes ago were put to the test at this moment.
"Thank you both."
After seeing off my two friends, the audience gradually became quiet.
"Music is the art of listening."
"Each composer's works have their own characteristics. In other words, when faced with works of different periods and styles, as performers we need to prepare different timbres."
Qin Jian sat down at the piano again and played a piece of Beethoven.
As soon as the melody came out, someone in the audience said, "It's a storm."
Then the hazy and powerful tones slowly pieced together a picture of dark clouds, and the whole room entered a depressive mood along with the music.
Suddenly, as the piano stopped.
The atmosphere just returned.
Qin Jian said: "If I use Beethoven to play Mozart, everyone should listen to it."
As he spoke, he started playing again, this time Mozart's Turkish March.
The Turkish March is very familiar to everyone here.
But the march that should have been crisp and smooth not only became heavier in Qin Jian's tone at this time, but even the airy feeling in Mozart's piano disappeared.
After only playing ten bars, Qin Jian felt that the effect he wanted to express had been achieved.
He stopped.
"So timbre has to be used as a style-defining element."
"Every composer's work has a specific timbre that matches it."
"Even a child who is learning to speak can occasionally play a correct Chopin tone on the piano."
"But it's just a sound, a note."
"The ability we need to master is to be able to play a second tone that matches the first timbre, and maintain this timbre for a piece of music, or a long sentence."
"Until you can control it as you wish, that's crucial."
"So before that, we must first learn to listen, listen to the master's performance, listen to the piano timbre you like, find the piano timbre you like, and then imitate it."
"Here is a method for everyone."
"The first step is to try playing a piano tone you like."
"When you hear a timbre you like, after you remember it for sure, then try to imagine the timbre in your mind as much as possible, because the more realistic you think about it, the more realistic it will be when you play it.
The closer."
"Secondly, listen to your own recording."
"The sound that everyone hears when playing has subjective emotions. Maybe what you hear is different from the actual sound. The sound in the recording is your most authentic sound. Use the recording to improve your sound.
Like the sound."
Following the first topic, Qin Jian introduced several listening and practicing methods to the audience on the topic of how to develop tone, combining Chris's piano guide and part of his own experience.
Judging from the positive reactions from the audience, children and parents are particularly interested in this.
...
After accepting the offer of this master class, Qin Jian also carefully studied the topic selection of the course.
Qin Jian carefully calculated the two-hour open class and found that no matter what technical things were taught, there was not enough time.
Finally, he decided to talk about 'how to listen' and the corresponding 'tone' - this is an issue that he thinks is extremely important but is also the most easily ignored by everyone.
"There is no difference between playing the same note when a master plays it and playing it yourself." - This misconception of most piano players was established when they were children.
By asking questions, finding someone to demonstrate on stage, then demonstrating in person, and finally explaining.
He hopes that through this process, he can give some inspiration to the children attending the lecture today - music is also an art of listening.
Qin Jian hopes that they can use effective methods to listen to more experienced performances and then listen to their own performances, and finally find a balance between the two.
When a performer can find a sound of his own, then in the process, what he obtains is by no means as simple as just a sound.
As for how complicated it is, it varies from person to person.