Three years later, the calligraphy teacher asked him to listen to Han Gui, a famous domestic performer, play Ping Sha Yan and Shuo Zhang, which made him feel more deeply. He wrote: "It's fascinating, that is, a click, a rise, and a fall are all unexpected. I am a teacher. " In the process of learning the piano, Han Gui encouraged him to say, "It's time to play honestly. After you master it, there will be unexpected people." After hard training, he further realized: "What I have worked hard under my fingers for a long time can be imitated at night?"
Jia (A.D. 1824), after Dai Chang-geng also learned from Han Gui, he often "criticized and praised Jiang Wenxun". For this reason, Jiang Wenxun wrote in his poem: "It is a waste of time to discuss and wear Xiang Xue." He regards Dai as "the son of the real world". Someone once asked Jiang Wenxun: When you played Qiu Si in Dongting, what was the sound of three strings, nine emblems and four quarters? Jiang couldn't answer, and only after listening to Dai did he know that it was a tone sandhi. Since then, I have worshipped Dai Chang Gung as a teacher and learned the name of six laws and six laws, which are divided into eight phases. "There is a tone of inventing music practice." He thinks that "there is no way to make music without a teacher." Because both Dai and Han Guxiang have the word "Xiang" in their names, in order to commemorate his two teachers, his musical score was named "Erxiang Musical Score" (Preface to Erxiang Musical Score).
The essence of Qin Xue by Jiang Wenxun can be found in Erxiang Qinpu (A.D. 1833). Including Qin poetry, fingering, genre and.
This paper takes Qin poetry as the research object and discusses how to describe music with poetry. Affirmed the poems of Bai Juyi in Tang Dynasty and Bai Yuzhan in Song Dynasty describing playing the piano. As for the Yuan people, Lu Ye Chu Cai quoted one of his words: "Today, when you see the meaning of rock and roll, the rhythm becomes faster", and also quoted the sentence "The world doesn't know the meaning of rock and roll, but when you love it, you will play the piano" to illustrate the dialectical relationship of "playing the piano late, and being late will be fast". And said, "If it is not natural, what structure?" This is very reasonable. Without the contrast between fast and slow, playing fast blindly, like an abacus, is far from the structure of music. There were many arguments about Han Yu's listening to Qin in the past dynasties, and Jiang Wenxun put forward a more novel point of view. He thinks that poets belittle piano players instead of praising them. If you really praise and affirm Ying Shi's performance, Han Yu should never tire of listening to it and ask him to play it again. However, at the end of the poem, it is: "Push the hand to stop", which shows that the poet no longer wants to listen.
In the fingering part, the right-hand fingering can be summarized as: idea, weight and gesture; The left-handed fingering is summarized as: chanting, fingering, up and down, and analyzed item by item. He compared the relationship between his two hands to the word "reality" in the article, saying: "The right hand plays the real word, and the left hand is like empty word. The content words in the article are also light and heavy, positive, subject and object, and detailed. " It is also compared to writing: "The right hand is like a pen, and the left hand is like a belt. The strokes are thick and thin, long and short, thick and light, positive and biased, and ups and downs." So as to prove the dialectical relationship between "reality and emptiness" in performance. He advocated "hard work and hard study" and said: "The strange comes from the right, and the imaginary comes from the real." It is believed that the left hand is empty, "a scholar need not get sick, and if he uses it badly, he will get sick." The "real sound" here refers to the pitch and rhythm of fingers, and the "virtual sound" refers to the decorative change of hand sound. He believes that "truth" is the basis of performance.
In On School, he commented that in the Spring and Autumn Period, Nanyin was played, and in the Tang Dynasty, Zhao talked about Wu and School, indicating that there was Qin School in ancient times, which was used to prove the contemporary "Zhongzhou, Baixia, Jiangsu, Zhejiang and Bamin". Saying that these factions are "extinct or micro" has been changing. He also introduced the fashion of contemporary piano industry: "Many people in the world have studied Wu Pai. Although they are now Shu people, they also live in Wu Pai." Then he said, "Wu Pai is divided into Yushan and Guangling." He analyzed the origin of the two schools and pointed out that the real founders of Yushan School should be Yan Cheng's teacher Chen Xingyuan and his father Chen. At the same time, it is also pointed out that Guangling School "has the same smell as the mature school." These are all very insightful.
In On Ci Hua, Qin music can be divided into two categories: one is "court elegant music", which is dominated by ensemble. In order to "promote merit, so everyone has literature." The other is "the imaginary spectrum of secular solos", such as Boya's Narcissus and Shen Zun's Drunken Weng. It is said that they "guide the spirit and reconcile emotions, so there is no word." He affirmed the unwritten music such as Songxian Pavilion, Dahuang Pavilion and Chengjiantang, and criticized the absurdity of "dubbing with words" by Yang et al.
Jiang Wenxun's piano theory is based on practical data, after detailed and systematic analysis. Clearly put forward convincing opinions. Such a wonderful musical exposition is quite rare in the piano world.