"Very good, this is the thinking of 'face'." Viadlin agreed with Fan Ning's "cool point" analysis, "Now, hold on to the top tone of the major chord, which is the do that repeats 9 measures, and then intensify

Can you try the minor second progression conflict implied in the middle voice?"

Fan Ning dropped the keys again and when he reached the third set of chords——

"Just like a thing is calm and unchanged on the outside, the internal conflicts are getting more and more intense and have been delayed," Viadlin added.

Fan Ning's eyes lit up.

Can these 8-bar chords be understood this way?

This taste is quite good.

At the end of the second play, Viadlin asked again: "What else led to the drama at the beginning?"

"The intensity of the crescendo?" Fan Ning replied. This answer seemed simpler and more conventional.

"Then, keep the same processing of the chord intervals just now. But while increasing the crescendo, try to emphasize the rhythm more evenly and with more self-discipline."

Fan Ning followed the prompts and played the song a third time.

"The emotional trend of the entire work is from the dilemma of life, depression and sorrow, to silence, meditation and introspection, and finally to singing in the storm."

"The beginning of the first movement is undoubtedly a microcosm and representative foreshadowing of the whole song."

"Imagine a life of restraint and suppression of nature, just like the last octave note of a deep, rich, and eager sound. The bell becomes more and more solemn, and then everything suddenly collapses. Damn the temperance! Damn the etiquette!

Desires and emotions burst out, bursting into a torrent of sound, like a cry to release everything!!"

Fan Ning has exchanged many opinions on how to deal with the beginning of "Pull Er", but they all stayed in the category of "imitating the crescendo of a bell", "finding the feeling" or "brewing that emotion".

Viadlin also did emotional analysis, but what he gave was three real points of change: the forced calming of the repeated sounds in the high voice, the advancement of the interval conflict in the minor second, and the deliberate change of the even rhythm during the crescendo.

of more even emphasis

When Fan Ning hit the main chord that finally settled in the key of C minor, he truly experienced what it means to "all suddenly collapse". As his hands brought out majestic and rapid sound groups, the piano next door finally played.

Modeled after an orchestra theme for oboes and string sections.

The melancholic, deep, and broad melody lines are like a magnificent picture of the northern land slowly unfolding, with endless wilderness, desolate roads, thick and low clouds, and tiny travelers running between the vast world, rushing

The sorrow is deep and bottomless.

Such sound effects, such sound effects.

At this time, Fan Ning, whose hands were flying with afterimages, was so impressed by the practical analysis made by this legendary pianist!
Chapter completed!