Accompanied by the plaintive slow melody that gradually slowed down and had a hint of farewell, Weng Huaijing glanced at Yan Qing's similar classical guitar holding and fingerpicking techniques, his eyes were a little surprised and mixed with a little understanding, but
She quickly adjusted her condition, accurately cut into this unique Great Wall tune with a unique timbre that was somewhat close to the guzheng, and began to sing the excerpt (Shanbo Farewell) in extremely standard Southwest Mandarin:
…
"There is a locust tree in front of the library, and a pair of scholars came down the mountain~"
…
"Is this singing from the beginning? I don't know how long the aria excerpted by Hum Hum is, and which part of the verse she will incorporate to respond to Yili... If it exceeds the duration of (the Great Wall tune), even if it can be cycled back and forth,
What should I insert to bridge the gap? It’s a bit nerve-wracking!”
Facing Miao Miao's admiring and envious gaze, Yan Qing continued to perform the right performance with ease. Through the rising tone of the capo and advanced classical fingerpicking techniques, he simulated a vibrato tone close to that of the guzheng, and his body followed suit.
While Weng Huaijing sang the gentle rhythm of a voiceless minor with three sighs, he even still had the energy to think about the arrangement of the melody behind it.
…
"The one walking in front is Liang Shanbo~, and the one following behind is Zhu Yingtai~"
…
It may be that (Changcheng Diao) was born out of Gansu and Shaanxi folk songs, or it may be due to the influence of Daxiao. It inherited the unique style of Weng Yu’s faction. Weng Huaijing, dressed in red, sang the voiceless tone with an exceptionally soft tone, especially the
Every time she breaks a sentence, she drags the ending sound a thousand times, which makes people feel that the aftertaste is long and the aftertaste is endless.
In this way, it diluted a lot of the original sad farewell mood of the melody (Great Wall tune). Before Weng Huaijing could give any other prompts, Yan Qing, who had an absolute sense of sound and ear, immediately made corresponding adjustments to the arrangement. He skillfully used
The palm joints tap the outside of the speaker board regularly, adding some drum beats to set off the humorous atmosphere at every opportunity, and quietly speeding up the rhythm from the slow tempo to the moderate tempo of the adagio.
"Hey, I thought I could hear the buzzing of the Yucheng dialect, but I didn't expect that it was Southwest Mandarin. But it's almost the same. They all retain the back tip of the tongue. The overall style is that the voiced initial consonants go in flat and go up, and don't go up.
Guiyinping, fade in and fade out, is a dialect system with a strong rhythm, so...in the previous world, domestic masters of psychedelic and casual trap style rap were concentrated in Tianfu and Chongqing."
From Yan Qing's inherent knowledge, the area around Tianfu and Chongqing has never been a gentle place. Youdao said, "Since ancient times, there have been many generous and tragic people in Yan and Zhao, and there are many Pao brothers in Bashu."
Back then, Weng Huaijing had been able to master Yan Qing in the Magpie Bridge Passage, and he certainly had that fierceness and determination in his heart. But now, Professor Weng, who speaks Southwest Mandarin like a flying spring, seems soft, playful, and extremely cute.
With the blessing of his own producer's musical literacy and having done the corresponding homework in advance, Yan Qingming understood that Qingyin, a form of opera, is essentially a fusion of folk songs and folk tunes from the Ming and Qing Dynasties, and also has the soothing comfort unique to the Bashu region.
The rhythm and arias are neither urgent nor slow, and he is used to inserting filler music to enrich the content of the tune. After some thought, he made up his mind to follow Weng Huaijing's performance to create a melody bridge design in real time.
In this way, the singing and harmonizing complemented each other perfectly. The two even secretly glanced at each other during the gap in a tacit understanding. Yan Qing, who continued to play, expressed his approval while also admiring Weng Huai's bottomless autumn water.
It reads with touching brightness and a touch of joy.
"Hurrah!"
"Wonderful!"
"Authentic!"
The group of melon-eaters were also particularly upset. Instead of cheering when Weng Huaijin finished singing, they took advantage of the moment when the two of them were flirting with each other. With their eyes wide open to catch the gossip, they turned into experts in watching the show and connoisseurs in listening to the music.
The authoritative commentator applauded and even booed in a serious manner.
The eyebrows are lowered and the eyes are shy, and the eyes are like water and delicate flowers. A pair of black eyebrows that have been trimmed by the makeup artist as sharp as a green edge slowly spread out. He maintains the look of an undefeated oriental man but is timid and charming.
Weng Huaijing continued to sing:
…
"Brother Liang sent me to Qingsong. A pair of white cranes were noisy. Both of them have the same coat color. I don't know whether they are male or female."
…
"(Brother Sends Good Brother) to (Brother Liang Sends Me)? It's not too different from the old version of the Sichuan Opera "The Story of Liu Meng", so I can sing it too. It's just a repartee of the original "Butterfly Lovers" and "Butterfly Lovers".
The format is changed to a one-man show by Zhu Yingtai."
Heeding the jeers of others and suppressing the urge to look intently at Weng Huai, the lively Yan Qing maintained his adagio (Great Wall tune) and secretly observed his sweetheart's every move with his peripheral vision.
Obviously Weng Huaijing's outstanding acting skills also have a lot of bonuses to her voiceless skills. A few movements combined with singing, chanting, and beating were able to perfectly capture Zhu Yingtai's unique shy attitude.
There was also a hint of resentment towards Liang Shanbo for not understanding his style, as if he was complaining that he didn't recognize his daughter. Just like that, Professor Weng, who was singing and pacing, glanced past Yili and landed further away.
On Luo Bing and Shao Qing.
…
"Brother Liang sent me to the temple. The sacred ones were sitting on both sides of the temple. It was difficult to distinguish the sacred ones. There was no need to act as a matchmaker in the middle."
"Wonderful, this finishing touch is absolutely wonderful."
When Weng Huaijing's punchline came out, Yan Qing couldn't help but marvel at it. She used what Luo Bing and Shao Qing did during Zhai Yining's bridge blocking incident to tease Yili - the two people who were supposed to be the doorkeepers did not do their job properly.
Become a matchmaker for the fateful couples who are in different camps.
"it's beautiful!"
The easy-to-understand explosive point once again caused a round of applause, which also made Yi Li, who had been standing calmly, become shy again. Yan Qing, who was having fun, also heard Shao Qing smiling charmingly:
"Did you hear that? Huai Jing means that we should be good doorkeepers at that time!"
Ignoring Shao Qing's joke, Weng Huaijing raised her hands slightly, made a gesture of wrapping her left hand around her right hand, and continued singing:
…
"Brother Liang sent me to a willow forest. The trees in the willow forest are entangled with vines. There are only vines entwined with trees in the world. I don't know if I am confused."
…
As soon as this libretto came out, coupled with the movements of Weng Huaijing's hands, everyone saw for all the skill of Mao Yili, Master Zhai at that time, so they naturally burst into laughter. Only Yan Qing, who was thoughtful, felt something in his heart, and he heard it.
More metaphors:
"Not only is it a joke about Zhai Yining's entanglement with Yili, Xiaoge's words also have a deeper metaphor, as if to point out that the relationship between her and me is more like kapok and oak, a love that is not entangled with each other but relies on each other.
This section is actually still fighting back flexibly.”
…
"Brother Liang sent me to the top of the wall. There is a good pomegranate tree inside the wall. I am willing to pick some for Brother Liang to eat, but I am afraid that I will ask for them again if I know the taste."
…
"Eat the pomegranate to know the taste. It is obviously mentioned in the gossip gossip circulated by the crew. After Mr. Zhai was persuaded by Yi Li to return to Shanghai, he kept looking for excuses to come back to the imperial capital for work. It is obvious that he came to know the taste after eating pomegranates.
Please, my Weng Xiaoge is so cruel, Yi Li won’t be so embarrassed now.”
With this in mind, Yan Qing looked up to observe Yi Li's reaction, only to realize that she seemed to have given up resistance and hid behind Zhao Mu. Weng Huaijing was not as soft-hearted as Yan, who raised the white flag for surrender.
Turning a blind eye, Professor Weng continued his voiceless singing.
…
"Brother Liang sent me to the garden. The flowers are blooming. If you want to pick some, Brother Liang will take them with you. Brother Liang is not a flower picker~"
…
"This section is quite mild, but if you think carefully about the content of the lyrics, it also has connotations about Yili. It is clearly a metaphor that she and Zhai Yining have been Lang's concubines for a long time, and they have a deep affection for each other. Then again, she can be forthright
I am happy to express my emotions honestly..."
Because Weng Huaijing's aria was too appropriate for the occasion, and it was difficult to simulate the guzheng accompaniment with a folk guitar, Yan Qing, who was constantly busy with distractions, had already forgotten all his previous considerations about this bridge, and unknowingly
The melody has come to an end.
As she stuck to the melody near the end, she raised her white and delicate swan neck, Weng Huaijing sang softly and looked at the starlight cast in the night sky.
…
"Brother Liang sent me to the river. There are no bridges on the top and no boats on the bottom. I don't know the depth of the water in the river. We will reunite on the 15th of the month~"
…
"It's broken, what should I use as a bridge between the two reciprocating melodies? What should I do... Xiaoge's aria is told in the Butterfly Lovers story line when the two Butterfly Lovers went from Hongluoshan Academy to Yingtai's home (Eighteen-year-old Farewell)
)…”
The accompaniment was about to disperse, leaving only a long tail sound like an orchid in an empty valley that broke through the shackles of the melody and lingered in the night sky for several times. Only then did Yan Qing suddenly realize that the (Great Wall tune) had been played, and Weng Huaijing's clear sound
It seems that it has not finished singing.
"How about using the theme phrase of "Eighteen Friendship Farewell" from the "Butterfly Lovers" Violin Concerto (Expansion) to casually overexert it. After all, I am most proficient in this piece and it is the most appropriate to use here..."