Chapter 84 The towering audio building (4K two-in-one)
Variation 3 continues. Fan Ning’s right hand seems to be playing two tones, but in fact it involves two melodies chasing each other. Sometimes finger 123 is responsible for one, and finger 345 is responsible for the other, stretching back and forth between complex finger changes of the same tone. Switching, the left hand plays a continuous and rapid sound group as always, forming a third counterpoint relationship.
Every time the "note head" with obvious imitation characteristics appears, Fan Ning deepens the touch of the keys, and supplements it with heavy and short pedals to highlight the horizontal color. As this variation progresses, in addition to the pleasant listening feeling, its layers and the organization is presented to the listener more and more clearly.
First, Marquis MacAdam reacted, and then the three masters. By the time this canon reached its mid-to-late stage, all seven members of the inspection team in the front row of the ceremony had already turned their backs and sat upright.
"I still underestimated the quality of this variation!" Viadlin's big hands tightly grasped the wooden handrail. "When I heard the second verse and found out that it was a canon, I was really surprised. But I really didn’t expect that Carron could write it as long as the previous variations, and that the quality would still be so high.”
Christopher's mind flashed through many outstanding church musicians he had met and listened to. Suddenly, he thought he saw organist Viennese playing on the stage.
If the performance of the aria and the appearance of the variations are the beginning of surprise for the audience, then the appearance of the Canon in Variation 3 is undoubtedly a watershed, a watershed that changes from surprise to shock.
Those who dare to create canons in improvised situations are all music masters with extremely rich artistic background, or they are talented people like the talented person who won the full-time organ position at the Royal Academy of Music in his youth.
Canon is not a song title, but a polyphonic technique. It is very simple to say, it requires the creator to write a melody that is "copiable".
But not all melody can do this. It must meet the following characteristics: when the "copy" enters a few beats away and plays at the same time as the "original melody", the two can still maintain the harmony of the counterpoint relationship, so that Forming a strange effect of imitation and chasing, until the last harmony merges together.
This undoubtedly involves a philosophical exploration of the relationship between "self" and "other-self", and even mystical thoughts about the relationship between "appearance" and "will".
The two canon melodies on the right hand are intertwined and fused, and the left hand plays the last set of bright and pleasant ups and downs of decomposed chords, and the music comes to an end.
Variation 3 ended, and Fan Ning on the stage breathed a sigh of relief.
If the "Gothenburg Variations" is divided into the early, middle and late stages, the most difficult technical aspects in the early stage are the 3rd and 5th variations. It can be said that the first difficulty was overcome more smoothly than expected.
The tightness of the right hand chasing, the stability of the left hand running, the breath retention of long notes, the ups and downs between parts, and the horizontal harmonic colors highlight that I have done a good job.
After adjusting the time of two breaths, Fan Ning returned to the keyboard with both hands. The 3, 4, and 5 fingers of his left hand reproduced the theme trend with a powerful bass, and a graceful interval appeared in the treble area, and he successively used the remaining fingers of both hands. Continue and imitate the two lower middle voices.
Variation 4, four parts, Paspierre style, this genre can actually be regarded as a fast version of the minuet. The entire variation is expressed in a clear three-beat rhythm, showing a noble and elegant posture.
This is the most obvious variation that highlights the theme in the early stage. It can better help the audience sort out the logical main line of the music. The rhythm pattern of each part is relatively organized, and the counterpoint relationship is mostly columnar chords, making it easy to perform stably.
In its processing, Fanning tends to boldly use some heavier pedals to make the harmonies more colorful.
The left hand played the G note of the octave, and the movement of the right hand followed the double tone of the sixth that ended in the main chord. Fan Ning decisively released the pedal, cutting away the residual sound, and then he gently took a breath, and touched the key with his right hand sharply.
The register plays a fast sound flow similar to an infinite movement pattern, and at the same time, the left hand intersperses in the middle, jumping back and forth ten degrees between the bass range and the treble range.
Variation 5, two parts, a toccata or touch piece with the characteristics of a technical etude, is the most difficult variation in the early stage of the music.
Fan Ning breathed carefully, eyes fixed on the keyboard where his hands were flying.
One of the important reasons for the extremely high difficulty of the entire work is related to historical factors——
Since Bach was originally conceived based on a harpsichord equipped with a double row of keyboards, each variation contains a large number of passages with intertwined ranges. It often appears that the upper part gradually progresses to the lower range or the lower part.
The parts move to the high-pitched area, and sometimes several parts are even "tangled" in the same narrow area, with dense common notes.
If it is a double-row keyboard, the hands can do their own duties without interfering with each other. But on a single-row keyboard, trouble arises. The performer must design strict fingering methods to avoid the "fighting" lines of each part. Not only must
Consider which notes should be played with which fingers, and also consider which direction to reach out and release the keys.
So the audience saw that Fan Ning sometimes ran with one hand at high speed, and kept jumping left and right with the other hand. Sometimes the two arms were crossed together, with his right hand playing in the bass range and his left hand playing in the treble range. There were even some
In several clips, Fan Ning raised his playing palm high and used his other hand to "click" a few notes on the top of the back of the former hand, then went back and forth to play back and forth with the other hand.
Such baroque dazzling techniques can make the audience's hearts swell just from the presentation on the screen.
In the closing paragraph, Fan Ning's right hand crossed over his left arm and struck a few scattered notes in the bass area like chestnuts on fire. After that, the dislocated voices reunited and distanced themselves, and his hands returned to their original positions, bringing out a light and circuitous theme.
Chord tone group.
When did I become so strong? Fan Ning took a big breath and asked with doubts in his contentment.
This variation is too easy to encounter some flaws. In my previous life, I had been playing with it for a while, but once I played at a faster speed, there would always be mistakes here and there. I didn't expect that my performance would be so perfect today.
Without enough time to think about it, Fan Ning played the flowing bass again with his left hand, and a melody composed of dotted long notes and descending scales was played by his right hand.
Variation 6, Canon. Starting from the second measure, Fan Ning's right hand again superimposes a melody with the same direction as the former. The only difference is that the overall pitch has moved up one degree.
The undercurrent of the bass and the interweaving long and short canon melodies once again allowed the audience to experience the interesting musical inspiration.
"It's Canon again!?" At this moment, the old Master Swearinck almost couldn't sit still.
He has a very wide range of musical works, and he also knows one thing very well: whether it is serious music or popular ditties, many well-known melodies are not unbeautiful, but if they are played separately from themselves, I am afraid most of them will sound like multiple pieces of music.
The chasing and interlocking characteristics of the dissonant and canon melody like a gramophone cassette destined its interpretation to be extremely stringent. Once there is any lack of consideration in the early design, even if the rhythm pattern is slightly changed, it will be impossible to proceed at all.
Go down.
One time is enough, but a second time? How dare Fan Ning take such a big risk?
Master Schillings' thoughts were churning with excitement at this time: "Canon's seemingly simple but in fact advanced technique, many composers have racked their brains and can barely achieve the harmony of the sound, but he still doesn't think it is complicated enough! Two lines
Canon uses a complex three-part progression, writing an extra continuous flow of sound in the bass part to enrich the harmony and emotional effects. Could it be said that Mr. Fanning has reached the level of Cassius in polyphonic music attainments?
How big is Nitsch, a great man?"
It seems that techniques such as Canon are far less dazzling than the ups and downs of the Romantic period, but the timbre effect and depth of thought it presents are unsurpassed by any technique. "All complex principles are
"It can be deconstructed into concise and regular units", and the steady rhythm shows the ever-changing vitality.
"That's enough! No variations are needed, these two canons are enough! No, one is enough!" Master Niemann leaned out from the audience seat, "If today's creation is
Ability assessment is the only link. If there are no other dimensions, he can definitely get one of the nominations for 'Boethius Artist' this year!"
The three-fold flowing relationship came to stillness inch by inch, and this exquisite canon finally ended in a quieter mood.
"What's the number?" Taking advantage of the pause in the music, someone in the audience below spoke in a low voice.
"This is already the sixth variation. In terms of length, logic, and technique, it may not be as good as the master's interpretation, but it completely surpasses those mature artists."
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"Even without any rational analysis, it still sounds good! It sounds so good! I hope he can sort out the music score after it's over."
It should be coming to an end. This is what all the listeners expect. As long as we make another more emotional closing variation, or simply go back to the quiet and holy aria at the beginning, this will be a perfect improvisation.
An interesting smile appeared on Fan Ning's face. He started with a sounding G with his left hand, and played a singing melody with a distinctive dotted rhythm with his right hand.
Variation 7, two parts, a jig, with a free and casual style. The audience will immediately realize that this is a very interesting variation, and the two melodies are peppered with distinctive little accents from beginning to end.
Rhythmic, with improvisational decorative vibrato, the musical image is smart and playful.
“Here we go again, it doesn’t look like the ending variation.” Master Nieman’s insight is very keen, “Variations 1, 4, and 7 are three dance styles, 2 and 5 are touch pieces, and 3,
6 is a canon song. I seem to have a premonition of something."
The friend next to him, Schillings, turned around and lowered his voice: "If my guess is right, will he continue to choose a technical touch song for the next song?"
"Have you also discovered this pattern?" Nieman responded quietly, "This Mr. Fanning seems to want to build a sound building in groups of three." When he said this, he suddenly found that he could not breathe.
Don’t stop trembling, “If variation 9 is also a canon, that’s too bad”
This is simply amazing!
Then, Fan Ning played a descending broken chord in the lower part, and his right hand played the 16th note in reverse upward motion. As expected, the 8th variation was a touch piece with the nature of technical practice. When it ended, the previous
Several people in the row held their breath and watched Fan Ning's next move attentively.
Variation 9 starts with a weak and gentle intensity. With the free counterpoint of the low part, the high part starts from the B note, playing a quiet ballad. After a bar, imitation also appears in the middle part.
A similar melody, but moved down two degrees, starting on the G note.
"Sure enough," these two leading figures in the music industry suddenly felt numb.
Each three variations form a group, and the "dance genre - touch genre - canon genre" is presented in a cyclical manner, gradually climbing upwards. Fan Ning is using this structure as a "building material unit" to build a towering audio building!
But the reason why the two masters had such a reaction was not just because they successfully predicted the emergence of Canon, but because they discovered an even more surprising fact!
——For the third variation, Fanning uses a canon of the same degree, the variation 6 is a canon of the second degree, and the variation 9 is a canon of the third degree.
You can still play like this!?!?
What is fucking dazzling, what is fucking showing off!
!
These two people...one is the talented and arrogant Schillings, who is called the "Successor of Giles" in the music industry, and the other is the elegant, elegant and easy-going Nieman. The two of them are already swearing incoherently in their hearts!
Fan Ning continued, and his left hand played a cheerful melody that started with a long string of decorative tones, followed by the tenor, treble and alto parts, imitating it in sequence, with a passionate rural pastoral mood.
Variation 10, a four-part fugue, is similar in style to the Gavotte. This is the most secular and unrestrained dance music in the romantic French court on the Blue Star. Its structure is unusually tight and tight, clean and neat, without showing any affectation.
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"This fugue is extremely exquisite." Viadlin found that as the music progressed, there would always be brighter highlights to attract his attention. "The 4-bar theme was presented 8 times in succession, with the first 4 being presented, and the middle The second time is expansion, and the last two times are reproduction, which is exactly 32 bars. It only retains the most basic structure. There is not a word of nonsense in the whole piece, but the essence and interest of the fugue are fully presented."
Variation 11, Touch Technique, two parts, the musical ideas are all based on a descending sixth scale + dotted rhythm pattern. The two melodies are interspersed very closely, showing the beauty of alternating density and density.
Variation 12, a canon, with the clarity of the repeated bass lines, two melodies with a fourth-degree relationship are staggered by one measure and start chasing each other.
But this canon has an even more jaw-dropping feature: the two melodies are not simple imitations, but are transformed into "reflections". The melody that enters after the second one is in a different direction from the original melody. The mirror image relationship can still produce harmonious sounds together!
"It's really fun." Master Neiman shook his head and smiled bitterly, "This is the fourth cycle, right? Not only did the canon imitation interval increase by one step, but it also used the reflection technique. This ghost thing can also be improvised on the stage. ? I think I need to at least think about it when I'm alone."
"What I'm most concerned about now is how high he can build this building." Silins said slowly.
Niemann said with a very serious attitude: "There are now 4 sets of 12 variations, plus the beginning and end, there are 14 parts, and the logical structure is impeccable... This interpretation has convinced me, what kind of young composer is he! In a few days I will personally go to his concert to listen to the "Violin Concerto in E minor", and after the festival is over, I will definitely make a serious suggestion to the inspection team to include him in the nomination process of 'Boethius Artist'."
"It should be almost done." Master Svelink, who is over 80 years old, couldn't help but muttered:
"There aren't many buildings that can be built this high in the entire Shengtalan Fort, right?"