Chapter 710: No end (Part 1)

"Ding—Dong—"

Another slow movement passage, Fanning played a series of crystal-like chords, resonating like hymns, echoing in the empty church square.

Song 19, I fell asleep, but my heart was clear.

Or, it can also be called "the dreamy stare".

Here are bright candlelights and swaying flames. People with sincere feelings hear the "theme of mysterious love". It refers to the most beautiful "song of elegance" in the hymns of the church, just like the violin played by an angel in a dream, slowly flowing out the gentle and quiet music.

Then according to the title "Twenty" of "The Meditation of Twenty Holy Infants", the finale of this film has arrived.

But the title of this song is not pre-noted in the catalog.

“Chapter 20, ‘The Gaze of the Church’.”

Bishop Walter, who received instructions in advance, came to the altar and spoke loudly.

"The gaze of the church?" The believers looked at each other.

"Very good, very good." The nineteenth generation of Janings felt that it was both unexpected and reasonable, and could not help but praise silently. "The church is a group of believers. The gathering of believers to become a congregation is the manifestation of the sacred group. Every believer is an extension of the 'candle', so the church is the manifestation of the enlarged array of the mystery of the "candle". In this way, staring at the church is like staring at a living living body. The 'candle' is originally invisible, and we are tangible and visible!"

"But why is this song not titled in advance? Is there any other purpose?"

"Master Lavoisier explains to the priests and the audience in this way-" Just as Walter just picked up the note and continued to speak loudly.

"The secret of lighting is about the road to the future, so this is a prophecy, a musical structure that you have never seen before and no one can understand first"

Immediately, Fanning's left hand played a long, theme sound group composed of irreversible rhythms in the bass area, resounding throughout the night with an extremely honorable and progressive posture.

This sound group is extremely unstable, and is symmetrically expanded by "edge" on both sides, and is also separated by fast sound groups that are reversed from the midrange.

A certain religious spiritual triumph and victory emerge beyond time and space, both tranquility and ecstasy!

"Is this. This is?"

“Isn’t this a typical way to write the expansion section?”

"Why is it the opening department right after I get up? Did I miss my hearing?"

All these artists who claim to be "pioneer", "radical" and "transcendent" in music were stunned by the opening of this article!

In the order of music structure, normal thinking is definitely "presentation-expanding-reproducing".

You have to throw out a theme first before you can present contradictions and changes fiercely, right?

And this song "Church's Gaze" actually has a structure with an expansion part located before the presentation part! Specifically, the music consists of a sonata type that omits the reproduction part, and the presentation part and the expansion part appear inverted!

Is this something that a "normal" artist can think of!?

How to evaluate this? What is the evaluation based on? What is the comparison?

You can't "examine" something you don't understand at all.

Is this still called "inspection"?

Lasus, who were sitting in front, was silent directly by the members of the "exploration team" of the special inspection hall.

"This is called 'prophecy'!"

But the believers agreed and felt that after these days of teaching, they had already understood four or five points at the beginning.

"This is the reveal of the 'secret of lighting' and 'harmony prayer'!"

After the long sound group at first unfolded, a summary "Father's theme" appeared again under Fanning's fingertips. It was presented three times in total, and the three times were all connected by whizzing past colorful colors.

These colorful colors are characterized by the "asymmetric expansion" texture variation of the left hand and the phonological sequence of the right hand. The two overlap with each other. Therefore, in such a turbid continuous voice group, the "Father's theme" gradually rises from B major to bD major to F major, showing an exciting and dizzy spiritual shock!

As the finale of "The Twenty Holy Infant Meditation", "The Gaze of the Church" has undoubtedly become the largest and longest movement among them. The composer intends to comprehensively apply the various secrets revealed by the first nineteen songs to this movement, appearing in large quantities and concentrations, and changing in large quantities and concentrations, demonstrating the significance of summary, overall planning and echoing!

"Dong!"

"Dong!!!"

"Dong!!!!———————”

When the bell built on the continuous sound of the sound rings again, the vocabulary of "harmony prayer" appears again, and under the increasing rhythm of the time value, the #C

This growing up musical passage still hits the bells in the church, and conveys brilliant majesty and gospels on the top of the towering mountains!

The first appearance of the expansion part ends in this way, and then the inverted presentation part is presented in bar 161 with an extremely glorious posture!

The "Father's Theme" finally developed from the former chords to a complete melody, positioning the tone at the powerful chords that were constantly repeated in the original #F major, using materials that imitate cymbals, gongs, bells and bird songs to show an unparalleled sacred and epic temperament.

The final ending also ends with the "Father's theme", but becomes transcendent and perfect, thus becoming a great victory representing love and joy. In the end, tears filled with joy come like a tide!

The vast church square was filled with extremely warm and touching applause!

“Lavoisier uses a more subtle and philosophical modern musical language than any other work, eloquently and movingly opens our eyes and ears to an unexpected field of theology!”

Meraltin led the digital bishops and signaled the audience to stop applause and wave their hands several times.

Because the performance has not ended yet and the first half has not ended yet, enough time must be left to preach and preach in the second half.

But the applause of the tribute was completely unstoppable.

Until Fanning on the stage dropped his finger again and forced the noise with music.

The last part of "The Art of Fugue" has finally arrived!

In the 12 and 13th method, Fanning used his superb counterpoint technique to show the world two fugues written with strict reflection techniques.

It's not just a reflection of the theme.

But they reflect each other!

That's right, the two groups reflect each other, that is to say, there are actually two of the two counterpoints, and in total, there are four!

For example, the alignment method 12 is a two four-part fugue that uses the level III sound in d minor as the axis to perform "mirror reflection".

They are so clearly visible that even if you don’t know the stalk, as long as you get the track, hold the scores with the same page and the same position together, and watch and compare them carefully, you can see at a glance that the directions of those "tadpoles" are completely mirror-related.

Since it is a strict reflection inversion, the two fugues are exactly the same in structure, and the only difference is in tone.

The "prototype" part presentation part, the answer to the question is the main tone d minor to be changed to the a minor, and after the main tone of the "reflection part" is opposite, it is turned to the subordinate to the g minor. The "prototype" theme of the expansion part enters twice from g minor and bB major, while the "reflection" part is converted into the a minor and F major in the direction of the direction
Chapter completed!