Chapter 42 Erhu and Suona Ensemble

When the graceful sound of the erhu and the high pitch of the suona were combined, Chen Ye suddenly felt that the two instruments were a perfect match made in heaven.

It seemed that only when the two played together could they form a complete instrument.

This song "Xiaochou" was a popular song for a while before the blood came, but what was unexpected was that the old man playing the erhu would also play it together.

Although he understood and adapted it by himself and added it in the form of harmony...

Not only did it not feel out of place, but it also strengthened each part of the song, making the listening experience transformed.

For a moment, Chen Ye felt that his mind was completely immersed in the performance of the suona.

As the melody of the old man playing the erhu became faster and faster...

Like an auditory hallucination, Chen Ye actually felt that the erhu seemed to have not only one track, but multiple tracks combined!

He gradually felt that the suona in his hand became laborious and it was difficult to keep up with the progress of the old man playing the erhu.

The music became messy and difficult to put together.

After struggling to play the whole song, the music stopped abruptly.

At this moment, the erhu master slowly stopped his movements and smiled:

"Don't be anxious..."

"The reason why musical instruments need to be infused with a lot of practice is that they need to form enough muscle memory so that the sound can be unified and smooth."

"If you want to think and play at the same time, you will be distracted and unable to maintain the continuity of emotions, which will naturally lead to dispersion."

"However, initial thinking is indispensable. At this stage, you need to think about what music is suitable, how to play what tunes, and what techniques are not yet proficient..."

"Once you have passed this stage and formed enough muscle memory, you can enter the state of 'flow' when playing, so that you will not be disturbed by anything."

Chen Ye pondered for a moment, carefully thinking about the words of the erhu master, nodded, and said:

"Continue to practice."

The two continued to play together.

When the first half of the song began, the erhu master would reduce the involvement of his own song and let Chen Ye take the lead.

Just perform simple harmony.

When the song enters the climax, the erhu needs to play the advantages of timbre, so as to bring subversive changes to the whole song.

Therefore, the old erhu player will not hold back at this time.

Whenever the climax is played, the suona in Chen Ye's hand seems to be filled with lead, and the familiar syllables become difficult to play, as if it is difficult to play with the music.

He took a deep breath and tried his best not to let the music of the old erhu player affect his emotions, but to focus more on the emotional expression of the performance.

For the audience, the emotional arousal is the most important, which requires the performer to push it out with skillful techniques.

However, for Chen Ye, he must first find his own emotions before he can express them well.

This is also why in creation, imitators can often do very similar things, but still cannot become an excellent creator.

Real creation requires personal expression, which requires finding oneself, rather than deliberately imitating or blindly following the rhythm of others.

Chen Ye gradually tried to withdraw from the skills of the song and find his inner self.

Suddenly, he felt the suona in his hand loosen up, and the song became more melodious.

He was secretly surprised, obviously he didn't expect that such an unpleasant suona could be played with such a melodious tone?

After mastering this technique...

Chen Ye suddenly realized how to play the suona correctly.

Gradually, slowly, he was able to keep up with the old erhu player at the climax, and the melody of the whole song was transformed because of the suona, thus becoming truly beautiful.

Even Chen Ye, who was also a performer, was deeply moved by the melody.

At this time, his mind was empty, as if he had forgotten all the playing techniques.

He just played the suona with the "flow of mind", but the tone that came out became completely different, melodious and popular, and there was no mistake in the performance of the technique.

On the contrary, when Chen Ye had been struggling with the correctness of the technique before, various small flaws were prone to appear frequently, and he always felt that there was something imperfect.

Although the current skills have not reached the level of perfection, with the promotion of "flow", some imperfections are modified with small skills to ensure that the entire rhythm and direction are not wrong.

The effect of flaws not covering up the merits is achieved.

Thus, a piece of music becomes more listenable.

Finally.

The performance enters the end, and the music ends in the mist with a distant and low artistic conception.

The erhu master raised his head, smiled at Chen Ye and said:

"Haha, kid, you should have gained a lot today, right?"

Chen Ye gradually withdrew from the emotions brought by the music, returned to reality, calmed down again, sorted out his thoughts in his mind, and then organized his words:

"Yes, I seem to understand how to play as a musician."

"People are people after all, it is impossible to achieve perfection, and it is impossible for every sound to be as accurate as a machine."

"Skills are not formulas, but the expression of the performer."

"But the expresser needs to know what he really wants to express in order to obtain real skills and make this "expression" close to perfection."

"If you play just for the sake of skills, you will be further and further away from the essence of expression..."

When Chen Ye finished speaking, suddenly, the feeling of "digestion" emerged again.

However, the progress of digestion this time was much more obvious than last time.

At this moment, Chen Ye realized where he had never been able to break through before.

After he had a preliminary understanding of music, he was too concerned about whether the technique was correct, whether the sound was right, and whether the rhythm was stuck on the beat...

However, the more he thought about it, the more cumbersome the content to be "expressed" became.

In the end, it would be difficult to grasp anything, and the mentality would be fluctuated by the mistakes in the technique during the performance, which would make him too nervous.

Imagine...

When an expresser is too nervous, the content he expresses, in this case, is also a manifestation of "imbalance".

Even if the distance from the correctness of the "technique" is very high, the ups and downs caused by this "imbalance" will make people feel uncomfortable in listening.

Instead, it is a completely relaxed state, without too strict constraints brought by the technique, so that the melody and rhythm return to freedom.

The effect of the performance has undergone a radical change.

Opening the bloody phone again...

The weirdness value has reached 5,900 points!