musicians of old

Chapter 265 "Liszt" Level Piano Lesson (4K [-]-in-[-])

Viadrin held the "big vat" of fruit-flavored sweet tea in his hand, took a sip, and shook his head helplessly.

Come up and throw out three steel associations with such a large length, I haven't even read the scores, and then this guy started directly?

What was displayed on the piano in front of Fanning was not a solo part, but a score.The piano parts take up only two lines per page, or four in less orchestrated passages.

This will undoubtedly lead to the frequency of turning over too fast, but it doesn't matter, Fan Ning doesn't need to free his hand, the score will be turned by itself.

You are asking me to learn and teach now, right?Viadrin clearly saw that Fanning was deliberately letting him see the relationship between the band and the piano, so as to better guide himself.

As a master of "Pool" whose sensory acuity has exceeded the scope of ordinary people's understanding, his vision can clearly browse every note and term on the score, while his ears continue to capture the details of Fanning's playing.

All highlights or blemishes are visible at a glance.

When hearing the opening part of Chai Yi's first movement, Viadrin already had an extremely detailed judgment on Fanning's mastery.

It is also roughly clear from which angles I should be inspired and instructed.

Even if this piece of music comes from Fan Ning, even if it is the first time I read the score simultaneously.

Once a musical work is born, the right to interpret it no longer belongs to the composer himself alone. The "styles" of the two are relatively independent, and the composer cannot define in an exclusive way which interpretation is the only authority.

The performer's second interpretation is also a process of artistic creation, and some music aesthetic theories even believe that the interpretation of the appreciator or music critic can also be regarded as the third creation.

In Fanning's previous life, a group of master composers such as Debussy, Rachmaninoff, Scriabin, etc., all have recordings of their own performances, but among the many versions, they may not be the best. Top-notch, it can only be said to be one of the authorities, as well as an additional historical perspective with a unique reference.

Therefore, the phenomenon that "the pianist instructs the composer to play the piano music he created" is not a paradox. As the music period develops, there are fewer and fewer "all-rounder" musicians like the past.

The reason for this is not as simple as "the masters live in the past" and "the descendants are too young" as many people think, but because the development of this field is becoming more and more mature and subdivided, and the people's appreciation ability and aesthetic quality are also increasing day by day.

Many composers or conductors have no time to take care of today's professional pianists' development of finger functions, cutting-edge techniques, and the depth and breadth of repertoire.

For beings like Liszt in the previous life or Lee Viadlin here, their piano skills and depth of thought have already broken through the limits of human beings and the times. When looking back, they are still breaking through themselves every once in a while.

Fanning, who is playing, undoubtedly longs for such a state. He is full of enthusiasm for every field of music and is willing to use all his energy in life to climb to the top.

For today's class, he has made sufficient preparations.In other words, he started preparing for it as early as he received the letter of introduction from Mr. Anton.

He has spent a lot of personal time practicing these three steel associations that he had "touched and played" in his previous life in the past six months.

In this level of piano lessons, it is impossible to spend time on playing the melody, or even on the refinement of details.

You must have done your best and achieved perfection within your own ability before accepting the guidance of a higher person.

This point is a habit that Fan Ning developed in his previous life: in his spare time in school, he cherished the few opportunities to receive guidance from professional professors.

For all teaching works, he will analyze the harmony and musical form in advance, and mark the points that he thinks should be paid attention to in the comparison and research in advance. Of course, he will use a pencil to make it easier for the teacher to make corrections later.

In Fanning’s view, if it’s time for class, the teacher still needs to explain the background of the work, perform the ensemble with both hands, and proofread the fingering, rhythm or pedal that should be solved by oneself, that is a sinful attitude and a waste of money Also a waste of life.

The content of the class must first be practiced until there is no progress for oneself, and this is responsible for oneself.

Even a legendary pianist like Viadrin was moved by Fanning's interpretation.

"His comprehension and insight are undoubtedly extremely deep and broad. I don't know how much thinking has been put into it. Although the effect of finger function training can't be 'crushed' to conquer it, every inch of skill has been brought into play. maximum efficiency"

"If others want to stand shoulder to shoulder with this kind of sound, the level must be at least a lot higher than his. Young pianists are absolutely incomparable."

Viadrin didn't know how long it took Fanning to write these pieces, but he knew Fanning's technical level. Even if he could write these difficult notes, he couldn't play them in a short time.

Must have gone through a very hard training process.

Fanning finished the first movement of Chai Yi, and played some fragments of the last two movements at Viadrin's request.

"Piano Concerto No. [-] in B flat minor, the general reminder I will give you first is to pay attention to the relationship between your 'point', 'line' and 'surface'." Vyadrin gave instructions in outline.

"The 'dots' are mainly for those large jumps themselves, short or glued. For example in this third movement, you start at bar 81."

Fanning played this jubilant and jumping sound group again according to his words.

The word "dot", coupled with the specific positioning of the measure, has allowed Fanning to roughly guess what Viadlin is emphasizing. He strengthened the grip of his fingertips, trying to make those jumps clear and stable, without softness. collapse.

Viadrin nodded in satisfaction. He was going to talk about two levels of problems next, but Fanning himself had already realized one level.

"Do you think that besides 'single jump', there is another form of 'compound jump' in the third movement?"

"A cluster of bars 85-87?"

"That's right, your sound group list seems to be of stable quality, but the overall direction is too little thought, like piling up. Like this kind of minor harmony progression, what is your biggest tendency to solve intervals when writing it?"

"I see." Fanning blurted out. "7th level into 1st level, 6th level down 5th level, 4th level down 3rd level, or [-]th level up, similar to the interval of the main-dominant solution or out-of-tune."

He played again, intensifying the movement of these intervals, and the lines of his voice improved immediately.

Viadrin said again: "'Line' is a horizontal melody, with strong running or long lines. It's still this movement, measure 183, you play it again."

This is a circuitous and ascending unison group. Fanning tried it twice and felt that something was wrong. Viadrin sat down at the piano next to him, demonstrated and explained: "Listen to the 'sense of stress' of the first note of each measure."

"There are two more levels immediately." Fan Ning understood it and tried to imitate.

"Correct."

Fanning imitated the second time.

"The accent of the left hand is heavier than the others, and weaker than that of the right hand."

The third time to imitate, pass the level, and more distinct four levels of sense.

"This chromatic scale, look at my hand."

"The fingers playing the black keys lie slightly on the keys."

"The palm joints, the palm joints near the big finger, move and be active. Think about it, they will be used every one or two sounds."

In several other clips, Fanning once again understood Viadlin's intentions.

"As for the last 'side', it is vertical thinking. For example, at the beginning of the first movement, when the band plays the theme, you need to use a firm sense of promotion for the major chords that cross the register."

Fanning returns to the first movement.

"Boom! Boom! Boom!—" "Boom! Boom! Boom!—"

"Tendency, or tendentious thinking, for example, these calibrate the direction of color." Viadrin's voice sounded again, and in Fanning's vision, the noteheads of several groups of adjacent chords on the score seemed to suddenly tighten a bit.

"You remember that there are only three sources of your strength: the force of the forearm to hang down naturally, the force of the palm joint to prop up, and the grip of the fingertips. The others are unscientific and should be removed."

Fanning played with his eyes closed and tried to feel it a few times.

"No, you try to hold all the notes of the chord down, and then play these single notes with a single finger."

Fanning did as he was told.

"That's right, it's a similar feeling."

"Base 25, the melody is up to you here. The chord treble is the melody, or the direction of the 'line' as I said. Although you are playing the 'side' of the chord, your wrist should pay more attention to the movements of your four or five fingers."

For more than an hour, Fan Ning solved a large number of similar clips by analogy according to Viadrin's "point, line and surface", and he felt that his understanding of Chai Yi's interpretation had reached a higher level.

Viadrin felt that he had never taught such a "teachable" student.

Yes, Fanning is too easy to teach.

He will do all the efforts he can do, and then wait for you to push those key nodes, and it will pass after a few times.

Piano lessons at this level mainly rely on the cycle of "demonstration-imitation". Whether the teacher knows what to demonstrate, whether it can be clear, whether students can hear the difference from themselves, and whether the imitation can be in place all determine the transmission of inspiration. s efficiency.

This cycle is the foundation, but sometimes the inspiration is hard to describe, so the inspiration of language is also very important. Sometimes the teacher's brilliant description can break through the bottleneck in an instant.

When it comes to Rachmaninoff's "Piano Concerto No. [-] in C Minor", the two key words given by Viadrin are "pedal" and "fingering".

"The two words are too basic, right? In fact, the essence of this work is to design suitable fingerings and exquisite pedals. All its difficult techniques are based on these two elements. Yes. The design principle of fingering is related to the relationship between 'point' and 'line' in this piece, while the thinking of pedal is related to the complex harmony processing of 'surface'."

Fanning had just finished playing the bell chords at the beginning of the first movement of La II when he was stopped.

"Have you ever wondered how you got this exciting and ready to move mood at the beginning?" Viadrin asked.

"Interval conflicts of polychords," blurted out Fanning, who was not very familiar with harmonic analysis.

"To be more specific, what polychord, what interval?"

"The framework of the minor triad makes it desolate and exciting, and the minor second conflict mixed in it makes it depressing and poised."

There is no distinction between high and low works of art, but there is a distinction between high and low aesthetic activities.

A piece of music, a painting, a dance, or a poem, some people can't feel the "coolness", but some people can feel it.And some people can not only feel it, but also know where it is cool.

Generally speaking, when you know why a piece of music is cool, you will feel better, which can make "ear pregnancy" evolve into "cranial orgasm".

"Very well, this is the thinking of 'face'." Viadlin agreed with Fanning's "cool point" analysis, "Now, stabilize the tone at the top of the major chord, which is the do that repeats the 9 bars, and then strengthen The small second-degree gradation conflict implied by the middle voice, you try?"

Fanning dropped the keys again, and on the third set of chords—

"It's like a thing looks calm and unchanged, but the internal contradictions are getting more and more intense, and it has been delayed." Vyadrin added.

Fanning's eyes lit up.

Can the chords of these 8 bars be understood in this way?

This taste is quite right.
At the end of the second pass, Viadrin asked again: "What else caused the drama at the beginning?"

"Crescendo strength?" Fanning replied, which seemed simpler and more conventional.

"Then, keep the processing of the chord interval just now. But at the same time as the crescendo, try to emphasize the rhythm more evenly and more self-disciplined."

Fanning played the third time according to the prompt.

"The emotional direction of the whole work is from life's predicament, depression and sorrow, to silence, meditation and introspection, and finally to singing in the storm"

"And the beginning of the first movement is undoubtedly a miniature and representative forecast of the whole song"

"Imagine some kind of restrained and repressed nature life, like the last octave of a deep, thick, ready-to-movement sound, the bell is getting more and more dignified, and then everything suddenly collapses, fuck restraint! fuck etiquette! Desires and emotions gushed out, and a torrent of sound burst out, like a cry to release everything!!"

Fan Ning had exchanged with many opinions on the way of handling the beginning of "La [-]", but they all stayed in the category of "imitating the crescendo of the bell", "finding the feeling" or "brewing that emotion".

Viadrin also has emotional analysis, but what he gives are three real change points: the forcible and calm repetition of the high-pitched part, the promotion of interval conflicts in the internal minor second, and the intentional adjustment of the uniform rhythm during the crescendo. A more even emphasis of
When Fan Ning slammed down the main chord finally resolved to C minor, he truly experienced what it means to "everything suddenly collapses". As his hands brought out a group of majestic and rapid sounds, the piano next door finally played A band theme that imitates an oboe and string section.

The melancholy, deep and broad melody lines unfold slowly like a magnificent picture scroll of the northern land. The boundless wilderness, desolate and withered roads, thick and low-hanging clouds, small travelers run between the boundless world, rushing Worry is bottomless.

Such a sound effect, such a sound effect.
At this time, Fan Ning, who was left with shadows in his hands, admired the practical analysis made by this legendary pianist!

Chairman, you are a real veteran!You know art! !

(End of this chapter)