After using a rational approach to dismantle several major emotional passages in La Er, Viadlin began to talk about the fingering design of the entire work.

"The sound group after the introduction starts with a decomposed octave, and then a circuitous ascending arpeggio with a fifth interval. Like if I remove the octave, the rest can be completed with one hand. You can't compare with me.

You wrote it too fast. If you only use your right hand to complete the arpeggios after excluding the octave interval, the speed requirement would be quite difficult."

"That's what happened." Fan Ning agreed deeply.

What's even more terrible is that the main melody here is still in the band, and the piano only creates a violent background of the sound flow. It has to join the band, not dominate the scene, but also take into account the lowest impact in the sound flow.

In other words, "keep ringing the bell while running".

"How did you deal with it?" Viadrin asked.

"Play the first 4 notes with your left hand, and cooperate with your right hand to complete the entire set of arpeggios." Fan Ning answered the method that he found comfortable.

"principle?"

"Principle." Fan Ning frowned and thought.

"The core is to use 5-1 fingers to 3-1 fingers to turn the wrist to play the octave and the upper fifth of the left hand. This is in line with the human body's force-generating habits and is also convenient for emphasizing the accent. Therefore, by analogy, in the subsequent octave-based

This method can be used for arpeggio textures with the same structure."

"I see."

Viadlin began to explain the fingering method of "pull two" or the design principle of the pedal step by step, allowing Fanning to make an analogy.

In some clips, he used a pen to draw arcs.

"Look at my connection groups on the right hand here. Each group starts with finger 1, and all the internal fingering methods are reduced to regular methods. Your breathing is also processed by this group."

In some clips, he used a pen to write down the consecutive numbers 2 and 3.

"The core idea you remember here is to use 2-3 fingers as the axis to perform finger-turning movements. All similar sound patterns can avoid the risk of large spans in this way, thus maintaining the smoothness of the music and the comfort of playing."

In some clips, he divided his left hand into two parts.

"Here the triplet and the root note in the left hand are treated as two parts. After using the finger-turning technique above, the root note will naturally end with the 5th finger. Any composition in this form can be solved in this way."

"The left hand in the third movement has different fingering methods but a similar principle: shorten the distance from the root. Try to avoid the 5th finger for the upper chord, and use wrist rotation to create a sense of position between the chord and the following notes to shorten the distance.

The role of, well, the sense of positioning in this kind of fragment is very important."

"Your harmony here changes every two beats. With such dense notes, the pedal must be turned off on the second and fourth beats. Don't you think the tone is very sticky?"

"The tightening is too strong, and there won't be any traces."

From fingering to pedaling, Fan Ning nods her head like garlic.

"What should I do with these two passages?" After several pedal case studies, Viadlin asked, pointing to two sections with complex harmonic functions.

Fan Ning immediately put what he had learned into practice, and based on his previous ideas, marked the passing tones and lingering tones in the harmony progression, and highlighted the main functional blocks.

His left hand played a double-layered complex harmony, and he used his foot to grasp the big and small notes, switching out the changes in the root note. When he played the subsequent arpeggios, he switched to a shaking pedal method.

"Very good, what about the next one?"

Fan Ning thought for a while and decided not to press the pedal when the first chord entered. He then pressed the pedal until the complex function was superimposed and held it until the end of the paragraph.

"The second part of the Steel Association class is over."

Four hours later, Viadlin waved his hand.

To be honest, he felt that Fan Ning's ability to comprehend was simply a monster.

He was asked to repeat the playing method he imitated at most three times, and he could apply solutions with strong universality and draw inferences from one instance, as well as theoretical things at the principle level.

In short, dry fuel has been laid in his mind, and it only takes one spark to burn it into pieces!

Viadlin felt that in comparison, the public school children or aristocratic ladies he had taught before, even if he taught them selectively, were simply too much.

If I had met students who had such a fun teaching experience earlier, maybe my voice would not be so loud now!

"Take a rest first?"

"It mainly depends on you." Fan Ning shook his head.

Looking out from the floor-to-ceiling windows of the "super large flat floor", the evening twilight has fallen outside.

"I don't care, it mainly depends on you."

"I'm in better shape than when I came here."

"You don't need a meal? You can ask someone to bring you some food."

"Eating? After taking this kind of class, do you still need to eat?"

Fan Ning only felt that his spirit was getting brighter and brighter, his thinking was getting clearer, and his whole fingers and body were ready to move.

I am afraid that my spiritual state is no longer at the level of being able to enter the ninth level.

He put the score of Prokofiev's "Piano Concerto No. 3 in C major" up one shelf: "President, if you have no objection, I can play until dawn tomorrow!"

"Continue." Viadlin took a sip of fruit tea.

Fan Ning walked through the melodious orchestra prelude in his mind, and the string tremolo in his mind gradually increased, and then the soothing and tranquility was broken. He played a bright, joyful and rhythmic piano theme with both hands in unison.

The playing was a little rushed. In less than half an hour, the three movements came to an end. He played a violent and airtight octave ending with both hands, pushing the music to a climax with a dazzling and suffocating brilliant sound.

Sweat dripped from the tip of his nose. Fan Ning adjusted his clothes out of breath, then took out a handkerchief from his chest and wiped his forehead.

It’s too difficult, Pu-3 is too difficult.

I always feel like something is amiss.

"The changes in style in these three works of yours are really interesting. We can all see the distinct characteristics of the Hoffmann nationality of the Northern Continent, but the radicalness of the compositional vocabulary is gradually increasing."

After Viadlin finished his evaluation, he continued to summarize and enlighten Fan Ning as he expected.

The key words he used for Chai 1 were "point", "line" and "surface", for La 2 he used "fingering" and "pedal", while for Pu 3 he only used one word.

--"stress".

"The key to showing the characteristics of this work is to grasp the essence of the accent of each fragment and create a vibrant or bizarre impact effect."

"The initial impression of the first pass may not be complete, but you can probably classify the stress into four categories of processing methods."

Viadlin talked eloquently.

"The first type, fingertip stress, probably corresponds to the '>' mark. It is generally used for relative emphasis in weak intensity sound groups such as mp-p-pp. Your third joint must be actively moved, and the keystrokes will be easy and direct.

A little more granularity."

"The second type, the knuckle stress, probably corresponds to the '-' mark. The keystroke speed is relatively slower, and it is rubbed in.

"The third type is wrist stress, or you can imagine that there is an inverted arch (U) symbol on the note. After the finger touches the key, the wrist drives the fingertip to rotate it and then lift it up."

"The fourth type, the strongest hammering accent, imagine the inverted arch symbol is sharper (V), generally used at f and ff or above, the key touch is sharp and fast, the third joint is well established, the fingertips are stiff and protruding

A strong sense of impact.”

"Look here in measure 15, which one is used?" Viadlin pointed to Fanning's attention to a sol in the main theme of the first movement.

Fan Ning entered from bar 9. When he played that note, he imagined that his fingertips were driven by his wrist and quickly turned into a U shape above.

"Very good, in measure 17, although you didn't write the accent yourself, the first E flat on your right hand can definitely give you the strongest hammering accent."

Fan Ning re-entered from the beginning, and when he reached this point, his wrist dropped directly from a high place, and his knuckles touched the keys sharply and quickly.

Feeling comfortable.

"In measure 27, you feel like you have found the first D note, but you only marked this one. I suggest you work in groups of three and treat all the first notes in this way."

"This joint, bar 41, the same chord, hard! Hammer!"

Fanning tries a second time.

"No, no, no, listen to me."

Viadlin sat at the piano next door and demonstrated touching the keys with one hand: "The latter part also needs to be accentuated, as you have learned. But it must be distinguished from the former and the intensity should not exceed it."

Fanning imitated the third time.

"Don't be afraid of the sustain pedal, step on it boldly."

Fan Ning imitated it for the fourth time, and he found that these two hammering chords had a continuous echo-like effect.

"Keep playing back, keep stepping, don't change it so frequently."

"When playing chords with alternating hands like this, when playing fast, you need to fix your hand shape, find the sense of position, and just move upward according to the root note of the triad, so that your accuracy and urgency will be improved to a higher level.

.”

A gust of wind and rain hit the piano. Fan Ning raised his wrist and took a deep breath.

He actually made such a rich and exciting sound, and at that moment he felt full of accomplishment.

It was already past nine o'clock in the evening, and Pu San spent as much time as his first two works combined.

After in-depth thinking about the accent, the Pu San under Fan Ning's fingertips turned into a dramatic interpretation, sometimes rough and violent, sometimes charming and playful, sometimes radiant, sometimes serene, rich in contrast and ever-changing.

This 20th-century piano performance is worthy of being evaluated as a "laborious and gratifying work" in its previous life. The difficulty and reward of piano skills are equally astonishing, and the expressiveness after playing it well is simply jaw-dropping.

Viadlin finally concluded: "Note that all the accents I talked about are not just for single notes, but also for chords. You have to think about the percussion of this work every moment."
To be continued...