User:Jason M. C., Han

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Dear Wiki-friends:

In the Postmodern era, academy will have returned back (regressed) to the Life with the humanity for nourishing itself and continuously contributing to the sustainability of our globalized worlds, on its multiple-dimensions levels. I believed in this developing tendency occurring in our future.

Contents

As a Postmodernist-trinity learner[edit]

who have been post-graduating from Newcastle University - one global citizens' university (Introduction: https://en.wikipedia.org/wiki/Newcastle_University) and binary living & travelling in my mixed Postmodernist 'channel' {It is a symbolized philosophical root (as a flexible portfolio with each part integrated tightly) summarizing the properties from Postmodernist City-theory (City-Machines), the Holy Trinity Spirituality with forgiveness in Post-theology and the Materialized Universal Laws discovered by Post-Marxism} between my home town Dalian

(https://en.wikipedia.org/wiki/Dalian)

and another beautiful postmodern city - Newcastle (https://en.wikipedia.org/wiki/Newcastle_upon_Tyne), I am working for the freedom and the equality of knowledge with innovation shared by all the universal citizens in every corner of our earth. This point has meet Wiki Group's fundamental purpose of development. Therefore, I have chosen here to test my own knowledge and discuss educational topics with others through special 'channels' implicitly or explicitly, collect and create new knowledge for our next generations, and company with peers to produce the effectiveness of the learning and teaching.

As a Postgraduate-ed piano teacher[edit]

Teaching musical knowledge and diverse musical techniques and schools for children and young teenagers, especially being good at studying, learning, researching and teaching impressionist music, such as Sir Claude Debussy's: Wikipedia introduction of Sir Claude Debussy: https://en.wikipedia.org/wiki/Claude_Debussy#Late_works Wikipedia introduction of impressionism: https://en.wikipedia.org/wiki/Impressionism_in_music

He thought impressionism in music should have already been transformed to be Post-impressionism as some scholars had also believed. Wikipedia introduction of Post-impressionism: https://en.wikipedia.org/wiki/Post-Impressionism

But this judgement, if being heard standing more loudly, still needs to be tested in musical life and practices by Time. He thought: if impressionism in music would be developed much vividly and expressively with more musicianship, it should make the post-regression and post-communications back to its root, as 'postmodernism in painting' across subjects and across sensory organs. How the techniques and skills of both can be compared with and shifted by - from the directly visualized senses to some meaningful auditory ones, and how masters in this field would use their musical techniques and notation-knowledge to explicitly express life-impressions in minds. Supported by new technologies and cognitive sciences, there are plenty tasks which need us to take. Wikipedia introduction of impressionism: https://en.wikipedia.org/wiki/Impressionism Therefore, hoping more and more enthusiasts of music can learn, research and learn this school from France, from Europe and from some fork-expressions all around the worlds.

Let us leave a developing zone, here ... But, here and now, please try to relax yourselves - enjoying life impressions (with music's helps).

Experiments of Self-built Learning Resource Portal for guiding the training of impressionist piano techniques:

Neo up-picking of old memory: The impressions of Sir Chopin's advanced techniques-training, accompanying with my pasted young-teenager life

Chopin in memory classroom good

(Self-reflexivity and Comments collected and referenced from the original Wikimedia Comments' file - [1]: English: It's said: in each heart of every pianist, piano educator, piano teacher, piano dreamer, learner, and enthusiast, there should be a place for Chopin and a melodic theme wandering, dancing and rotating deeply in mind, which is twining around roof of house making you ignore the tastes of cuisines three days without attention (referenced from Confucius' dialogue when encountering amazing music) . It should summarize dreams after excellent techniques, unrestrained fashion, gentle expression, noble personality and patriotic heroism, especially standardized for a piano-boy's societal development. Oh, Jason, maybe currently, it is a little bit far from your (my) life and age, but you (I) still keep one own piece companying with you (me) for tens more years, which involves lots of fragments of educational experiences, free shares with peers, private or public performances and happy memories, etc. Then, I put it into my philosophy, with a deep impressionism of Chopin growing, blooming, and never-aging in the spirituality and musicality world. (Indeed, Chopin's techniques are far from impressionism and turning to another approach - "Everything is a matter of knowing good fingering ... we need no less to use the rest of the hand, the wrist, the forearm and the upper arm.", and One needs only to study a certain position of the hand in relation to the keys to obtain with ease the most beautiful quality of sound, to know how to play short notes and long notes, and [to attain] unlimited dexterity - as his writing in Projet de méthode. But, while you are (I am) taking postmodernist impressions to see them accompanying with your tens more years' life participant-observations - oh, and your rough hands, limited energy and shorten time cannot be compared with yesterdays', they fuzzed to be one deep impression of Chopin in your memories with details unclear but heart true. I don't really know how to put it in my postmodernist educational journal. Is it neo-expressionism or neo-classicalism... but not really - so complicated??? Is it my emotional expression...??? ...but techniques trained used to be advanced, then currently, 'Improvisation stands at the centre of Chopin's creative processes' has almost been released in my classroom performance. Therefore, firstly, by releasing here and waiting further considerations, it's still made from a common named Jason, as the respect and remembrance of Sir Chopin and his post-memories in past .) Deeply in my mind, it's not great as Revolutionary, some flowery mazurkas, and Great Waltzes(I also enjoy listening to and exercising them very much), but a small piece learnt from my teacher and my mother and performing for my peers and family members (also requiring advanced techniques in middle tenth-dancing, rhythm-keeping, fioritura-singing, romantics-reasoning) - light, pure, joyful and bright - as a flowing spring. With it, I enjoyed some beautiful life moments, and passed by lots of examinations, and life-tasks, like a happy (used) waterfall. Yes, it is almost named as Trinity-Form G-flat major Waltz) Further Wikipedia introductive Reading-list: [2]; [3]

Post-Piano tutorial progresses from Jason's learners - in honour of Sir Chapin leaving in Prior-memories[edit]

In the reasonable line of piano family education before and after, I used to be suggested by my tutor and mum: Jason, in the future, you'd better to seek a period felt in some energetic situations, in which you can dedicate yourself in training advanced techniques of your hand in terms of Frédéric François Chopin's Waltzes, especially some from the collection of Grande valse brillante(Wikipedia introduction: [4]). However, it was two dozens more years pasted by that I haven't sought out a right period in which I was full of energy. I thought I should feel the regret. Thanksgivings! I am a family piano tutor that what my lost 'dreaming stars' I could pick up for my 'kids' in their right stages & progresses, through some educational approaches, such as notation-analysis, background information-introductions,video-observation and fingering & handshape & sound-effect researches... Therefore, prior 'lost' was transforming to be post-benefits, in which the magical powers of education and music were coherently threaded as a whole representing my small happiness of 'inheritance' (Oh, I wasn't dying as Chopin's complaint about doctors' analysis Three doctors have visited me ... The first said I was dead; the second said I was dying; and the third said I was about to die in December 1839, after his beautiful France Romantics and an England Tour recorded in some works, as what our F major Waltz had recorded. [1]. That's my lucky. Therefore, here, 'inheritance's' external scope was enlarged to mean 'some beautiful techniques was sustainably passed by, carefully stored and neo-developed in my learner's mind and fingers supported by educational power.) Oh, it was a lovely girl young teenager (around 13rd year old), about whose educational stories, I had a prior talk in my languages, my post-reports of Sir Debussy's classrooms in Children's Corner. Here, you might feel time was a little bit disorder - 'before or after', but from multiple-channels, they were threaded in a pearl chain of subjective initiative where they should have been in. There, prior lost would be re-picked up and recovered in Post-time; though a little bit idealist, kids' dreams could be warmly post-embraced and post-raised up, no matter too small - we will have wished them: 'never fall... never'. Though still some 'fails' and LIVE recording facilities in tutorial room weren't quite good, let us try to appreciate her edition and think of how many endeavors in terms of each technique-point were behind it:

Waltzes, Op. 34 No. 3 (Chopin) in Grande valse brillante in F major, player: Xuemeng, Hu (kid's name in children's cornder: Meng Meng). Comments, please refer to the original file in Wikimedia Commons

Portals for Postmodernist Research Preparations[edit]

Piano Etudes as poems -

Spanish music with impressionist elements -

Impressionism in China -

Sonatinas from Kids' corner near heaven -

Green Sleeves (Impressionist Visualization) -

Blues & Jazz learnt for fun and a fast brain -

Mozart's Genius Techniques in Kids' Eyes -

Special interest - Musicality from Chinese Literature and translations

Oceanic Musicality from Outdoor-Sport - Winter Swimming prepared from Daily Long-distant Swimming

Piano-kids' Corner from classroom and virtually online

Wiki-Documentary collection and Practical exploration of piano techniques in Impressionism on the level of Globalization[edit]

Ideology and Critical thinking from Jason's Wikiversity-perspective[edit]

Root - Ontology and epistemology[edit]

Under the huge background of postmodernism, if we wanted to entirely recover Impressionism techniques of piano, we need to dig a channel with binary materialist supports from both Internet+ collections and daily Educational accumulations. Yes, we can imaginatively see words and phrases online or on paper as virtual materials, then collect them; and, we can also vividly consider educational impressions from piano-practices as spiritual materials, then collect them. Afterwards, mixing and integrating them together through engineering-analysis approaches dialectically, we can began to wander throughout more landscapes and watch more beauties internally this channel, for dreaming after pure musicality and reasonability. Furthermore, this channel, supported by some advanced techniques, will be twinkling brighten 'stars' outside 'winders' set upon the waving tides of colourful background, ornamentally but also thematically. Then, imagery purity upon 'Holly snow land' would be jerry-liked, gravitationally, self-reflexively - either mechanics or even anti-mechanics - constructed out and solidified in, which is deeply carved in Debussy 'Doctors eyes but also from globalized Children's Corners (Creative places) around all the worlds. Indeed, about impressions, in my view-horizon, peoples in globalization have already made multiple fragmental fork-explorations, through diverse fork instruments and expressive approaches. Therefore, there would be a paragraph collecting what we can know about some folk treasures. Yes, Impressions, somehow, can be fragmentally distributed from consciousness to unconsciousness of races-diversity especially in Collective Unconsciousness (About this term, depending on Time and Energy's limitation, I found a piece of Wikipedia-introduction, about which we can make a Reading List and collect further pieces of informationhttps://en.wikipedia.org/wiki/Collective_unconscious). But, in my (DWL)Dream's Wandering Legend world, we needed to remember the first leader who has systematically summarized them as a school which has been influencing the field - Music, should be the France in Europe. This paragraph, collected from Wikipedia - Impressionism (art movement) below, can give a proof of what I have mentioned above: 'Impressionism is a 19th-century art movement characterized by relatively small, thin, yet visible brush strokes, open composition, emphasis on accurate depiction of light in its changing qualities (often accentuating the effects of the passage of time), ordinary subject matter, inclusion of movement as a crucial element of human perception and experience, and unusual visual angles. Impressionism originated with a group of Paris-based artists whose independent exhibitions brought them to prominence during the 1870s and 1880s.' [2] In other aspect, from my practical learning, operations, teaching and participant-observations, Impressionism in piano techniques is dialectically contradictive field, even its contradiction in existing itself is also a contradiction, with some internal or inter-schools' debates. On one side, you need to take care about detailed techniques-carving upon materialized life-walls of Times-spaces-crossed channels you are in; on the other side, generalizing those all, you also need to outline a fantastically existing and dramatically varying universe with supports from spiritual impressions bridging multiple channels from others.

Recordings of various Methodological explorations[edit]

Post-prelude[edit]

You knew, Epistemology, in clearly understanding Ontology of musical impressionism in postmodernist channel, isn't a one-time and easy-going procedure. You will have to give out your proposals, and test them from daily practices and documentary reviews. Sometimes, you find it could have made no function, and had to restart a new approach; and sometimes, you would take a new state by summarizing all the impressions of the past together; and sometimes, you might never want to return back again. Then, in Marxist theory, it would be compared with a spring with its channel rotating upwards, and you are going alongside it. Sometimes, you will have found you almost returned back to the original point. Don't be fear, my friends, indeed depending on your accumulations in the past, you have already been in the upstairs of your Epistemology, causing your contributions of your commons' knowledge and your practices in daily life can be compared with solidified material blocks having already been constructed into historical building and left for all, will give the foundations for your actions and will never be forgotten by historical reasonability ('Universal Lord' - personally thought: it should also possibly be recognized by Hegel' 'Spirit'). (More professional materials and about how this recognition can be gotten out, we can review Wikipedia introductions for further learning - Key words: 'Marxist philosophy', 'Marxism' (Epistemology) and 'Post-Marxism') [3] Therefore, in these explorations, various different methodological approaches have been applied, or summarized applied growing from root, and with some digital materials, formations-shaping ways, words-modifying ways and thinking ways critically created or collected from Wiki-family.

Educational prelude of Post- English Suites subcategorized under & as Post-prelude [edit]

God didn't give me the giftedness of composition, but to creatively learn, to reasonably teach and to improvably perform. What my approach was still basic binary post-Marxist practices with critical thinking in and from classroom. I thought I needed to add one prelude in this channel, as a complex in remembrance of a life style I used to own in the past, but for future. It was called 'Post-prelude', caused by the reason: in my life process, it has already gotten 'post-', then to be made into considerations, as things' changing fast towards a time-hooking. It isn't a perfect edition, but in my own hands. I thought, I should have the confidence: alongside time's on-going, one day a well-performed piece will be produced out, beautifully re-appearing colourful imageries in my dream. Therefore, it was also an opening case with developing zone, towards future. In this time and space, I would like to report some small findings for education (Before this small research, I reviewed some pieces of information from English Suites - https://en.wikipedia.org/wiki/English_Suites_(Bach) and some Chinese Grading-test teaching videos, I found the division of its structure were quite useful in daily teaching and learning practices; but furthermore, we can try to reason it much clearer): 1. This 'six parts' suite indeed wove each two as a holistic logic of the modelled pattern, or sometimes across each signal part’s ‘terminating cross' to another middle peak-turn as one pattern. (like 0.00 - 1.10 minutes, it can be called a holistic logic (Theme-Development-Counterpoint-Small Break-Cannon & dialogue - Weaving body - Terminating code); like in 1.59 minute, it ran to the peak but immediately turn back to repeat the pattern' variation - a hidden new beginning which is usually ignored. We can make it still as in a whole pattern; and after 3:2 'ornamentations', around 3.10, a rush threaded from left hand's motives to right hand's totally began a code repeating ideas of the beginning theme.) Afterwards, this suite will be logically and creatively divided into 3 or 4 paragraphs, which would be better for classroom-practices (with the same pattern). Meanwhile, 'one connecting 2 or more' idea of the real suite would be fulfilled, which better realizes English Culture, not only about music, but living custom. We can review an explanation of 'Suite' from Cambridge online dictionary 'a set of connected rooms, especially in a hotel'; yes, so did dance; 2. Each terminating code would be performed out a small 'rit.' as for middle break (rest), or 'curtain call'. I think, this point is also reflected out culture and customs; 3. In texture, our keyboard touching techniques need to reflect Baroque Counterpoint's requirements', and clearly identify its relationships and differences with another definition 'polyphony'.

Homework Requirements (Self-explorations):

(1) Regarding with this point, we can firstly review its reading lists in Counterpoint and polyphony (Wikipedia introduction: [5] and [6]); (2) Then, Please view 'Two-factors analysis' research approach mentioned in its Talk page ([7]) and other talks there, for the identification of some related definitions, and existing problems in this field; (3) Try to collect and structuralize all 'Counterpoint' parts of our English Suites from its manuscript, and try to collect and analyse some textures of its polyphonic sessions (especially some difficult fugue parts); (4) Try to realize requirements of (3) point on your piano through recording sound files or video files. Please pay more attentions to their rhythm, dynamics(especially the loudness of some independent melodic lines) and musicality (in Neo-expressions, such as sentence breaths and emotional changes) (Answers will be researched out sometime in the future. Then, we can have a check and further discussions.) 4. Gracefulness would be 'tasted' out from natural inspirations & impressions of Baroque architecture, gotten in some childhood or young teenager dreams of your own life. . [4], Here, an example was re-picked up in my memory sea was Sir Bach's 14th 2-parts Invention. Friends, we can try to make some senses:

Bach Invention 2P 14th
Invention 2P 14th (Special sound effects in sostenuto pedal and jade beats)

5. Smart and skilful treatments of ornamentation should be applied as from colours of Neo-classicism and Neo-expressionism; 6. Variations of Dynamics should meet Neo-emotional expressions in dancing movements.

Postmodern Impressionist Explorations of Baroque Techniques:[edit]

Debate 1st - Highlighted 7th point: Baroque staccato fingers-technique in piano, for simulating Harpsichord's sound style

Since the time of my childhood learning with my teacher from a skillful piano family, she has taught me: the treatment of Baroque staccato in piano field needs to be specially trained. It shouldn't be played as jumping too much and too heavy but naturally, gently, half-attachment and with some originally beautiful manners of European noble fashion , especially about grouping semiquavers without slurs set upon. Some composers' works, in that period, were highlighted, including some from Domenico Scarlatti's 555 keyboard sonatas (Wiki-introduction: https://en.wikipedia.org/wiki/Domenico_Scarlatti)and some from Johann Sebastian Bach's inventions, suites and fugues ( https://en.wikipedia.org/wiki/Johann_Sebastian_Bach) etc. Yes, they are what pieces piano players encountered so frequently and left deep impression of Baroque music in memory at the primary time. In that time, I didn't quite understand why I needed to train my fingers with this keyboard-touching fashion, but merely following and carefully exercising time after time. Alongside my growth, my further learning requirements and my own face-to-face tutorial needs for my children (students) in studio, I began to explore and reason it much clearer.

Inherences from Harpsichord Era:

  • Through documentary reviews, I found the primary reason rooted not in piano' physics structure, but harpsichord's (Wiki-introduction: https://en.wikipedia.org/wiki/Harpsichord). We knew piano was, in certain degree, developed from Harpsichord. There were three reasons can explain why this piano fingers' technique training imitating Harpsichord's structure-oriented sound-effects would be made this fashion (above): Firstly, as in our wiki-article: 'The vertical motion of the jack is then stopped by the jackrail (also called the upper rail), which is covered with soft felt to muffle the impact' - this point made notes played out from Harpsichord hard to be linked together, as the application of piano's fingering legato by 'walking fingers one-attaching tightly following another's raising; Harpsichord's sound-louder facilities - 'the sound-louder box' surrounded by soundboard, upper belly rail, lower belly rail, tail and bottom are usually smaller than modernist piano's; meanwhile, pedals haven't been summarized and developed so advanced as what piano's.
  • However, accompanying with people's make-up style, dressing fashion, postures of performance in solo community and further count-fashion etc., harpsichord's sound-effect became a symbolized remembrance of some Golden times in past and their personality and temperaments.
  • Piano was developed from harpsichord, and some compositions can be played on both. This sustainability gave piano the ability to imitate harpsichord, simulate its beauties and pick up some manners of techniques representing golden fashions, especially in Baroque and Renaissance keyboard music. The treatment of Baroque staccato is one important technique of them.
  • Compared with harpsichord, piano could be of much sensitivity and flexibility in dealing with keyboard-touching and varying relevant sound-effects. That's the timbre difference, which cannot be overcome by changes from structure. But, special training of hands with manners and customs, seen as literacies, would be better for Neo-expressions and New-classicism; meanwhile, can be seen as nowadays' post-modernist constructive regression for Baroque Channel.

Requirements:

(1)fingers of hand need to be naturally dropped by wrists one by one; (2) when touching keyboard, fingers need to stand upon and attach each for a very tiny 'later' time (a little bit lazy) - not too fast or yet jumping heavily; then, naturally pick up it through a coherent force (motion) vertically upwards, which is given still by wrists; (3)repeatedly shifting this sequence to the next finger; (4) please be gentle and relax in playing, and highlight some grouped heads of phrases. If there were some grouping ornamentations depending on these staccatos, please be more careful, smartly and softly, but with centralized weights upon bigger staccatos, rather than 'small notes'; (5) It's better to appreciate pictures, architectures, pieces of music and life scenes in Baroque era (Yes, Wikimedia commons can give us some associations); then, bring these imaginations into your mind alongside your performances' processing, naturally, gently and finely.)

Practical sound effects:

Regarding with the application of those memories, discussions and requirements of Baroque Staccato above into our Pre-prelude - English Suites, its possible research-effects in sounds, and especially the dance personality in Suites suggested from Gigue(British jig) (Wikipedia introduction: https://en.wikipedia.org/wiki/Gigue), we can get some enlightenments by exploring 8th 2-parts invention in Bach's preparation-works. I have taken a sample for demonstration (it could be bettered in future).

This Invention - G Major 2-parts, happily dancing and existing from my memory of childhood, has woven out my primary love of Baroque custom. Though it applied total Baroque Staccato and long-sentence ornamentations to express a joyful fashion of Baroque Dance (British jig) - Gigue in piano instrumentation, you couldn't feel quite boring and tired, but be willing to move on and on, round and round, until the end of a Golden Era. Alongside your behaviours, holly lights were reasonably shining around the area your dancing steps traced out where an imagination Baroque Suite room of yourself appeared (even only for you single). It was quite right that the decorations of this Baroque Suite room were following principles and patterns of Baroque Era - Canon, Counterpoint, Polyphony, Woven body, dance rhyme and ornamentation...; but still, it left some great developing zones for your own 'inventions'. You see, long-sentence ornamentations can be waving tide by tide; and your body languages can also be designed out a life style of people living there while you were dancing your fingers upon keyboard... Though compared with the natural gracefulness in Invention 14th, 10th was a little bit weak in the praying of immortal spirituality ; it gave a festival celebration of true joyfulness' back-returning and your down-calming mood to hold them in mortal complexes - such as companying your family all day, and tasting an afternoon tea with them in the fall suggested from Grandma's Bible classroom, or something else... But, dear kids and young teenagers, you knew, Baroque staccato - your natural & relaxing wrists, fast-dancing fingering but still with very good & controllable manners, pearls-liked staccato note-quality, sentences' breaths and those highlighted rhyme-heads still need many years' training and your dedicated enthusiasm. You can put it in your piano courses and try to better it, alongside your growth.

In addition:

Some students asked me the relationship between Baroque architecture and Baroque dance, and how they were reflected out from piano instrumentation in music: oh, it was a hard question that: (Firstly, we can make a first impression of the complication of Baroque architecture (textures) in music through this piece- it`s only a standard texture with 3 parts in Invention, but so layered-out, foundationally-made, musical heads-leading and well-structured in system:

3 Parts Invention 8th- from Sir Bach

)We would reason out that - a group of people got a fashion of one era (ideas) from their souls that they have the willing to express. They might choose some easiest ways and nearest ways - representing their own ideas through the movements of their bodies - such as singing out from mouth, or dancing out by body languages... We can call them 'first-stage - the self-mirroring of landing reasonability'. (how those ideas can be landed in minds is another story that someday we can discuss) Then, after the atmosphere of fashion by one group or multiple-groups were built up, they would separate the self-mirrored and self-expressed aesthetics-sense from their own operations - they own bodies, and re-projecting those to their performances in reality - such as logically recorded in notation for instruments, or engineering in architectural designs & patterns. Afterwards, human beings' 'aesthetics-self' were separated into two: one were flowing or solidified 'outside', maintained and dying by time; and the other - they own 'self' can be liberated out and repeatedly appreciate & modify & create 'outside' beauties with new curiosities and some renewable minds, which can be passed by generations after generations.

Editing - Debate 2nd - Highlighted 8th point: Exploring Baroque fingers-techniques of Ornamentation in piano - An introduction of Internal-systematic researching approach [edit]

Background-Knowledge Introduction:

In the discussion of Ornamentation treatment, there were many debates, about which main stances were originally centralized into the waving direction from its first note and its rhythmic ranges of other notes. Regarding with its treatments, Baroque traditions VS. Scenery self-expressions of composer gave two opposite sides with some moderate approaches ranging upon its 'scaling variable'. In my philosophy (methodological part), I cannot make a direct and absolute cut for confirming something is right and many others are... indeed, there were really no black-white answer. Somehow, this treatment can be seen as players' personal literacies according to their music educational background - yes, their preferences. But, in some scenes or to certain reasonability, we can analyse one treatment's possibilities in system and try to make some senses of its aesthetics appreciation. Firstly, in order to make senses of ornamentation (trill.)'s different versions, let us set our English Suite aside, and listen to two different versions from Fugue's voice (one of the most complicated contrapuntal forms ): The first version of d minor fugue (please see below) is a very nice and sound-effected fugue in Sir Bach's <The Well-Tempered Clavier>. In this version, pianist Kimiko Ishizaka's softened keyboard-touching techniques are enjoyable to my ears and her flexibility of ornamentation (trill. ) performance is also brilliant, reflecting her higher controllability of fingering and forces, in my views. About the ornamentation, like piece (0.05-0,06), we can hear she has applied traditional understanding of Baroque Ornamentation, which sights 17-18 centuries' Baroque composers as a whole group and makes their grouping expression of fashion as a theory deducting and guiding the treatment in d minor fugue. Then, we found: the signalized trilling G (big note) was played from its above note A and made a wave - AGAGAGAG-A. This expression is an absolute and simplified version simulating harpsichord's sound effect. Many pianists, when dealing with composers' works in that era, usually generalized this version for simplification and popularization.

  • Kimiko Ishizaka's Version:

[(Wikipedia introduction: https://en.wikipedia.org/wiki/File:Kimiko_Ishizaka_-_Bach_-_Well-Tempered_Clavier,_Book_1_-_12_Fugue_No._6_in_D_minor,_BWV_851.ogg )] [5]

There are also many other versions, among which what I has applied is from an educational approach - from my country's national grading test for advanced level. From my analysis and thinking reasoning, in this version, trilling note G's dominant property, as the main note, has been emphasised by a first semiquaver beat of itself. Then, the trill. took the above note as the second note to wave out a twice vibration between A and G. Finally, it took a rotating opposite and returned to the main note. It was heard like: G-AGAG-FG -A. Yes, this pattern is with more flowering pattern, and somehow complicated and difficult to gain. Someone would not feel like to learn. But, from analysis, we can find it filled two gaps between the main note, its rotating below, and its linked next note, which made the transitions much natural, according to palm's growth. Meanwhile, the Main property has been highlighted. Another point is: you can hear the shade of traditional version (Kimiko's Top-downwards) from the second semiquaver beat.

  • Jason's Teaching version:
In my depth of mental sea (Mainly about the education of piano), a piece of Fugue is lying there. Yep, it's 'd minor Fugue' in Sir Johann Sebastian Bach's 'The Well-Tempered Clavier' (Wikipedia introduction: https://en.wikipedia.org/wiki/The_Well-Tempered_Clavier). Though about the performances of its ornamentation, there are many debates in terms of what fashions Bach's preferences were and whether they were only in certain exact scenes which Bach preferred to make some styles to some exact groups. About this topic, 'western side' and 'eastern side' almost have quite differential ideas - someone prefer Era's fashion as being generalized upon all Baroque composers, then applied to some works of Bach (Top-downwards trill.); while, someone prefer the explanation that it can be seen as Bach's individual fashion in some scenes to individual groups. I think: if the resurrection can be made, Sir Bach would also confuse about why he had performed them as so and how he had thought them out... But, the love of playing Bach's has never changed for many centuries among piano boys and girls. I found some music-score dictionary attributed it to players' personal literacies. I thought somehow it was also reasonable...Therefore, in this version, I played it according to a teaching textbook in a national grading - an moderated and coordinating style, but with techniques and strengths what I preferred. In other aspect, if you ask me: 'Hi, naughty Jason, what's your impression of this piece?', I would say: ' Under my educational background, it was like a piece of sorrow mind's self-expression & self-reflexivity - multiple-thinking dimensions have been threaded together in a very complicated (thick and vertical) texture emotionally and beautifully'. Oh, maybe I am a boy wandering in the middle between binary cultures, then, would carrying this feeling... I don't know... But, in psychologist views, after hearing it or playing it deeply, absolutely, they will say: 'Jason, it can be compared with our psychological consult (treatment), in which - firstly, we were leaded into a dialoging theme (B1-B8); then, 'climbing up a mountain' to collect pathway-principles (fragmental indications) among a huge, maze-like and complicated forest of life (with multiple layers and events) (B9-B20); taking much deeper expression of every mood-chain, their composition and totally ranges under a huge emotion-atmosphere (some whispers, then, life complains, deep reasoning & threading, and even loudly cries would happen during this procedure) (B21-B39); Back-returning to original theme, and then, getting the Release of the extra metal power (B40-B44; especially, it contents a final solution to D major block-root which made it bright and got out of life maze). I enjoyed this music trip in education, though still some lacks in techniques were there waiting my further enhancements, such as a forgotten of B29's trill, - sorry, in that Live Space, I felt a little bit tried. But, I wanted to entirely express my experience of it. It's said: Fugue was one of most complicated contrapuntal forms (Counterpoint) in engineering approach, which needed some very careful trainings of both thinking and hands' techniques. (Wikipedia introductions: https://en.wikipedia.org/wiki/Counterpoint; https://en.wikipedia.org/wiki/Fugue). Yes, thanks, Sir Bach... But, in commons' mind, what the most benefit from its appreciation, I thought, should be 'getting a total mind-Release from multiple mood-chains, and enjoying a final peaceful emotion after reasoning our own sufferings during these several years'

[6] Therefore, as common learners, I think we can follow at least two versions to make our hands-trainings depending on our preferences and background-understandings of sir Bach and that Golden Baroque Era. We can also postmodernist & explicitly express and attribute those emotional chains hidden behind its surface, which Bach's music wanted to tell us. It's another story, about which we can make some discussions through a review of Jason's English self-reflexivity in this Link [8] from Wikimedia Commons

In-systematic Analysis for Our English Suites After a very careful mind-identification and detailed introduction of Ornamentation(trill.), we almost got some senses, afterwards, let us get back English Suites and reason out a possibility of its ornamentation (trill.) treatment inside its music manuscript(transcript). Meanwhile, a type of inductive researching approach - In-systematic Analysis (evidences-collections from signal notes-phenomena, theory-forming, practical application into specific situations) could be understood for reasoning, practice and self-style's cultivation. In brief, most ornamentation (trill.) ways and techniques in this G Minor English Suites (under flat B major system) have already been clarified and signed above ornamentation signals(tr.). Even, in the peak part ' Interaction-F- Ornamentation (B161-B172)' (Please see 'Structuralism-analysis' below ) of Royal Suite B, our Sir Bach has almost designed a total and clear demonstration of his Baroque fashion and idealist thoughts regarding with the ornamentation fashion in his age. Please see the referenced music manuscript (transcript) Sample 1st (B62-B63) below:

Sample 1st from English Suites' Ornamentation (trill.)

In order to emphasis his idea, in some reversed Ornamentations (trill.) (down-waving oppositely), he also gave a head-link and some very careful demonstrations, such as Sample 2nd (B22) below:

Sample 2nd from English Suites' Ornamentation (trill.)

Notation-following them, we can research out Sir Bach's basic ideas and principles in the Ornamentation (trill.) treatment of this piece: 1. It was made into semiquaver triplet (three divided and averaged notes) per quaver time; 2. In the first quaver time, it should be played a throughout chain from the downstairs note, threading the main note and up-rising to its upstairs note, like the trill. Flat B: it should be A- Flat B -C first; 3. Then, in the next quaver time, it should wave between main note and it's upstairs, like still the trill. Flat B: it should be Flat B - C -Flat B; 4. Following the 3rd point, if trills was continuing, we need to range another triplet wave and thread it to the next, like still the trill. Flat B: it should be C- Flat B -C; 5. But if a downward line was drawn - the Reversed signal (as Sample 1st for B22), we need to make a quadruplet regression (playing 4 divided and averaged demisemiquaver notes) downward and return to the main note, like in Sample 2nd G - it should be A - G - Sharp F - G; 6. If there was accidental Sharp or Flat, or recovery signal set under the middle of Ornamentation (trill.), it was usually made towards the downstairs note, such as Recovered A in Simple 1st and Sharp F in Simple 2nd.

In my opinion, after those principles reasoned and gained in our hands, when a targeted problem occurred, as what Target shown below, we can make a reasoning application of what we could know but Sir Bach didn't notice us:

Target from English Suites' Ornamentation (trill.)

It should be: G - A - Flat B in the first quaver time and A - Flat B - A in the second semiquaver time (yes, we can make a little bit acceleration to show our fingering flexibility).

I thought after this In-systematic analysis, we somehow could be near Sir Bach's reasonability in music. Why I call this researching way In-systematic analysis: We knew some golden, traditional, brilliant and perfect Baroque edition, such as pianist Martha Goldstein's harpsichord referenced in our Wikipedia article of English Suites (Wikipedia introduction: [9]). Indeed, I like it very much, especially when hearing the brilliant keyboard-touching techniques and it's traditional Top-Down deductive Ornamentation (trill.) treatment. But how can we make some reasonable possibility by collecting internal evidences, forming a theory, then applying into some unknown problems? May it be Sir Bach would have thought it like this and implicitly hidden behind the tradition... I thought Neo-expressionism and Neo-classicalism would pick up it. Here, some experts would criticism me: Naughty boy Jason, what you mentioned are as so, but it didn't realize it into your classroom recording beside; oppositely, you played the third way - Main rising & waving( A- Flat B - A - Flat B; then, tail A - G G) Yes, I am sorry. Firstly, I had tried many times, but my hands-techniques didn't allow me to add another heading upstairs note (Oh, I am thirty year old. Every time thinking of it, I am a little bit sad and would rather get back to my sixteenth - maybe mother would say: Naughty Jason, even getting back that age, you really haven't fulfilled or dare to yourself in piano; That's quite right I am paying for my lost, but I would try more exercises); Secondly, it's about another story of its simplification. About the second point - its simplification, my stance is: Sir Bach almost wanted it a first raise and wave from the main note for reflecting main note's dominate properties in this Ornamentation (trill.). This point is my idea which would be different from tradition and could be criticised and argued. I think In-systematic analysis above is much stronger than this one. All of them are from the love and respect of Sir Bach's engineering world of music and his so brilliant English expression. Thanks!

Homework and Exercises (Advanced and Research level) 
  • Requirements and instructions: (Please see the fourth photograph set besides)
Requirements and instructions: 1. Please ignore some bad looks of my characteristics-writing and just focus on the manuscript (sorry, my paper-writing of characteristics and letters were really ugly, in my view. I attributed it to my lazy attitude. Oh, my mother usually told me: Jason, you need to write in good shapes, when facing your peers and students. But, I usually find an excuse: sorry, my energy and time didn't allow me... Peers and kids, don't follow this brother's example. You see, it was like animals' footprints or ghosts' signatures); 2. Please try to apply knowledge of ISRA (In-systematic Researching Approach ) in self-researching out a possible neo-edition of Ornamentation (trill.) of this piece - how to play and explain in both music and language; 3. Please try to record your own sample after self-reasoning and analysis (Be brave)
  • Sound answer:
  • Explanations:

Following our discussions of this approach until now and here, advanced learners (including small Jason) have already gotten the abilities in researching out a possible answer of this unspecified ornamentation (trill.). let me tell its designs and why I made it like: 1. The first semiquaver rest played by left hand needs to match a very fast demisemiquaver triplet downstairs- upward trill. of right hand which was made throughout the main note - Recovered B and sounded like A- Recovered B - C. About this design, we have already known Sir Bach's implicit willing of 'triplet trill.' - first one in up-going tendency. Yes, you can also make a total '3:2' to cover left hand's semiquaver beats; but afterwards, you will find upstairs C would be repeated 3 times and hand's smart feeling was lost. Therefore, I gave a first demisemiquaver triplet to cover left hand's first semiquaver rest; 2. In the second semiquaver note of left hand, the second demisemiquaver triplet (Recovered B - C - Recovered B) was given to cover it. Then, the third principle above - 'Upstairs' shaking' has been targeted. 3. Originally, palm's growth (growing with fingers in each order) has been applied as one considerable factor impacting fingering designs; and, it was naturally progressed to the following C without any gap. Congratulation to your good learn! After training your hands for a period and taking the following highlighted 7th point, MO Version set besides can be made out with much smarter hands for the soul of English Suites. But, if you prefer to keep this technique stably heard, lasting for much longer time and your fingering much smarter & fluent, another self-training of it with engineering approach in daily exercises is quite necessary. Students in advanced level can try to search more evidences from this suites of Sir Bach's or other Suites.


Highlighted 9th point - Educational self-reflexivity: Natural Impression of its (Prelude in the third English Suites) Horizontal structure ranged upon Time & Space, according to English Language - 'Suites' Programmatic formation is the impression I usually brought with when listening and performing the sampled Prelude in 3rd English Suites. In our common's history, usually, the procedure of programmatic formation, presented regularly, periodically, frequently and reasonably, can associate us deepen some unstable subjective impressions, fashion behaviours, popular languages and societal customs into aesthetics and culture, and fix them for lasting longer. Some evolutionists would dislike this impression, for its usual representation of conservatism which could block the development of new productivity. But, after certain evolutions or in some post-periods, it is also going to function in accepting, fixing, saving and sustaining 'Evolution-fruits' (Thinking twinkling). In Baroque Era, I thought Suites (Wikipedia introduction: [10]) played this role through 'suits-liked' structuralism. Here, the scope of Suites' definition - its enlargement and development also taught us more about how to deal with its structure-organization and composition-management: from the description of Room Suites occupying real Times & Spaces, to the description of Dance Suites summarizing similar behaviours and body languages into symbolized rhythm, till its transformations into 'musical composition for instruments', fresh fashions and expressive expectances have been auditory recorded, as in Programmatic formation alongside civilizational regression and up-picking of golden personalities. Yes, it was 'Dance Suites, was commons' weekend dancing in Suites-liked ball-room, and was also Royal Suites (cells-liked rooms being nested throughout one after another) separating different music paragraphs but with a coherently endless joyfulness for life and future... 'Therefore, when we attempt to perfectly realize this teaching procedure, some abstracted 'Royal Suites' and their impressionist 'souls', rather than several 'small connected rooms', can be carefully analysed out, with details fuzzed, but impressions kept, suggesting where course-designs, exercises-presentations, assessments-achievements should begin with. In the Structuralism-analysis below, semicolon divided a small room (suite) or a series of dancing motions threaded in the sequence; but usually, a real 'Royal Suite', in spiritual impression, contents a thematic small suite (or room) and one or several supplemental small rooms (suites) . Their patterns are forming Suites' basic operations, with customs and matters turning back to 17 century Baroque Era. Therefore, in each repeated small suite, furthermore enlarged to be the whole '3 Royal suites' one by one in sequence, we must keep the basic and frequently re-appeared behaviours, dynamics, expressions and customs regularly, as if following certain predictable principle of stylized and progressive model, for showing the understandings of reasons why in certain pace and interval some techniques would be applied there and what respects of traditional thinking pattern they would show for. In other words, from thinking patterns to hands' techniques, body languages and customs expressions, we should model our daily trainings and exercise to be predictable and fixed. Only based on this engineering approach and seeing structuralism as functions' carrier, Neo-expressionism can get its foundation and make more colourful creations and impressions of a golden age above that. Owing to this ideology, I gave a structuralism-analysis of this piece as following:

Structuralism-analysis (represented by English Letters - full connected Prelude-suites (6 into 3) seen as 1 up-taking 2 small rooms - Royal suite [11]) :

Royal Suite A: A (B1-B7) B (B8-B15) C (B16-B21) D1 (B22-B27) E (B28-B32) Middle-Stop;

Interaction-F (B33-B46) Counter-B1 (B47-B54) Counter-B2 (B55-B62) Code-E (B63-B65)

Royal Suite B: A (B67-B73) B (B74-B81) C1 (B82-B87) D2 (B88-B95) E (B96-B98) Middle-Stop; Interaction-F (B99-B111) A (B112-B115) B (B116-B122) Simplified E (B123-B124) Middle-Stop; Interaction-F (B125-B138) Counter-B1 (B139-B148) Counter-B2 (B149-B156) Misplaced E (B157-BB160) Middle-Stop; Interaction-F- Ornamentation (B161-B172) Developed C2 (B173-179)

Transiting D (B180-183)

Royal Suite C - Code: A (B184-B187) B (B188-B195) C (B196-B201) D1 (B202-B207) E (B208-B213) Termination


I think these standards created and collected from our information bank would motivate a better draft in its sustainability towards FUTURE.

First Draft of English Suites: (For normal Performance; See besides)

2nd Draft: Briefly say - it's with much fluent sound-effects and strong rhythm, suitably as a fast dancing suite, in which postmodernism picks up vivid colours from Neo-expressionism to see Neo-classicism's unexpressed, down-pressed, and deep-controllable emotions, then tries to explicit them in dynamics and expressive techniques. A movie - Pride & Prejudice (2005 film) (Wikipedia introduction: https://en.wikipedia.org/wiki/Pride_%26_Prejudice_(2005_film) ), with beautiful scenes of Baroque-dancing ball-suites, gave many inspirations to this version. Hopefully, it will be heard having met more postmodernist targets, as a Post-prelude. And hopefully, we can enjoy it. Better version can be researched out in future. 1st draft: To be honest, this draft isn't mature and (far away from) satisfactory in piano performance, according to my dreaming standards. I was hoping it could be in Neo-expressionism (https://en.wikipedia.org/wiki/Neo-expressionism) and Neo-classicism (https://en.wikipedia.org/wiki/Neoclassicism), for reappearing rich colours, continuously varying emotional changes abstracted from formal manners and Royal dance-structuralized movements & scenes in a past Golden time, but through commons' hands. However, in this draft, for the reasons of short-time exercising and practices, I can only push out some basic ideas of Neo-expressions, such as highlighted theme-line with heads, layers and ornamentations etc. No matter how, about this draft as a new beginning for my love (I really enjoyed to play it and appreciate its imageries) , I need to give my thanks to some pieces of information provided from Wikipedia - English Suites (https://en.wikipedia.org/wiki/English_Suites_(Bach) ), Baroque Music (https://en.wikipedia.org/wiki/Baroque_music), and Martha Goldstein's harpsichord Edition; and some inspirations from my and my children's daily classroom-practices. Hopefully, in a short time, a better draft would come out; and hopefully, more commons would enjoy to share their reasonable works through daily practices on this platform; and hopefully, piano keyboard in this century would create more beautiful 'colours', like thousands flowers' blooming - of richness and vitality.

MO Version ( Besides, for professional performance with more tastes of Baroque Golden Era; Compared with 'First Draft...', this version with the 'Modified Ornamentations' was made according to 9 points disscussed above):

Jason's Neo-classicism and Neo-expressionism: 'you are standing here, and watching the golden fashion there, with impressions being summarized for our current willing' . Emotional complex in words 'when standing here, and watching Sir Bach's 'there-standing' to see a great England (or UK) and its peoples' life fashion in his own impressions', it's like to watch a Symbolized Mirror in my dream projecting the life of a Long and Unknown Miss. We (Sir, I and learners...) were all not there... in that time and space... but still... musicality in system can teach us... See more, please turn to its main page in Wikimedia Commons
Creative Homework and Exercises (Advanced and Research level):[edit]

1. Student's Performance as the main teaching & learning result of piano:

Teaching Result for English Suites No. 3 Prelude from Wikiversity to the real practices - Meng Meng's performance a week before examination

Comments: The Connections have all been threaded together with fluent but gentle manners from English traditions, from which brilliant social Ball-liked Dance-suites for commons have been described in the world of imagination. Baroque Ornamentations, in her very smart and slim hands, have been performance greatly when hearing. Main skills were trained good, but skills of some parts beyond her age - around 14 years old would need to be trained frequently, afterwards. 'Fast wasn't too hurry and rough but with down-calmed breathes in rhythm' would needed to be understood well in the future. All in all, Meng Meng has already shown her fashion creatively in this English suites with some differences from the original teaching through her skillful hands. More experiences and knowledge of performance in different scenes were needed for her development.

2. learnt Suites Formation in ...(oh my lord, Jazz & Blues): Royal Suite A: A + B (As a 'Supplemental A'; Regarding with samples, you can see the portal: Blues & Jazz learnt for fun and a fast brain above)

+

Royal Suite B: a Variation C (The 2nd chorus made according to A)

(Notice: In this homework, we can participant-observe the functions of Suites thinking in different musical fashions)

Postmodernist Impressionism - Special Researching approach for music researching in instrumental techniques, which needs to be highlighted[edit]

In my opinion, we title it: Impressionism in music or the field of piano techniques; but originally, painting should be the most visualized expression, of which I thought, if comparisons and contrasts between this root and other instrumental expressions can be made for further researching and exploring, more deep impressions of this field would be abstracted out as for creative findings. In other simple words, what 'Painting techniques' to describe imageries (Session impressionism techniques of Wikipedia introduction - [12]),such as generalized large-brocks colours-brushing, simultaneous contrast, symbolized meanings borrowed from 'natural lights', spirit's floating directly upon 'rough surface' etc. , have been highlighted and some similarities and differentiations with instrumental expressions are of the essential importance in my approach. I thought: when it comes to language descriptions (it's hard), much more detailed Interpretivism and reasoning would better the situation. Watching throughout them by using 'a pair of glasses', we can see more 'drawing pathways' from piano and musical expressions. And, our channels would be more vividly 'with some intervals of blocked clouds being pressed out and holly lights beautifully sun-shining down through clouds to warm souls'.

New Educational Researching formation and some pieces of works-analysis (Techniques collected from the learning of Wiki-operations and sections are set beside the texts)[edit]
* Moonlight is the real moonlight, but being vividly and thoughtfully heard when shining upon the sea and beach of not only the reality but also the poetic imagination:[edit]
Moonlight - Clair de Lune (As the rememberance of Sir Debussy (Statement: Time would have been changing, always; and, things would have been being fizzed quite unclear, already. Closing my eyes, consciousness integrating with some symbolized unconscious imageries may only transform them to be some deep but easy-broken fragmental impressions (even a breezing sound) in my memories and further left in an area of mind-sea there, about what the experiences of keyboard-touching for this melody and some fantasy landscapes of Sir Debussy's Moonlight, reminding there to be mixed without clear boundaries for distinguishes, and as a fantasy trinity of spirituality (missing), vitality (growing) and sustainability (blooming). Self-comments for third draft: Then, the third draft came out. Yes, it must still be carrying some faulted details, thereby wasn't perfectly heard. However,'Short, thick strokes of paint quickly capture the essence of the subject, rather than its details' - this sentence somehow provided the meanings for its survive as one of commons' impressionism, as what small Jason's. When fragments of memory began to be fading, mixed, rolling up news, rippling out light recycles and interacting fatally orbiting routine, a natural impression was still there - growing vividly, as the root with visual boundaries between itself and universal darkness unclear, reminding some memorialized fuzzes there, thunders-wandering, lights-shaking and energies-spreading, with imaginational elements as the supplemental building materials. Therefore, it was still keeping a far distance from my artistic dream on the other bank of life river. However, in this draft, loves and emotional changes from commons 'life have already been attempted in a better situation (than before). Analysis with some researched evidences: But in my heart... the enthusiasm in trying to understand what Sir Debussy has seen and been willing to express - the imageries on the beach of Poolesville (1915, summer) or other beaches in his past, during his tours in the First World War, has never faded its colours. Oh, the time of dreaming it is from my childhood. I am dreaming that he had been wandering alongside one beach and left feet kissed by waves from a mix of moonlight-waving, its projective tides-waving and sound-waving reflected. His mind was then flying throughout the darkness, with breezes as wings and lights as shoes, then sliding upon the surface of sea, directly to the clouds surrounding moon. But before, he had been trapped into a deep confusion about why sound-effects of piano has lost its colours in the world wars and how to awake people's fingers and techniques to recover scores' beauties. That's why in this version, in 'Tempo rubato' - the second mind-presenting part, the ideology represented by root-chords has been expressed so deep and so exploratory. Debussy was like a poet, struggling with heart-conflicts of idealist dream and the reality, to travel to the most peaceful and holly 'En animant' Peak session and pray for what moonlight's gentle-caressing would get away human beings' unstable and dangerous minds, and get back original beauties of the seaside shined by silver-moonlights. 'Deep but light' - yes, two sides of this contradiction, in master's composition, have been unified together, as if forces-mechanism has been oppositely turned back and steaming in a quite magic situation. Yes, he has gotten it freely there - the dreaming silver moonlight-a flower blooming on the other bank. Hoping: this draft would be better than before and it could be seen as a Christmas gift to my own heart and to some volunteering members in Wiki-family. Let us create more new senses for peaceful situations of the worlds in the coming 2017! <translate>On n'est jamais mieux servi que par soi-m^eme. Cherchons nos doigtes!</translate> 'If you want to make things better, please depend on yourselves. Let us find our giftedness in more exercises for overcoming some difficulties in fingering (techniques)' Small References for one historical facts and some words mentioned: Wikipedia (2016) Wiki-entry 'Claude Debussy' Searched from Wikipedia. ,Commons Attribution-ShareAlike License: Wikimedia Foundation, Inc. Available at: https://en.wikipedia.org/wiki/Claude_Debussy. Accessed: 20th, December, 2016 Claude Debussy (1916) eds. (9th) 'Preface' and 'Brief Introduction' of '12 piano melodies for techniques-exercising'. G. Henle Verlag, Munchen (Debussy Douze Etudes): People's Press of China (Bejing). ISBN 978-7-103-01632-9 )

There is a talk. Though it was a debate about whether or not the research of Impressionism techniques is needed in dealing with Debussy's Clair De Lune. Maybe, it was a little bit like a fiece argument. However the respecting and pursing of fine art itself are truly there, according to the Wikiversity edition above and the comprasion edition - https://en.wikipedia.org/wiki/File:Clair_de_lune_(Claude_Debussy)_Suite_bergamasque.ogg . Meanwhile, some skills and tequniques about playing Debussy's can be felt out from this debate. Wishing children or young teenagers can get some senses!




* Children are doctors for adults, as the reason that they can create some most advanced techniques than your imaginations, but with the purpose only for happily playing their games. I guess: Chou Chou must know it, and father Debussy also. Then, heaven is near:[edit]

Idealist dreams - the engineering realization of 'Chou Chou's playing techniques' and imaginary impressions through behaviourist language-descriptions: (To be honest, it’s not to say I can get these behaviourist targets in practices; but, as in educational perspectives of Wikiversity, we need to set some idealist targets for understanding what are Debussy's impressions, how they were formed by expressive techniques, how to guide our learn-tendencies, practical operations and how to better the situations in which new sound-effects' out-coming would be possible. Depending on my educational research background, it was like a 'check list' for planning practices.)

B1 till the head of B3:

(Letter B means the bar of a 5-staff-transcript. What is 5-staff-transcript? we can review the historical knowledge about how 5-staves-transcript has been formed in a long history (It wasn't always a 5-staff, but originally developed from people's willing of coding sound), and about which, our Wikipedia introduction (https://en.wikipedia.org/wiki/Staff_(music)),and some online courses-platforms from academy, such as fields about notation-reading in Future Learn and Music Theory in Open Learn etc., have already made some very clear and detailed introductions): If you let me describe what imagery impression (or life scene) I have seen and what keyboard-touching feeling I have gotten from this musical phrase, I would like to compare it with a game of children's - Stone-skipping. I guess: maybe Chou Chou has gotten the principles of it. (Information from Wikipedia introduction: https://en.wikipedia.org/wiki/Stone_skipping) But, you may ask me why and how I extracted this imagery impression. Furthermore, What types of hands-techniques have been applied here?

  • Mechanism analysis of forces applied from practices:

It was a pitches-rise of right hand with grouping motifs in modelling running of four-quavers - as the united tiny motif. Forces, applied in dealing with every small motif, isn't in average, but with a centralization (fulcrum) set at each head of these small motifs. Meanwhile, other three are supported by these fulcrums, and slipping the whole hand to each next, as for forming the impressionist background layer in the bottom. Therefore, when playing the other three, your fingers need to touch out the depth, as half degree of these keys to form background sound-effect. Rather than, your '3rd, 4th and 5th' fingers, when making keyboard-touching of these grouping heads of motifs, need to fulfil the whole keys and are like these force-fulcrums, to support left hand's 'slipping' to higher places entirely. After hearing, you will find these grouping heads in a queue (with notes in shape and forces in physics) have been highlighted, as twinkling 'lights' in variations. And, your hand is rotated to rise and slip from point to point, by making keyboard-touching with the touching of water-surface.

Documentary comparisons:

Notes:

'...The stone generates lift in the same manner as a flying disc, by pushing water down as it moves across the water at an angle. Surface tension has very little to do with it. The stone's rotation acts to stabilize it against the torque of lift being applied to the back...'[7] Comments: That's quite right about rotation acts upon fulcrums - every time being for hands' slipping through surface-touching of water. Yes, keyboard, in Debussy's works, touching keyboard can be compared with touching of the surface of water or a mix among water, lights and clouds, which we can discussed in the talk of Wikipedia. [8] Furthermore, by a little bit critique, I think the surface tension of water as the background, should also associate with stone's (Supporting fingers') 'slipping', and give the counterforce-supports to other fingers. In this case, water striders' actions for moving on the surface of water can give us further enlightenments (It's because of touching, then rotation is enhanced by counterforce on the surface; and water's tension (expending a little bit extra) is functioning for the entirely movement to the next). [9] Following above, where is the beginning force? Oh, don't forget the whole head - an octave chord (C2- C3) divided by a depending ornament upon main C3, which is like a throwing force motivating the whole imagery impression. For brief, here, one of Chou Chou's little games, as from the very beginning, has been vividly described standing upon paper - stone skipping. You can feel the functions of one hand' fingers (right) have been separated into two with centralized fulcrums set on one of your 3rd, 4th and 5th fingers and others as for background, among which forces were transmitted for the whole's slipping. Then, energies, as impressionist paints' applications, have been managed with twinkling light natural emphasised and background half-touched 'Grays and dark tones are produced by mixing complementary colours’. [10] Oh, don't forget to give A beginning bang transmitting force from the left hand to the right hand. It's a throwing one for all. Following all these techniques above, one piece of technique carrying its sub-properties have been unified together as a whole.

B3-B6 - The directions of forces-application (fulcrums) - fingers-wiping (Upwards) or forces-pressing(downwards) VS. the relationships between twinkling heads (in the groups of 4 semi-quaver notes which can be compared with 'leading stars') and their dispersal background recycling round by round:

  • The direction of forces-application (fulcrums) - fingers-wiping (Upwards):

In this piece, Chou Chou and her father have almost jumped into the lake-liked water-surface which they were playing Stone-skipping, but fantastically mirrored and reflected out upon sky into another impressionist scenery like what this painting showed - The Starry Night. Wikipedia introduction:' https://en.wikipedia.org/wiki/The_Starry_Night' [11] But, you would ask me: Why did I state this vision that Chou Chou and her father's journal had been travelling there, and how did Debussy describe it through instrumental techniques? My own vision is: Though there were many debates about The starry Night's expressionistic symbolizations (in my mind, impressionism's extreme side would go to expressionism) - about its galaxy-origin, woman's painful birth-procedure, or religious relations, by simplifying them deeply and only picking up one most useful element interpreting our case which my mind-touching for it can get from the past, I would say: in this night-sky, stars were always magically twinkling as only ornamentations, holistically impressing the whole impression of the universe in dark into our memory and locations-statically heart-beating(moving)in certain interactively-shaking rhythm, which can be compared with numberless eyes shining in the sky - blinking and blinking with the vitality. In this time, Chou Chou, associated by Debussy Clause's advanced instrumental techniques, has lighten these eyes in the sky for us to appreciate impressionist beauties. Yes, Scientific approach has already told us: stars' astronomical twinkling is caused by the reason that multiple layers of atmosphere have refracted lights' getting through-in - which were travelling for multiple times & spaces then arriving here on our earth - especially when even a small breath's occurring would change our seeing-angles in atmospheric medium.[12] However, when this impression was recorded into the world of subjective imaginations without helps of any machine and only depending on our own willing, it somehow transformed to be every single painting-stroke's pixel-vibration which was also relatively vibrating our mind. By threading numberless 'eyes-vibrations' together, we knew the on-going of its theme - to appreciate the peaceful Glory and the dreamful Harmony presented by the creator, which Chou Chou was angelically singing out. Then, how did Debussy express it in sound-effect world? By bearing imagery-impressions of visualization obtained from The Starry Night in mind and by making the deep simplification, we can know two sides of this comparison - from its origin to its target - are all about energy-vibrations - light's vibration → sound's vibration. Following it, this hands' technique, landing in the instrument of piano, isn't so difficult as we imagined that Debussy has highlighted several main quaver semi-staccatos as heads of 4-notes-semiquaver groups with each quaver rest followed: (Indeed, this technique has been repeatedly applied in the following part, but sometimes functioning variously, with the main point rooted as this.) When playing the treble part, the forces-directions of 3rd, 4th and 5th fingers (head-beating) and the rest ones are quite different. The head-beating ones need to create one type of sound-effect as the note-vibrating and eye-blinking, by slipping and wiping backwards (semi-staccato) upon keyboard's water-surface (it's a little bit like making the rolling-jumping alongside its force-orbit.) By matching it with left hand's opposite fingering wave-approach & associating accompaniment and pedal's breathily smoothness(intervals), the soul was described out summarizing the spirituality of all 'eyes-twinkling'. We can know, in this systematic mechanism, several mains can represent the tendency of all. This double lines (Mainly in higher part of right hand, but associated by left hand) are weaving together as the framework of The Starry Night and for 'giving texture to the painting'. In this case, the technique of painting - Impasto applied in impressionism (Wikipedia introduction: https://en.wikipedia.org/wiki/Impasto) can somehow make interpretations cross fields; while further, in terms of what impressionist effects reflected out from the field music and piano, I prefer a scientific explanation fulfilling its abstracted mechanism of stars-twinkling - 'Diffuse reflection' (Wikipedia introduction: https://en.wikipedia.org/wiki/Diffuse_reflection), which we can try to make more senses in the future.

  • The directions of forces-application (fulcrums) - forces-pressing(downwards):

If things what Chou Chou and her father wanted to idealist express which are understandably required musicians' hands-performances only have reached there as what paragraphs above have been shown, this story cannot be called a legend journal and an advanced impressionist description. In the second half tightly followed, force-direction of grouping head-beats have suddenly turned oppositely downwards. It was almost that Chou Chou wanted to press a sequence of lights-vibrating bubbles which are mirroring the twinkling eyes in our Starry Night into a deep place under our water-surface-liked keyboard. Oh, this effect is that she collected them into one big accumulated bubble under our memory sea. We can find: the direction of fingers (3rd, 4th and 5th) has been totally changed - to press notes down smoothly with the full value of a crotchet attaching with others upon keyboard and standing there. At the same time, other fingers have been meanwhile playing the role of background-making - fuzzy without clear details of sound-effects, but as the totally floating impression-streams, wave after wave. In this case, energies have been accumulated by two hands as a whole, then waiting for a further breaking-out tide. Here, we can feel how fineness Debussy has designed the applications of forces and their textures into his works. He can even totally reverse forces mechanics in the immediacy. But, when it came to us - the players and appreciators, we need to train the controllability of our hands, the distinguish-abilities of our ears and attempt to express it better and more vividly. That's the job of continuous learning throughout life, which we can dream after and practise. Every time, a little bit more progress would make me feel happy and smile - just because the distance between dream's realization and my position has been shortening.

  • The demonstration of the dispersal background (the rest 3 semi-quaver notes attaching with their 'leading stars' in front) recycling round by round and their relationship with quaver heads:

Final part of this session, I want to say something extra about impressionist background. Indeed, this is really a charitable and contributive job. It wasn't the 'blooming followers' but 'volunteering grasses' for setting 'head-beatings' off more vividly. However, special keyboard-touching technique is also required that we need to make more preparations. Sometimes, the depths of 1/2, 3/4 or 1/4 are required alongside the changes of dynamics and vibrations of 'eyes-blinking'. Preparing for it can be compared with 'Colours are applied side-by-side with as little mixing as possible' [13], which is for describing the degree what a fineness it is. But, finally, the purpose of all our background-preparations are only for auditors' self-ignorance of its 'much more details', their willing of 'singing-out' the vivid framework in multiple-layers' texture, their possible appreciation of the impressionist theme with the supports from background atmosphere, their self-summarization upon some fragments of impressionism and further integrations with their own experiences, and their participant-observation of an entirely dispersed and fantastically floating universe emerging from own hearts and from the windows of our own channels. Hopefully, it would be of the understandability.

B7 - 10: Classical Dynamics system VS. Anti-classical expressions: Master's requirements for some techniques of imaginational impressions (magical fictions)

  • B7: Classical Energy-tide and its expression in Dynamics

In the normal situations, music was compared with the floating water (or certain imagery joining basic elements from liquid, clouds or lights). It is because that they have the similar mechanical system (In music, we call it Dynamics system). The very simple impression, when we are watching them, is like the waving tide carrying energy (twinkling in visual system, or vibrating in sound system). In other words, it can be called 'energy-tide'. It is said floating matters, rather than solidified ones, are good at expressing energy's changes during the time tide is coming, as what music, liquid, and clouds have shown. About their expressions, 'forces' pressed down from outside into their mechanisms can work and motivate the whole phenomenon's varying. Accepted into subjective senses through sensory organs, the total impression without much clear details will motivate our mental energy and deeply push our emotional 'tide' wave by wave. This is the normal situation, as what the oceanic tide on our earth are motivated by the gravitational forces in spaces. (interacted by earth' core, moon and sun) [14] In nature, the highest point of liquid's movements is usually where the application of the extreme force, to show the internal energy's centralization and externalization. We can call that point the energy-peak. In order to get it, there should be a continuous rising of forces' level for climbing to it, and a continuous decreasing of forces' level for landing back to the originally quiet surface. That is the procedure of energy-tide's coming and passing-by. Because of the dramatic energy-changing and energy-moving inside, huge forces are usually expressed out with the huge and apparent powers (to objects). In order to get this sense, we can review a piece of material from Wikipedia - 2010 Mentawai earthquake and tsunami (Wikipedia introduction: https://en.wikipedia.org/wiki/2010_Mentawai_earthquake_and_tsunami ) In music and sound-effects field, it was also working, but by fulfilling the performance of dynamics with hands (piano). Usually, the highest note (mouth), as B7's middle E, is also the peak of energy-tide. Besides it, we can find two same wings - a 'crescendo' impressionist scale and a 'decrescendo' scale being continuously produced and attached upon each side. By analogy, from formations to content, we can know it belongs to the family of 'energy-tide'. This one should be a significant peak-run, because of its lowest beginning and ending were the same at 'pp'. Then, through two hands' (fingers) tightly matching and dramatically climbing up and landing back, the natural impression of powerful tide has been realized beautifully, which Chou Chou must understand how to play it from heaven onto the ocean.

  • B8: Anti-classical Energy-tide in Dynamics and its realization by hands' controllability

As what we have discussed above, B7 is designed in classical mechanics system - higher pitches' rising alongside natural forces' impotence more deeply, which can be compared with tide-energy's passing by. However, in my heart, if things are merely arriving there, it cannot be called the application of advanced techniques. Afterwards, Doctor Chou Chou has played another fantastical game from heaven. She totally pressed down tidy's peaking tendency into one channel under musical sea, and let it go in a regular way, without indications floated up to the surface and being seen clearly. On the surface, what impression we have obtained is a winds-calming and waves-peaceful sea-face with light smiles. Originally, B8's quiet and 'normal' scene should be from people's 'normal' expects; but, nature taught us 'envelope-liked climbing to the peak then falling down to the ground, alongside dynamics' 'attack (dramatically increasing) and release (dramatically decreasing)', is energy's systematically spreading out and needs much heavier forces' pressing down then departing away continuously, which are required from our fingers' controllability and for re-appearing natural imagery. This impression is summarized by people's empirical interpretations from Second law of thermodynamics, about which we can review much learning details from Wikipedia and its reading list (Wikipedia introduction: Second law of thermodynamics           https://en.wikipedia.org/wiki/Second_law_of_thermodynamics). Therefore, we can say this case was an expressive contradiction - 'pretended normal is truly anti-normal' and 'classical naturally births anti-classical'. Doctor Chou Chou must understand it quite well. Even further, thinking about: in which case, forces would lose their weights and energy would be anti-naturally pressed down in certain channels of our universe. Yes, if we want to theoretically reason it much clearly, around one year, we still need to go back to gravitation, but in a very different field - sound effect (Indeed, through the analysis of what sound sent here, we can make the judgements of what types of materials, endeavours and forces originally applied in the beginning - sound sources through engineering approach - to build subjective connections through training our sensory organs of body.) - ears and fingers' 'anti-gravity' need to be frequently trained for the expression with the accuracy. I am sorry to say: in my second draft, beauties of this bar haven't been expressed perfectly. Then, if in energy-signal's ending part - sound effect and for perfect controllability (Tiny single note's accumulation), it would be the term 'gravitational waves'. In my opinion, it isn't to say, our hands (arms and fingers) need to be so advanced - 'creating a black hole', but to say they need to make some very simple anti-gravitational moves, in terms of which the entire effect is seen as normal, but under the surface, forces applied are somehow anti-normal. To be honest, Chou Chou's doctorial expressions with this style, in Children's Corner, are ranged upon many places. It is one magically artist description of certain symbolized imagery representing the relationship between natural phenomenon and their controllable gravity, energy-impacts, 'energy-escapes', and energy-simulations of, from or for gravitational waves; then, by joining them above all together, we need to explore: in what types of situation, gravitational reversibility (or as some interval stages of waving) would happen. (Wikipedia introductions: Gravity https://en.wikipedia.org/wiki/Gravity; https://en.wikipedia.org/wiki/Gravitational_wave) All in all, B8 and some like it needs to make some anti-normal endeavours to control your hands' nature and realize a quiet and peaceful sea-face, directly after energy-tide's passing by in B7. (About further explanation, we can review more pieces of information from the Comment of File History in Wikimedia Commons (Third Edition - 16:10, 15 January 2017), but the true music was wrongly placed at the position in which fourth edition should take (16:27, 15 January 2017). I am sorry. ( Wikimedia Files-storing: https://commons.wikimedia.org/w/index.php?title=File%3AImpressionist_Data_for_technique_analysis_-_Doctor_Gradus_ad_Parnassum.ogg )

  • The mechanism of B9 and B10 (motif) is designed as to follow B7-B8's impressionist fashion, too

B11-B12: A simulation of the release of a sequence of bubbles (rising up) from underwater and to the surface

  • Impressionist description:

Tightly following the anti-gravitationally down-pressed Bar B10, another advanced technique has been magically produced out, which can be heard by us in revealing Chou Chou's extraordinary doctoral imagination and her transcendentalist operations. This technique is regarding with a natural phenomenon - Bubbles' rising up in water. Let me make a careful explanation: After a great amount of classical forces have been anti-gravitationally pressed down for recovering a peaceful 'sea-surface', we knew, in order to overcome jelly-liked Times & Spaces' multiple- limitations, a hidden 'black hole' has been set in the centre of our 'hands' with a channel sending (escaping) the extra energy to the 'parallel universe'. It can be compared with the situation of being fixed in the depth of ocean, as a Aladdin's lamp sealing the damageable power of an 'energy-monster' in. However, in the other side - the white hole (or being mirrored in a occasion which would be compared with what Chou Chou has magically done - to release the huge power of a tide( or a tsunami)), Times & Spaces' jelly-liked holding-back function has played the role of shaping its escaping routine into a wave-like up-rising channel, in which the whole energy has been divided into small pieces by Times & Spaces, as gases in bubbles, staged flowing up at intervals (in rhythm). We can review some pieces of information about the changes of a sequence of bubbles' speeds in the procedure of flowing up, the reason why they can go but remain intact, and the equation for counting their pulsations (in rhythm) in our Wikipedia introduction: https://en.wikipedia.org/wiki/Bubble_(physics). Indeed, my explanation of this imagery impression is: the energy wants to escape in a very fast speed but cannot, because of Times & Spaces' anti-forces in holding it back through changing angles of its pathway (deeply say: it is a result of interactive fighting between each other), which can also be compared with the situation Chou Chou's small hands are plugging bubble-liked energy-pieces back to the original mouth. I think this is also from one of the reasons why gravitational waves are 'heard' like waves - energy is staged divided and held back at staged as bubbles carrying gases to flow up under the pressure of fighting against Times & Spaces. From this case, we can see how many pieces of knowledge doctoral Chou Chou in the heaven with her father have already known, especially understood their abstractions and applications in keyboard's practices and our fingers' descriptions, with their creative imagination.

  • Fingers' realisation:

In this case, two hands of us need to be tightly matching together in order to behave as one hand. This procedure is made through one hand's tightly following with the other. We can hear 4 notes each in one group, as a small unit across two hands, which are forming a staged bubble-projection in the waving pathway; then there are four bubble-projections upon Times & Spaces. From the bottom to the surface, it's the left hand which gives the power to motivate the whole mechanism' working in the fingering; then, the right hand is following after, but exploring further high-ways and leading the waving angles' changes. In other words, it's the right hand leading out the shape of waving pathway upon keyboard and guiding their progress to further step. It's better to play out an acceleration of our impressionist arpeggio alongside the cresc. of loudness, for simulating out the situation in which bubble-pulsation in rise requires. The final 'sf' and its dying out, alongside the procedure of the semibreve' standing upon a full time value of one bar, is an entire peak, as if rushing up to the surface of 'sea water', and bombing out there with full energy' release influencing in a large scope and lasting for long time.

Thanks for this case, through reviewing which we can know how beautiful and what a magical world in Dr. Chou Chou's eyes in Children' Corner. On purpose or not on purpose, that's a problem. I think: just because of Chou Chou's childish ignorance of this complicate problem and totally behaving the full-hearted dedication of herself into creating universal beauties, (just for playing it happily, or being even without any thought of how and why to make them out) currently, through many times' excising and techniques-reasoning, we can find our hands' improvement, and the impressionist wandering to the purity after frequently trainings.

B13-B21: Chasing above sea-surface: Chou Chou's game with Exocoetidae (Flying fish)

After travelling alongside a sequence of bubbles rising-up till being above sea-surface (B11-B12), we can find the forces' application realized by transformed staccatos has turned to a fresh field: how could us make the joyfulness through surface motions? Oh, smart Chou Chou's music-spirituality has chosen an amazing activity -playing a surface-chasing with her lovely pet - Exocoetidae (Flying fish).

  • Flying fish's flying mechanism:

In order to understand how Chou Chou can play so happily, but without self-ignorance of our own hands abilities. We can make this thinking: for making things clear, through accurate notation-reading, we need to get back to Flying fish's biophysics mechanism:

In identifying Wikipedia introduction's words recordings of Flying fish' flight mechanism, we can know all flying fish's body parts - 'muscles, connective tissues, and ligaments in a fish’s skeleton; totally generalized: the vertebral column and cranium' - have been threaded internally by Neural arches, as a 'strong bow'. The shrinking of this 'strong bow', by accepting a signal from brain-linked Neural arches, would suddenly produce a strong force directly beating upon sea-surface with the direction back-forward. As a respond, the counter-force given by water surface would shoot up this streamlined fish - threaded all body parts - into air, with light swings overcoming resistances. In this procedure, tail fins (as grouped staccato-heads) play the direct back-forward motivation; meanwhile, higher-placed fish wings (as mind-borne huge slurs) play the function as gliding this movement from the beginning accelerations. Depending on this mechanism, Chou Chou's lovely pet - Exocoetidae (Flying fish) can realize its bird-flight. Indeed, small 'tides' surrounding its flight trace are like being wheeled, with back-forward streams counter-pushing fish's shooting, which are also projecting body parts' out shapes. In order to keep in air for longer time, middle re-forcing as another strong standing-point is needed during this interval flight, by its 'strong bow' with tail fins touching the surface. That's the whole flight which my recognition can get. About further researches and information, we can review Wikipedia introduction.https://en.wikipedia.org/wiki/Flying_fish . [15]

  • Fingers' realisation:

1. In B13 - B21, you can hear left hand's staccato-heads back-forwarded wheeling and leading another linked 3 notes distributed upon right hand of each group plays each small shooting flight; (Yes, the direction of left hand's staccato-head threaded with the wheeling 3 notes of right hand need to be played back forward and wheeling, as pedaling water's surface stream by stream. Then, flying fish, supported by courter-forces, can fly to the front air.)

2. Each 'slur' set upon these staccato groups should be seen as mind-borne 'wing fins' for keeping in air longer time and farther distance;

3. In each second bar covered by slurs, there are dynamics peaks between two wings - a crescendo signal and a decrescendo signal, supported by a 'post-' foot pedaling, counter-shooting flying fish's middle re-flight and re-acceleration for being kept in air longer time;(B14 and B16)

4. Oh, what a giftedness you can hear that Chou Chou sets several tenuto quaver heads distinguished with staccato ones to later their time values for more sturdier standings counter-reflected upon water surface. (Each second and fourth notes of B17 and B19). It's like: in this lovely chasing, naughty Chou Chou suddenly rides upon flying fish, or grasps its' tail fins for delaying its time, and making some fun things. You can also hear 'hairpins' of dynamics - sudden softer signal, accompanied by posted right pedals tried to enhance this effect for the real joyfulness. (But, the effect still needs to be improved in future);

5. Finally, in this session, 'In Peu Retenu' makes a back-drawn and continuing 'slow motion' of flying fish's flight, which can be seen as the sprint stage of this race. There should be a back-drawn force slowing down the whole Times & Spaces, which can be compared with the transformation of all these cases above to be a 'slingshot' - flying fish's 'strong bow' , being later down, but for a fresh beginning in NEXT 'a tempo'.


B22-B32 : Chou Chou's Slingshot shooting a Rotating force-tendency highway upwards for enjoying a beautiful trip in the heavenly snow-land with Sun, Moon and Star-children shinning in the crystal universe together

This is a small piece of educational sample for the demonstration of piano techniques, belonging to the session 'B22-B32 : Chou Chou's Slingshot shooting a Rotating force-tendency highway upwardsfor enjoyinga beautiful trip in the heavenly snow-land with Sun, Moon and Star-children shinning in the crystal universe together ' of one journal article researching Sir Debussy's Children's Corner - Doctor. As one techniques-sample, it's tempo was expressively slowed down a little bit, but oppositely reflected out more emotional changes when watching impressions of binary system's progressing under background of CMB (Unbalanced balance surrounding hidden gravitational axis - turning round and turning back - waving by waving). Meanwhile, you can also hear the parts of deep self-reasoning and down-falling towards clouds. I thought basic principles of impressionism, according to Sir Debussy's notation-transcript, had been kept. Better edition based on classroom background, will be researched out for commons' free shares and usages .

Tightly following the end of last session, we can see flying fish's 'strong bow' (a rit. & a recovering force applied for another new beginning) has been magically transformed to be a Slingshot (Wikipedia introduction: https://en.wikipedia.org/wiki/Slingshot) in Chou Chou's hands directly shooting up the melodic theme into a holly snow-land. In my opinion, this session can be called the second peak and pure exploration of heavenly snow-land. Why can we say it is the second peak? We can find this session's preparative functions for the other top trip in the later part, in which more achievements of landscapes-appreciations have been succeeded by our Dr. Chou Chou. Therefore, this one is the first 'attempt'. How can Chou Chou achieve it? I thought this session can be divided into 4 sub-steps (stages) carrying functional meanings. About their titles, I can conclude them as: Thematic variation in small fingering changes latterly with shooting forces-tendency rocketed-upwards, Sustain pedalling for creating an atmosphere of heavenly snow-land with high-lighted shinning stars decorated upon sky-celling, Holly purification and self-reasoning in an angelically crystal universe full of brighten galaxies, Falling back to a earth cloud with Bass-thunders and Sun-lights' penetrations providing senses of light's warmth.

B22-B23: Thematic variation through small fingering changes (B23) with shooting forces-tendency rocketed-upwards

To be honest, this model, as each beginning of three sessions (B1-B2, B22-B23, B45-B46), wasn't unfamiliar by us. It's like every beginning part of children race, with an acceleration of fingers' running to rise pitches to treble part and prepare for further adventures. However, this part is special with a distinguishable variation in B23. In B23, left hand played a guiding function with expanding fingering pathway to climb up mountains and leading 4-notes grouped right hand to a further sky. Meanwhile, it was carefully designed according to Orbital eccentricity (Wikipedia introduction:[13]) , expressed through forces' increasing in dynamics-changing. You knew, under the background of gravity, if one object wants to improve its height to a far distant, it must recover its tempo to a continuing faster rate, in overcoming air fictions. During this procedure, its acceleration associates the transformation of kinetic energy to be gravitational energy; meanwhile, changing r (radius), collected as its height representing for gravitational energy's increasing, can be seen as vertical indicator (towards core)meaning the 'embracement' of further 'landscapes' in curvature horizon. Therefore, in my vision, four root-notes (intervals: third, fourth, third, fourth, finally towards sunny E in C major) played by right hand, with a expanding sense, gave the guides as Orbital eccentricity for rock's flying into further sky and realm. About them, We can give a self-range of its dynamics (4 levels) of pitches' rising, fingers-forces' inputting, loudness' increasing, to realize this effect. Here, a very naturally designed fingering pathway, as 'sky climbing-ladder', is of the importance, which Sir Debussy has referenced Mozart's 'nose-application' to give us some suggestions. 'Natural' means that its design can follow the direction of accelerating tendency and hand's expanding pathway. In a fuzzing view, four root-notes are 'staring positions' of the curvature orbit leading a small-waving impression-belt orbiting to our higher snow-land in the space above clouds.

B24-B26: Sustain pedalling for creating an atmosphere of heavenly snow-land with high-lighted shinning stars decorated upon sky-celling

What would happen further and what will us see tightly after last accelerated session? You can feel a pure universally holly snow-land have been formed (travelled to, or discovered) with amazingly astronomical phenomena magically existing summarizing different impressions of 'landscapes'. 1. Binary stars system (yes, we can compare situations of two hands here with Spectroscopic binaries and a beginning of energy's integration. ) in piano expression and its hands' realization: from B24, left hand's leading energy has been totally released out that it flies by and orbits right hand in certain significant rhythm of position-occurrences. The observation of interactive 'Algol B orbits Algol A' in relative Wikipedia page gave me some inspirations of this situation. Here, through melodic analysis through our own hands, we can guess this stage in binary stars system's history - earlier time can be seen as still in a higher, enough and fulfilled energy level. However, the range of two sides are in one specially orbiting balance, with a equally-ranged merging tendency between each other - they cannot die out each other by gravitational attraction, but with energy system as a whole one including a major axis. Thereby, they were orbiting with each other in a special rhythm with one (indeed, it's interactive two) forcedly drawn by from one down-slowing peak to the other up-fasting peak. Indeed, it wasn't made out by 'left hand' only, but an interactive two sides with one accelerated merging into the other from one peak, then sliding out to the other peak; and the other influenced as energy-waving or even shape-penetrated floating small Nebulas (impressionist background; about the effect, please see Wikipedia introduction: [14]) It's really a beautiful universal phenomenon in higher energy level.

Fingering realization:

Signature 'l.h.' of left hand associates us to realize it. Depending on the acceleration, natural inertia and higher level energy-atmosphere pushed through B23, We can see that left hand was making the frequently travelling (penetrating) throughout right hand's waving rage, in a distance about one octave; and about each wave (divided into two turned penetrations), two peaks from highest to lowest have been clearly twinkling out by left hand, as two crystal pearls hung by tenuto and a intervallic middle-shifting staccato (and both sharp C in the middle peak of B25, as a special tenuto-ing staccato). Meanwhile, dynamics range are naturally pushed though up and down with mouth as the middle main axis. In other words, let us divide this paragraph into points and see what basic standards here:

1. As in one binary star system, the timbres of both hands need to be heard as if only in one hand without any differentiations, especially when left hand was travelling to treble part to fulfill a back-turning peak ; 2. However, tenuto semibreve and minim bass root-notes (in B24 it was a minor third effect - CE, and in B25 it was a single E) also need to create a whole impressionism atmosphere of bars, with time value being fulfilled enough. It's for the distinguishability of a stable higher energy level, contrasting to the accelerating part before. Oh, I knew maybe it was heard in crazy contradiction; But, indeed, on certain degree, they were dialectically unified together, as one for driving out this system, but when left hand was through out, the other back-turning peak for drawing back (braking) the energy of binary system. Then, they were keeping on going in balance; 3. Tempo in bass part (first half of B24 and B25)needs to make a accelerating accumulation (continuing faster) of force for driving the whole system to higher energy level. But, when left hand was across right higher to touch treble peak, a down-slowing and harder (continuing to slower) sense needs to be expressed out for braking and drawing back in binary stars system ( worked by eccentricity); 4. Following points 2nd and 3rd, a oppositely rotated middle axis will have been interactively revealed out with a Sharp C impressionism twinkling beautiful lights on the mirrored sky 'ceiling'. Oh, Debussy has totally anti-gravitationally (but also relatively in gravitational attraction's influences) reversed the axis in Bass part, which can be seen as a challenge of classical physics mechanism requiring more of hands' self-controllability; 5. However, there is also a contrast between B24's middle main axis and B25's that one is a staccato, but the other is a semi-staccato. How could us see this differentiation? I thought it should be one type of natural transformation from binary stars system to Eclipsing binary. Yes, alongside time's on-going, they are near and their energies merging into one whole that staccato's brightness evolving to be down-pressing root-notes and joining the group with B and Sharp A in scale. In other words, two peaks on each side have been integrated as only one notion and all in bass root with significant impressions pressed out; 6. Dears, what about our right hand? Caused by higher energy's stretching power and the other planet's frequent penetrations, it lost its star-shape and was generalized as energy Nebula (still, Wikipedia introduction: [15]) fuzzing a tiding impressionism background waving by waving. 7. Here, How can us thread all those above coherently and harmonically? sustain pedal of piano has played a very important role in creating a crystallized Reverberation effect representing for a holly, peaceful and pure energy-environment (Snow-land) with various sub-level touching-effects according to time, to support the realization of techniques, about which we can pre-review some pieces of information from Wikipedia introductions. (Sustain Pedal -[16] and Reverberation - [17]). Yes, indeed it should be heard as being pushed from nature and according to energy's being upon Times & Spaces ; but, when we try to realize them in the cooperation of feet and hands, the idealist effects are not easy that we need to research more about their interactions. Here, some peers and students would ask me - Jason, how could us press out good sound effects of piano pedaling to support impressionist expressions of hands, in the realization of imageries we had described above? That's a quite great but very hard question in piano that different schools have gotten different ideas, and some have concluded out several theoretical systems. Here, we can try to reflect out and summarize some of my small practical experiences and some appreciations of different pianists in educational approaches, according to notation-reading and practical performance effects. From the view of impressionism and Neo-expressionism in piano, just leave a brief sentence: please bear in mind, natural breathing in rhythm according to slurs and dynamics is quite important. In postmodernist impressionism for commons, we mainly support Post-set (later a little bit time, compared with notes' finger down-pressing) pedalling pathways for Education Research. In other session, we can make careful and reasonable self-reflexivity from tens years' exercising, some information-collections from documentary materials, and some comments of effects from classroom recordings. (Leaving a developing zone)

B27-B30: Deep self-reasoning and self-exploring when gaining impressionism of a infinite CMB Universe

Till now, after running after binary star system and feeling about its special rotating rhythm caused by gravity ( being with two peaks of orbit and a inclined middle axis; then, merging into a eclipsing binary star system), Chou Chou's sight was travelling to the deepest part of her universal horizon - maybe inflation with light's primary breaking-out, a delicious sweet & hot particles-soup in dark, , or some far more unknowns... ; meanwhile, Dr. Chou Chou's subjective worlds was dropping into a special situation - self-reasoning, self-questioning and self-exploring. How can me hear those? in B27, the upon-travelling left hand, associated with sustain Pedalling created a special sound-effect - slurred semi-staccatos were making twinkling 'eyes' breaking-through right hand's hot hydrogen recombination background; in a wide and profound space, they created later back-turned, slowly-decaying and longer-lasting reverberations, which are shaking as three supernova stars (Wikipedia introduction: https://en.wikipedia.org/wiki/Supernova ) hanging upon chaotic and after 'binary system's combination in sessions before. So beautiful vitality Chou Chou did, which also reminded me the post-impressionist painting Starry Night [18] mentioned before. It's also a question flowing from G, to Sharp F, till E in G major system (or its attached e minor tone), deeply and expressively asking human beings 'who am I (compared with the never-ended and long-lasting universe from big bang)? or what are (our) meanings (with a short life as so)?' That's quite right that Loevgren calls The Starry Night "an infinitely expressive picture which symbolizes the final absorption of the artist by the cosmos", which revealed a little bit sorrow when the seventh of G major appeared (as if in minor e) directly asking universe our being's final meanings - to feed and light the unknown darkness? Chou Chou almost knew the answer that in next bars B28 and B29 two small slurs beneath two huge threading slurs made through left hand described two self-exploration and self-climbing - D, E and Sharp F (5th, 6th and 7th of e minor). We can hear the reasoning feet of the two repeated motifs have all been landing upon sharp F with the instability and uncertainty as universal fluctuation and left sound-effects energy-waving in vacuum. Those self-reasoning motifs were so deep from true heart, which are bravely expressing the dream of a truly peaceful heaven with imageries of freedom to appreciate symbolic 'landscapes' made by Creator.

B30-B32: Dramatically Channelling back through scale-fingering from deep universe to Snow-land built upon cloud-blocks of earth's atmosphere Final part of this session, in B30, all astronomical landscape-paintings ceilinged upon Chou Chou's Multiverse sky-roof have been summarized as a self-comfortable confirm for life and peace, with three semi-staccatos shining back the rising acceleration, and taking a downward tendency through a slur-breath - naturally and beautifully. Meanwhile, a smooth curvature line of dynamics -decrescendo, implicitly drawing out star fireworks' resting-pulse upon 4 dimensions, turned down the tempo of Chou Chou's whole universe and make her fall into a huge waterfall of energy, back to the original heaven. Yes, B31 is that waterfall with a continuing and dramatic dim. requiring two hands tightly matching together as a whole flow; by attracting all matters, it internally dug out a landing channel, to somewhere as Chou chou's willing to go. We can call it a wormhole, rather than black hole's leading towards another sky.(Wormhole - Wikipedia introduction: [19]) Though B31's waterfall of F major, Chou Chou got back to an assembly of cloudy blocks seemed heavy as castles, but floating upon our earth's atmosphere. 'Retenu' of B32 - down-slowing associated us realize this successful landing, which can be compared with a parachute covering three slur-legato-ing pitches - D, E and C - longer-lasting (as up-hanging crotchets), associated by Bass's fluctuations in sound-effect, to keep parts' distinguishability in texture and to simulate braking soft-land.


B33-B44 :  Fairy Legend -  The 'Expressif' of natural spirits: 

'Wormhole Door' was opened by drumming spring lightening (B33-B36), which is charged and expanding in the middle of cloudy blocks; The pattern of Warm happiness tree, with expressively mismatched beauties (Dislocated aesthetics), transformed from lightning, and then spreading all-directions - alongside impressionist arpeggio's climbing and above the upside landscapes of clouds-made heaven (B37-B40); Holly lights are shining and intervallic penetrating throughout the joints of cloudy blocks, as in a continuously weaving pattern to future (B41-B44)

  • 'Wormhole Door' was opened by drumming spring lightening (B33-B36), which is charged and expanding in the middle of cloudy blocks

In this part, the impressionist Arpeggio was expendably climbing to higher place through alternate applications of both hands, as if lightening was formed and wandering among clouds-layer. Why did I highlight the term 'impressionist Arpeggio'? 'Short, thick strokes of paint quickly capture the essence of the subject, rather than its details. The paint is often applied impasto' - this impressionist technique (Wikipedia introduction: Section 'Impressionist Techniques' [20])taught us: not all notes need to represent properties of motives, but some grouped heads. They should be brighten than others with longer time-values and support the existing of certain textural parts, right as Short, thick strokes of paint'. Meanwhile, other notes would be touched much softer without too many attentions, quite as 'improvisational details' streaming out an expanding tendency slowly tearing out 'clouds-background' from middle. You can hear: from Bass flatten B to long notes middle D, till treble D, a solidified cloudy structure was built upon sky involving 'impressionist point-pixels', for leaving 'essence of the subject' - yes, the soul. Then, lightening streams were climbing alongside this frame with details half-touched unclear, but spiritual powers accumulated and pushed to higher level. If only in this case, we cannot state Chou Chou's piano techniques are advanced. I can remember: in previous sections, we have discussed the anti-gravitational characteristics of Debussy's compositions- down-pressed peak forces with higher-energy vibrating, such as the comparison between B7, B9 and B8, B10. Here, still, this requirement of hands' controllability has been mentioned again, with two hairpin left-opened decrescendos and a middle piu (more)painted on. Therefore, a significant energy was down-pressed, finally being fuzzed to be a broken chordal impression left in atmosphere. Among cloudy blocks, it can be a vacuum, created and lasting for a small interval. Tightly beneath it, please see charged lightening streams rolled struck ground through bass-part's switches between flatten B and flatten E. Here, longer-lasted, pearl-rolled and charge-vibrating 5 notes (B35-B36) with special reverberations in sound effects, perfectly express lightning's expanding and strength when being down-pressed into certain channel Cloud-to-ground (CG). In order to make better understandings of this case, we can review some pieces of information, in analogy of lightning. (Wikipedia introduction: [21]) Those notes can also be understood as Chou Chou's lightning-strikes knocking at the door (on the other side of wormhole) for opening a fresh heavenly realm upon clouds.

  • The weaved pattern of Warm happiness tree, with expressively mismatched beauties (Dislocated aesthetics), transformed from lightning, and then was spreading all-directions - alongside impressionist arpeggios' climbing and above the upside landscapes of clouds-made heaven (B37-B40)

It's hard to describe this session, titled with an emotional signal of 'Animez un peu' (continuing to be lovely and vivid). Technique-requirements: 1. Still, the right hand was simulating a cloud-weaved tree's growth, branches-climbing and area-expanding by following 'impressionist arpeggios'. It's a slow but enjoyable procedure, with the depths of keyboard-touching increasing one by one, but very naturally. 2. Accompanying with the first point, the warmth of atmosphere and the lights of sun were emerged out and hollowed throughout repeatedly, which are in the dislocated positions of aesthetics of clouds-tree shade. How could us understand it? Usually, in our minds, there are normal expectations that the most brighten lights should be shined upon peak-poles; then, warmth pushed by dynamics can be reflected out. However, in this case, the posted-pedalling diffused warms in the atmosphere and from bottom; meanwhile, 'l.h.' across the right hand to simulate the sunshine, holly over, and hollowing clouds-made tree-shade. Owned to the reason the hollowing points (Two major thirds of flatten G-flatten B) were out of our expectations, but set a little bit later compared with peaks of dynamics. They are weaved with the imbalance, but symbolized as beautiful surprises. Therefore, We can call it 'Dislocated aesthetics'. Indeed, in the history of aesthetics and covering some fantastical landscapes, there were many beauties seen as some amazing surprises, but placed wherever out of expectations (even wrongly enough). We got the sense - oh they are beautiful- mostly because of their deep impressions of the imbalance. We can call this imbalance - happiness. Oh, it's a symbolized and weaved pattern of happiness tree (clouds-made) growing upon our heads. Souls have almost been hollowed by warm streams of happiness. 3. May it be, the weights of treble sky gave us many pressures; in order to control this situation, our left hand had also traveled back to set a weight in middle part (tenuto minuet long-third between flatten E and flatten G ); then, flying back to light the clouds-made heaven through another dislocated joint. We can make our imaginations through watching more visualized imageries and introductions from clouds and know more discussions of beauties' contents from aesthetics. (Wikipedia introductions: [22]; [23] )

* Holly lights are totally shining and intervallic penetrating throughout the joints of cloud-liked block-made happiness tree, as in a continuously weaving pattern processing to the future(B41-B44)

Techniques for this session have already been introduced, as above. Yes, among what we have learned before, many points were symbolized out by our thought experiments, including some elements from analysing and reasoning. Thereby, an omission can be left here. However, this part was also one of the most expressive, reasoning, fantastical, warm, holly, brighten and peaceful sections in the whole composition, requiring us to apply more engineering exercises, careful forces and fantastical musicality. Based on those fundamental trainings , we can fly our fingers with more enjoyably impressionist freedoms. Here, you can see: The right hand has expanded a long regression-analysed D-flatten arpeggio-chain (heard similarly in a Pentatonic scale) - stating from D Flat' Perfect Fourth and climbing across the sky-horizon to touch another peak-peal of this work. You can clearly hear its simulation of our universal expansion through dynamics-climbing, which can be compared with a transcendentalist push (prior designed from universal nature ) of both materials and spirits in logical pace (rhythm) to touch another 'brighten ring' (around black hole) or a hidden eye channeling black hole (seeing or attracting all brighten 'lights' there, then oppositely (felt) as a dark fallen eye from the singularity), with gravity's increasing (while hand was expanding upward) which brought Times & Spaces' continuing down-slown - yes, leaving some natural out-breaking holes for holly lights' shining down from worlds with high dimensions, which was relatively heard as the signaled peak 'Retenu' contenting full imaginations self-created and penetrating out (continuously rhythmic down-slowing for some deep expressions).

[Extra explanation: Scientific observations have already proofed us - when we would traveled a lot (climbed too much) throughout a sky with wormhole to a nearby neutron star, or somewhat a black hole, gravitational waves produced by them would twist our senses of Times & Spaces, especially down-slowing and expanding them to certain unbelievable peak-points. I believed one day, manufactural time-controllability with powers drawn from them can be re-produced out; then some amazing senses , rather than terrible ones can be motivated by our consciousness when channeling them - some holly, reasonable, purified, joyful, amazing and heavenly senses would be motivated out (on the other bank of our trip), as a naturalist regression threading all fragmental memory pieces of our life in a chain. And, we can finally make them meaningful, as the appreciation of Sir Debussy's Doctor in children's corner. Therefore, I still believe it's a 'up-picking' of flowers blooming from childhood by a huge & unconscious regression-analysis of our own life trip. Recommending one movie - Interstellar (Wikipedia introduction: https://en.wikipedia.org/wiki/Interstellar_(film)) , which is among my top list, especially its virtualized final-part of black hole's gravitational senses, though still some rough points which Joseph's subjective regression alongside gravity's increasing in dark hole was towards his own mental history rather than earth or solar system's entire history & meanings, and further I didn't think book-liked square-dimensions hidden behind his daughter's bookshelf would be his own life or all people's regression points as universal truth ; but currently, lots of reasonable imageries from this movie have been reasonably created out and visualized out, which both met scientific purposes of Space-exploration, theological humanity - loving and respecting commons' life blessed by Lord even ending from black hole, and also in little Jason's journal, would motivate our musicality (imagination field) for more romantic understandings, some neo-expressions and a generalized impressionist-coding of Universal Epic in Sir Debussy's eyes. In my eyes, as Joseph's bookshelf, about Sir Debussy, if predictable and after his own Event Horizon [24], his universe and subjective regression point across Times & Spaces would be going toward the mutual music-impressions keyboard-touched in diverse works between his dreams and landscapes with beloved Chou Chou's landscapes heavenly upon innocent children's universal corner.]

Therefore, as seen above, it's also a gravitational regression of universe, but not easy for our own hand's training about the case whether or nor we can make the expanding of right hand's climbing-liked Arpeggio and finally light the senses of most peak in Times & Spaces' Retenu and the shinned depth of singularity in dynamics (to get the solution of general relativity Equation in gravitational waves), was going to depend on our own levels and endeavours in hands-exercising. Please see: when peak - the flatten A was totally reached and lighten on 'ceiling', a sky was opened above all clouds-made landscapes and holly lights are peacefully shinning upon all corners of our earth. We can know our endeavors were worthy. Chou Chou's childish & innocent smile-face with good wishes for future appeared there, warming all people's heart and make them powerful and joyful. Facing so significant an universal impressionist painting there from kid's eyes, don't forget put an element of 'France Romantic' gently & relaxable wandering upon those curiously&unusual universal observations: you knew, so small we were when facing... but we can reason ourselves to much 'deeper places', then, our emotion would be comforted & released from this procedure experienced -joining the reasoning and self-expression together from something in emotion - not clearly known but felt...romantically and peacefully. Though our hands were still rough (in my mind), let us take more idealist imaginations (how things and hands-techniques would reasonably be like) to make more tastes of this session and our own endeavors - sweet, sweaty, but worthy ... I thought it would be the educational purpose of music.

Tempo I: The awakening of pasted memories through thematic repetition but twinkling elements from new accumulations (B45 - B54)

After travelling into a brighten ring with 'a dark fallen eye in singularity', we can find it contents a summery of most beautiful impressionist landscapes in a only note of flatten A decorated upon Sky ceiling, the unconsciousness of Sir Debussy with his beloved Chou Chou has almost gotten back to the past - their 'Original dreaming heart (willing)' (B1-B10). Yes, the review of your 'Original Dreaming Heart' is very important as a reference to correct the navigational direction, pick up 'lost flowers (imageries)' from its morning, accumulate more energies and make further adventures in this trip. You knew, the boundaries of a dream somehow content original powers rooting from your unconsciousness and linking to universal nature fatal designed already, thereby, is called transcendentalism. Awareness or unawareness, you are following its channel to be somewhere, with some people, and doing somewhat. Sometimes, you would lose yourself alongside complication's increasing. But like 'Mustard Seeds which have already been grown around you', only your down-bowing for picking up your originally true heart and cherish it again, you can travel to your peaceful heaven. (The Parable of the Sower and the Parable of the Mustard Seed and the Yeast, ch 1-43, MATTHEW 13). I thought it's the reason why Sir Debussy has made this repetition in later middle part. Till now, the power of our hands has been increased and the techniques have been brilliant which would give us more confidences to face new situations. Let us go! In piano performance, usually, when a repetition occurs, we need to make different expressions in Dynamics, though techniques would be out of the similarity. It's for keep the diversity of music. One approach for this point is to research tiny differences from new piano scores (though some of them are either modified, or hard to find or later-posted by others) which content different experiences and impressions rather than Sir Debussy's own impressionism. The other approach is from natural root to self-construct, depending on your freedom of reasoning, musicality and universal participant-observation. I would like to remind several changes appeared with differentiation in this piece: 1. The whole dynamics background has been totally reduced from 'p' to 'pp', which means less forces would be applied here; meanwhile, oppositely, the scope of dynamics was enlarged in which much space can be left for Neo-expression of impressionism . Indeed, I would rather to compare it with a hanging valley above higher altitudes and cloud-blocks (Wikipedia introduction: [25]), air atmosphere became thinner represented by 'pp', but the whole height was improved . In the other view, why did I apply 'Hanging valley' to describe this repetition? Don't forget we have already climb a peak of this expanding tree with a signature - 'Renenu belt' leading to a Black (unknown) inside-Fallen Eye channeling to another beautiful & infinite happiness universe. In this time, from the nature of a dream after beautiful landscapes, let us climb another peak within the events-horizon more symbolized beauties were hidden there. In other view, it's also a rest of our hands' energy and an accumulation of new energy, after so depth the forces we have applied for climbing that brighten happiness tree above clouds. A fast light-review of Originally True heart, as a reference set beside, might help us find the 'solution' and open 'another sky'. 2. Compared with B3-B6's twinkling-head stars under The Impressionist background of Starry Night and various keyboard-touching techniques for supporting fingers' fluent arrangement, it's a very small difference that the scope of (crescendo-decrescendo-formed) (date-core-liked) dynamics-progression has been enlarged until two Bars' covering (B49-B50), rather than before - only occurred in half bar of B5. How could us explain this change? Dramatic change was transformed to be a leisurely emotional expression. Following it, more energies can be accumulated and more tastes of musical beauties hanging and dropping under the Starry Night would be slowly reflected out. It's still for the preparation of another Peak-climbing alongside the Cloud-blocking, Snowland-upon, happiness-tree upward-expanding channel to the universal purification and reasonability, which can also be seen as the heaven Debussy picked up for his Chou Chou in musical patterns. 3. Bass change: 'Small depending note' attached to Octave C which was forming a progressive chord has been transformed as a octave block-chord - G; then, slurred Perfect fifth (Deep C - G2)mirrored from this change(B45-B46). I think it was an evolution, which makes the distinguishes between before and current. It can also be seen as a proof of 'Hanging Valley' above higher altitude joining two peaks in transition.

After these accumulations, fast reviews, small modifications and new expressions on 'Hanging Valley' above clouds and under The Starry Night, another shooting trip will be going to soon begin...

B55-B56: Expanding Heaven-Ladder out-breaking the other branch channeling wormhole which was created by fantastical materials borrowed from old story - bubbles (rising up) throughout the underwater of atmosphere (developed from B11) 

By notation-reading, we can find this bubbles' on-going channel is developed from B11 (bubbles-rising), but differentiating in length (Time interval: one → two bars), tiny note-differences in recycling pattern {This time, in each tracking pattern (Originally, basic unit-recycling was wheeled by a bottom-top movement - each time, the next note will be the first: E- Recovered B-E-Sharp G → Recovered B-E-Sharp G-B → E-Sharp G-B-E, Sharp G-B-E-Sharp G), B was raised to be C, Sharp G to be flatten A and a highlighted repetition occupying the middle intervallic linking two bars together ('Flatten A-C-E-Flatten A') was designed there to build a buffer platform curvedly twisting the whole tendency of this upwards on-going channel to be in another higher-rising branch.}, and accurate fingering locating (You will feel that your fingering needs to make a very smart and exact change (rise) - especially the second finger of left hand - moving from B to C, for opening an expanding gap; and further, carry this gap inserting into woven pattern alongside two hands' tightly following in Arpeggio-playing way: E-C-E-flatten A → C-E-flatten A-C → E-flatten A-C-E→ flatten A-C-E → flatten A-C-E-flatten A → flatten A-C-E-flatten A ...). From directions, our right hand (like navigator) needs to lead and match left hand' back-pushes (giving motivations like engine) to go higher places together. Somehow, when playing very fast, they were together siding out a pathway up and down. In turns of two hands, a wave-pattern with gravitational expression has been woven out (I have mentioned it before in B11 - B12 session) as this channel's outside form. Then, 8 recycling bubbles (motives) were travelling throughout this channel one by one. when we try to recover its beauties, it's better to send a very small Exocoetidae (Flying fish) back-forwarded (reversed) force (about this term, please see the session - B13-B21: Chasing above sea-surface: Chou Chou's game with Exocoetidae (Flying fish) above) directly upon our 'buffer platform'. Oppositely, we (as in one bubble) will fly (being shoot) higher up onto a joyful, purified & holly heaven land. During this procedure, special music background 'colours' (separated and) motivated from the frictions of this channeling movement made the whole space & time shining amazing lights fantastically. Appreciating it, we can also imagine a surrounding atmosphere with crystal diffuse reflection (Wikipedia introduction: [26]) magically embracing our channel in the middle, which summarized spiritualties of landscapes' most beautiful elements and impressionist reflexed out of our 'channel windows'. I think, that's the magic power of impressionism, in which we can both detailed analyse its components & techniques as a solidified foundation; and meanwhile, alongside its post-channels, special colours and lights, as souls without shapes, can be generalized and abstracted out what were wandering, spreading, occupying and surrounding the boundaries of specialist operations - lasting tasty in our mind for long time without disappearance. Yes, in childhood, we can also see special 'colours' from bubbles in air under sunshine. In order to support this impression, a dynamics 'cresc.' was dramatically set here, for simulating special lights & colours' scattered transparence. Since happening in a higher hanging valley, this climb has been channeling to a true Peak situation - heavenly snow-land crystal-liked existing in Chou Chou and Sir Debussy's mutual memories, their imageries, their beautiful wishes, and their universal regression for future. Oh, it's also in Angelic Children's Corner. Therefore, in my opinion, Heaven Ladder is a good title for this channel.

B57-B64: Dualism to see Chou Chou's Universal Heaven-Slide travelling throughout landscapes for joyfulness - techniques VS imagination 
Minutes 0.03-0.15 was B57-B64's demonstration

Dears, close your eyes, try to imagine which places were there - in your imageries-sea, as for the occurrence of the most joyful experiences? And, after your endeavors of climbing a hanging valley; and then, bubble-settled & exocoetidae-shooting up to a long distant channel heavenly dropping to another true peak-land with crystal dreams scattering over purified snow-flowers fuzzing beauties of landscapes all around you past experiences , what are your heart then truly willing to see? Don't forget, Doctor Chou Chou was still unconsciously a child in her Children's Corner (may it be an lazy daydreaming afternoon lying on a rock watching heaven lights shining throughout gaps of forest, highly there...). Sir Debussy recognized this point and set a most beautiful & infinite Children's Slide there - in the center of universe and back to the beginning - to the most imaginational first light, and the deep impression of the birth. (Wikipedia introduction: Slide in playground [27]) Then, in Chou Chou's heaven, she can always operate her joyfulness by slide-travelling in which passing by universe & mind landscapes 'besides and under her feet'. But what does this 'Children Slide' in her corner (playground) looked like? I think Dualism of 'piano techniques level in physics world' and ' the links of imaginational level' would help us:

  • The identification of piano techniques applied here as the foundation simulating Children's Slide:

Here, we can see 'slurs' grouping each four semiquavers in every beat of a 4 beats' bar, which range both left hand and right hand. Left hand played each tenuto of long note (crotchet) at the beginning of each group (note which needs to be played out enough or over a little bit time value), then being counted out 4 heads leading each group waving upwards till left hand, spreading by spreading. In a larger view, several huge slurs, linking each 8 heads in a breath, are totally downwards going. They are forming 4 sentences with a smooth progress continuously landing to our earth. Then, post-set 4 pieces of pedalling are there alongside 4 sentences' down-landing, matching out two octaves' data-core liked interactions which apply forces in dynamics channels - each between a ‘Crescendo’ and a 'Decrescendo'.

  • The links of imagination

Then, a breathable heaven with crystal landscapes, supported by pedalling, as the fairy background twinkling and embracing Chou Chou's Slide theme in the middle, which are formed out the impressionism orienting the history of universe. Chou Chou feels so happy sliding in this channel reviewing fast by-passed landscapes and her own consciousness experiences. Oh, I forget to say: it was also a rotating Slide while you were playing, the degrees of bending & stretching of your fingers told you angles need to be changed periodically. Currently, I think, to some philosophical degrees, the mechanism of universe in particular Planck epoch era, or then spreading out here (Wikipedia introduction: Universe [28];[29]), can also be in a analogy of universal Children's Slide, set from a far beginning, down-landing out & down-sliding towards us and this earth - then, till now and here. In brief, this time Chou Chou has really well-done a great universal climb, upwards to so top, fantastic and holly a place, then sliding downwards to us. The beautiful heavenly sound effects made us drunk in the appreciations and imaginations of unknown beauties deeply in universal heaven, which indeed are truly from children's nature - playing only from the curiosity and for the joyfulness.

Editing- B65-B70: Impressionist Texture - Main streams VS. Fuzzing background - After repeatedly sliding to 'double-turns' hanging valley, Chou Chou found another 'New Toy' - a vibrating Crystal Fountain emerging from gravitationally cloud-waves [edit]

Currently, we are going to enter into 'Coda' part of this Doctorial Suite of Children's Corner, melodically reported by Chou Chou and his father from heaven. firstly, putting it aside, I would like say something extra. There used to be one discussion: what emotion should a 'Doctor' from Children's Corner be carrying? After having reviewed so many fields of knowledge bridging communications between western worlds and eastern worlds, and having travelled so far from 'Big bang' occurring from universe's beginning to 'Black hole' channeling to somewhere unknown parallel universal branch , or in other words, to the depth of his or her own mental unconsciousness part regressing back to those moments that astronaut and his or her symbolized 'daughter' can never make the departure with each other but being together facing happy and unhappy life-imageries in life, and then landing back to the 'solidified' impressionist background with dialectically fuzzing gravitationally-waving 'lights' twinkled from 'The Starry night'...; doctors' contributions have already achieved many what being dreamed for long - a 'crystal castle' built upon 'Mind-independent Snow-land' and colourful clouds, mapping new Era's beginning from Nations' Cartography generalizing 'New natural landscapes with vitalities' (yes, and some societal languages)up to the symbolizations of 'spirituality indications' for future (- Postmodernist Constructionism) (Wikipedia introduction: [30]); or oppositely thinking, it seems that things still meant nothing or very few gains, after a systematic running of the whole universe - normally, beautifully and peacefully inherited from before, and future was sill continuing to 'there bank' rather than 'here lands' (- Postmodernist Deconstructionism) upon unsure foundations. What kind of a 'Coda' part would Sir Debussy and his beloved Chou Chou have writen for our 'Doctors' in 'Children's Corner'? Directly say, I think: so many fields of knowledge from human beings' worlds which were bombing in his or her mind that shouldn't make people from children's corner as a tool inserted into a evil machine or device, working merely for the hopes-losing operation of a negative future; but positively, as a back-returned discover, he or she need to see their 'original heart' and hear some 'harmonic voices' sung from the heavenly corner of children. In other words, the purified attitude of worlds' future, the curious eyes to discover universal beauties and the love of childishness & innocence shouldn't die, but oppositely support the freedom of minds' wandering, expanding, and new links' construction, for harmonically embracing more people and more possibilities. More simplified, by 'returning to be a kid' and 'working only for pure play well in the future', we can keep the root of a young heart with the creativity. Yeah, it is the freedom of minds, and also the curiosity with the creativity - to see more, to solve more, to discover more and to appreciate more... shouldn't be killed.

By carrying this impressionist emotion ( and make it a deep internalization of ourselves), we are able to appreciate Sir Debussy and Chou Chou's 'Coda' part: Indeed, Chou Chou was so exciting about Coda's coming, which was firstly noticed from B67's score requirement -'Très animé' (very lively with full vitalities). Then, this exciting mood was also realized through the vertically in-textural matching with a impressionist thematic arpeggio-part (several bright channels were dug out up-through travelling from downstairs - bass & middle parts) and the impressionist background of a accompaniment set putted upstairs (treble's small voices which were short waving & fuzzing there, gave a overall gravitational atmosphere, for holding all expressions thereby beneath it). To my understandings, here Chou Chou's exciting mood came from her willing of an another fantastic performance carrying some brilliantly impressionist techniques about keyboard-touching. It was almost that She had frequently asked us: 'can you distinguish the main channel of thematic arpeggio from the twinkling background in impressionism? and, can you make it out?' Even here, in this case (B67 and B69) your two hands for both theme and background need to interactively & commonly share with the same positions of keyboard and the same notes? Yes, even though it would happen, the distinguishable senses still need to be clearly made out for both audiences and your own heart, which was a quite hard job for our exercises. You can see: in this requirement, the long note - middle C needs to be kept and attached upon the keyboard, leaving a chain: G (crotchet)- A(quaver)- B (quaver) slur-liked breathing the impressionist air upwards-waving after waving. But, the fact was that they were taking the same area of a piano with each movement set beside each other. Could it be possible, or possibly disordering each other's running order, especially when the same B reasoning from left hand's upwards tail-breath , but also reflected as a normal middle third beat of right hand (in a group shaped as being among a rest-composed 4-semiquavers group in the accompanying background ) , which tightly posted your hands' flexibility in a disordered situation, and furthermore, the longer-lasted middle C bass enhanced this situation to much worse. That's not the most difficult thing, but compared with it: in the next bar, several 'ʌ' signatures - Louder-Sharpening signatures - emphasizing all heads of groups, were set there alongside an 'opening mouth' in dynamics, which continued her exciting dream to much wider horizons. Though heard good, it needed your fingers' keyboard-touching directions (left hand) be immediately rotated down... to be frequent pressed in the style of stronger 'Up-Down towards' patting of 'Perfect fifths', without even a moment of thinking.. Out of your hands' controllability, do you think so... do you have a willing of giving-up and being broken? Is there a feeling of you, after a long journey, being here with the total tiredness? Yes, but hi, my guys, don't give up, and hold it on for a little bit much time, situations would change better, and to a forever impression. We can say: this treatment was still in beautiful breathes, though hot and exciting.

Then, a question came out: what was it really heard like - in those fantastic impressionist imageries? what I did analogize it was one of Chou Chou's heavenly toys - a crystal fountain set among multiple-dimensions of spaces & times in our universe. Yes, it was also a symbolized expression of the gravitational system. We can review more historical recordings of fountain's functions in human beings' entertainment life and products-creation from this Wiki-article (Wikipedia introduction:[31]). I think: you hear, in minutes (1.52-2.00), the left hand's expression - frequently up-streaming main thematic chains - was like main water-jets shot up frequently in its significant situations, which made the distinctions with other water in basin (impressionist background)clear and recognizable. Yes, they are made by the 'same material' as basin's water beneath, but differentially in stronger powerful forces - being shot up some up-raising streams in music motifs (Middle C as a root of water-jet in basin, with G-A-B style streams flying up towards the sky), which simulated a fountain's beautiful situations. Afterwards, we took a long-distant view, and then, would find B68 and B70 tightly followed are in a much more macroscopic impression upon the rhythm of spaces & times, for the purpose of summarizing 'Universal Fountain's' beauties. If you let me seek an astronomical phenomena representing the mechanism of this Chou Chou's 'new toy', I would still mention Supernova Shooting (jetting) as Chou Chou's fountain in our universe: (Wikipedia introduction: [32]; [33]). But if you want me make a much sweeter analogy from kids' nature, I would mention Chocolate Fountain with 'water-fall' surrounding - a favourite and enjoyable 'landscape' of my delicious foods. (Wikipedia introduction:[34]). No matter the real fountain, universal fountain or chocolate fountain, I think Doctor Chou Chou's true purpose was for happily 'playing' out one innocent future with the freedom of creativity and new hopes. Let us respect her willing and the nature of a doctor in children's Corner.

Suddenly, you would have found: 'Jason, you haven't mentioned B65-B66!; and you haven't fulfilled yourself in this session!' 'Oh, dears, please forgive me that in the final part of this session would make a clear effect of the explanation, I thought...' To be honest, they were in a Spaces-Times vibrating treatment (with a half-bar's gravitational breath in normal slur-shape - a Louder-weakening signature, but the other as an anti-gravitational expression for 'water's' up-climbing and energy's accumulation )set as a motivating mechanism inserted into the fundamental basin of our fountain. Seeking words, you will find a device-term 'Siphon' with a series of parts would give you better impressions about what Chou Chou's 'New Toy' was working like (Wikipedia introduction: [35]). In order to overcome some anti-gravitational difficulties brought to your hands, you must keep them in very small shape and in very careful channels. Following it, music 'water' can pour up 'more pure than a soul', and many beautiful imageries can be created out upon Chou Chou's 'universal landscapes'. In shape, '› ‹' can also be compared with a butterfly, and a kid's pure soul was channeling in this pattern for 'flying higher' with joyfulness. After this supplemental illustration, I think things would be much clearer for the realization of piano techniques and musical appreciation.

'Braking! Braking! A Consciousness-streaming': Back-turned Braking from Peak force' application - in a doctor kid's post-regression - as a 'black hole' travelling - with new 'big bang notes' up-waking people's minds [edit]

Finally, it's a real 'coda' part our journey will arrive in, about which Sir Debussy and his beloved little doctor Chou Chou in Children's corner were looking forwards to giving us a significant impression, as for the remembrance of 'each beautiful landscape' on the travelling of our journey, and the innocent childishness we were carrying in hearts together. I guess this pair of 'father-daughter-union' composers, from spiritual subject being to universal physics existing, must have discussed this case for long time: 'Father, what type of long-effecting impression we would leave to our learners - the listeners, the keyboard-realizers, further composers who were willing to take our approach, the notation-readers and some self-learners of piano...? By designing out a good coda-fashion?' Indeed, if we review transcripts of Debussy's works, normally, Sir Debussy turned to make two choices in coda parts - one was a romantic up-sliding way flying away our dream's disappearing alongside a fading of its vivid colours gently and pleased, like what 'a let-going spring' imagery 'islandic disappearing' (imagining, when our boat passed by an round island in mind desert-sea,...oh, it was with Arabic fountains, green plants, night birds...only in dream... and continuously...it was disappearing... that's quite right you got it!) from our horizon in Première Arabesque (Arabic Suite - Spring; it's another story in new life we will talk further...)and what Clair de Lune (Moonlight)showed - a silver channel fragmentary slivery upon the surface of a forgotten sea somewhere in our universe and strings of lute lighting it upon to heaven (More information, we can review from Wikipedia introduction: [36]. I think, this time, two demonstrating samples can somehow meet some standards of my critical ears, but I would also try classroom samples from wikiversity and wikicommons' views, I thought... Oh, waiting time, it will have been another story in my life) ; and, the other type was a sudden and half-opened termination near postmodernism & postimpressionism -leaving more imaginations to learners ourselves. In this case, Sir Debussy gave more respects to Chou Chou's own choice. She smiled joyfully with her eyes full of curiosities and probably said: ' Papa, I preferred a sudden stop leaving more imaginations to others' Somehow, from sound effects, it would also be compared with a 'childish mischief' with 'a Braking throughout a peak force', but then, knocking out a renewable 'universal door' big-banging a fresh vision of future'. Thinking till here, two questions emerged: It's the time to say goodbye, but how did they realize a universal braking in coda? And, what type of analogy can we make according to it?

Techniques Description: Firstly, let us present a participating-observation of its texture in B70-B71, then follow a talk about its techniques-training. Indeed, parts-formation of this piece was quite simple. Overall, it just contents a second-transformed major-triad ( C-E-G) with a range of Perfect fifth (G-C) separately covering your left hand (lower part) which can be seen as its main impressionist chain - heavier and stronger, but the rest part of major chord structure floating up a impressionist background waved by right hand- lighter and higher. For this, logically matching & grouping two hands together as a whole was also the basic technique, with the leading heads (left) joining impressionist background (right) tightly presenting the equal intervallic pace on average. It gave us an aesthetic feeling of well-distributed texture in which harmonic 'Perfect fifths' were repeatedly measuring the keyboard throughout a C major triad impression, which motivated waves by waves (oh, dears, did you forget, waves would be from Chou Chou's new toy - our crystal fountain?). Then by multiple dimensions, it reverberates itself in spaces & times - octave by octave (octave as a cycle), and curve by curve (down-falling). Be careful that 'Gs' here in perfect fifths (B71) were highlighted twice in minims (long notes) with two 'Λs' (sharpen stronger in loudness) telling us which were heads. Then, parts (spaces) in texture (universe)were separated, with twinkling mind threaded to be pearl chains breezing out colourful energy-waves upon fuzzing materials of background. But following again, B72's main chain was naughtily jumping up, as happier as Chou Chou's dancing with child's interests. Breaths realized by slurs linking texture together were also short-time jumping. Another possible explanation was that frictions from braking have sparking out dreaming flowers in short-time stopping, about whose story we could see in the following paragraph. But, transformed from two 'hills landing (B71), here, in dynamics, impressionist background has been totally connected out a continuing ‘Crescendo’ - louder after louder.

Imageries forming: Secondly, why do we make an analogy 'braking'? Article 'Brake' [37]in our Wikipedia introduction can teach us more about some similarities: After another 'Peak' strongly played through the first G of B71 - the first factor of braking - 'Peak force' has been targeted and accumulated from our fountain's shootings. Sentences like 'The peak force is often greater than the traction limit of the tires', and 'braking can cause a wheel skid' referenced, showed the similarities projected in Sir Debussy's work requiring hands' controllability for controlling 'significant force' in channel. Following this logics, what about those 'heading points' left hand has created out? I think they were like 'shoes' of 'frictional brakes', increasing touching-areas of 'wear surfaces' with 'the rotating drums' for stopping (or we can call it: 'the rotating waves of impressionism'); alongside, 'kinetic energy' has been converted into 'potential energy' memorized in our dynamics score - yes, hotter (louder) and hotter (louder). But, why was the frequency of those highlighted 'Λ heads' continuing faster and faster, from B71 to B72? Imagining a fast metro or light-way train was now coming facing your face on a station, it needs to prepare a braking even far in long distance... until its nearness, the 'inertia' makes out a huge destroyable influence out control of its released 'peak force' - yes, being transformed to the 'kinetic energy' in acceleration, with which 'angels' and 'evils' joined together . In this case, the frequency of 'braking heads' from repeatedly set 'Λ heads' heated the atmosphere dramatically by dramatically . Owing to this operation of 'stopping', much 'kinetic energy' has been transformed to the 'potential energy' and stored in our 'hands machine'. Then, in principles, it was hotter(louder) and hotter (louder). Practicing in reality, we can achieve this braking through our hands' controllability. Oh, re-thinking about this design, we can know how great Dr. Chou Chou was - as a real physics expert but across multiple subjects. Meanwhile, associated by Sir Debussy, what a beautiful music universe with many imagery landscapes they have discovered for our learners.

Larger our horizon: Finally, a sudden standing has been made with 4 bars' long notes - 'B73, B74, B75 and B76' terminating everything right now. 'F-A: major third' matching 'C-E: major third' was solved to be a transformed major triad in key C(C-G-C-E). We can hear significant & accumulated powers have been totally externalized and summarized (with a mischief joyfulness) to several 'block chords'. Meanwhile, dynamics got the highest level 'ff', long notes (chords) told us everything in terms of this work. In playing it, you will feel your fingers were almost broken by vibrational energy (Wikipedia introduction: W = W potential + W Kinetic [38]) owing to Resonance (Wikipedia introduction: [39]) associated by Pedalling (Wikipedia introduction: [40]; here, it's better a Tremolo pedalling (shaking), about whose story we will discuss in future), after strongly standing on keyboard. This tail can also been seen as a projection summarizing all powers of the whole work. Don't forget the composition of '_' and 'Λ' taught us its special technique - enough time value of each note (and over a little bit) should be kept with a depth reflecting Sharpen senses (dynamics) of the loudness. From forearms, to wrists, till palms and then the edges of fingers, all forces need to be applied there for 'standing' strongly. The dramatic atmosphere created by our hands' controllability even made us out of breathing and 'sweating out rainy'. Taking a full-shot look, I still think it was in an analogy with the ending of our universe - Black hole's 'Gravitational singularity' (Wikipedia introduction:[41]). You see, all gravitational laws materialized to be landscapes (notes) have been collapsed, concluded, and compressed into one dimension points-chain, as a stopping 'electrocardiogram'. Is it to say: everything has been talked over and the darkness is still our universe's final fate - no lights, no hopes and being in infinite silence again. If so, what were meanings of life, materials and our prosperous being? ... still to a quiet self-deconstruction... used to be stronger, but final nothing left...

Chou Chou's Doctored voice (awarded): 'No', Dr. Chou Chou gives us a strong answer in the final note - Big Bang C (Wikipedia introduction: [42]) which will have bombed out everything again, as flowers blooming from 'Dark hole' flowerpot, ranging upon from one-dimension channel to two octaves and more. Yes, it is another branch (Post-Channel) of multiverse tree. Tightly following this note, our story will have been renewed and spread out, with new hope, good wish, lovely vitality, and bright lights penetrated from Imagination. Will it be another Impressionist Spring? It may... or other things...

Thanks to all!

Yours Jason M. C., Han (discusscontribs) 06:11, 5 July 2017 (UTC)

Doctor Gradus ad Parnassum - Doctorial trainings in Children's Corner (5th draft - New, 3rd draft - preferred. About Each draft's comment, please see beside; About each draft in growth three, please see WIKIMEDIA COMMONS)

Supplemental Words: Comments for the Main Sound File 'Impressionist Data for technique analysis - Doctor Gradus ad Parnassum.ogg' created in WIKIMEDIA COMMONS and Impressionism analysed here

( Comments for the 5th draft:: It is the fifth draft with three advantages, being heard better than before (Almost, I didn't want me so sensitive about certain performance-lacks, and till now, still I thought the third version was the best; but, I cannot stop to try better versions, as for love and respect to this work in this period.): 1. Binary Stars-system B24-B27 showed more unbalanced sound-fluctuations around its axis; tightly following this part, the fluency of Chou Chou's self-reasoning has been performed more naturally; 2. My willing of Fairy Legend in Cloudy heaven has been expanding (B33-B44), with more sounds-reverberations occurring in the bass of lightning door-knocking (left hand of B35-b36), much extending impressionist arpeggio-braches growing of happiness three and more bright lights penetrating joints cloud-blocks from higher peaks. 3. More coherences and fluencies of the second universal travelling was kept (B55-B57). Therefore, to me, I thought it has much more meanings of Education Research, which I would like to share)

( Comments for the 4th draft: This version is with a better and expressive B22-B32, as what demonstrated besides - much like being in impressionism)

(Comments for the 3rd draft: Till now, this version was of the most fluentness I had played, but a little bit stable. I would like theme of impression much clearer and expressive. )

(The analysis for the 2nd draft: You see, in this draft, naughty Chou Chou and his father are playing clouds and lights in the heaven and waiting for a happy Christmas, what they have done are creating imaginational impressions of sky. Then, we saw tools formed by clouds were sometimes like dogs, sometimes like boats, sometimes like drops and sometimes directly floating down like a spring. Oh, they are all only Chou Chou's games. Especially the minutes (from 0.48 to 1.18), she was attempting her best to push aside two pieces of blocked dark-clouds through her arms and let holly lights shine out by being floating directly upon our earth. She did get it (but I haven't really gotten it in my play). It was in the minutes (from 1.08 to 1.18). We can also hear her dances presented by his father hands-running in the heaven are so expressive being after an assemble of clouds-animals to the peak of mountains, which is in the minutes (from 1.33 to 1.50). Oh, finally, after so many adventures, a big bang was applied that our dream was awaken and our soul was taken back to the reality. Then, we knew: it's only a dream Debussy and Chou Chou have played in our sleeping time. Indeed, I felt very sad to hear this sentence 'Claude-Emma was born on 30 October 1905 in Paris, and is described as a lively and friendly child who was adored by her father. She died of diphtheria on 14 July 1919, scarcely a year after her father's death.' Then, we can understand: so beautiful a musical world which is full of vivid landscapes there created by his father and for this only and small daughter. But, how can Chou Chou bear the fact that she needed to make the eternal departure on this earth with this lovely and magic father - on 14 July 1918. I thought it was why only a year after that she had also gone out of her single. Wikipedia Introduction: https://en.wikipedia.org/wiki/Children%27s_Corner I knew, in this draft, there are still many lacks far away from my artistic dream. However, in preparing for it, I learned more; and hopefully, it can be heard by you, than before. Bringing it here is for thanking all the members of Wiki-family, who have been dedicated working for a whole year in different corners of our earth. In this case, we are trying to send Christmas gifts to Chou Chou and his father, for their contributions of human beings' musicality and imagination.) Main Words This version is a life rough data-collection for the exposition of piano techniques. To be honest, the existing of it is in a little bit far distance from my art dream, but as in respects of Sir Debussy's impressionist universe. It is based on my current energy, time and ability. If possible, I would like to soon modify this draft to further better ones. In that dreaming pure 'snow-land', the paint-brush, transformed by hands and threaded by forces from mechanics and anti-mechanics, can magically draw lights, clouds, bubbles and steam to be the colourful Spaces &Times of a mirrored universe. Then, Chou Chou can freely and naughtily play her games forever. If the final bang is a waking-up sound breaking Chou Chou's beautiful sleep. I would rather we never come back to the reality from this childish dream. If you would like to make better understandings of this melody, you can come to Wikipedia introduction[43].

Students' learning effects & progresses from piano pedagogical reasonability (reasonableness): "Kids' Performances in children's corner"[edit]

Jason, why did you submit this edition, is it yours? No, no, this sound file was made by myself, but the content was from 'my kid's' learning progress' of Sir Debussy's 'Doctorial' in Children's corner. You knew, Sir Debussy has his own daughter; but till this year - my age of 30 year's old, I haven't gotten any. Therefore, in this period, I saw my students as my kids. Oh, it was by accident that I had recorded one piece of a little girl's exercises in classroom (around 13 or 14). Her name was Xue Meng, Hu and her 'little doctor' Live voicing in this place. Oh, it was a long long story... Every time thinking was going here, I would be emotional and sensitive. As her piano family tutor (one traditional teaching way carrying a dream of piano fine art from commons), I have been watching her growth - almost from her 5 year's old. During this period, time has changed lots of things, including people's experiences, perspectives of value, willing, and some true hearts ; good or bad, but our dream of piano education and self-aesthetics (the appreciations of musical beauties) has never changed. In my fragmental memories of consciousness stream, I can remember when I made the departure from 'my kids' for my dreaming educational rationality (I like 'reasonability' this world, because when you were reasoning, you can get the ability to be in pure logics and review world's beauties) in UK ( and Newcastle), she has never given up her self-practices of piano techniques, preparations for national grading tests in China and improve her literacies of music. There were also some times we felt hard to insist on going on, and some times her 'little uncle - Jason' might be so serious about her daily exercises and about himself... And, some times people surrounding us wouldn't quite understand why these guys were dreaming so hard... But, no matter what situations were there, still, she didn't give up; and I have been participant-observing and accompanying her growth in educational reasonability (reasonableness) of piano. 'Jason, are you a big dream of your educational approach?' Yes, I don't want to deny it but ... not really... I used to say to her facing her family: 'little guy, one day I could teach world's most beautiful melodies of those Masters, and you could learn and get nutrition from them for your creative life fashion. You had the love of piano and a dreaming heart of perfection. That's your giftedness.' But, in that time, her family members told me: we had never thought she could play them... you knew, generations after generations, we had gotten food - fruits, and vegetables ... from our fields... we had been working for it... That's our fate... Just, some interests out of schooling, if she like, she can... After getting back from UK (or to say, my mind has been alive bilingually through the internet; especially, thanks to my wiki-family, some online platforms of education), alongside the logics chain threaded in the section 2.3.2.9 of this page[44], I began to tidy my minds and my daily practices of teaching and my theoretical modes from education researching. After a year's time of grade 9th's preparation and her wonderful passing-through, we began to research Sir Debussy's this work - 'Doctor in children's corner'.

Stages as: 1st Rough draft for primarily getting its shape; 2nd Background knowledge collections for understanding Sir Debussy and his Chou Chou's life (this was a continuing process by myself that I mainly began from Wikipedia, and then made paper works regarding with it, and carefully observed its manuscripts); 3rd Analysis of basic points and techniques requirements of its keyboard-touching; 4th Critical weaving imaginations and impressions to be painting imageries wandering upon techniques; 5th, Collecting languages from both Chinese and English for binary classroom (There were several sessions totally in English and some key words of music theory & background knowledge in English I had frequently presented to her, which I could say I made this procedure in binary languages. Though she was in primary level of English, I found music, especially our love of piano, had transformed to be a bridge across hearts' gap and brought us inspirations; Furthermore, I promised every impressionist imageries and scenes I had taught her, but simplified in languages of her age and her ways. Though still, it was very hard for her to understand, she took the challenge and achieve some points through her own sweats) gave us powers.

Two weeks ago, she was able to make this edition from learning progress: Then, there were some conflictions in terms of whether or not I should submit it, which was from my own heart and experiences. I said to myself: Jason, be brave! What gift can you create for your 'little guy'? What did you own, nothing or something...? What place, in your mind, is beautiful and pure for your piano education, after so many years' explorations, some dreams, some good memories and some sufferings...? Then, I thought here...My conflictions were also about some small mistakes, 'sliding notes' & 'breaks' without purpose, the incompletely expressed musicality and some ignored keyboard-touching ways caused by nervous moods made by her... which made her edition lose some 'natural landscapes', such as B26-B28's left hand, the emotional reasoning in B37-B44 and a peak sliding fault & dynamics fall in B65-B66,B71.... And, they were also about ethics issues I wasn't an expert in. But, finally, considering educational reasonability, her long time love of piano, her giftedness, basic completion of key points and some impressionist sessions, and from inheritance (you can see there were small gaps between my first edition and hers' that it sounded like her piano tutor - mine. Her advantage was from a girl's slim hands), I thought I should send out my gift, and era should leave more developing zones & opportunities to young generations' growth, no matter where they were and who there were...) Hopefully, she are able to achieve much more beautiful editions and cheers in her own future for our worlds, than her ' big comprehensive case carrier and a strange kindhearted uncle - Tutor & Learner (me).

One week before examination - a near-closing case of piano education: "This classroom edition was recorded a week before her examination of Grade Test. Thinking of it, it's really a hard job for us having gone over a long period to get the basic knowledge of notation, to train hands-manners and necessary techniques of piano, to know some masters of piano and finally to understand Sir Debussy's impressionism and make some possible self-expressions... Before the examination, I wished to give her more confidences, thereby, recorded this edition - to let her know how powerful currently her hands were heard like and how good she could self-reason out her own 'Children's Corner'... Alongside hearing this edition, so many beautiful moments, hard times and imaginable scenes glanced over my brain, in which our growths (including my own - a piano tutor) were recorded sparking the vitality out. Were there still some small problems, Jason? Yes, to a critical tutor, I found it was a little bit later in her right hand when going through the 'Binary System' and the 'highlighted-shinning stars' on sky-celling were lighted by wrongly sliding out other notes a little bit (B24-B30). But I was very happy to hear that she tried her best to play out two 'Impressionism Butterflies' (B65-B66) and linked them to a beautiful Fountain (B67-B69) . Yes, the techniques-stability was enhanced. Thanks, Meng Meng! I used to think last edition was your best... but... this one was further better. Wish a beautiful spring holiday of your 2018, after the examination, will come to your heart and your life!" (Jason M. C., Han in Wikimedia Commons, 2018)

Here and now, throughout a 'text-book writing' of Sir Debussy's Doctorial in Children's Corner, a reviewing of work-analyses of some techniques-points, many times of fulfilled practicing in virtual and real classrooms, many time of cases-recording of both tutor (me) and student (Meng Meng) in sound-files with words-descriptions, currently, in the new spring holidays of 2018, this teaching procedure was nearly closed, as a final student's good effect was recorded before examination, and further she was going out of 'our children's corner' and to face her examination and her own future. What, I need to say: thanks to all! Thanks to 'being known - a nature of human beings'! And, thanks to this Era who gave a chance to this multiple-channeling teaching & learning procedure of piano! Future... maybe still unknown, especially for this little girl... But, best wishes! Jason M. C., Han (Jason, M. C., Han, 2017) [16]

Meng Meng (nick name)'s edition of Doctorial in Children's Corner: Currently, the Fourth Version was her most beautiful one self-made in classroom before Piano Grade Test Exanimation. Regarding with all editions' comments and reasons, please reference to the original file in Wikimedia Commons
Arabic Spring bloomed out from impressions of Children's Corner:[edit]

After having learned many techniques of Impressionism, Let us have a try of Sir Claude Debussy's another impressionist work - '1st Arabic Suite - Spring Garden' (DEUX ARABESQUES - 1st Melody). Here, This paragraph below referenced from the description of my 'Wikimedia Commons' was a 'true-heart' dialogue, which can guide us the music imagination and impressions-forming:

' I was dreaming of a morning awakening in Hanging Gardens of Babylon (Wikipedia introduction: https://en.wikipedia.org/wiki/Hanging_Gardens_of_Babylon ). Then, gentle breathes of spring told me stories in my childhood painting sheet which has stood up several imageries, including a bird-transformed angel-girl and Ali's virtual trip to gods' place for love... which were reminded unclear now... sorry. Oh, I can remember the time was when I opened an old book from my grandpa named One Thousand and One Nights (Wikipedia introduction: https://en.wikipedia.org/wiki/One_Thousand_and_One_Nights) that I can read words in my first time. But, in the following tens years of my life, it's heard that happiness and joyfulness in Islamic Garden,like tune sung away in sky by nightingales, left tears with the sadness becoming a dominate theme running throughout the darkness... Spring is the most beautiful one growing from one long-drought desert-area or 'heart'... people knew(Wikipedia introduction: nightingale - https://en.wikipedia.org/wiki/Common_nightingale;Islamic Garden - https://en.wikipedia.org/wiki/Islamic_garden) I have nearly forgotten how beautiful water 'fireworks' raised up by fountains were projected out green vitalities in sky upon desert and diverse mythical animals living there... Until one morning of later spring, I have been to carefully sight-read the manuscript of Sir Claude Debussy's 'DEUX ARABESQUES - 1st suite' (1888) in piano... I found romantic lines wandering upon impressionism background with nightingale's natural musicality of singing praying back a blooming spring have all been summarized in this 'song', which made it soon become one of my favorites... My father told me: Jason, after I heard it, I can feel the willing of expressing its civilization in freedom, as being recovering, but still, it's with a piece of 'unspoken' sadness... Oh, that's quite correct... I thought.Saying something lighter:Currently, it was a hot summer - though posted in a little bit later but 'hurry' time - I prepared it in only a couple of weeks, and some ideas cannot be fulfilled, when diving under seawater in my hometown and opening my eyes bigger, I still can feel the cool feeling attracted by blue jelly-liked bottom was quite like a spring waiting there - warm but not hot, peaceful and with pains... Just mentioning the feeling, I thought Jacques in the movie The Big Blue (currently, I have watched) would carry the same complex. But, mine is in piano and life. (Wikipedia introduction: https://en.wikipedia.org/wiki/The_Big_Blue ).Oh, sorry, so far away, I just wanted to emphasis an element of 'Spring feeling' in this Arabic song (suite). Indeed, when I was in Newcastle, one morning, hearing words from a peer of Iraq (mine) praying on a piece of ground-carpet towards ' The right direction' in his heart, what can also give me a 'spring feeling'...So many words... let us listen to this suite with singing musicality... I would modify it with better techniques in short time...Thanks! '(Han, 2017) Coming back again under the sunshine and softly breezing winds in New Era Time, what I would like to further self-reflexive was:' Thanks to this Time, Hanging Garden was almost seen near my eyes with more blooming flowers... Maybe still some pities that my heart didn't reach too far as from a critical aesthete's eyes; but happiness, in the Babylon Garden of Imagination, as a plant would be growing to the Green Tree in a night of 2018 Lucky Dog's year, under which beautiful voices from a singer, or nightingale would freely wander up and totally relax you long-time ‘tighten nerve’... to welcome a mind wake-up in one 'cool' morning unknown with 'dew-drops', fountains, citruses, and special natural creatures... all in musicality...' (Han, 2018)


Here, I need to set two references, in terms of which one was 'Patrizia Prati's version' which I had heard many time for enlightenments and the other was the manuscript I sight-read for the credibility: 1. Patrizia Prati's Version: [17] 2. Manuscript for Credibility: [18]

Self-reflexivity: I respected others' versions and appreciated them very much, especially from the reasonability of piano deals. But, if you asked me: Jason, what's your characteristics? Maybe... In brief, I am willing that it was: 'more colours with impressionism techniques reflected from daily life... such as 'Short, thick strokes of paint quickly capture the essence of the subject, rather than its details' and 'The play of natural light (sound effects) is emphasized. Close attention is paid to the reflection of colours from object to object', etc; and ' my full of emotions have been expressed in ways of Neo-expressionism and Neo-classicalism'. Further more, after real practices in some life scenes out of classroom, I would suggested putting an element of 'France Romantic' based on reviewing other cultures emerged from imagery notation would be an good idea. Please have a try, thanks!

1st Arabic Suite- Spring Garden(in 3rd version: Impressionism Singing - Main Lines)
About the performance of Debussy works, piano Keyboard's touching pathways, techniques, and effects shown in Wikipedia need to meet some standards of impressionism, Sampling - Clair de Lune[edit]

https://en.wikipedia.org/wiki/File:Clair_de_lune_(Claude_Debussy)_Suite_bergamasque.ogg - Though this edition has been studio-produced without some unnecessary noises, It wasn't from the nature of life, and with the reasonability of impressionism. Meanwhile, it carried some mistakes. Therefore, I don't think its notation-reading and Piano touching techniques have met impressionism's standards, such as the seconds (0.46-0.49 note F , and 0.53-0.54 note D) - two long-keeping notes absolutely being made the technique-mistakes by being divided into two single ones which deeply broke melodic harmony. Some other mistakes can also be found, such as (0.57-0.58 root chord Octave E; 2.34-2.35 high pitch C in the middle part, the lost expression of Calmato from Bar 43; The no distinguish of 'pp' and 'ppp' from Tempo I etc.) Another perspective, from 1:39, the impressionism arpeggios produced by master Debussy, on the middle part by left hand, have been deeply broken into single notes' on-going; then, impressionism music's colour-fizzy impressions borrowed from its painting, which was reflected out by hands' skills have been totally ignored. Yes, every note was clear and run in beats, but impressionism disappeared and hands' abilities in controlling linking notes and running them in certain active speed hadn't been made the accompaniment with the whole theme's development. The very importance is the dynamic level of bass long-keeping notes in lowest part haven't been played with 'tender but highlighted forces' gently, which needed to give people some unconsciousness impressions as deep 'footprints of coming'. (2.23 - 2.24) - from these seconds, high tide's 'En Animant' hasn't been performed well with the sparkling lights upon the higher pitches linked as in a whole logical line, then required to be tenderly pressed the force into keyboards; meanwhile, it and its following paragraph are also too quiet without deep thoughts and without the dynamics level as motivating to 'f' etc. Rather than only these sampled points I pointed out, indeed, there are also some many keys lost accessing to impressionism, which haven't been performed well. Therefore, I need to say: I have to recover the original edition as both the respect of master Debussy and respect of fine artist' aesthetics. Though in last edition from wikiversity, some pink noises layer was existing. However, it was true both from life and from past experiences - then it was called deep impressions. Can life be pretended without noises? Impressionism is also. It cared about soul root's purity but fuzzed the details (on purposes as by special techniques) Meanwhile, last edition in Wikipedia has also respected Debussy' original notation-reading and soul-expressions. Meanwhile, player's emotional changes about his own past tens more years regarding with this work had all been applied by tightly participant-observing the universal logical line of Clair de Lune implicitly, just like some symbolizations produced impressionism, overall. Then, you can hear some struggling feelings and self-releasing being deeply hidden from the root, which was also participant-observing Debussy's historical life-line. If some better editions can be found, after panelled discussions, we can push further more. Meanwhile, I am continuously researching this field. If some communications focusing on melody itself rather than some unnecessary issue, I am very happy to give my talks. Furthermore, indeed, I was very touched by this player's bravery of playing Fine Art's Digital Literacies earlier, but some details need to be up-to-date and regressed back the Composer Debussy his own thoughts from his historical background and life themselves, as engineering giving beauties to commons. Here, we need to think more ... Thanks! Jason M. C., Han (discusscontribs) 06:05, 10 October 2016 (UTC)

'Debussy's harmonies and chord progressions frequently exploit dissonances without any formal resolution. Unlike in his earlier work, he no longer hides discords in lush harmonies,[43] and the forms are far more irregular and fragmented.[44] These chords that seemingly had no resolution were described by Debussy himself as "floating chords", and were used to set tone and mood in many of his works. The whole tone scale dominates much of Debussy's late music.' (Wikipedia, 2016) [19]

These sentences referenced from Wikipedia was really good for understanding Debussy's piano techniques and Key-board touching skills, wish we can make more understandings. I think 'floating chords' are impressionism arpeggio; meanwhile, emotional depth have been explored, rather than a 'stable lake', but with dynamic levels and even 'hidden struggling of life', then, 'self-releasing finally'.

'Rudolph Reti points out the following features of Debussy's music, which "established a new concept of tonality in European music": Glittering passages and webs of figurations which distract from occasional absence of tonality; Frequent use of parallel chords which are "in essence not harmonies at all, but rather 'chordal melodies', enriched unisons", described by some writers as non-functional harmonies; Bitonality, or at least bitonal chords; Use of the whole-tone and pentatonic scale; Unprepared modulations, "without any harmonic bridge."'(Wikipedia, 2016) [20]

This part is really good, which reflected out the necessary that impressionism techniques and skills are needed in dealing with these composing habits and requirements from Debussy mentioned for our players. I think, the floating hands-skills, fizzing details and oppositely pushing out theme in Impressionism arpeggios, are really needed. They can be transformed to techniques we need to give ourselves some trainings.

Some theoritical constructions summerizing creative thinking skills, phylosiphical roots, psychological ideas and educational research skills, applied in piano field[edit]

Button: (See Besides)                           

LONGITUDINAL_CURRICULUM_DESIGN_for_PIANO_SKILLS

(Post-comment: After repeatedly exercising, after a procedure from clear division of each stage strictly to entirely usages by fuzzing boundaries with learners, finally, this approach will be naturally merging into teachers, teacher educators and learners' daily classroom-oriented operations. Bearing 6 stages always in mind to comprehensively think out practical solutions for problems ranging from simple ones to much complicated ones is always very important, which can help us clarify your thinking in piano and musical education.)

Exercises: Postmodern Piano Teacher's (in Performance & Keyboard-touching) Continuing Developmental Zone as a small learner in improvisation for Future[edit]

Main files: Please see the Portal 'Blues & Jazz learnt for fun and a fast brain' above

Small breaks to relax yourself... in Neo-expressionism & Neo-classic of Pop-piano[edit]

Summer Kikujiro - Joe Hisaishi, performed by Jason Han

2018 Spring-Echo - Dreamed Flowers-blooming, Cruise-ship trip to Sasebo in holidays and a Self-Doctorial public performance (5 days and 10 times) in 'Children's Corner' (mind-recognized and notations-above collected) Restaurant[edit]

The Postmodernist functions of tertiary education in Jason's views[edit]

In my mind, tertiary educational system need to benefit ordinary people's daily lives, and also can continuously absorb the nutrition from them for growing further. Imagining the coming of one beautiful day when waking up in the morning: all the aging people, middle age people, young adults, young teenagers and children - no matter where you are living in, you will not feel hollowed emptily in mind with hopelessness. Oppositely, through shuttling in your Postmodernist channels to accept the fresh knowledge freely (contracting with the global society digitally), you can know what you are going to do, how you could realize your dreams by fulfilling your daily plans, and what contributions you will be making for the worlds. Then, your life would be valuable with the blue hopes under the free sunshine of pure knowledge. This Postmodernist Regressing-situation should have already been predicted by a classical painting - The School of Athens (https://en.wikipedia.org/wiki/The_School_of_Athens).

All the people internally can freely research their Life and knowledge in their own 'channels'.

At that time, every young person and child's giftedness (even very different from what we have already known) will not be ignored, forgiven, or blocked by the society merely because of the limitations occurred from their special problems, their private difficulties and their disorders (mental or physical) which might be hard to tell others. The reason is that plenty universal citizens online would associate them to realize their dreams. I knew this vison is towards one huge project for all and somehow a little bit lonely way for me, however, I strongly believed in: if every person everyday attempt to travel one step friendly (even very small) for others, 'tomorrows' will be the beautiful days for all!


The daily collections of Jason's Postmodernist Language[edit]

Introduction of this part[edit]

In my mind, the pieces of fragmental consciousness and some unconscious roots have been inspiring your life-strategies and decisions. However, they are somehow emerging easily in your short-time memories and also broken easily. How could us frequently collect them and contribute to our postmodernist civilization immediately. I think: collecting your daily internal and external language might be a good pathway.

Contents[edit]

Some words from 2016[edit]

1. Sciences & Technologies can better the materialist standards of ordinary people's life; meanwhile, philosophy can give people the wisdom to self-reflexive their life standards for dreaming an idealist future; meanwhile, theology can keep their well-being situation be peacefully maintained. In postmodernist life, after constructing the channel threading the Trinity, I cannot see the conflicts, but the cooperation and negotiation. (7th/June/2016)

2. When navigating in the sea, the directions of sun somehow are depending on your own heart. Whether it is sunrise or sunset, you should ask yourselves(There used to be a philosophical debate about where is the centre of your worlds - heart or brain, about which we can search some information in Wiki-team's 'channels' online). (7th/June/2016)

3. Children's eyes are prettily beautiful, which can bring holly peace and heavenly love into your mind. Watching them, touching the universal harmony and postmodernist imaginary-regressing to your own childhood; in what channel, I almost forgot some pieces of unnecessariness, such as hates, boring issues and hostile emotions, and only leaved one pure dream in mind - being together with them to play, and play with smiles hung upon faces. In psychology, it was to say: people would pick up their childish in the later life as the intelligence's regression to be innocence as time's passing by. But, but, I'd rather picking it up in my middle ages, or even from my childhood itself. In that case, my postmodernist trip would not be painfully or singly enough, but with full of sunshine. Oh, good night, my worlds! hoping children in their channels including these generations and the next and the next after the next ones - would enjoy their peacefulness and joyfulness all the time. I will have been praying for all in this channel - mine, yours and theirs - time after time, until the numberless recycles upon. (16th/September/2016)

4. Today, watching the autumn-leaves here - falling from the higher place to the ground greyly, my memory was also falling and falling to certain part named 'self-reflexivity', or 'mind-independent land' as in the past: Three years before, I had been a very peaceful and ashamed boy, of whom, even made any arguments with others, the face will turn red. On those days, I just wanted to enjoy my own small joyfulness with my family. Currently, I saw he had been very foolish but innocent enough. Sometimes, when I was him, I enjoyed to watch beautiful moonlights, felt its silver love can be compared with Mother's dedications in my education year by year, or someone else who had would like to make the accompaniments with me in my small life-trip. I didn't know how to quarrel with each other, but just follow some ideas to make further thoughts. In that time, peers, relatives and family members all thought I was a good boy. Until one day, I began to gain more multiple-disciplinary knowledge, then critically thinking of my life across cultures and subjects. Then, I went abroad for multiple-views of life and academy for the purposes of getting 'bilingually and comparable views' as in philosophical education. I found: what absolute pieces of knowledge, even language and number themselves, are somehow not enough absolute and peaceful as before. Yeah, someone taught me some keys; then, I thought I can train them very excellent even super-against someone's levels before, especially dialectics itself, depending on which I can make much more trips and see more beautiful views in my channels. I can also travel to more reasonable and purified 'places', somehow, than current, with the foundation only on a huge summery of multiple-subjects of knowledge. I can shift myself from here to there, from now to the future situations after being reasoning about the possible tendencies. But, this isn't my false, which made someone feel really not happy when I took my stances. They began to make various troubles for me, and I began to make various arguments, complaints and appeals with them, just because what I said and dreamed after had been really not wrong, but possibilities for future - even good visions; and, they didn't believe in what they had seen. Oh, I am researching thinking and education for many years in my ways and I am really not a foolish; but why didn't they give me an opportunity in totally expressing the views I thought in certain field, and even the possibilities for themselves? I did really don't know why - I thought it was because Lord Universal Infinite is fair enough that when he gave you somethings to see, he also covered your another eye as the repay. Every time after the argument with others (even I was successful or fall), I felt of the very tiredness and I was somehow a little bit 'dirty' than before. From heart to say: I feared to argue with others and really don't want to give anyone any troubles, I just wanted to enjoy my beauties - the beautiful music, beautiful scientific approaches - thinking and experimenting, and how others are emotional changing and intelligent progressing etc. But, facing the knowledge given freely from universal reasonbilities, I need to show my respects of their beauties, and I need to be more reasonable in thinking. No matter who you are, where you are from and what kind of authorities you conquered. We were all equally sitting on the balanced Scales of Truth freely. Oh, every time after the argument, firstly, I would feel - indeed there is no correct answer, but main tendencies for... but why your eyes were just focusing on my behaviours... what I would like is to tell the truths, but why you are so critiqued upon my ideas ... if you are travelling to my point between the pressures of two cultures, your thinking will not be better than me etc. - somewhat like shown above. I felt really painful, but I enjoyed pursuing the 'big look' of knowledge, its reasonability and purity themselves. However, if I didn't make out my voices, might be no one would know them, or being latter - they are all going to be separated into fragments in their own channels without caring about the connections between them. In other words, worlds objectively inputted in my eyes and my worlds subjectively reflected out in mirrored universe will not unified together. That's a terrible future. Indeed, what my purpose was very simple, for teaching and learning from each other freely. I want to be a good teacher educator whom, if in my later time, can give every suggestion according to someone who turned to me, with the creative zones I can see. Then, I am accumulating more every day and trying more every day. Oh, I am praying, praying for that innocent Jason's coming back who, this time, is with multiple-subjects’ knowledge but also gentle, and peacefully as before. Oh Lord, we all have been making sins. Please forgive our sins! Let us all feel peaceful as before!

'The Garden Eden:‘: Then the Lord God planted a garden in Eden, in the East, and there he put the man he had formed... In the middle of the garden stood the tree that gives life and the tree that gives knowledge of what is good and what is bad... Adam and Eve Are Sent Out of the Garden’ ‘So the Lord God sent them out of the Garden of Eden and made them cultivate the soil from which they had been formed' [21]

5. Oh, dear. I am hoping this time my moonlight can last for longer time. Then, I am praying for peace. Oh, what is love? someone fell in love with a person, someone with a city and someone with a piece of music. Wishing this time, my dealing way is in good matters.

6. Fine arts need to respect some innovations from common's daily life. As the responds of Talk in Claude Debussy, I still need to point out: Wikipedia still needs to respect commons' so-many-years' training and love of one piece of music. If it was talking about music, we need to respect some facts and don't tell lies.

7. I have clearly shown out my stance' meanwhile, in order to respect others, I put my version in Talk. Talk place is for talking this subject with freedom. Even there, someones still want to break these basic recogitions and pricinples. For what? I don't know. If for money or some other ugly things, don't do it!

8. If appeals were too may and still without respects, appeals will be meanless

9. Silver moonlight upon nightroad, is the love freely given from heaven, to all the commons. Debussy has found its beauties with France style romantics. Then, he contributed his this impression to peoples all round the worlds. The very important things are love itself and peace itself. Let us try to understand more! Jason M. C., Han (discusscontribs) 01:44, 17 October 2016 (UTC)

10. If there is no teachers and young teenagers researching music for many years and telling what they were seeing in this field with academic styles and in real or virtual classrooms, Musicians' beautiful flowers will lose their colours. Yes, we are Postmodernist commons online, and sometimes, our voices usually were ignored. Yes, maybe, we are not very professional (Indeed, I thought in one thing if you have interests and love, you can be keen on doing it for tens more years and even longer, that's enough good. Education researches and Psychologists told us, we, ourselves, can already be compared with experts.); and sometimes, we are not professional in using some professional technologies. However, we haven't lost ourselves and tried to dream after the beatiful heaven in our hearts all the time. That's what life's meanings existing in. Sometimes, we feared about unnecessary confliects' happening, owing to that we are peaceful. However, this didn't show that we were weak. Children and young teenagers, my Debussy' case told us: no matter when and how, we need to take some stances and insist on doing what we are dreaming. Behind you, there are your supporters - known or unknown. We need to give them our thanks and bravely face our life.

11. Protecting belongings, maintain yourself against cheating deals, and keeping value-reflecting-price business in China: (I didn't want to make this talk so explicit, just as a daily talk from a common Wiki-member. Then, in this case, I am very carefully to use languages, even my emotion is shaking with unhappiness. I don't want to hurt anyone and don't want anyone hurt my family.) Firstly, I love my country and feel good to be a common citizen. However, from long-time's participant-observations, somethings unhappy I still need to say: To be a kindhearted Chinese and don't feel tiredness about some unnecessary issues against some unfair deals are somehow two hard jobs, even only in life. From central TV channel, to local channels, to Internet digital world's channels, and to some newspapers, usually, notices were all written - Please taking care about your belongings, keeping a very clear mind when treating some deals, and trying your best to take a value-reflecting-price business, in China. Yes, 'in China', every time hearing this high-lightening, my heart always felt a little bit sorrowful, especially about 'cheating deals'. From my childhood, I used to feel strange 'why just Chinese was mentioned, why it was towards Chinese, why did we be mentioned shaping our behaviours when making some deals, even in daily life'; yes, if there weren't some unhappy things occurred before, this special 'notices' shouldn't be highlighted, even our own channels, for really protecting some honesty people's practical benefits. But I really have to say: it was a real fact. That's why Education and Daily Notices awaked us everyday. Indeed, 'price running around the true value' - this principle is what keeping things going well. Even being over or below in certain controllable situations, it shouldn't be so exaggerated too much - to over or below certain degree too much, such as 8 times or 10 times more. Meanwhile, it shouldn't be existing without getting the other side's (buyers) permissions, or finally just waiting 'the process of the cheating deal' having nearly been completed to the final step (buyers have wasted so much energy and time in this case), then presented out as excuse to set out the responsibilities. In those cases, they can all be called 'cheating deals'. 'Stealing belongs' are what really cannot be accepted by the civilizations. In china, some people, especially some being-threated aging people and children have to become members of certain criminal groups. They were sent to some public places including transportation-tools , such as buses. In these public traffics, usually, it was very crowed and the distances among people couldn't be accepted by a humanised civilization. 'Too many people, and too crowed' and 'driver's attitude somehow was really bad' - Those are the real facts lasting for tens more years. Depending on these unmoral distances among different people, these thieves can naturally 'attach' to some persons' shoulders, elbows, waists and hands, which are somewhere your wallets, bags or satchels placed. Then, their hands will wander towards zippers. Even worse, someone would use knife to break your waists, in order to get your belongings. The ages gave them the 'hidden conditions' to make crimes and would become their excuses to set out the responsibilities. They would make the attempts to steal your belongs for many times. After your turning heads back and found their cases, if you are an adult and strong man or woman and pointed them out directly and would like to notice others' care-taking, they would make quarrels with you in the public places. They would draw moral powers to attack your notices directly, in order to 'hide' their crimes or dispersing your attentions; then, they can get out from their situations (Yes, somehow, they are aging people and you are younger.) If they haven't achieve the successes and you founded it, they can also 'slide' away, depending on their public misleading. Then, they could disappear in the crowed 'people sea', and would focus on the next; or get out from this bus for the next. Usually, they weren't working for their own benefits depending on their own willing; but behind, there should be some darkness groups, which has almost been a public secret. Their crimes, if small, can be forgiven by your mercy (Indeed, we really want to ignore them, but ...), which are also understood and grasped by these groups. Their health-care and education are really concerned by people, especially towards some children. (Taking some samples from my own participant-observations: when I was a undergraduate student in Dalian, I used to encounter a child steeling my bag in the market when I was buying a piece of delicious Xinjiang cake (Really very delicious; thereby, I enjoyed to buy some). This is a fact that I have lost my ID card, all the belongings and the money; but today, this case repeatedly occurring upon me, after the time of ten years, when I was in a bus. This time, it was an aging woman that she attempted so many times towards my satchel, which made my attentions. I wasn't a fool, but somehow like a fool. Secretly struggling with her, I attempted 3 times to avoid bad things' happening, by twisting my satchel in front from aside. Then, she turned to the next- my mother, beside me. I turned my body to the other side to block her pathway, but it was unsuccessfully in get back her evil mind. I have to directly point out this unhappy fact to all, in public. What I wanted to do is just awaking people's care-taking of their own belongs in this crowed and unhappy bus. However, my mother wanted me to keep a secret. Why? she didn't know how many people in her groups are in that bus and she didn't know how to deal with some moral blames and misleading towards her son, if being trapped with this aging woman in this crowed bus for so long time (the distances among people have been over too much upon normal people's physics endurances.) Yes, I can, and almost, I need to. In China, there is a traditionally thinking way - 'Keeping your own businesses without caring about others' issues, especially when this issue wasn't about your own matters, or, you or your family can avoid or escape from taking hurts, signally' - this one usually kept the right one who wanted to notice people in the 'mouth-closure' and let some 'unhappy issues' happened in public as the secret, time after time...) But taking a perspective from Education: if all the people in public kept what they encountered as secrets, what situations will be like in the future. If letting aging people or child to steel belongs can be taught to our next generations from their parents or thief-teachers, what will happen in the mind of our next generations. What they think would be: I don't need to take any labours, just depending on cheating deals through some words-confusion skills or steeling belongings from others, then, in risks, somehow, we can get 8 or 10 times more values than before from others, or from nothing I have directly upon to all. In the other side, buyers or belongings-losers will immediately lost what they used to own without being honest treated or being merciful dealt, even in their own life. What-like will our next generations be made as? Therefore, in my mind, in postmodernist globalized civilization, these are really several Red lines which were touching bottom of Education, and we need to tell children and young teenagers what are right or wrong; so that, I written this recording to bear somethings in mind. (I make an apology about this language collection's quality is a little bit rough - the fluency is between bilingually oral and academy, because of the very unhappy emotional participant-observations during its completion and its instability with anger. Therefore, lots of details and several small events have been personally ignored, including one opportunist price bid-up (10 times more)in street market and another half-weight-added relationship-selling without clarifying the quality and quantity of products. They all happened in my hometown, which made me feel really sad. If merely seeing it as one in my self-researches of life-language phenomenon for language-improvement and taking it from educational perspective, my heart might not feel so painful. Hopefully, they can still be fragments without being threaded together; and hopefully, a night after, I can totally forget them. Yes, after watching child's face and hearing her melody-playing, my mind was calmed down. Okay, I would like to take it as one bad educational material in case for teaching good) (Suggestions: (1) To common people ourselves, in order to live, it's better to prepare a Anti-cheating-deal-protection Booklet by collecting various pieces of information from News online, TV channels and Newspaper. To be honest, there are too many pieces provided in China everyday. When watching them, you would feel evil and how can things be like those... Recently, I repeatedly heard some disorders in southern part of China have been grouped and organized to steal belongings. Oh, they are disorders with special needs. How can things be like those! Yes, we don't want to harm others, but we need to protect our own belongings. (2) systematical Market order and monitoring for commons' daily lives need to be re-constructed and standardized. I insisted the Value-to-price - this principle should be highlighted, even more over, it shouldn't be much than 8 to 10 times - over this dangerous red-line. (3) Materials-saving and re-cycling ideas in own-dream's realization, as only for, need be taught and learnt by more people, depending on which corruption situation would be reduced and unpractical bad emotions influencing commons' daily well-being would be modified.)

Words with annual renewable freshness for 2017[edit]

12. Oh, I should feel much free talking something in Jason's Postmodernist Language Part. In my mind, sorry, maybe - my mind has been self-traveling to the future too far. Taking back a step, this one is still and always a holly place for my self-reasoning and self-purification in my own worlds. Firstly, Happy Spring Festival of Chinese Area and please enjoy the first day of a very merry Rooster Year - 2017!


13. Then, today, following 11st point, I want to talk about another phenomenon experienced on Public bus, which I really don't want to mention but have to. How could I organize my languages more clearly like, after encountering this angry experience? I don't want and never want to tell lies, but certain basic trust & honesty was still gotten lost about its diver. Things should go like those below: Indeed, it hasn't been a current problem but somewhat lasting for long time since my family's returning to my hometown. Facing this problem, usually, it's my mum who over-stressed me too much - pressing down may stance and don't want me to say out my participant-observations. However, today, it is the first day of Rooster Year, everyone should apply polite attitude in dealing with and interactively treating each other, as the gift for a lucky year. My family's gift has gotten lost; and thereby, I don't want to give my gift to some individuals in my city. In China, as one part of public welfare, aging people, over the age of 60, have been enjoying a condition of public welfare - over 60, they can get half-discount tickets in public bus; and over 70, aging people can enjoy free tickets. You knew, behind the fast constructions of China, so many people have contributed all their life, all their youth time, all their family-working opportunities or all their family-volunteering contributions and all their patriotic health & energy to each city they are living in; till now, they had to (not to say they are on purposes) be aging over 60 or over 70. Compared with what contributions they made to this country's development in their life and youth time, this welfare is really what they should get, as a balance of their value. In my big family, many people got to this life stage; and in my small family, my parents have all come into the opportunity of first stage - age 60 to age 70. (Wikipedia Introductions: https://en.wikipedia.org/wiki/Social_welfare_in_China) Towards people in this group, I found some divers' bad attitudes and behaviours had been really too cruel, need some criticisms, too inhumanity and lost their basic trusts (to commons) & honesty (to their own working opportunities). From 1900s to 2000s, in my family, public bus used to be a main way for travelling outside, depending on the technologies. In order to suit this public tool, We have cultivated too many good habits (you knew, in some extreme overloading situations - sometimes, over too much being even without space for merely one person's two feet which was painfully enough carved in my memory that I didn't want to mention since my childhood - treated with inhumanity and only for money.). Among them, one is very useful relatively linking to today's case - coins-checking: (1)Before getting onto public buses, my father usually checked each coin and arranged them to me and my mum one by one; (2)and evolving from it, to me, before it, I have been together with my mum in checking about money for many times, in order not to trouble divers and keep our good manners in public bus. However, including today's and another one several months ago and several other times' before, though I really saw my mother's five Jiao (half ticket-fee) had been inserted into tickets-selling machine, and before it, I had really self-checked or father--checked, or saw she herself carefully checked the money, to ensure the correct money having been counted out, and in order not to trouble divers or others, for all times (I dared to say so. We really don't want to be trapped in this case). But still, when it came to this weak and slim lady, many times she was tangled by drivers by impolite questioning how much being inserted for many times. Indeed, if just being questioned many times, this case is also of no matter. Every time, in that very narrowed and only feet-inserted space (today, the situation is better), I or my father will be together associating my mother to take explanations - at the beginning, it's very gentle. However, this time, after saying sentences one time, two times, and three times:' we can confirm that she has really put the right money', some individual drivers, like today's in 28, still used very rude manners, down-looking attitude (with somewhat can be called discriminations. I understood psychology and knew what types of actions reflecting thinking ways behind these actions they showed can be called discriminations after so many years' experiences), questioning and impolite pronunciations to treat this poor lady - my mother. If letting me to attribute the reason of his actions, I would say: in societal activities and trips outside, my mother usually didn't care about her appearance and usually being with normal or even non-good-looked and old-fashioned clothes. She was also an aging teacher dedicating all her energy and time into serving next generations, and really didn't want to pay more attentions to the fashion of her out-looks - she didn't care about it and somehow considering it to be a waste of time and would rather pay things on more useful fields for other family members, family constructions or students (Money she and my family made earned is really not easy). Some individual Chinese have a problem: usually, what they behaved aren't according to people's souls, minds, contributions and good manners with beauties, but somewhat outside appearances. To strong or rich people, some individuals didn't want to trouble too much (because of the reason that they are strong or rich or even being clothed as almost rich), but some persons weak or poor or even just being looked as in poor situations and someone who really want to follow principles to behave (they also reasoned it as because of their poor or weak situations that they have to follow, rather than from heart that they respect principles and universal reasonability), they turned to use bad attitudes (from the angles of their down-looking eyes, bad Chinese pronunciation and many times 'suspicious questions - as if thinking everyone is crime) which you can directly feel about. Every time, facing this situation, if I was there I would associate my mother to make things clear and if things weren't really caused by our faults, after many times' explanations made like today, I had to bravely stand out: Every coin should be paid for your own labours, if you thought your labours were valued lower than this money, depending on your 'gentle attitudes', you can enjoy it happily. I knew on the first day of Spring Festival you wouldn't feel happy to take your tasks in working. However, you had chosen it you also need to take the responsibilities. Without interests, working experiences would let you feel in hell. Meanwhile, this point is also not following society principles. if you thought it was a burden, you can abandon it without disturbing others' holiday joyfulness; other divers who love it can take as from their own interests. Did you forget the traditional Chinese customs of Spring Festival? They are aging people, do you have parents and did you treat them like this on Spring Festival? Did you treat other aging people like this who are clothed well? Did you want to send every your bad face as 'the gift' to passengers all the day? ... Did you lose your basic trust and honesty to your customers? Without them, how do you want to get others' back? If you didn't respect your own working, how could others respect yours'? In Rooster Year's Spring Festival Gala (Wikipedia introduction: https://en.wikipedia.org/wiki/CCTV_New_Year%27s_Gala ), 'basic societal trusts' deeply rooted in hearts (to our own workings, our family members, our guests, our customers, our friends and our relatives ) has just been mentioned as from Chinese people' moral tradition, about which commons want to send some pieces of the positive information and Chinese Civilization to the worlds. Then, in the first day of Rooster - daily life and around people, it was still lost on you. Further, lots of aging people, like my mother, facing this situation, usually tried to pressure down her own son or family members, which transformed outside troubles into family conflicts - this is also one traditional custom without the openness to the world. Why? I wanted to make some much careful explanations: facing it, on the way outside, aging people knew they were weak and didn't want to trouble others or trouble their own family members by being pouched or hated by others. They thought this way was a good solution to avoid something's happening. Therefore, if things they can endeavour, they will. Even my father wanted to insert another 5 Jiao to calm down this situation quietly. Indeed, it was wrongly enough. After being educated, we knew another 5 Jiao cannot get back a lost trust and cannot pay for the whole societal justice. More aging people - in this group - may still need to unfairly pay another one time, two times or even more for being in their weak. That isn't according to moral principles and Education. Even more, taking Christianity's view: God, as Provider, trusts in everyone with the equality for many times. And, the balancing procedure made has already started from everyone's young time, even the childhood, till now, and then.

Enlightenments and Educational suggestions for future: (Children and young teenagers, please don't follow this uncle's bad example. If at the beginning, the diver would smile firstly and say: ’Aunt, Happy Spring Festival! I am sorry but I am not sure about your inserted ticket-fee, please have a check. You knew, my job wasn't easy on holidays‘. And, after gotten the answer once, he would choose to trust in this aging aunt and others’ explanations, for keeping holiday joyfulness and following traditional customs of Spring Festival. How fine an end of this case would be! )

14. Following the 13rd point (transportation management), today, I would like to accumulate one piece as for Jason's language. Currently, the situation of transportation is really better than before - last year and even longer time for tens years. However, in this point, about some cases of round-cycling bus in certain zones , I still need to give a very brief summary (I don't want to be trapped in certain unhappy mood too much): (1) If one job, or life-task, or volunteering, or event, you don't like to do, or even without any interests in, please forgive yourselves and others by choose another one. If you can't choose it, please try to fall in love with it. Yet, please just don't cry out your boring words about your careers all the way on bus. It would trouble others' moods while hearing; (2)When talking about some passengers in weak groups, or some pedestrians (walkers), especially aging people and children, passing by zebra crossing, please be merciful! It's because that cars are everywhere - they are parking, but without caring about principles of transportation. Weak groups, even walked out one line, shouldn't need to pay (responsibilities) for the disordered situation of transportation (sometimes). It's also because that you also have parents and children; meanwhile you also have times to be a child or an aging people. (3) Bell, for bus, is very important, especially for round-cycling bus(if 'really' being set and not broken). If you cannot hear it, please have some attempts; but, if causing by continuous talks with another passenger about some other issues regardless with your jobs, please try to stop... lives of passengers on this bus have all be grasped in your hand... (4) Please bring a good attitude to serve people on your bus and forget their social classes and identities (especially in a country run by principles of Marxism & named for commons and when you can't make sure others' situations - such as whether or not someone has already pressed button of bell, but you didn't hear) and take care of your application of oral language and face expressions - at least, it's your job. Only a gentle smile can solve a conflict, shouting can only get back further louder shouting with anger, but nothing else. (5) About meanings of round-cycling bus: In my store of educational knowledge of transportation, round-cycling bus is designed for motivating the economic development of certain areas - tours to appreciate landscapes, short-distance working demands, local visits, local businesses, relaxing leisure and holiday joyfulness etc. Indeed, at the beginning, there were very small regions importing this type of buses. Then, with the economic development and openness, round-cycling bus became popular and common in some economically developing zones. Rather than this type, two-destinations & each-stop bus was in tradition and always normal usages for crows of people's daily running, which stopped in every station with no bell being set(or being set, but never being used), but for long-distance travelling across one city, from one to the other, or from city center to countryside , whose problems I have also pointed out in 13rd. They have different functional purposes and should be distinguishable. We knew the worldwide famous city-tour bus is London bus, which has already been one symbol of the city and has developed a systemic mechanism for various purposes (Wikipedia introduction: https://en.wikipedia.org/wiki/Buses_in_London). Someone may argue: Jason, you are joking, how can small local bus routines be compared with London Bus and this system - so higher standards; and, we are in China with some different conditions, limitations, local habits of behaviours and cultural customs. Yes, that's quite right. But, I tell you the truth: a big and advanced system, such as 'London specification' to meet specific London requirements' (as a world-wide international city), was also developed from local demands. Just in solving practical problems, dividing functional differences with the distinguishability, storing good developing factors, serving people with more humanities and conveniences (you can see: 'All these buses conform to the Disability discrimination act, and can accept passengers in wheelchairs and other mobility impaired passengers'- how this system did serve people in weak groups that we have no need to mention aging people, women with babies, students, or others etc. ), it can get hundreds years' developments without doubts. Indeed, some reasonable solutions have already been seeded in commons' minds - very sample to say: facing bells of bus, the reasonability deeply in minds has already taught us how, where and when to use, which could be seen as the self-willing of being civilized, being reasonable, being following principles, and really enjoying good-qualified life of own purposes. Without needs to mention whether or not certain driver is able to talk with passengers all the way for boring words towards their own careers and weak groups even ignoring others' bells, here, we can get a brief conclusion across cultures: Don't like, won't do; If like, fulfilling in; if lacking, improving it; if bettering, keeping fine; if boring, forgiving in. oh, Jason's life task has no enough time and energy applied in this field; and to be honest, after that event, several weeks' participant-observations were better than before - I can feel: on one bus, air-conditioning was opened in cold days for commons; on one bus, a group of aging people can enjoy their travelling; on one bus, bell can work again, etc. Those are good-qualities, please keep on ... Education should trust people's abilities of self-awareness, self-learning, and self-discipline that we can better. Education can give suggestions from various researching pathways but cannot make decisions of anyone. That's what my learning taught me. I prefer to leave a developing zone here for future ...

Maybe, Public transportation has great relationships with commons' daily life and can give a direct impression of how a city is going on. That is why I had wasted a huge paragraph in talking about some principles as common knowledge in educational purpose. I really don't want to be trapped in this case and some troubles outside computer. However, the reasonability of Education (so long time) taught me I needed to do. Indeed, 'The daily collections of Jason's Postmodernist Language' - this session was designed for collections of language's beauties and creations. The original purpose of it is for the accumulation of good-qualified writing materials and educating languages, with philosophical ideas, fashions of musical aesthetics, fine arts, and bilingually cultural elements. I am hopping: as the bettering situations of transportation around my living place, my languages will make a post-regression back to original beauties; and my attentions would be drawn back to what fields I should be in. For it, everyday, I am praying everyday.

15. Strongly condemning the terrorist attack occurring in Houses of Parliament in London today - March 23rd 2017, and also any other terrorist attacks (including Paris', Brussels's and all countries in modern civilization), and abusive & Coward's behaviours and hurts towards commons: Life and health are the rights, being blessed by lord and given to all the people equally, without the differences of races, genders, ages. Whoever, if hurting them, are commons' enemies and should be blamed; whatever behaviours, if attempting to damage them or succeeding in doing so, should sin so many and be punished. Let us prayer for peace and commons' security; meanwhile, mourn those brothers and sisters died in terrorist attacks!

16. Sir Debussy's great contribution to impressionism rooted in his application of impressionism to express impressionist imageries generalized from 'Mind-landscapes' which have already been there - another romantic bank. In brief, we can conclude it as 'Impressionism only for Impressionism'. The later impressionism is a generalized definition adding his willing-landscapes abstracted upon certain real natural landscapes in experiences, dreaming scenes, societal events together with family members & relatives, and most importantly - some emotional joyfulness and love's Neo-expressions, which can be post-tasted for long... 17. Oh, I suddenly found: currently, on some good platforms I was in, about Educational research for music, I have gotten deep senses of Wiki-family' creative powers in various aspects, including documents, comments, self-medias, diaries, images... in life and for commons learners. Depending on them, I can solve many problems easily. It's just about me - my own habits' cultivation and from my experiences, regardless with any unnecessary issues. I need say: thanks, I can be a member.

18. 'May, 30th, 2017' - today, it is the traditional folk festival '端午节' in Great China Area (Normal Wikipedia introduction: [45]), as the remembrance of Patriotism poet & musician (Folk Songs) - Qu Yuan (Wikipedia introduction: [46]). From academic perspective, how can we make some senses of this 'cultural signal maker', and how can western friends deeply understand this master and his festival? Two branches of orientations - Western culture and Eastern culture gave me a comparison, which can transcendentalist taught us somethings from their similar natures - probably as a universal communication. When Qu Yuan came into my mind, another Patriotism Poet & Musician from Western world was usually emerging too - Frédéric Chopin (Wikipedia introduction: [47]). If you ask me: how can I get this sense, I would firstly emphasize the appreciation of Qu yuan's great work - Li Sao (Wikipedia introduction: [48]).After being heard (language with Chu Ci music), your will find the deep impression - the sadness, madness and anger motivated up directly floating above head - would be harmonic with another piano work of Frédéric Chopin - 'Étude Op. 10, No. 12 (so-called Revolutionary)' in each of their series (Wikipedia introduction: [49]). Yes, they are under the similar emotional (personal) & historical backgrounds and with the similar expressive mood-streams (even a little bit angry sometimes), for each of their own idealistic, peaceful, and dreaming countries but being going to die near-days, and for their deep loves of common peoples & their lives, and were willing to save their nearly broken hearts from dangers and outside threats - yes, in their different eras, there would also have been suffering strong Terrorism attacks from outside (we can definite them as terrorism attacks, causing lots of innocent commons' lives were lost from anti-governments' powers rather than public's historical willing, which were all unblessed and unfair... especially some public harms and inhumanity they faced, from academy, would have already met the main characteristics of terrorism attacks) to damage local peoples' lives - so many people were killed from numberless wars... (Wikipedia introduction: [50]). Therefore, in commons' and so many generations' eyes following, they were heroes and their works can be called 'National works', and there should be some days annually ranged out from the respects. In another similarity, they all represented each different ideas from mother-tongue music traditions - 'their national characteristics' - Qu Yuan carried Chu Ci (Wikipedia introduction:[51]) as the pattern for his artist innovation; while, Frédéric Chopin pushed Mazurek to the historical stage of world music; all for their loves of own countries. (Wikipedia introduction: [52]) Therefore, they can all be called 'Poetic masters in both language and music'; just, Qu Yuan was quite near politician & philosopher, but Chopin was quite near musician & romanticist. Furthermore, I have found another historical similarity in materialism: in order to make the remembrances of them, generations all applied the symbolic objects standing for their bodies into custom and culture. This point was hard to be understood. Let me make it clear: In Duan Wu Festival (Dragon Boat Festival), people living in Great China Area usually ate Zongzi (Wikipedia Introduction: [53]) Do you know why it was done? After ' he committed suicide by wading into the Miluo River' - oh, he was so sad and angry about the death of his country, people was afraid of his body's destroy in the river by fish's bites. They researched out 'a traditional Chinese food made of glutinous rice stuffed with different fillings and wrapped in bamboo, reed, or other large flat leaves' (Wikipedia introduction: [54], 2017), which was made in the shape of body-liked diets, and if being thrown into the river, can attract fish's attentions away from Qu Yuan's body; thereby, his body can be alive and stored always in the river, as for the dependence of his spirit - to be a real river god. Oh, you can find it was also a romantic story merging into commons' customs for food and life. You knew, in traditional Chinese culture, if someone had made great contributions, commons would inductively research out one food of a festival in fairy legends, for deep respects and mind expressions. This was for their material's (body's ) immortal lasting. Very interesting, I found 'Chopin's death mask and a cast of his left hand' and 'Ludwika took Chopin's heart in an urn, preserved in alcohol, back to Poland in 1850' (Wikipedia introduction:[55], 2017) were also represented people's loves, respects, and remembrances of their lives through carving, protecting or storing parts of their bodies. In some degrees, their lives and spirits were still existing in 'Mind-Independence worlds' of our civilizations through enjoyable festivals and customs, on paper and in music multiscript, and in patriotic expressions and poetic romanticism. Tonight of this festival, I was quietly sight-reading them - their minds upon words, and read out the same hot-beating heart, the independent judgement of societal bad & good and universal reasonability, a good willing from our pasted academic masters and intelligences, and the interactive loves from commons in our common root of customs and cultures. Now, on this commercial and changing-lot earth, please try to keep them, for bettering human beings' future.

19. Taking a glance, 2017's hot summer has been arrived. Very happy, Round-channeling bus, I mentioned before, can be in a real cycle with so many landscapes; and some situations of transportation have also and almost modified. Take an example: Near my home, I can also see some endeavors (not being totally solved) have been applied, such as facilities (barriers and separated areas)for keeping emergency Exit throughout and cars' parking in order, though it is really a complicated system and the effect is waiting to be tested. The situation of crowed bus has also been modified in certain degree, by adding some seats from back-place (In this case, I can see some experiments have been applied in terms of whether seats should be added in front, in the middle or at back. Finally, almost being at back was a good way.) But, sometimes, it was still crowed, and choosing different ways would be a good choice. You knew, soooo many people. After reviewing most of my life in this period, I decided to make a Consciousness Stream for summarizing my fuzzing impressions and beauties in this period. Meanwhile, I would like to visualize them through my eyes and technologies. As a result: it came out in self-educational views -

'Where to begin this visualized journey? Where could I have myself extracted from various ends of a life thread-ball and wrote down something for a quite brilliant and rather graceful, but still with 'deepest blue dropping lightest grey' summer of my 2017? A monologue, or a self-dialogue with someone unknown in universe, or an implicit symbolization representing lots of life indications, or projections from two mirrors to numberless futures... should land to a super-ego behaviour that I made over my abilities:Pushing against the wall of a strong cable-bridge's Pier (Wikipedia introduction: https://en.wikipedia.org/wiki/Pier_(architecture); https://en.wikipedia.org/wiki/Cable_Bridge) just above water-ground in sea's middle, water then was soon raising up to one to two buildings' height beyond your head, and a huge eddy (Wikipedia introduction: https://en.wikipedia.org/wiki/Eddy_(fluid_dynamics) ; you knew, Cable Bridge's pier, in sea, can be thought as 'large emergent rocks' presenting this fluid dynamics ), swirling water around you, was forming out. It's several minutes that you lost yourself in it, and just were watching light blue water under sunshine penetrating your soul, as if your tomb will be closed in a core lonely darkness out of sight-focus from this purified colour. (I cannot directly express this feeling in my photography portfolio, owing to no camera in my hands at that moment. But, the middle downstairs photo was made in another time when I was passing by that cable bridge and watching the far beach I was right swimming from... Combined with other water colours in this photography portfolio, we can try to make some senses ...)As in order, then, a hope of resurrection emerging from your mind and from the nature of your physics. Breaststroke,(Wikipedia introduction: https://en.wikipedia.org/wiki/Breaststroke), out of my unconsciousness, automatically pick me up from that dive depth. My mind began a argument about which gesture was better for Swift water rescue in Whitewater areas(Wikipedia introduction: https://en.wikipedia.org/wiki/Swift_water_rescue; https://en.wikipedia.org/wiki/Whitewater). Absolutely, my stance was on Breaststroke, because of my personal problems - my nature turned to this one freely and I didn't like so competitive swimming ways. Meanwhile, I thought self swift water rescue - this activity met my tendency that it needed people to keep themselves safe in water, rather than completive purposes. Furthermore, tell you a small secret of my self-training: It's two more years since I began to research some inputs of Tai chi thinking elements, such as self-making an energy ball through water, presenting a "white crane spreading its wings" in water, imitating with a 'merman's jumping', and walking out a 'octopus' wandering', rushing out a 'Tiger's mountain down-climbing'... into the modifications of traditional competitive ways, for self-rescuing and self-appreciations in life. I found 'frog's breaststroke' and 'whale's Backstroke' (It's another story that we can try to apply whale's 'arms-switching' , breathing rhythm and 'frog's up-wards legs' to transform backstroke. It has the possibilities to carry more nature elements. And, you can also make it in the similarity with personally moving a boating machine -in gyms- by arms, I thought) were much easier to be divided (elements), re-composed, transformed and reused by Tai Chi philosophy.By thinking of those special gestures, alongside Jason's automatic 'frog-kick', I was suddenly left into an imaginational world full of sea creatures from the deep sea beneath my face. You can see, a huge red-mouth-opening frog, a giant octopus and my aunt's eating-crab were externalized out of Jason's mind, appearing in the middle-up corner of this photography portfolio, as in the nightmare. Regarding with more documentary researches and discussions of Sea Monsters & Hell, I has already presented in my comments of 'Chinese encyclopedias of Strange things in the analysing article of 'Dream Of the Red Chamber' (Portal: Chinese literature: https://en.wikiversity.org/wiki/Portal:Chinese_literature). Thinking of those, a deep fear got out from the bottom of my heart. I told myself: 'Jason, hurry up, move faster, get away from this area...'After swimming to the beach, I found I was born from water, to enjoy a presenting life on both virtualized and realized birthday, with my family members and friend. Under the blue sky, it's only your family members - your parents, your relatives... who will never give up you, and would like to hold some birthday parties for you; and by together, you can eat some feasts with. Thinking here, in my imaginational world, a whole seaside was bombed out by many Beach Tents and people's smiling faces. As if, they were all together celebrating my birthday. You can see: It was real that in the middle corner of this portfolio's left side, there were a celebrating scene composed by many beach tents throughout woods. 'Jason, please don't say those mad words to anyone else! It's dangerous on earth, rather than on Mars. there was no relationships between other people's holiday-happiness and your birthday party. You should understand. Yet, if you told it to anyone, you will be sent to Well-being Centre...' Every time, mother would feel angry and cry out... 'But, this time, there should be some relationships between my birth and universe's collective joyfulness... Yet, how lonely we came to this earth...' Every time, I would argue words as so... finally, a quarrel or in silence, we made a choice together... Bingo...' However, in this year, My small aunt and big uncle's visitations made my birthday hasn't been so boring. Eating self-helped Western Steaks in this birthday feast (Wikipedia introduction:https://en.wikipedia.org/wiki/Steak) was what event motivating my mood to a magic level. Yes, I had also eaten some traditional Sichuan Cuisines, as regularly on birthday. (Wikipedia introduction: https://en.wikipedia.org/wiki/Sichuan_cuisine) . To be honest, in my Trinity Postmodernism philosophy, I really didn't know whether it carries some relationships - myself, with international conditions, or universal organizations - it's said China had imported many beef meats from America at that time. I meant it.' 'Don't say those mad words !' Mother's logics... Oh, okay, no matter how, as a common's lonely Educational Researcher, I felt happy to bury myself under those joyful noises surrounded by my family members and friend. At least, I was in a virtualized& realized group, and couldn't never be given up by human beings...Following it, please pay more attentions to those blue mussels (Wikipedia introduction: https://en.wikipedia.org/wiki/Blue_mussel) besides my Cross Birthday picture on the left top. They were picked up from one of my swimming beach, which made me feel happy to see the ecological friendship with Nature, rather than merely in mouth tastes. And then, on the right top corner of this photography portfolio, Jason has been dreaming himself into a blue outlook for future: currently, the Open Day of Sea Agriculture is coming. Many fishing boats in North Pacific Ocean were waiting to ship themselves out for seafood. As an educational observer, I was praying Lord in Nature would bless them good lucks! Finally, a consciousness-streaming channel has broken out throughout the axis of this photography portfolio. It's a 'Ironman' composed by Metro & Railway system dug out of this visualization, to a further brightness. It's also said it could be connected with City International Airport, directly from my home doorway, to anywhere on this earth... It would still need some time to re-adjust situations... But, before moving to Mars from this life... there will be still sometime that I can wait... wait for our relationships (even a little bit with the universe) can be fixed, or wait someone's coming into my visualized & realized LIFE... or wait for nothing but only waiting... IN a WIKI-Consciousness Stream of a never-ended hot summer2017' (Notice: Words referenced from WIKIMEDIA COMMONS for Educational Purpose in Wikiversity)

20. About the attitude of kids' or young teenagers' piano-practices: This topic was also a hardly-talked and easily-ignored one with many arguments. In very brief and normally, piano-learning should be from a kid's nature, rather than being required by or being forced to by their parents. 'Nature' means: when hearing sounds, you feel happy rather than painful; when touching keyboard, your heart is comfortable, rather than worry; while some problems are existing, you have the willing to solve and don't want to easily give up; When it is a long period you haven't met it, you will miss piano very much; and when it comes to your responsibility, you should bravely take. And, this learn was as one of your own matters, regardless with fame, money, competition, relationship, or other unnecessary factors (About this point, I would like to say more: some people argued that playing piano should bring those unnecessary factors your mentioned, Jason. Yet, in a commercialism reality, without them, do you think still some people would like to play it? Friends, I tell you the truth: they should in a good order that the primary thing you play piano should be for your nature - your interest and love; then, others would follow you nature and as some beautiful supplements surrounding making your experiences much happier. Therefore, it's not to say I play piano for money, fame, relationship, competition...; then, I have to cultivate my interests and my love from nature... If making it of an inversion, you will find the procedure of piano-practices is rather painful and boring.) Some parents might argue that: Jason, how could we see whether or not our kids have this 'nature' you mentioned?

  • Firstly, at very earlier time (maybe 1-3 years old; here, you can review some exact knowledge and timetable from infant perception, such as hearing; Wikipedia introduction: https://en.wikipedia.org/wiki/Developmental_psychology#Lifespan_development; but please don't make it so mechanized, and just see him or her, after hearing some pieces of significantly emotional music, can smile or feel unhappy, and his or her movements, sometimes, can make according to the rhythm, and even, when touching piano keyboard he or she can show the curiosity and interest for a lasting time of attention...)
  • Secondly, alongside his or her growth, you will find his or her games appearing more elements from music and keyboard-touching (3-5 years old).
  • Thirdly, when you have a try suggesting him or her to learn piano, he or she show great interests;
  • And when it comes to some tasks of practices and even challenges teachers would give, they can stay besides piano to research and explore some possible solutions and show his or her endurance for a long time... Yes, no matter what situations results will be like, he or she can show the willing and the endurance upon time. Congratulation! Till now, he or she is a good piano learner.

Some kids told me: little uncle Jason, I really love piano very much, even in one day I cannot be apart from thinking of it...But, my dear, what is the love of piano? please don't say 'love', just 'to like'. Just in thinking, without playing? In one week's interval, if you don't want to pay even more than one hour's time for training your hands flexibly according to some tasks' requirements; and if as from traditions of piano family-tutorials since Bach, Mozart, Beethoven, Chopin and Debussy's times, you even didn't want to take your responsibilities to pay the basic tutoring fee, didn't want to say anything clearly or later it for more than 5 times until the next time as if nothing has happened that you only need to pay the next 5 times, or make some plots on purpose to miss it in each time, such as forgetting recording notebook, writing on another sheet & then losing it in next time, as if fooling your tutor, until your tutors' endurance really cannot hold on it anymore (If you have some problems in the reality, please say things clearly to your tutors by seeking a secret time as you know or I know, and if helps I can give, based on my all-inclusive educational perspective, I must research out a solution. Indeed, just focusing on piano tasks, I added lots of extra time following each session for problems-solving and asking questions of your piano practices and showing out effective solutions, if needed... Therefore, please make your attentions just on knowledge and skills, and don't waste your wisdoms on how I can set out your responsibilities. If for money, making good usages of your tutor is better than wasting time to think of avoiding fees. Please thinking like that: if I can learn 2 sessions' content in only one session, show my giftedness out to my tutor and get senses of achievements from learning, will I have save much money for my family? You knew, you tutor also needs to survive!); and right in tutorial, if you even didn't want to focus all your attentions on piano learnings, but thought of other things projected from your eyes-touching, and showed very lazy movements on some locations and very slow responses, but required by your tutor's instructions and guides; how could you say you love piano? Oh, my dears, you knew, the interactions between you and your tutors, if being motivated out and sustaining well, are beneficial for both your learning and your teacher's teaching. If recycling well, it will also be very funny and constructive for your developments that some interesting games, activities, solo parties, realia-explorations, visualizations (painting together), language descriptions and even visitations to some landscapes can all be magically organized, which were what I continuously learnt from British Council. And, every piano teacher also has his or her own magic to make classroom funny, if he or she feels happy to teach. Without interactive motivations, without a interest, and even a small respect as to your classmate (Western world) or to your own parents (Eastern world), how can things be good for you? By sending those words above to my field, what my purpose was for a good wish that someday we (tutors and kids) could really join together as peers to touch beauties of fine arts, without any unnecessary desires and only for a true heart from nature. Till then, you will find what a beautiful world piano in music will be...Thanks!


21. Case study in Appealing: From this page https://commons.wikimedia.org/wiki/User_talk:Jason_M._C.,_Han, which I used in Wikimedia Commons, we can see the list proved some individuals have plotted for long time (Yet, it cannot make out a so detailed list with many visualizations and sounds used in Wikiversity) to against formal and good purposes in educational views. Otherwise, it cannot be so detailed. But, those educational designs were made for more kids' learning of piano through their watching, listening and reading... I felt sad and confused very much. You knew, I had a dream that one day, if there were internet in any corner, our next generations can all enjoy equal rights to watch some beautiful learning materials and make some arrangements for teaching and learning. What I applied were my most beautiful languages in English and piano techniques since my 4 years old learning which I could write. I didn't want their disappearance, but I really disliked those people who, I don't know why, plotted to delete others' contributions...without caring about their reasons.It would be from nature... You knew, I even live on those materials and put all I can give from my life as action plans, life tests, participant-observations, and visualizations of Wiki-knowledges. If some individuals didn't understand some future learning styles, they can ask and discuss with me... But, why? I really didn't know how to deal with this terrible issue. This place was a peaceful one I felt comfortable to appeal. Hopefully it will be fine... Thanks

22. Case study in Appealing: https://commons.wikimedia.org/wiki/File:Globalized_impression_of_London.JPG Sorry, I had to use this type of reference, owing to my ability influenced by emotion, currently. I didn't want to do somethings out of control. You knew, this type of Photography Portfolio has described my heart-road with poem-liked languages and translations to meet those requirements of postmodernist Fine art's teaching and learning in globalized visualization. (I tried my best to think out and make in learners' most familiar formations - Words and PPT) Inductively say: in my eyes, it was so beautiful recording my travelling through that great city. Though I wasn't a famous person but a small common, my eyes with curiosities about different cultures lighted my ways throughout that city to the higher gracefulness of its architecture. It was also like music spring flowing throughout my thinking and learning. And also, I applied most beautiful words I can think out in Chinese language to describe what happened in my minds. All energies and time I all applied into thinking those educational 'heart-road painting' and sometimes their reflections in music. But currently, it faced dangers that it might & will be deleted (Sorry, in this condition, my languages heard would be broken functioned by emotional changes) I really didn't want its disappearance, as in one of my beautiful memorized trips. Similar situations would also happen in those pictures: https://commons.wikimedia.org/wiki/ https://commons.wikimedia.org/wiki/File:2017_Spring_Impression_-_Butterfly.pdf https://commons.wikimedia.org/wiki/File:International_Cherry_Blossom_Festival_of_L%C3%BCshunkou_in_Dalian.JPG https://commons.wikimedia.org/wiki/File:Metiral-way_in_Jason%27s_life.gif https://commons.wikimedia.org/wiki/ https://commons.wikimedia.org/wiki/File:Impressions_of_West_Lake_for_further_usages_in_Education_-1.jpg https://commons.wikimedia.org/wiki/File:Impressions_of_West_Lake_for_further_usages_in_Education_-8.jpg https://commons.wikimedia.org/wiki/File:Impressions_of_West_Lake_for_further_usages_in_Education_-7.jpg https://commons.wikimedia.org/wiki/File:Impressions_of_West_Lake_for_further_usages_in_Education_-5.jpg Someone might say: Jason, they included some your individual or even private life fashions. Yes, peers, they can be seen as one teaching & learning way applying personal senses of life to participant-observe knowledge's applications in life practices and their variously expressive forms. By collecting all points of beauties, we can teach our learners in fine arts and ourselves how to appreciate landscapes and cultivate our own positive moods in lives. You knew, in our world, there was even no one historical event, great architecture, pieces of colourful music and paintings can get away from commons' personal endeavors of aesthetics (our senses). Sometimes, they were in pictures, sometimes they were in dynamics (a moving procedure with loudness and lightness), and sometimes, they were hidden behind. Without those, it seems salt is without salty and bodies without souls, especially in education. We need to teach someone somethings. It is better that we put ourselves in it, to feel and to think. Without them, how can we say we are teaching commons, as who we ourselves are? I think some people usually made me like a gun, and foolish (clever) me usually was used. But, please trust me, my heart was kind... Oh, so many words and... pains in memories. So tired... Hopefully, my explanations can make some people re-think of and understand those issues...

Editing -: Words for 2018 from Spring Festival[edit]

23. Processing a Spring Festival in Lucky Dog Year

Supplements:[edit]

1. For the 10th case: A small summary and Further talk of 10th case in Educational way: Some standards were not made by only one person but from long-time daily educational practices, and then documentary summaried in Wikipedia. The root should be from commons. Therefore, We need to respect some basic impressionism techniques, skills, hand-abilities' trainings, the teachers and young teenagers' hard-working for many years. Without these respects, experts cannot be called experts and freedom will be lost. Meanwhile, Talk place is for commons and with freedom voices. Please don't damage it. Peace and freedom are existing when others treated you with them. No one wants to lose them. Thinking about it, if formal article don't let commons express their ideas, and talk place lose its freedom, commons will be away from Wikipedia. That's a very terrible future vision. Entrance-door-stone has already been put into our hands, which just depended on what you are thinking and how you are thinking. If you change your minds to think it as a good way to motivate much beatiful moonlight's silvery coming and further studies, it was also going to be. If we have enough time and energy, please put them into researching a further and perfect version of Moonlight, then push it out into the formal article neibouring. Talk place is free for commons. This is also said to myself.

2. For the 20th case: Good attitudes and characteristics of a life-long piano-learner: He or she should - (1) have a sincere attitude and long-lasting willing for exploring new things; (2) have a desire of accepting more techniques and knowledge points in piano and music; (3) not feel bored in repeatedly trainings, but with great curiosities in discovering new improvements in each time; (4) have a positive heart of aesthetics about the coordination of exercises and rests; (5) work hard and critical think of every question, for problem-solving and lacks' fulfilling; (6) Challenge authorities and prove ourselves by one life's time; (7) seek and create possible chances for performances and not give up plays; (8) not fear about each time of failure and dare to correct self-mistakes and others' mistakes honestly; (9) have strong self-discipline - when one day comes that no one give you requirements, you can give yourselves some standards in single learning and teaching; (10)attempt to save yourselves from troubles, and always willing to give people feelings of beauties

Jason M. C., Han (talk) 01:04, 17 October 2016 (UTC) — Preceding unsigned comment added by Jason M. C., Han (talkcontribs) 00:56, 17 October 2016 (UTC) Silver moonlight upon nightroad, is the love freely given from heaven, to all the commons. Debussy has found its beauties with France style romantics. Then, he contributed this impression to peoples all round the worlds. In my opinion, the very important things are love itself and peace itself. Let us try to understand more! Jason M. C., Han (talk) 01:43, 17 October 2016 (UTC)

The never-ended Postmodernist concluding[edit]

In order to realize this dream, let us collect, test, grow, create, and evaluate Postmodern Knowledge (even very small) every day! Here, It's your time to accept knowledge and contribute your own knowledge in your own channel!

Sincerely Regards Best wishes

Jason M. C., Han (discusscontribs) 06:02, 4 April 2016 (UTC) Jason M. C., Han

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