Chapter 32
Tone, in other words, modulating the pitch of a sound to weave a melody, is by no means an easy task.
Even those who have honed their skills over a long period to reach a level of artistry find it difficult to harmonize countless notes to produce a pleasant sound.
Therefore, for Yang-hwi, who possessed neither a deep mastery of sound nor the innate talent like Jegal Seol-ha, it was impossible for him to pass through the Eum-gwan.
However.
‘Sound is not the only important thing in melody.’
There is one other thing in melody that is as important as the pitch of the sound.
That is rhythm. In other words, the interval.
And every person is born with their own rhythm.
“Haa, fuuu.”
Inhale and exhale. Focus on that flow and the constant interval.
Thump-thump! Thump-thump!
Collect your spirit and pay attention to the heartbeat resonating from within.
‘The breathing of the lungs. The beating of the heart. Let’s put the rhythm of the heart and lungs into the sword.’
There was one technique perfectly suited for this.
The first form of the 108 Sky-Covering Swords.
Wing Strikes Hanging Ice.
I swing the sword upward like the wings of a hawk striking down an icicle hanging from the eaves.
Originally, it was a technique created to deflect or parry an enemy’s sword.
Yang-hwi assumed the iron rods filling the area were the enemy’s swords.
‘Wing Strikes Hanging Ice, eighth variation.’
The honest upward strike is imbued with the principle of change, tilting diagonally.
Just like that, I parry the enemy’s attack striking down vertically.
