After seeing Cao Zhiqiang take over the piano and try it out, and said that she had no problem with it, Ishiyama Reiko nodded, then returned to her seat, sat down to drink water and rest.

After all, she had spent a lot of energy and energy before, so she needed to take a rest and drink some water to moisten her throat.

As soon as Professor Shishan left, the group of girls on the stage immediately surrounded Cao Zhiqiang with excitement on their faces.

There is no way, Cao Zhiqiang's current identity is the famous singer "Qingquan in the Forest". Although they practice musical instruments, they are still young people and still like to chase stars, especially those like Cao Zhiqiang who are talented, young and rich, and good-looking

Teenagers are more favored by these female students.

But before Professor Shishan was around, they didn't dare to come over. Now when Professor Shishan leaves, they naturally have nothing to fear.

After these people came over, they started chattering and asking questions.

Do you have a girlfriend? What kind of girl do you like, what do you like to eat or drink, where do you usually like to hang out, etc.

Anyway, I just asked about some hobbies and the like, similar to the questions asked by ordinary star-chasers.

In this regard, Cao Zhiqiang just smiled and answered what he could say. As for what he couldn't say, he just smiled and shook his head, and then just said it was inconvenient to answer.

Next, in order to stop these girls from asking irrelevant questions, Cao Zhiqiang simply talked to them about the band's performance.

Playing a symphony is not that easy. It involves a lot of coordination, and it is definitely not just a matter of playing according to the score.

As the saying goes, one minute on stage is worth ten years off stage.

The same principle applies to symphony orchestra personnel.

It's just that compared to performing arts such as Peking Opera that require special skills, the coordination of symphony is relatively easier.

This is mainly because most symphony performances follow a strict performance order.

In other words, a symphony orchestra is like an army. It only needs to strictly follow the commander's instructions and strictly perform the part that needs to be played.

Of course, this kind of rigid performance may have fewer mistakes, but it will indeed lack some passion and variety.

Only an orchestra that truly cooperates with each other and works like a finger can perform a high-level symphony.

If you want to achieve true cooperation and tacit understanding, like using an arm to move a finger, in addition to practicing more and striving to achieve practice makes perfect, you also need a good conductor.

Yes, the most important person in a symphony is actually the conductor.

The conductor seems useless. It seems that without him, everyone can perform smoothly according to the predetermined plan, but the actual situation is not like this.

The conductor's role, in addition to checking for omissions, the most important role is to fine-tune the performance and then use fine-tuning to mobilize the atmosphere.

So if there is a good conductor, even if the orchestra is of average quality, it can still perform a high-level symphony.

Of course, if the orchestra is of very poor quality and cannot even perform basic coordination, then it will be useless no matter how great the conductor is.

For a conductor to be effective, the premise is that the overall level of the orchestra is up to standard.

Obviously, the 36-member band in front of us is actually not up to standard.

But we can’t blame them, it’s just that they had too little time to get the music scores and too little time to practice.

But Professor Ishiyama was impatient, and he was obviously impatient, so he became more severe.

In fact, there are no good solutions to situations like this. The best solution is to find an excellent point and then use the point to lead the way.

To put it simply, if the overall strength of a band is insufficient, then find a particularly powerful lead performer, usually a violinist or a pianist, and let this person be the lead performer, with other band members cooperating.

In this way, the band becomes the background to coordinate with the lead performer, so the pressure is much less and it is much simpler.

Of course Reiko Ishiyama knew this method, so she wanted to find a particularly powerful violinist to be the lead singer of this symphony.

Ordinarily, Reiko Ishiyama can be the lead violinist herself, but she also has to conduct, so naturally she cannot be the lead performer.

Of course there are other good violinists, but firstly, they are not familiar with this piece of music, and secondly, this piece belongs to Cao Zhiqiang, so if you change it without authorization, you must tell him.

After much deliberation, Ishiyama Reiko realized that Cao Zhiqiang was also a very high-level violinist, so she called him over and wanted to perform with him once to see the effect.

Reiko Ishiyama always feels that this piece of music should have a lead violinist, but without it, it feels almost meaningless.

Don't tell me, Ishiyama Reiko's feeling is right.

The song "He's a Pirate" given by Cao Zhiqiang really needs a lead violinist.

Without the main violinist, the artistic conception of this piece is a little worse.

In short, when Cao Zhiqiang and a group of girls verified each other's skills and feelings about the band's performance, the three-minute break came quickly.

When the time came, Teacher Shishan immediately put down the water glass and stood up, then clapped his hands and said: "Okay, okay, girls, stop making trouble, it's time to rehearse!"

Upon hearing this, the girls who were chatting around Cao Zhiqiang immediately dispersed, ran back to their seats to sit down, and then picked up their instruments in a polite manner.

Seeing that everyone else was in their places, Ishiyama Reiko nodded to Cao Zhiqiang: "Cao Sang, it's your turn!"

Cao Zhiqiang also nodded, suddenly took off his coat, wearing only his shirt, then picked up the violin, walked to the middle of the stage, turned his back to the band, and stood facing the stage.

However, Cao Zhiqiang did not put the violin on his neck in advance. Instead, he closed his eyes, holding the violin and the bow in each hand, hanging down naturally, as if he was standing in meditation.

Cao Zhiqiang is not showing off, but relaxing his whole body, concentrating, and silently recalling the performance of David Garrett, the violin prince who is known as the fastest player in the world, when playing this piece of music in his previous life.

Cao Zhiqiang has a top-notch violin performance provided by the system. If he wants to speed up, of course there is no problem.

However, it is not just about playing the violin fast enough that it is good, the key is to play with the artistic conception.

In other words, for the same melody, you have to add your own understanding to the original one and then recreate it.

For example, if a piece of music that is originally relatively slow and lyrical is deliberately played a beat faster, it can become another artistic conception full of tension.

Of course, this kind of adaptation is not random. The key is to understand it thoroughly first and then adapt it according to the situation.

To put it bluntly, one must reach a certain level of skill in order to be able to adapt the original music at will, and at this point, one is basically a professional performer.

One of the differences between amateur performers and professional performers is their ability to change different beats according to different needs, and then perform what they want to perform.

This kind of expressive ability to completely master a piece of music is completely different from a mechanical examination.

Cao Zhiqiang has absolutely no problem with his violin playing skills.

After all, he is a top violin player, which means that he has turned playing the violin into an instinct, like breathing and drinking water.

It's like if you learn to ride a bicycle, then you don't need to think about how to ride it again. You only need to consider whether to ride faster or slower, whether to ride on the handlebars or with one hand, or with both hands in a regular manner.

Riding.

Anyway, when your cycling skills have become extremely good, what you need to consider is no longer riding a bicycle itself, but how to make the most of it.

Cao Zhiqiang's violin playing was suddenly achieved like an initiation. Although he could easily play what he wanted to perform on the violin, he still needed a reference after all.

That's right, it's a reference object, or reference person.

He can only find someone to imitate first and imitate the other person's style and skills, and then he can find his own style on this basis.

When it comes to the violinist he imitates, the first thing Cao Zhiqiang thinks of is the fastest violinist in the world, David Garrett.

In fact, this David Garrett was also very controversial in his previous life. The biggest controversy was that his performance was unstable.

When you perform well, you can indeed reach the level of the top violinists, but when you perform poorly, you are far from the top violinists.

But these are so-called professional reviews.

Anyway, from the perspective of a layman like Cao Zhiqiang, his performance level is quite explosive, at least in terms of momentum, no one can match him.

Cao Zhiqiang didn't know whether he was professional or not. He only knew that David Garrett's playing was particularly touching and pleasant, far better than those of professional violin masters. That was enough.

Similar to him, there is Chen Mei.

Chen Mei's violin performance was equally explosive, and she was very expressive on the spot.

As for his professional level, it's hard to say since he didn't know how to play the violin in his previous life.

But now that Cao Zhiqiang knows how to play the top violin, he can naturally tell the difference between the violin masters he saw in his previous life and the celebrities.

From Cao Zhiqiang's current point of view, whether David Grete or Chen Mei, his violin playing skills are certainly not bad.

The reason why they are said to be not professional enough and cannot be considered top violinists is mainly because they broke the rules.

In other words, the violin techniques of these two people are not traditional classical violin playing, but contain many modern elements and have heavy traces of performance.

This kind of playing method is naturally not stylish enough in the eyes of some old-school violinists and critics.

To put it bluntly, to say that their level is average is just to stick to the rules.

Anyway, whether a professional is a professional or a master is not a master, isn’t it the small group of people who have the final say? How can ordinary people have the right to comment?

Just like Richard Clayderman, in fact, to Cao Zhiqiang's ears, his piano skills are not bad at all, and in terms of sound quality, he is no worse than those piano masters.

However, the fact is that Richard Clayderman has not won any decent piano awards.

So, this is a question of aesthetic audience.

When you look at it from the standpoint of the public, it is completely different from when you look at it from the standpoint of a minority.

From the public's point of view, it is enough to see whether you are handsome or not, whether your playing method is explosive or not, and whether your music is good or not.

But from a minority standpoint, they have to be picky. No matter how you look or how expressive you are, it only depends on whether the subtleties of your playing are up to par and whether you can play some super difficult music well and reach their hearts.

standards.

With Cao Zhiqiang's current strength and level, of course he can also challenge the fields dominated by niche players. After all, he has the ability to play top violin, so it is not a big problem to challenge for high-level professional awards.

But Cao Zhiqiang didn't want to do this.
To be continued...