The opening national costume show was a good start for the whole performance.
Not only did the audience give positive reviews, but the TV station's ratings also reflected the excitement of the program.
The soaring ratings data made the TV station's director team extremely happy.
You must know that Xiyu TV is a satellite TV after all. Although the traffic is not high, the signal coverage is still quite high.
Coupled with the support of fans on the Internet, it is expected that the ratings of this live broadcast will rise sharply.
Next is a stage performance by local actors, mainly Tibetan songs, interspersed with dances with national characteristics.
In terms of guests, Yao Beina was the first to take the stage and sang a song that won the championship in the finals of The Voice.
Then came the duet with Jin Xishan. This is a new song called "Flowers Along the Road". The lyrics and score were given to them both in Delingha.
This song is quite difficult. The reason why it was given to them is because the two people's pitches are very close. They can stagger the pitch resonance by adjusting the length of the lyrics and the change of the tone.
This female vocal combination is not perfect, but it is comfortable to listen to. Of course, this song also serves the purpose of launching Yao Beina's first album.
Jin: The sunset on the sea is like a young painting, spread in the sky waiting for seagulls to take it away. The distant sails are beaten by the wind and waves, and no matter how painful the dream is, you will not be afraid...
Jin Xishan's opening voice is very picturesque in the lyrics. The sunset is like rainbow, with colorful gradients, and has the softness and lightness of catkins.
The young man looks forward to it, half expecting and half confused.
The young man is yearning, his aura is uncompromising.
Young people have dreams, freedom is passionate and will always be exciting
swing.
Her voice uses a generous and gentle chest resonance and rich low-frequency overtones in this section. It is romantic and broad, making people unable to help but stretch their arms and embrace their dreams.
Yao: Whose end of the world does the distant wind and sand go to? Have you ever seen him somewhere in the spring? Time's hand touched their cheeks, and none of them spoke...
Yao Beina's lyrics extend this kind of youthful longing, and the artistic conception turns into the feelings of a young man lost in the long river of time.
Her use of voice deliberately omitted some phonological details, and her tone tended to be a plain narrative.
In a very simple way, it tells the story of dreams that were almost buried in the sand and forgotten, frozen like ice in obscurity.
But there is a faint longing for it to bloom again one day like snow turning into spring flowers.
In this song, Jin Xishan’s singing voice is profound and boundless, and Yao Beina’s voice is broad and far-reaching.
The former is like the bright stars above the head of a traveler, and the latter is like the smooth road under the feet of a traveler.
The intertwined harmonies are like butterflies flapping for honey, and like flowers blooming along the way, allowing the lyrics to flow freely and reflecting the beauty of the melody.
The chorus is still a split between the two.
Jin: I hope that the wishes I made will bloom all the way and escort the dreams at that time to withstand the wind and sand. The cherry blossoms on the fingertips are like poems about someone's youth, and their crazy love is mixed with elegance.
Yao: I hope the wishes I made will bloom all the way and hide the people in the rain under the eaves. The years are washing away the noise of the vicissitudes of life. Who are you thinking about in the quiet night?
The sense of care in these two lyrics is particularly touching. It comes not only from the singer, but also from the inspired self-desire, allowing us who are not calm enough to gradually become more comfortable.
I accept and grow.
The ardent longings and desires in youth can provide a person with a life-long energy that is worth marveling at.
Youth may have regrets, but it can still be like a dripping bucket, watering the soil under our feet and blooming a path of colorful flowers for us to enjoy the fragrance of happiness.
The wishes we have carefully cultivated are like the rays of dawn and dusk, shining through the thick shadow of adulthood and helping ourselves to wake up from our dreams.
The purely precious years we have experienced have maintained the most beautiful bravery and clarity.
The voices of the two people are very bright, very penetrating, and their articulation is flat. If the chorus is not strong enough, it is easy to be "eaten".
But their penetrating power in the high-pitched range is very strong, which makes their respective weak blends and mellow articulation sound like clouds wrapping and embracing the beam of light, without the sharpness of a needle-point against a wheat awn.
The main interval of the entire song, especially the main interval of the chorus, is supported by Yao Beina.
Her voice is characterized by high pitch. In today's pop music world, not many singers can match her in terms of the penetrating power of pop singing timbre.
Therefore, with such a powerful and penetrating singing style, Jin Xishan's changes in timbre are destined to never compete head-on with Yao Beina.
Otherwise, if both of them have high-pitched and shrill voices, it would be easy to fall into the devilish hell of female choruses - homogeneity.
When two chorus members of a song fall into the trap of homogeneity, the entire song will be in a mess, and no matter how strong the arrangement is, it cannot save it.
Therefore, they consciously avoided the homogeneous characteristics of the two voices, and instead used harmony to intersperse and stack layers of sounds.
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Use different vocal methods and harmonious arrangements to avoid the homogeneous characteristics of the two people.
The arrangement of this song was done by Elstner himself. The layering in his arrangement is constructed by adding and subtracting instruments.
For example, in the first section, there is no drum beat, which is almost a way for the singer to sing a cappella. There is only a keyboard and guitar in the main interval.
Then when it comes to the chorus, another piano and an electric drum with a strong sense of space are added to make the entire first section appear more spacious and light.
Then the whole band was added in the interlude, which was in great contrast with the first section of the song.
Throughout the second section, the orchestra was never absent until Jin Xishan and Yao Beina finished singing the section and cut off all the instruments, leaving only the sound of the ocarina.
After the ocarina section, the whole band arrangement is directly introduced. In this way, the "weak-strong-weak-strong-weak" layering of the whole song is revealed.
Moreover, the use of different instrument timbres in the three weak arrangements makes the layering of the three sections even stronger.
At this time, the song entered the harmony part. Under Yao Beina's main melody, Jin Xishan's harmony has been firmly supported at the bottom.
The arrangement of the harmonies overlaps with the main melody but has different arrangements, making the entire harmony like a vine wrapped around a tree trunk, blossoming with flowers, making people want to keep listening to their changes.
The meaning of harmony is not simply third-degree harmony, fifth-degree harmony, and octave harmony, but subtle changes based on the original main melody to form an auditory layering.
The sense of hearing is like the interweaving of two main melodies, which is the progress of the collaboration between the two singers.
The main significance of row harmony arrangements.
Because if it is harmonizing in thirds or fifths, you can quickly tell who is the protagonist and who is the supporting role.
But if two main melodies are intertwined, you can first hear the layering, but your ears will also tell you that both are protagonists, not which one is the protagonist and which one is the supporting role.
Therefore, the effect of the two people's harmonious interpretation was beyond expectation.
Yes, it sounds good, because most people simply don’t understand the use of music theory, and their most intuitive feeling is whether it sounds good or bad.
However, within the limited performance space, the difference in height and natural breathing and fluidity caused by the listening and emotion of the entire song can still be heard.
As a result, the song has a wave that seems simple but is actually deeply rooted. Although this pulling force is gentle and even invisible, it is unstoppable.
Especially Jin Xishan's use of voice, no matter how plain the tune is, it is full of flavor in the small rhythm she creates intentionally or unintentionally. As long as the collaborators and the audience follow this rhythm to "surf", they will be very comfortable.
Coupled with the free-switching timbre of her bug-level technology, the sound of Guan Ying's words slipping on the bottom of the flower, and the big beads and small beads falling on the jade plate are as beautiful as each other, which is very special and admirable in itself.
Therefore, letting Jin Xishan harmonize is always successful. If you encounter voices that are equally good at coordinating or being co-ordinated by her, it will be easy to produce high-quality and god-level performances.
Many highly capable singers are versatile, but this does not mean that individual abilities should not receive due attention.
Looking at the leopard through the tube, Jin Xishan at this time is a bit like a person who has no tricks to win, but has opened up the seven tendons and eight meridians, and emerged.
The hands may seem simple and stress-free, but in fact every move of the sweeping monk contains deep inner strength.
This is the case with this song. Compared with the song "Maybe Tomorrow" that Yao Beina sang on the streets of Xining before, this song has been interpreted as a well-deserved golden song of the year.
Although this temporary stage is an open-air outdoor basketball court, the effect and sound quality will be greatly reduced.
However, the emergence of the defective version will further arouse people's desire for the studio collection version, which will greatly boost the sales of Yao Beina's first album.
Even Tibetans who are mostly not proficient in Mandarin in the audience can naturally tell the quality of a song.
So after the whole song ended, the audience burst into thunderous applause, as well as screams and shouts from everywhere.
Because at this time, thousands of spectators had already crowded into the campus, and this was based on the limited area of the performance venue.
Therefore, more people who did not squeeze in appeared in the camera as they were scratching the walls or watching from nearby buildings.
Even the Buji Palace Square across the street was crowded with people, because although there was no large screen display there, there were TVs playing the performance in the small shops around Buji Square, and people were everywhere.
From the intro to the chorus, this song has all the ingredients to become a hit. It is catchy and can also create an emotional resonance for the listener.
The lyrics are also positive. Just like the title of this song, there are flowers along the way, which illuminate the way forward. This actually mainly expresses the good wishes for life.
Outstanding singers and melodies,
In terms of interpretation or conception of the song, this song has been elevated to several levels.
If nothing else happens, the appearance of this song may stay on the mainland music charts for a long time.
