What is the movement principle behind it?

The origin of various command techniques?

Restore the design process of each action?

Looking at the surprised expressions on Capron and Sheeran who were watching next to him, Fan Ning, who raised his pencil, added: "Well, don't be surprised, this is normal. Those conductors with strong inspiration and self-taught conductors may not have the same The law will explain it clearly to you."

We can't blame these professors for being clumsy.

We can’t even blame this world for “valuing inspiration over theory.”

The art of conducting is too difficult to describe in words. Even as a parallel reference, at the turn of the 20th century in Fan Ning's previous life, the German and Austrian academic schools, known as the core birthplace of classical music, did not have a systematic "conducting" "Legal Theory" appeared.

Even the conductor baton in today's sense was only widely used at the end of the 19th century, which may be later than people's conventional understanding.

Although there are endless masters, but if you ask them how they play so well? Either because they rely on "ancestors' favor", or they have learned music since childhood and have strong perception. They have excellent attainments in other musical fields such as composition and piano, so they can rely on it when they are a conductor. Feeling and talent.

In those days, it was the same when seniors taught juniors. After teaching the basic movements, the students were allowed to learn how to swing by themselves. Those with good understanding became direct disciples. Those with poor understanding had a saying that everyone who understands this kind of thing understands it, and those who don't understand it. Even if you tell me, you don’t understand.

The conductors in this world are the same way. They either learn by analogy and are self-taught, or they have extremely high understanding and can know it at a glance.

But when it comes to Kaplan, the problem becomes bigger. If he continues to practice like this, he will probably never "find the feeling" and he will always be a qualified command assistant.

On the other hand, Fan Ning's situation is a bit special.

Looking at his life alone, his commanding talent is quite good, coupled with his background in music, and Anton Konard, a master-level musician (of course Fan Ning believes that his value has not yet been recognized by the world) ) taught him everything he had.

Coupled with the inspiration of mysticism, Fan Ning can thrive in the field of command just with his talent in this life.

As for his past life's amateur study and research experience, including the experience of conducting an orchestra for him in college because his teacher admired him, it seems that when combined, it is "100+1" useless, but in fact it is not.

What he studied was a systematic and scientific modern command theory. After this kind of memory was integrated, it was not "100+1" at all, but "100xN"!

Not only do I enjoy the "bonus" of inspiration from this world, but I also have the blessing of complete music theory from my previous life.

The reason why Fan Ning's command level quickly rose to a higher level after time travel is because although those modern command theories had limited additions to his amateur foundation in his previous life, after switching to a professional and high-inspiration foundation, it quickly proved stronger.

At the same time, this is also very suitable for current teaching, especially for people like Kaplan who were in a situation similar to mine.

Fan Ning had long discovered that Kaplan's understanding was actually very high.

A person with no academic background was able to barely qualify for the position of assistant conductor of a student orchestra in such a short period of time.

Of course, this has something to do with his "too curly" attitude.

It's just that if he wants to advance, he can't follow the "metaphysical" teaching method. He needs rational guidance, just like his smart financial mind.

"As a conductor, the most basic and core task is to accurately display the speed and rhythm to the orchestra, and their judgment of your movements mainly relies on the 'beat point', so the primary issue surrounding the design of all conductor movements is clarity

To show the 'shooting point', we start from the most primitive state——"

Fan Ning, holding a pencil, began to draw circles evenly and clockwise in the air.

"Look, if I conduct a piece of music like this, do you think you can judge the tempo?"

"Yes." Kaplan replied without thinking, "Because you are moving at a constant speed, and it starts over and over again, I can determine the duration of a beat or a section based on the cycle, um... But I can only judge the speed, not the rhythm, because I can

I don’t know when it starts or when the beat starts, so it’s impossible to play.”

"Very good, let's add the first variable now." Fan Ning approved.

When the pencil in his hand was drawing a circle, it suddenly accelerated every time it passed the lowest point, and then gradually decelerated using natural inertia when it was lifted up, and so on.

"What now?"

"It's rhythmic, because there's a beat point." Kaplan replied immediately, "You highlighted the lowest point, I can use it as the starting beat, and the second repetition will take this beat.

speed."

"Then do you think it will be easier for you to perform if I conduct it like this?"

"Not good." Kaplan shook his head instinctively.

"Why?"

"Maybe the cycle is too long." Kaplan thought for a while, "My interpretation is too slow, and as long as there are slight changes in the music, I cannot predict and reflect this change immediately."

"Then why does it take so long and fail to reflect changes?" Fan Ning said in a persuasive way.

"Because... there is no reference?" Kaplan asked tentatively.

"more specific."

"Because there is only one 'anchor'?"

"Very good, let's add the second variable now." Fan Ning smiled slightly.

When the pencil in his hand was drawing clockwise, it still accelerated suddenly after passing the lowest point, and then gradually decelerated using natural inertia. However, as soon as he passed the highest point, he started to accelerate in advance, so that when he passed the lowest point for the second time, due to the original

Once you have a basic speed, you no longer need to "suddenly" accelerate, and then you can use inertia to gradually decelerate as usual.

So there are two 'anchor points' in the circular motion of Fanning's pencil: the lowest and fastest point, and the highest and slowest point.

"This is called 'swinging'." Fan Ning said, "Pay attention to my movements, so the essence of swinging is actually to continuously accelerate and decelerate around these two points."

Kaplan looked at Fanning intently, and he found that this indeed formed the most basic beat model: the speed is clear, the rhythm is clear, and it is easy to predict.

"Of course, in order not to cause trouble to the musicians, our acceleration and deceleration movements must be smooth and natural. There should be no more 'sudden' force at the time of 'starting', especially when falling from the slowest height.

, there must be no trace of stagnation. So the starting frame I use is a circle, which facilitates smoothing. In practice, it doesn’t matter whether the circle is round enough or not.”

"Remember this original framework." Fan Ning said without stopping, "I'm going to start defining it."

"In clockwise motion, the lowest and fastest point is called the 'first landing point', and the highest and slowest point is the 'second landing point'. From the 'first landing point' to the 'second landing point'

The deceleration process is called "post-point motion", and the acceleration process from the "second landing point" to the "first landing point" is called "pre-point motion".

"It's just two points and two trajectories. It's not difficult to remember, right?"

Kaplan stared at it for about half a minute, then nodded.

"I've finished talking about my framework." Fan Ning said.

"Ah...that's it?" Kaplan scratched his head, "Honestly, these two concepts are not complicated compared to those harmony and counterpoint skills, and they are easier to play." He began to imitate Fan Ning.

He waved the baton with his movements, "I was prepared, thinking that you were going to derive more complex concepts based on this. The latter is quite common in the fields of finance and mathematics."

"That's it." Fan Ning smiled mysteriously, "Next, I'm going to start giving questions."

"How are the so-called dotted swings and linear swings in the academy distinguished by design?"

"Is this the question that comes directly?" Capron's hand stopped moving.

He thought this was the "ultimate question" that could be answered at the end of Fan Ning's teaching.

I just finished talking about the basic model and two sets of concepts, and now I have to answer it myself?

However, the mind of a financial practitioner like Capron was obviously not simple. He understood that this must be related to the circular motion mentioned by Fan Ning, so he started this action again.

Suddenly, he realized something and his eyes lit up.

"One thing, they are the same thing, at least 2/2 and 2/4 beats are the same thing. Its shooting point, hitting line and reflection line are your 'first landing point' here,'

"Two drop points', 'post-point movement' and 'pre-point movement'. The so-called point swing method and linear swing method are just different degrees of deformation of the 'circle'!"

"To be more specific, why is it different?" Fan Ning asked.

"Well... if I want the style to be happy and the rhythm to be lively, I'll make it a little less round, and it will become a harder dotted stroke; and if it's a lyrical or sad passage, I'll make it a little less round.

It draws a little more 'arc' and becomes a softer linear swing!!"

Kaplan began to feel vaguely excited, and even Sheeran's brain began to work rapidly.

The most common and diametrically opposed playing methods of these two conductors are actually the same in essence!? Can they all be explained by Fan Ning’s theory?

Why has no professor ever talked about this?

"Very good, then I'll ask another question." Fan Ning said with a smile.

"I want to instruct the band to play an accent on the next beat, how do I do that?"

...Well, this naturally means that the beat amplitude is wider. Kaplan wanted to speak reflexively, but immediately shut up.

Strength? Why did Professor Fan Ning ask a question about strength instead of speed?

Is the strength also related to this sports model?

"To give you a hint, regardless of the accent or weak tone, it definitely means 'change'." Fan Ning said.

Kaplan thought for a long time this time.

"Another reminder, 'movement after point' slows down and 'movement before point' accelerates. They both have 'acceleration'."

"Change the positions of the two 'anchor points' of circular motion!" Kaplan suddenly said excitedly.

His expression began to become vaguely excited: "Wait... wait... let me reason, what you want is accent, that is to become stronger... increase the strength, so the acceleration must be greater, and this part of the time must be shorter, or before

To have more energy..."

"I know, move the highest and slowest point, which is what you call the 'second drop point', back! For example, move it from the top 12 o'clock direction to the 2 o'clock direction!"

"In this way, I got closer when I returned to the 'first landing point' at the bottom. The accumulated power of this 'pre-point movement' was naturally 'longer lasting'. I didn't even have to exert any more force to get it clear."

The ground gives the band a hint for the next beat’s accent!”
To be continued...