586. The red mark under the neck? Look for the sound
Qin Jian solved the problems in the first two stages on Little Brown - 'What is Little Brown's voice' and 'What is my voice on Little Brown' -, and now comes to the third stage of the problem.
"What is the sound of Chopin."
Of course, we can't just consider the small brown here, there are also the small black in the canteen, the small yellow and the small white in the factory.
Even if problems cannot be considered solely on the fortepiano, modern pianos must also be included in this scope.
To be honest, Qin Jian has never asked himself the question "What is Chopin's voice?"
Obviously, at this point, the problem seems to have become truly advanced.
When the question comes to this point, we still have to start with Mozart.
It is worth mentioning that currently Qin Jian can barely be described as "a little famous for playing Mozart" in the entire keyboard field.
In Mozart's works, he relied on his exquisite skills and unique understanding as the supporting points.
On the one hand, this stems from the revelation given to him by Amadeus's last wish, but his rigorous attitude towards his works is also one of the necessary factors for his success.
When facing every Mozart work, he almost uses an X-ray scanning-like analysis to conduct independent and clear analysis and processing of each component of the work.
Therefore, in the beautiful flow process presented in the end, interesting subsidiary details or some kind of ideological brilliance will flash out from time to time.
Everything is based on careful thinking, but it doesn't feel artificial or laborious.
His meticulous attitude towards Mozart also allowed him to unknowingly establish his own - Mozart voice.
So he was thinking about how to use this process again to find the ‘Chopin voice’ at this stage.
It is true that if a pianist has wisdom, taste, and originality, but does not have the corresponding technical means to deliver them, then everything will be meaningless.
After temporarily bidding farewell to the modern piano and coming to the fortepiano, Qin Jian also began to re-examine his own skills in playing Chopin.
Different from the performance of modern pianos, after half a month of practice he has completely understood the temperament of the fortepiano.
Take Little Brown as an example. Little Brown has a restrained personality, but is decisive. Although its voice can never make a ff strong enough to make people tremble, as long as you give it a moderate touch, it can still give you a satisfactory answer in the first time.
Answer.
The volume is limited, the response is sensitive, and the tone is thin. This is Qin Jian's final conclusion after another morning.
When he talked to Liao Linjun about this during lunch, the other party gave him a positive answer and added: "When outlining long sentences, it can also make complex problems simpler."
When practicing again in the afternoon, Qin Jian realized the beauty of this almost immediately during the performance.
In the afternoon, he began to try out his first piece. He chose the Torrent Etude, an entry piece that he no longer needed, as an experiment.
The technical characteristics of torrenting are not very complicated. Qin Jian and Duan Ran discussed it several times when they were in Tokyo. The two people had the same view, mostly focusing on 'many tricks and strong comprehensiveness.'
How to play clearly and smoothly is the key.
Only after clarity can you see fluency, and fluency can make clarity more expressive.
The two are inherently complementary to each other.
In the music of the Romantic period, it is difficult for us to hear unclear piano sounds as smooth.
At this time, the thin nature of the timbre allowed Little Brown to show off its outstanding clarity. Qin Jian grasped this characteristic very keenly.
When objective existence is captured by subjectivity, its initiative is greatly enhanced.
Qin Jian only used it three times before a layer of fine goose bumps appeared on his back. At the end of the third time, he regretted why he didn't record.
This time he heard the little brown voice, which was also his own voice. The two voices seemed to merge into one - a brand new voice appeared.
This kind of sound has a fragmentary style, as if it is describing a scene, but the overall aftertaste is full of a sense of wholeness.
Qin Jian is sure - regarding the rapids - he has never experienced this feeling on any piano.
He couldn't tell for the first time that this was Chopin's voice, but he had a vague expectation in his heart.
He spent the entire afternoon analyzing where the difference came from.
Finally, before dinner time came, he still didn't get a specific answer, but the process still made him make a novel discovery.
The counterpoint used by Chopin in this piece.
...
Counterpoint is not difficult to understand. It is a technique used by composers to make two or more independent melodies sound simultaneously and harmoniously with each other in music creation.
To put it simply, if you want to make the "fusion" experience more beautiful, the importance of alignment is self-evident.
Of course, it does not mean that the more accurate it is, the better the experience will be. A skilled composer will use a clever dislocation method to make the music more magical.
Behind all this is knowledge.
But the current Qin Jian has not unlocked so many advanced postures, and some of the superficial knowledge he once learned in college has been thrown away by him.
So before solving the problem of what Chopin's sound is, he felt that he should add some knowledge outside of piano.
During dinner, Qin Jian asked some incredible questions about counterpoint.
So he was ridiculed mercilessly by the old bartender.
"That's so stupid, Jian, this is the stupidest question I've heard this year," the old bartender said while holding a beer.
Qin Jian's problem even almost came out in front of Liao Linjun. Liao Linjun really couldn't understand why a person who could write Ke Qi Variations didn't even have any basic knowledge of composition.
In the end, she could only take it for granted that Qin Jian was a complete genius.
However, Qin Jian's question also made Liao Linjun think about another problem - in the final analysis, Qin Jian cannot be blamed for this problem.
After all, Qin Jian is only a sophomore in college. He still doesn't have a lot of music-related knowledge, and he travels around the world all year round. How much time does he have to take care of other subjects while busy with his major?
After thinking about it, she felt that as Qin Jian's teacher, she should take responsibility for this.
After dinner, Qin Jian said hello to the two of them and went to the beach.
Only Liao Linjun and the old bartender were left at the dinner table.
"Let's start giving him extra classes tomorrow."
Liao Linjun's words were immediately approved by the old bartender, "It is indeed necessary."
The two people looked at each other and reached a consensus.
But the next question is, who will teach Qin Jian about counterpoint.
It was Liao Linjun who spoke first again: "I only got a passing grade in counterpoint when I graduated in Vienna. You know this."
The old bartender twitched his nostrils and opened his eyes: "What I'm better at is harmony!"
The two people looked at each other again and both smiled.
Two great performers couldn't find a suitable teacher to teach Qin Jian counterpoint?
Not really.
They understand each other well and they just want to give Qin Jian the best guidance.
After a moment, the old bartender said: "Let Assad do it. He is better than us at this thing."
The words of the old bartender made Liao Linjun's eyes light up. How could she have forgotten this man for a while? Old Assad was a serious Hannover composer.
The two people made up their minds immediately.
After leaving the canteen, the old bartender wanted to find Assad, but Liao Linjun stopped him.