Lin Chong Running at Night is the representative work of Zhejiang Zheng music created by Mr. Wang, and it is also a very successful work. Because it is not only technically difficult, but also performs very well in music, which is very suitable for competitions or performances. Speaking of "Lin Chong running at night", let's talk about Zhejiang Zheng, which has the following skills: fast at four o'clock, long swing, short swing and point play. These techniques are all involved in Lin Chong's fun run. Then, if you want to play "Lin Chong Running at Night" well, you must first practice the above skills in place. There is no problem with technology. Let's analyze its theme. The first paragraph: It talks about the despair of Lin Chong after persecution, which mainly shows his inner world, struggle, anxiety, hesitation and hesitation. In this passage, the performer is particularly required to shake his fingers and be very solid in kung fu. When he shakes well, his voice is like the voice on the tip of a needle. When he transits to the timbre of coarse ore, it is a natural transformation. He should shake out Lin Chong's struggle and hesitation and go back as soon as possible. If he comes out a little, he still can't. He has to go back weakly. The strength of the finger changes very frequently, and then the finger turns to the bass area. Lin Chong recalled his persecution and humiliation, and his thoughts gradually became clear. His determination to go to Liangshan has been made, and his fingers turn back to the high-pitched area. At this time, the fingers are dense and intense, without hesitation, just like the flood erupting at the fingertips. I think the first paragraph is the most difficult and brilliant part of Lin Chong and fun run. If this passage is played well, then this piece has been half successful. The second paragraph; This paragraph is the content of the night rush. At first, not too fast. Pop up the stress point and shake your fingers short and brittle to show Lin Chong's determination to go to Liangshan. His left hand should be clear and his tone should be solid. We should shoot in the air. There is a small transition in the middle, and the transition section uses traditional fingering and clamping. The speed directly changed from 132 to 184, indicating that Lin's breakthrough has accelerated and he is a little impatient. Many students think this paragraph is very difficult, and the speed can't go up. In fact, this paragraph is not as difficult as expected. Don't be scared by its speed. Let's look at the music score. The left hand is hooked, and it's all the same sound, without any change, so the left hand is us. Almost all the notes in the right hand are octaves, and the octave of 184 is more than 90,90 times slower than the sixteenth note. I think it's no problem to get this passage to 200. But speed-up also needs to be gradual, starting with slow training. The third paragraph; In The Passage of a Blizzard, it shows that Lin Chong encountered a blizzard on his way, and Lin Chong continued his non-stop journey despite the difficulties of the blizzard. This passage is free to play and can be played according to the framework of the score. You can use more string sweeping and powerful scraping to set off the momentum. If you don't think it's enough, you can play it again or for a longer time. The fourth paragraph; It's about how Lin Chong finally reached Liangshan after going through many difficulties and dangers. Don't slow down this passage. It's best to keep the speed above 184. If you emphasize the stress a little more, the flavor of the opera will be stronger.