Please, come home and practice the piano

Chapter 292 287. Judges inside and outside the examination room

Ji Chengguang and his wife had already rushed to the exit of the examination room.

Li An nodded without saying a word, and turned his gaze back to the door.

"Teacher Li."

Lao Ji took out two cigarettes from his pocket, but Li An refused with his eyes.

In the small space outside the door, the atmosphere became a little dignified because of this scene.

Old Ji stuffed the cigarette back into the cigarette case, and walked to Li An in two steps, Hu Rong followed to Lao Ji's left hand side.

It was quiet again outside the gate.

About 10 more seconds passed.

Seeing no movement from the crack of the door, Li An couldn't help but wonder if something happened to Ji Yang inside.

At this moment, there was a sudden and faint sound, followed by a stream of fine sounds, which spread through the crack of the door to the entrance of the examination room.

The sound of Ji Yang's retest piano finally sounded.

But this didn't let Li An breathe a sigh of relief. For a moment, the body of the piano was heard, and three blue veins suddenly bulged on the back of his hand.

Almost at the same time, he leaned forward, narrowed his eyes between his ears, and held his breath, as if he wanted to mobilize all his attention to distinguish the delicate sound of the piano, for fear of missing any moment.

Then the whole person kept this movement motionless.

It wasn't until the fifth second that he exhaled slowly.

A good beginning is half the battle.

Although he couldn't accurately hear every detail of Ji Yang's fingering outside the door, judging from the overall forward rhythm of the music, he felt that this should be a pretty good start in the examination room.

Complete and smooth.

Even if the starting speed is about 6 to 10 beats slower than the fastest speed in daily practice.

That's fine, it doesn't matter.

As long as the rhythm is played at this speed, when the first theme comes for the second time, Li An guesses that Ji Yang's hands will be completely hot by then, and there should be no problem in pulling the speed back by 10 beats.

From this point of view, Ji Yang started a little slower than usual, but it also left a certain speed space for the subsequent progress of the music mood.

Not bad, not bad, the back must be stretched!

Come on, come on Xiaoji!

While cheering for Ji Yang in his heart, he unconsciously increased his clenched hands a bit.

As long as he keeps this momentum and continues to play, he believes that Ji Yang can get a desired result.

Across the door, the music continued to play.

On the scorching stage, Ji Yang looked natural and moved smoothly, but Mr. Li, who was blowing cold wind outside the door, was covered with beads of sweat on his forehead.

Below the stage, all of the nine judges were staring intently at the little figure in front of the piano.
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As an off-court judge at the moment, Li An gave Ji Yang a pretty good score at the beginning.

Whether this score is objective is open to debate, after all, he is Ji Yang's teacher.

But what is worth mentioning is that at such a moment, the nervousness made him forget what he said to Ji Yang half a year ago.

"Moonlight Three is one of the most common pieces in the piano art examination. Year after year, the judges have heard the cocoon. Therefore, if you want to use this work as an art examination piece to impress the judges, you need at least a certain speed. With the support of the team, the judges will pay more attention to it with a stable performance."

At that time, Li An objectively gave Ji Yang about the living space of Yueguangsan in the art examination room.

Speed ​​and stability, in no particular order, are indispensable.

But he overlooked one point, he is just a social piano teacher outside of the university, and he has no experience of going to the art test site to score candidates.

So the experience mentioned in the mouth is just a subconscious thinking simulated from the perspective of the examiner, and what I have heard and heard in the industry for many years.

So for a real art examiner, will he really be able to face songs like Beethoven Moonlight [-], Dawn [-], Storm [-], Passion [-], Chopin Torrent, Revolution, Dongfeng, etc. that require speed support in the test room? When Li An said that, he usually frowned first.

First of all, the vast majority of examiners will not frown before the candidates play, although they are numb or fully prepared.

So here I have to talk about why so many candidates choose these tracks.

This type of repertoire has the same commonality, the melody is catchy (nice), the rhythm is clear (strong sense of rhythm), and the music is rich in connotation (easy to resonate). Therefore, these repertoires, including the judges and teachers, are very willing to appreciate them.

Good works spread more and more widely, and even online novels such as Internet-based reading and entertainment industries can appear in the shadow of these works, so it is not surprising that these works frequently appear in the art examination room .

However, as more and more people play in the examination room, another situation will arise.

hearing fatigue.

The original amazing work may not be so amazing.

The examiner's ears have become more and more critical, and he has to raise the standard of judgment.

As a result, candidates who choose these tracks usually face a more rigorous test.

Over time, there were rumors that the judges of the art examination changed their faces when they heard about these repertoires.

In this way, the "culprit" of this phenomenon is neither the candidates nor the judges, but the composer himself, who made them write their works so well.

Secondly, for these classic good works, is it really a minefield for candidates to choose songs?

No.

If you have absolute strength and can play better than 90.00% of the people in the examination room, then it will be a plus to use such difficult classics.

Because there are too many candidates who choose these repertoires every year, a high-quality performance will cause a strong contrast in the examination room. This comparison means that it is easy to get a high score.

According to Huo Xiaodong's incomplete recollection, up to now, he has heard the first four bars of Moonlight III five times today.

Just commenting on the beginning, Li An's Moonlight Three is not bad among the five candidates, and can be ranked second, but it is indeed a little short of his expectations.

Because he is Ang Li's student, his expectations for Ji Yang are higher than other candidates.

Like Huo Xiaodong, most of the judges at the scene were also in the Red Chamber Concert Hall on the evening of January [-]th.

In the final flower-presenting session, Ang Lee's students came on stage, and among them, this figure who was more than half taller than the other children stood out the most.

Even those who know more about it know that this girl took classes with their department head for several months before the art test.

Even for someone like Chen Changwen, who never cared about which teachers and students in the department accepted, and at the same time couldn't remember which child gave flowers on which stage, he also had a feeling for Ji Yang the moment he took the stage. A sense of anticipation.

There is no other reason. In his opinion, this girl appeared full of emotions, high spirits, calm and stable steps. The overall state of the girl far surpassed most art candidates of the same age at this stage.

As the No. [-] figure in the piano department of Rongcheng Conservatory of Music, Chen Changwen is also an out-and-out old judge. He does not advocate empiricism, but in most cases, the appearance status of a candidate is indeed related to the quality of his performance.

But Ji Yang's starting speed did not meet his expectations.

So here is a conclusion that no matter what angle you look at, before a real judge, even if the halo of Li An and Wei Sanwan is aside, Ji Yang's speed of attacking the song is not as fast as that of this piece. Require.

Even with the blessing of her own stage status and stage etiquette, if the opening chapter does not meet the speed of the repertoire, the requirement is not met.

This is indisputable.

Moonlight Three, didn't reach the speed, is it still Moonlight Three?
Perhaps this answer varies from judge to judge.

But in fact, most of the judges don't really consider the difficulty of candidates' selection of songs when scoring candidates, but pay more attention to the completion of the songs.

As an important part of the completion of Moonlight III, the opening speed is the point that these judges pay special attention to.

Obviously, Ji Yang's opening chapter seems to be doomed not to get a high score.

However, there are still a small number of judges who are not so concerned about the speed of the hand.

From Chen Wenchang's point of view, the girl's performance has just begun. As an examiner with heavy responsibilities, his duty is to temporarily put aside the girl's starting speed and continue to listen objectively.

On the stage, Xiao Ji in front of the piano didn't know that she only played one opening piece, and she had caused so many psychological activities for the judges inside and outside the examination room.

She also didn't realize that the moment of hesitation before she dropped her finger, or buried an unsatisfactory ending for her.

She continued to play, her ten fingers pointed to the other side of her dream, and continued to dance vigorously.

However, as Ji Yang's performance gradually unfolded, Chen Wenchang gradually discovered something different.

Almost at the same time, the spinning pen in the hand of the female teacher on his right also stopped.

Every time the melody flowing in the entire studio passes by a judge, it draws three points of attention from his auditory nerves.

Chen Wenchang's knuckles under the table began to tap consciously following the melody in his ears.

I thought to myself that although the child's starting speed is not fast enough, the left-hand arpeggio of the first theme is played very comfortably.

Stable, exceptionally stable, with a very even volume.

Combined with the P (weak) emoticon mark at the beginning, the sense of design between the music is gradually presented with a kind of clarity.

The third movement of Moonlight is a presto, and the opening is marked with a capital weak.

Beethoven asked the player to play with a weak volume at the beginning of this movement.

Usually Beethoven marks a weak point in one place, just because he doesn't want the music to appear strong.

But looking at the right-hand melody at the beginning, it is a sound pattern running from the lower register to the upper register. This running sound pattern is very easy for the player to make a crescendo involuntarily.

So aside from the composer's rigid requirements on the speed of the entire movement, here comes the first difficulty in playing this piece.

How to maintain the running sentence pattern of this paragraph from low to high at a level with a stable volume?

The vast majority of candidates who choose Moonlight III cannot give a high score on this difficulty, because there is a reason for the difficulty here.

Rapid upward running leads to an uncontrollable increase in volume, so if the volume of the entire running sentence is to be maintained in a weak balance, the player must gradually fade out during the upward process.

Decrescendo going up is against people's habits. Usually, people are more used to playing harder melodies with high emotions.

Continuing to split this problem, we can see that the outer part of the entire right-hand melody is connected by the key-fall of each little finger.

The little finger itself is the weakest point in playing.

That is to say, if the player wants to express the clear melody part, he must give more power to the little finger, and giving more power to the little finger has a great risk of causing too much force and the melody sounds in the upward process. getting bigger.

This directly conflicts seriously with the weak intention identified by the composer at the beginning, resulting in inadequate musical interpretation.

Someone must be asking, can I control the little finger a little lightly?

Indeed, it is possible to pursue the composer's requirement of equal volume of passages by consciously reducing the pressing force of the little finger.

Please note that the risk of doing this will be greater, because the strength of the little finger is already weak, and if its strength is reduced consciously, it is easy to cause the melody movement to be unclear or not smooth due to insufficient strength of the key down .

You must know that in the examination room of the art examination, the judges will not only score the candidates from a certain point.

So even if the mark on the chart is weak, if the performance is not clear and smooth enough, it will not be affirmed by the judges, resulting in not getting a good score
Divide the question here, and the content of the examinee's investigation behind this paragraph will come to life on the paper-finger control ability.
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One evening, Ji Yang happily waited for Li An to give her the first lesson of Moonlight III. She read the score at the beginning five or six times with great interest, until Li An arrived.

But after Ang Lee came, she asked her to play the arpeggio with both hands that she practiced some time ago for more than 20 minutes.

After playing the last time, Li An reluctantly nodded, "It's okay, you have to practice these sets of two-handed arpeggios back and forth."

Especially the arpeggio in F-sharp minor.

In fact, Ji Yang knew that these sets of arpeggios were used at the beginning of this piece.

But he didn't understand why the teacher asked her to practice both hands. Only the right hand used these arpeggios in the piece.

"Ji Yang, if you can play these sets of arpeggios well, you will score 60.00% of this piece."

This is tantamount to saying that as long as you can play these sets of arpeggios well, you will be able to achieve a passing grade.

She didn't dare to think about whether there was any symbolic meaning behind the rehearsal rehearsal, but she was sure that in the next six months, these sets of arpeggios would be the top priority of her practice.

Children are children after all, and sometimes they are too idealistic about some things.

Just like these arpeggios.

She thought that she had already made up her mind to fight to the death with these arpeggios, but the training that night made her almost collapse.

"It's lighter."

"It's heavy."

"It's lighter."

"It's heavy."

"Uneven."

"What about the shape?"

"What is this?"

She played it over and over again, and was mercilessly interrupted over and over again.

Xiao Ji broke down.

She really wanted her brain to grow on his little finger, so that the little finger could better obey her control.

There is no way to complete the sentence without being able to control the playing of the little finger.

"This paragraph appears four times in this piece."

Li An's timely deafness forced her to raise the importance of this issue to a new level.

She had to win this section perfectly.

But another month passed, and she saw several groups of arpeggios getting more and more proficient under her fingers, but the only thing that couldn't be solved was the problem of the little finger's dynamic control. .

Only then did Li An cheerfully teach her a way.

"Come here, come here."

"Look at this, look at it."

Li An's tone at that time was indeed a bit mean.

(End of this chapter)