Old-time musicians

"Then why don't you try to buy a lottery ticket?"

Hearing Joan's words, Fanning had a strange expression on his face.

[I hope readers will remember our domain name Taiwan Novel Network →🆃🆆🅺♦🅽.🅲♦🅼]

He thought for a while and said, "Whoever really heard it, wake everyone up first. It's not such a coincidence."

"Okay"

After saying good night to him, the two girls went into the next door.

Fanning went straight into the bathroom. After washing and changing into a nightgown and asking the laundryman to take away the clothes, he walked to the window table in the guest room, turned on the gas lamp at hand, and took out the music book, notebook, and pen in the briefcase one by one.

The music paper on the pages that I often turn to recently is not the orchestral score or the piano score.

They are all single-line bass clefs.

"I am still following the footsteps of those great musicians. If the giants are dead, the heroes are dead, or I am about to die, what kind of past should allow the deceased to lie solemnly under the wreaths and bouquets?"

"I don't know the reason, nor the result, but I can at least describe the process and the scene. I must write a tone poem or symphonic poem similar to a "funeral march" to bury it, so that the audience can observe the entire life of the deceased from a higher perspective. Reflected in the clean and flawless mirror."

The pen tip was lifted from the ink, and three flats were drawn one by one next to the bass clef.

"I chose C minor to pay tribute to Beethoven's "Fate Symphony."

Then, Fanning's pen flew across the music paper.

"The funeral of the hero here does not take place in the church or the garden. It should not be sad and sorrowful. It should be on the tragic battlefield or in the sacred questioning place."

His handwriting is very sloppy, and from time to time he draws rough horizontal lines on the guest opinion book of the hotel next to him, writing some tentative and messy things. The note heads are not filled and rounded, and the note stems and tails drag long and sticky ink lines. The specific rhythm and duration are not clear, and only the pitch relationship between each other is reflected.

"For this song, I need at least 10 double basses, no, 14!"

Some fragments of inspiration accumulated during the daytime driving turned into a solemn and rough double bass motive fragment at this moment.

One by one, the waste manuscripts were torn into pieces and floated back like snowflakes. After they were formed, they were copied into their own music notes. They were a prototype and three deformations of the motive fragment. Their structure was somewhat reduced and the tonality was somewhat changed, but all concentrated in the bass area.

They are not the themes of the presentation part of the tone poem, but the materials similar to the introduction part of the "First Symphony", but they have a completely different temperament from the "breathing motive" that is quiet and ethereal, high-pitched and distant, like the cry of a cuckoo.

First of all, it is low and fast.

Then it is different from the fast notes in common songs. Those notes are often long-line melodies, and in Fanning's writing at this time, it is separated by a large number of rests.

Its movement is broken, and the components are sometimes complete and sometimes broken, wandering and sweeping under the shadows, shining with a sharp black light.

The combination of extreme stillness and extreme movement finally constructed the kind of opening mood that Fanning had envisioned before, which was full of deterrence and questioning, unstoppable, and even a little violent.

It is very dramatic, enough to penetrate the soul of the audience at the beginning.

"The introduction material of this "Funeral March" may be called-" Fanning's eyes flashed with golden light.

"Questioning motive."

"Even if the introduction ends, the 'questioning motive' should not disappear. Even if the first theme of the future is presented by me, it should continue to wander and sweep in the bass area, forming a polyphonic counterpoint like a storm, because it is the keynote throughout the funeral march... Every deceased should be questioned in this solemn way before being buried, why was he born, how was he born, and what kind of past is worth remembering."

Under the influence of inspiration, the gas lights in the whole room flickered, and the shadows of objects swayed. This is a new invisible force derived from the purifying characteristics of the "Giant" symphony. It has not yet become substantial, but the unknown factors hidden in the nothingness seem to have a tendency to break out of the ground and be uprooted.

As early as the beginning of this year, Fanning had been promoted to the middle level, and then the premiere of the "First Symphony" brought him a huge change. The feeling was different from simply "brushing the intensity of inspiration" to reproduce the music of the previous life - due to the lack of more advanced mystical knowledge, Fanning could not describe it accurately, and could only roughly think that it was a change in the "characteristics of the spirit" or the sublimation of his "artistic personality".

Of course, it also brought an increase in the intensity of inspiration.

With the accumulation of the "First Symphony", Fanning expected that when the "Violin Concerto in E Minor" reappeared, he might be able to try to peek into the realm of the higher level and master the invisible power of inspiration. At that time, he would be more confident when facing the external environment with uncertain risks.

"It was born out of the impulse and idea of ​​the journey to trace the origin, sprouted at this time, and was born here. This is history."

Although there were only lines of separate bass clefs, Fanning solemnly wrote the temporary title in the title: "Funeral March in C Minor".

After marking a few simple harmonic progression symbols below the motive fragment, Fanning closed the music book.

Inspiration was still abundant, but it no longer flowed out wantonly, and the lights and shadows in the room became stable.

Feeling a little tired, Fanning stood up and leaned forward, pulling open the golden floral curtain and pushing open the glass window with gorgeous relief frame.

He was looking at the northern suburbs of the small town of Gogol. The location of the hotel gave him a very wide view in the front. In the night, he could vaguely see the shadows of several sections of ancient city walls and mountains in the distance, and there were only a few farms, ponds and paths with a pastoral flavor in the near distance.

Then there was a section of railway track that was similar to a "zigzag" shape, and the node for merging and switching tracks was just in the opposite direction.

The scattered and dim gas street lights ended here, lying quietly in the dark night, like the dark brown texture lines on the earth. Although they were abandoned fragments, at least Fanning could not see the starting and ending points in his field of vision.

Suddenly, Fanning, who was looking out the window, seemed to have an electric current flowing through his body, and his scalp suddenly numbed.

The night became darker, the breeze stopped suddenly, the windows of the farm were blinking, and the apertures of the gas lamps beside the path were reflected in white mist.

And there seemed to be a pair of eyes on the railroad tracks staring at him!

This was a strange sense of déjà vu. Intuition told Fanning that there was no extremely malicious threat on the other side of the night, nor was there any dangerous knowledge that could cause cognitive collapse, but the imagination of this matter itself made his hands and feet cold and his scalp numb.

Something seemed to have been reorganized in the air. Looking again, the night was still ordinary, the breeze was still blowing, the farm windows were soaked in orange warm light, and the dark brown abandoned railroad tracks lay on the ground as usual.

There were no eyes, and there was nothing on the railroad tracks.

"Is it because my inspiration just now was too high?" Fanning was a little confused.

The light of first acquaintance allowed the surrounding summer temperature to flow to himself, penetrate the etheric body, condense on clothes and skin, and in just one breath, Fanning's cold skin became warm as before.

There was only the chirping of insects in the summer night. After turning off the gas lamp, he threw himself on the soft big bed with his legs spread out, kicked the quilt aside, and fell asleep in pajamas.

It must have been a long time, and when he was in a daze, he suddenly heard a "Woo!——" sound.

Fan Ning suddenly woke up and jumped up from the bed. Almost at the same time, his figure was at the window in front of the table.

On the railroad tracks, the first thing he saw was two beams of white light like searchlights.

Then he found that the light started from a shape like a locomotive!

－－－－－－Digression－－－－－－

Thanks to Commander Mouse, Ke Jin, Pigeon Princess Ke Ji, Reading and Traveling, Divine Power Martial Arts, De Fei Xin, Xing Tian Yuan, Continue to Sublimate, Han Shao Xian Huang, Qing He Xiu Cheng, Pale Dawn, Book Friend Taihao 9631, Jian Qi Mi Xing, Tai Changx, Tai Wei Tian Zi for their monthly tickets, and HouseManVI and K1ffer for their rewards~