After dreaming of getting rich, I dressed up as a collapsed idol

"Fireworks" is the work of the previous life musician Kenshi Yonezu. As an all-round talented singer-songwriter, his name is basically mentioned whenever there is an inventory of outstanding musicians from all over the world.

The songs "Lome" and "Sparkle" made many people in China know this somewhat lonely island singer.

"Fireworks" is the ending theme song for the animated film "Rising Fireworks: From Below? Or From the Side?" The song's piano prelude is quite moving. Though brief, it accurately establishes the emotional tone of the entire piece through several key musical elements.

The song is in the key of G-flat major, a tonality with a very light color and a slightly soft and hazy sound. It fits the fleeting image of the song title "Fireworks", and is complemented by a simple yet tense harmonic progression, creating a quiet and expectant atmosphere.

The melody touches the heart as soon as it enters the ears.

The powerful appeal is naturally inseparable from Liu Qianya's performance.

As a piano performer who has gained fame both at home and abroad at a young age, his playing technique is impeccable.

Under the beam of light, her left-hand accompaniment used staccato and syncopation to highlight the rhythmic flow. Her fingers were crisp and decisive, avoiding an overly long and sticky sound, pushing the melody forward like a heartbeat.

The notes in the right hand are played with continuous touch, forming a melodic texture that combines movement and stillness.

The tranquil arpeggios and clear melodic lines easily remind people of the sponge of summer, the breeze in the evening and the touch of the beach by the sea.

The rhythm constructed by the notes does not have the strong dramatic conflict of the previous one, but is filled with a gentle sentimentality and nostalgic atmosphere.

It is a fleeting beauty, like fireworks.

Liu Qianya, wearing a pure white dress and with a figure and facial features that still retain her girlish charm, sat in front of the piano. As the melody played, she drove countless people crazy in the live broadcast room.

In the 25th second, with the last few crisp and crystal chords, it was like the first firework blooming in the night sky. The second beam of light suddenly lit up and the sound of the violin rang out.

The emotions conveyed by the music were materialized at this moment. The melody pouring out from the vibrating strings was like a beautiful and dazzling light, attracting everyone's attention at that moment.

The ultimate stunningness is just like the existence of the boy himself.

A relaxed expression, an elegant posture, wearing a white shirt with sleeves rolled up, revealing strong forearms, clean skin, and the bow and violin in his hands constitute a visual enjoyment.

That healthy, positive and pure image of a teenager appeared in the live broadcast, and the content of the barrage praising Liu Qianya changed accordingly.

【Slurp, slurp! 】

【Hehehe, my husband! 】

[Ahhh, I can't stand this anymore. I want to steal it home and keep it to myself.]

【Peerless beauty!!!】

【Come on, take my life. 】

……

The fans of beauty are rioting and want to get into the screen.

【Okay, I admit he is more handsome than me. 】

This is a male audience. Unlike female audiences, especially fans in fan circles, this is the highest evaluation from passers-by, and it is an honor similar to "You are awesome."

[Oh my god, his violin playing is amazing again! When he used the bow, he completely stole the limelight from Liu Qianya's piano playing.]

[It's not that amazing. It's a piece that's primarily for violin, with piano playing a supporting role. Liu Qianya isn't that bad, but she's certainly quite good at violin.]

[It sounds good! ]

……

This section is for the audience who are focused on the music itself.

[Not to mention the excellent music, the collaboration between these two top musicians is the most impressive. The fusion of the two instruments is so smooth. If this show is to succeed, the director should at least give these two a thumbs up.]

[Director: I've never fought such a rich battle in my life!]

...

The live broadcast room's excitement did not affect the stability of the scene.

As the piece progressed, Si Hanyun's cello, Li Yinan's guitar, and Tong Jin's drums were incorporated one by one, performing around Lu Qingfeng's violin.

The breath-coherent musical phrase processing creates a natural and smooth melody line like the human voice, which is very visual and lyrical. With the subtle control of Lu Qingfeng's right hand bow, he makes delicate crescendos and diminuendos on long notes.

Just like the process of fireworks rising into the sky and blooming.

At one minute and five seconds, during the climax of the chorus, the bow in Lu Qingfeng's hand changes from the solidity of the first half to lightness and elegance. The high-pitched, jumping and long melody suddenly leaps to a higher pitch range, forming a sharp contrast with the previous one.

The jumping feeling of the melody is like the sudden burst of fireworks in the ears of the audience, which enhances the picture and impact.

At Guan Juan's verse, Lu Qingfeng extended the melody's lyricism and appeal with a long note, as if fireworks left brilliant traces in the night sky.

The audience's emotions immersed in it are also fully released.

The four-minute and thirty-second song ended with Liu Qianya's piano playing.

Lu Qingfeng pulled the bow away from the strings, and after a brief silence, he was greeted with great applause.

The five people gathered in front of the stage and bowed in thanks.

The host came on stage to take control of the situation.

After interacting with the audience and chatting with five people for a while, the topic was turned to the music critic: Du Juan, a female composer in her forties.

Du Juan, sitting on the edge of the stage, picked up the microphone, her legs in a long skirt elegantly crossed.

"It's a very good song. It combines the themes of summer and fireworks very well. I also hear some narrative feelings that seem like youth."

Lu Qingfeng nodded, indicating that it was correct.

"The rhythmic framework and harmonic progression of the entire piece are written in a very modern and national style, but it also incorporates classical string instrument techniques. I've listened to many of Mr. Lu's pieces, and several of them use this approach."

"But today's song is a little different. The melody uses Japanese elements. If I heard correctly, it's Fuso Enka, right?"

Lu Qingfeng asked into the microphone handed to him by the host.

"Teacher Du is absolutely right. It's enka."

Enka is a unique genre of song in Japan, which combines the singing styles of folk artists in the Edo period and integrates the ethnic sentiments of various parts of Japan.

The characteristic is the ancient Japanese ballad scale, which is based on the pentatonic scale formed by the substitution of equal temperament, that is, the heptatonic scale in Western music, but without the 4th and 7th notes, also known as the 4th-7th scale.

It looks similar to the Chinese pentatonic scale, but it is actually completely different.

Enka is part of Japanese culture, but its audience is becoming increasingly narrow, and not many people know about it.

"I went to Japan before the New Year and learned about the music form of enka. I found it quite interesting, so I incorporated some of its elements into my work."

The fact that he went to Japan to publish a book and promote it is basically known on the Internet.

It is normal to know about enka. A good musician must always learn to absorb new knowledge systems in order to innovate.

“That’s why it’s called ‘Fireworks’.”

Dujuan nodded in agreement.

The name sounds very Japanese, and in Japanese, this song can also be translated as high-altitude fireworks.