Chapter 293 288. Hurry up! Test and prove

Author: Mozatte

Chapter 293 288. Hurry up! Test and prove

Seeing that the teacher was going to teach the secrets, Xiao Ji jumped up in joy. Before she even came to Li An's piano, she heard the effect that she had only dreamed of playing for a month.

Li An's demonstration speed was not fast enough for Ji Yang to see clearly.

Li An kept repeating, Ji Yang watched for a minute, and then she discovered the difference between her little finger and the teacher's little finger when pressing keys.

How to describe it? To describe it strictly, the teacher's little finger does not directly press the key at 90 degrees with the fingertip every time it hits the key, but uses a hooking movement to scratch the piano.

It's really scraping, not pressing straight up and down.

Then she returned to her piano, and she imitated the teacher's hooking movement and played this section again, but the miracle did not happen.

Even using this method, she couldn't even pronounce the notes that her little finger could play normally.

"No need to imitate my finger movements."

At this time, Li An came behind Ji Yang and said, "Everyone has different hand sizes and different finger lengths. You just need to understand why you are doing this is the key."

Based on Ji Yang's practice over the past month, he explained in summary, "Let's sort it out again. First of all, this is an arpeggio that cannot have a crescendo in volume. Secondly, on this basis, our left hand must be broken.

The playing is clean and powerful, and finally the hands work together to achieve a sound balance."

This is the first time Ang Lee has proposed the concept of balance in this paragraph.

Hearing the word balance, Ji Yang seemed to be suddenly struck by something.

Balancing the left and right hands is the fulcrum for the smooth progression of music, but what about the balance of the left and right hands?

At that time, she could understand that her left and right hands also needed to be balanced.

Returning her gaze to the right-hand ascending arpeggio on the music score, watching the notes arranged one by one upwards, and looking back at her practice over the past month, she always tried to find ways to reduce the volume of the upper notes to their corresponding levels.

The lower notes are leveled, so that the volume of the entire sentence becomes a straight line.

Isn't this what she has been doing to keep her voice balanced?

The teacher has been guiding her to do this for the past month.

But in the end she still got stuck on her little finger.

No, no.

There was another brainstorm in Ji Yang's mind.

A few minutes later.

She raised her hand and played the part again.

This time a miracle happened.

She played an ascending arpeggio with even volume.

Full of grain and full sound.

There is a charming rhythm in the sound, spreading faintly.

At this moment, this arpeggio appeared for the second time on her audition stage.

-

On the black and white keyboard, the five fingers of Ji Yang's right hand once again slid from the left side to the right side of the keyboard in a bouncing manner, giving people a pleasing visual effect.

Only this time, the speed of the music filling the air was more than a minute faster than when she started.

The on-site effect is still stable.

After a few months, when Ji Yang played this again, he no longer had to consciously pay attention to the balance of the volume on his right hand.

Thousands of repeated practices have made this finger movement become instinctive for her fingers.

Perhaps one day she will forget how much hardship she endured to achieve this level, but she will never forget the last words the teacher said to her in that class.

"You must learn to analyze problems during practice."

-

Outside the examination room, Li An nodded happily when he heard that Ji Yang had regained his speed when the first topic appeared for the second time.

If it were in the piano room, he would think it was nothing, but this was in the art examination room.

Continuing to speed up during a fast performance is as dangerous as having the next line of music suddenly blur in your mind at a critical moment.

The latter requires recalling the music score as quickly as possible, while the former requires absolute certainty.

It seems that Xiao Ji's hands have warmed up, and this also proves from another angle that Ji Yang has completely mastered this paragraph.

Regarding the teaching of Ji Yang Yueguang San, Li An has many scenes in his memory.

What he remembered most was this section.

In fact, as early as Ji Yang had practiced that part, he could tell the other party how to play an ascending arpeggio with a balanced volume.

But he didn't do that.

First, because Ji Yang's finger skills were poor, he deliberately took advantage of this so-called difficult point to slow down the opponent's progress, allowing the opponent to practice his fingers through various arpeggiated scales in a down-to-earth manner. In his opinion, this was

One thing that benefited Ji Yang throughout his life.

Secondly, he wanted to exercise Ji Yang's ability to think divergently through this teaching session.

Learning piano is essentially not much different from learning other subjects. You never have to attend a meeting to master a certain ability.

Ji Yang was an art candidate who was about to take the art exam at the time. Time was tight, but this did not mean that he did not need to think about it during practice.

If Ji Yang was forced to do everything he said, let you practice slowly and you practice slowly, and let you speed up and you speed up, then the only difference between him and Professor Yu would be - he is young, handsome and plays well.

In Ang Lee's view, Moonlight III is not only Ji Yang's art test repertoire, but also Ji Yang's gateway to Beethoven's piano music.

He wanted to teach this piece of music that he was good at, so that Ji Yang could learn to analyze music and various problems that arise during performance through his guidance, so as to gain a kind of self-reward.

By learning the third movement of Moonlight in this way, Ji Yang's gains will be with him throughout his life, and it is not just a preparation for the re-examination of the art exam.

So he stuck with Ji Yang for a month on the issue of how to do a fade-out on the ascending arpeggio.

In fact, the solution to this problem was already very simple for Ji Yang at that time. He just had to change the problem.

At the dinner of Otto's master class, everyone discussed the first movement of Beethoven's Dawn. Since no classmates were teaching this piece in the master class that day, I did not hear Otto's explanation of this piece in the master class.

Seeing that everyone wanted to listen, Alto started telling everyone.

Ang Lee, who has practiced Liming, naturally also wants to hear what Master Alto has to say about the performance of this piece.

But what is surprising is that Otto did not directly explain the performance techniques of this piece to everyone, but told everyone in great detail the process of Beethoven's creation of this piece.

Things like 'What does the strong here mean?' or 'Why is it an eighth note instead of a quarter note?'

After Otto analyzed how Beethoven composed this piece of Dawn from the perspective of a composer, some of his problems regarding the performance of this piece seemed to be solved.

This inspired An Li and at the same time verified his previous teaching philosophy.

Instead of directly telling students how to play this piece of music, it is better to first tell them how this piece of music was created.

This is Otto’s experience and method.

He is not Alto, he does not have such profound performance skills and professional background, and he does not understand composition, but this does not prevent him from applying this teaching method to actual teaching within the scope of his abilities.

'How to make a diminution in an ascending arpeggio.'

This question may be replaced by another question.

'How to maintain volume balance in ascending arpeggios.'

Ji Yang thought of the moment when he kept the volume of his right hand balanced, as if he had opened up the Ren and Du channels, and a clear ascending arpeggio line came to his mind.

The amazing thing is that this arpeggio also has a balanced volume that only she can hear.

Subconsciously raise your hand again.

Drop key.

Ahhhhhhh a miracle happened!!!!

Li An can still recall the scene of Xiao Ji dancing and running around in the piano room.

In fact, there is no miracle. After a month of hard practice, Xiao Ji already has the finger technique foundation to achieve this effect.

Just like when Alto talked about why the eighth note in Dawn could only be an eighth note, Ang Lee had already played that sentence by heart.

As for the little finger hooking back, it is only used as the last key in his entire teaching session.

The moment Xiao Ji touched the lock cylinder, he handed over the key.

Compared with the "full class" teaching method of some teachers, Ang Lee is still not sure whether his method is more advanced - staged guidance and explanation, with a little bit of Zeigarnik effect.

After all, he had only just understood this teaching method, and he had summarized it through self-teaching through Feinberg’s incomplete notes.

However, judging from its application on Ji Yang, the effect is still very obvious.

Regarding piano teaching methods, his next research direction is to gradually improve it on this basis.
To be continued...