Old-time musicians

"Uh, okay," Fan Ning thought as he tapped the penholder, "But this lecture is not a concert."

"Concert?" Xu Ci was stunned for a moment. Considering Fan Ning's recent movements and then thinking about the possible demands that might arise, he showed an expression of sudden realization.

"More money, you really need to pay more." He made a decision immediately. "Just like the relationship between concert audiences and tickets, the school will pay double the tuition fees."

As he spoke, Dean Xu Ci gradually felt better and a smile appeared on his face.

As time passed, the haze of the accident began to fade. The Santa Maria Symphony Orchestra jumped to the top of the student orchestras. News from the cultural department was also revealed. The rankings were updated in early October. The orchestra was rated as a second-tier professional orchestra in the middle of the pack. It has a reputation in the academic community and funding. Funding and exchange resources will come one after another, and the overwhelming response to this elective course is an unexpected surprise.

"Dean, you misunderstood what I meant." Fan Ning laughed dumbly. "What I mean by 'different from a concert' is that if the venue were bigger, people behind and on both sides would hardly be able to see clearly the writing on the blackboard."

"And even if I lecture at the top of my lungs, the sound quality of the microphone is not satisfactory, and I'm afraid it will take a lot of effort to listen. More importantly, I missed the content on the first day, and it will be difficult to understand it."

"They obviously think it would be good if they can listen to it." Xu Zi shrugged, "The alternative is the small auditorium No. 1 of the Yin Yuan. The seats and extra seats are arranged closer together. Everyone squeezes in and the class is officially selected. Classmates are still front and center.”

"As long as they can do it, I don't have a problem with it."

After the brief discussion was over and Xu Ci left, Fan Ning walked around and thought in the office where Mr. Anton was alive.

The sense of spiritual transparency during today's lecture allowed him to confirm that the subsequent door key to his "candle" phase climbing path is indeed related to "innovation in art theory", such as the third level "Gate of Whirling Fire".

That's not everything, but it's certainly an important part.

The abstract meaning of "candle" originally contains "enlightenment".

For the mystery of "Unfallen Fire", "enlightenment" allows more people to bask in the glory of the Lord.

But there is no doubt that Fan Ning instilled reason, taught and inspired the world, and cleared away the clouds and obstacles on their path of pursuit. This is also "enlightenment".

Of course, if you want to open the "Gate of Whirling Fire" and pass through it, I'm afraid you can't simply carry forward "Harmony" and subsequent courses.

"Artistic thought is in an era of intense change. The music theory I will teach the world in the future must not only be able to explain classical and romantic vocabulary, but also must be able to explain Impressionism and even future modern avant-garde music. It must be more difficult and more sophisticated. Something more holistic and essential.”

On the second day, the course was moved from the 400-seat large lecture hall to the 600-seat small auditorium. The actual number of people was close to 800 after being squeezed in and adding more seats.

Fan Ning started with the explanation of ii-level chords and vi-level chords, and introduced the segment expansion technique that hinders the termination.

Changes in harmonic writing began to appear: subordinate seventh chords, leading seventh chords, dominant ninth chords, heavy dominant chords, medieval modes, and natural modes in Hoffmann's folk music. These are commonly used by everyone, but they are used in a very confusing way. and "feeling" materials, based on Fan Ning's solid theoretical foundation the day before, all turned into a clear vocabulary of inspiration that can be used as needed.

On the third day, the venue was changed to a medium-sized auditorium with 800 seats.

And almost all the teachers from the Conservatory of Music, from professors to associate professors, from lecturers to teaching assistants, are here!

Just looking at the ratio, there are more than students.

You know, although the University of St. Lenia occasionally has big musicians come to exchange lectures, the scene is always full, but those are students, and teachers are not so present.

Nowadays, teachers and students sit together in the audience and listen to lectures. This scene is really rare.

On the last day, in front of an audience of more than a thousand people, Fan Ning finally began to explain the techniques of off-keying, modulation and chromatic system modeling.

He discussed in detail the distant relationship between tones, from parallel tones and modulations of the same main tone, to close modulations that differ by one key signature, from sub-close modulations that differ by two key signatures, to modulations that differ by three tones. He demonstrated the complete technique and process for each of the far-relative modulations above the number, as well as modular modulations or accidental modulations, and cited examples of matching master works.

Finally, Fan Ning also presented three "killer weapons" commonly used in modulation techniques.

flat svi) in alternating major keys, Neapolitan or Neapolitan chords (n\\/bsii), enharmonic modulations of dominant seventh and diminished seventh

Many people have come here and belatedly discovered that many fragments of master modulations that are considered to be wonderful modulations can be imitated according to these techniques.

He was able to summarize it to such a high level!

Moreover, every time he talks about a technique, he breaks it into pieces and restores the process of dismantling it. The application examples of the corresponding works are also readily available, which shows his breadth of coverage.

These priceless skills were poured out endlessly by Fan Ning in this auditorium, just to see how much the audience could gain!

Those who fail to follow the instructions will suffer immeasurable losses.

Finally, this first course taught by Fan Ning ended with a summary of the harmonic functional circle and the basic principles of the tonal layout of the work.

The applause showed no signs of abating until Fan Ning left the stage with his briefcase.

No one got up, everyone was sorting notes and digesting the results.

Fan Ning, who once again devoted himself to the busy orchestra preparation work, realized after quite some time that the response to this world's first harmony lecture was so rapid and far-reaching.

The lecture notes that the students took with them spread out like a flash flood.

The content of Fan Ning's lecture notes was actually very simple.

Since there was no projection screen in this world and the efficiency of writing music scores on the blackboard was too low, he compiled more than 200 examples of master works in advance according to the distribution of knowledge points, and after two-level numbering, he asked the school to print and distribute them to the students who chose the course.

In this way, when analyzing a certain example, you can directly say "Please look at the bar number of the number of bars", and the stage and the audience can communicate with each other.

There is nothing on it except the score, not a single word, so it cannot be said to be a copyrighted work in the strict sense.

But the audience filled Fan Ning's teaching content into every inch of blank space as much as possible, starting from Fan Ning's introduction to the four courses of "What are we talking about when we talk about composition" to the final modulation techniques, harmony function circle and tonality layout principles.

Those relatively complete and well-organized lecture notes were borrowed and copied by a large number of learners, and spread from one person to ten, and from ten to a hundred.

If Fanning's previous performances or creative activities influenced composers or performers who were more practical or market-oriented and active on the stage,

then this time his innovative ideas on the traditional "Composition" and the publication of the first "Introduction to Harmony" caused a strong shock in the education, academic, music and even the wider art world!

In this world where there is mystery and people rely too much on spirituality, "mostly driven by inspiration" and "extensive and backward theory" are not just common problems in the field of music.

And now many people have begun to reflect.

Including art theorists or educators, including the authorities who are responsible for the "prosperity of the art industry", and those artists who are eager to go further.

Perhaps it was a coincidence that the day after the three-day harmony course ended, another thing that also attracted the attention of the music industry in various countries, especially the excitement of music fans, was also announced:

Fanning's second album was officially released and sold.

Yes, after his first summer music festival record received a three-star evaluation with 4,450 copies sold in the first batch and 5,150 copies sold cumulatively.

The short interval and fast efficiency are amazing.

What is more eye-catching is that this conductor did not choose to continue recording orchestral works.

He actually played a piano solo!

Conducted by Fanning, this time he chose to talk to the public for the first time as a pianist, and it was also a new work, and there was only one!

The name of the work is particularly long, straightforward and retro.

It may be that the solo record priced at 20 pounds is 10 pounds lower than the last time, it may be that the music score that has been released for a while has a warm-up effect, or it may be a professional art market analysis. In short, Hoffman Records seems to have more confidence this time than last time.

Without the premise of "pre-order survey", the factory was directly issued a first batch of 5,000 production tasks!

As a company with advanced management model, they have always been the industry leader in inventory cost control, have a mature production and sales rhythm, produce a batch and digest a batch, and have a low error.

It seems that there is a high degree of confidence that Fanning's album can reach the first sale threshold of a four-star rating.

Sales are booming.

And the subtle thing is that his "Introduction to Harmony" is not only connected to the time of the piano album's release, but "Keyboard Etudes for a Fixed Bass Theme" is also a large-scale polyphonic work in the medieval style!

It seems to be foreshadowing the second course at the end of next month: "Introduction to Counterpoint"!

The impact of the double event quickly spread overseas. The first to extend an olive branch to Fanning and invite him to teach abroad at a high price was the Holy Janus Kingdom Conservatory of Music in the Western Continent, the birthplace of serious music.

The wording of the text also implies that if Fanning is willing, they will discuss in detail the awarding of honorary titles.

Other well-known public schools at home and abroad quickly followed up with invitations.

At the same time, various academic circles and publishing houses are also asking St. Lanniar University if they have a detailed version of the "Harmony" textbook without the word "Introduction".

The handouts are good, but not enough!

The inquiry of "Are there any more classes scheduled?" still appears in a stereotyped way.

The staff who answered the phone from the school gradually repeated their answers mechanically: "No\\/No, it depends on Professor Fanning's next move."

Fanning has not paid much attention to these responses for the time being, he has been busy with his own work.

The next important time node is Saturday, October 25.

After the completion of the renovation and expansion project of Turner Art Hall, after a month of decoration and three days of ventilation with the "mysticism" method, it is ready to move in!

In fact, the main entrance of the art hall with wide steps is still inaccessible, and the projects including the ticket inspection hall, symphony hall, chamber music hall, and several large art exhibition halls are still being completed.

But entering from the side door of the building, everyone's office, conference room, VIP guest room and Fanning's own living room are already in place.

The rehearsal hall has also been put into use. Those who have been working or rehearsing in the school venue for more than 20 days can finally come to their own territory.

This is the afternoon of their first day of rehearsal here.

Fan Ning went down the side stairwell to the basement level, and his body gradually felt cooler and drier.

The oval corridor includes 1 rehearsal hall, 3 rehearsal halls, 3 music classrooms, 4 dressing rooms, more than 30 piano rooms and small classrooms, as well as a warehouse for large musical instruments or consumables.

The other end is connected to the staff preparation area behind the concert hall, which is still hung with a sign "under construction".

The faint sound of music penetrated the almost closed rehearsal hall door and was captured by Fanning's keen sense of perception. It was the orchestra part of Beethoven's "Violin Concerto in D Major" slow movement that Kaplun was polishing.

Fanning walked straight through here, but did not go in.

He came to the door of another music classroom and gently pushed it open.

The soft light sprinkled on every wooden surface. There were podiums, black and white, conductor's podiums and small grand pianos, neatly arranged mahogany tables and chairs, and more than 50 men and women sitting in restrained seats.

They were mainly boys and girls who had passed the voice change stage. These children came from farmers or labor families. Their faces were not very emotional, but their clothes were brand new or washed pale. Fanning even felt that many girls had applied cheap face creams and other things. It was obvious that they wanted to make themselves look as clean and decent as possible when they went out today.

At this moment, they stood up one after another, looking at him with uneasy and expectant eyes.

"Professor Fanning." The boy in front of the podium and the girl sitting in front of the piano also stood up.

"Clark, Yin Lisha Bai, good afternoon."

These two are the student conductor and piano accompanist (artistic director) of the Saint Lania University Choir.

Due to the management affiliation with the symphony orchestra, they had some intersections with Fanning on weekdays. They were recruited by Fanning as part-time students of the Conservatory of Music to train teachers.

With Fanning's memory from previous contacts, the whole classroom was full of familiar faces whose names he could match.

At present, the recruitment task of the affiliated choir members has been completed for the most part, so today is set as the reporting time. However, the affiliated youth symphony orchestra involves instrumental music, so the progress is much slower than Fanning expected. At present, 25 people have been recruited out of the idea of ​​80 people, and some solutions need to be found later.

When they met for the first time, everyone was looking at the music director in unison, waiting for him to give instructions.

What would he say?

Who knew that Fanning's first sentence was not to make a meeting speech;

not to announce the discipline;

nor to ask about the progress of their placement work, or directly lay out the teaching tasks.

He gestured to Yin Lishabai, the girl in the green skirt sitting in front of the piano, to close the piano cover first.

Then he supported his hands on the podium and glanced at everyone with a smile.

"Boys and girls, let's play a fun game first."

"Game?"

"Fun game?"

The boys and girls in the audience looked at each other, and some of them were already moving to move out of their seats.

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"No need to leave your seat or stand, just sit down."

Everyone sat down quickly, and Clark and Yin Lisabeth, two outstanding students of the Conservatory of Music, looked at Fanning with curiosity.

"Come on, learn to sing like me." Fanning waved to the people in the three rows of seats on the left.

A temporary test? They suddenly became nervous.

"Do." Fanning sang a short, middle-range note that everyone could reach.

Everyone was a little confused by such a simple "test", but they still followed the voice.

"Do."

"No, you can drag it out as long as possible, using the voice you think is the most lyrical and beautiful."

"Do——————"

"Very good." Fanning clapped his hands, "Come again."

"Do——————"

"Can you remember this pitch? A little while." Fanning asked.

The boys and girls on the left nodded like pounding garlic.

"Come, it's your turn." Fanning waved to the people in the three rows of seats in the middle, "Learn to sing from me, mi."

"Mi——————" They quickly imitated the previous practice.

"Great, it's your turn at the end." Fanning pointed to the right area, "Sol."

"Sol——————" Another satisfying imitation.

"Okay!" Fanning clapped his hands three times in a row, "Boys and girls, remember your respective pitches, sing them several times in your mind, and give you 10 seconds."

"When I count to zero, please sing out loud again, remember not to be affected by interference from other areas. Ten, nine, eight..."

The classroom was temporarily quiet, everyone held their breath nervously and seriously, and their lips moved slightly.

"Three!" "Two!" "One!" Fanning's preparatory clap fell, "Zero!"

"Do\\/mi\\/sol——————"

The bright and warm C major triad was slowly sung by the boys and girls.

The sound was ethereal and clear.

It was like a beam of pure light piercing the barrier and descending into the world.

Such a sound

Such a sound

Fanning saw the shoulders of a girl with a sad face in the middle and suddenly trembled uncontrollably.