Fishing boats sing late, water lilies, mountains and rivers, Lin Chong running at night, Dong Dance Music, Autumn Moon in the Han Palace, swimming in the western Western jackdaw, fishing songs in the East China Sea, drums in Xiangshan Mountain, and fighting against typhoons.

flute

The people of the fishing fleet sing at night.

Zheng solo was developed by Lou Shuhua according to the ancient song Return, and another theory was adapted by Jin Zhuonan according to the traditional Shandong Double Board. Now widely circulated Louben, the first half is the same as Jinben, and the second half is unique to Louben. At the beginning of the music, with beautiful and elegant tunes and soothing rhythm, a picture of the sunset reflecting the blue waves is painted. Then 66 1 16 was used as seed material, and the music was lively and interesting. When changing repeatedly, swing around 356 1 55 2356 33 with a pentatonic scale. This melody is not only very stylish, but also beautiful, and it is really interesting to sing late. Finally, the melody that rises first and then falls is combined into a circular circle, which is repeated many times, and the speed is accelerated one after another, showing the scene that the happy fishermen are leisurely, the white sails drift with the tide, and the fishing boats return with full load. The poetic Zheng music of the richest man has been adapted into, guzheng duet and violin solo. This song can be seen in most music textbooks.

Guzheng solo "Fishing Boat Singing Night" is a famous northern school guzheng music. The title of "fishing boat sings late" is taken from the word "fishing boat sings late" in Wang Bo's Preface to Wang Tengting. The poem vividly shows the moving picture of fishing boats returning home and singing on the river in the sunset in the ancient town of Jiangnan water town. ?

As for the origin of this piece of music, it is generally believed that Lou Shuhua, a guqin player, adapted it from the material of the Shandong ancient song Return in the mid-1930s. Another way of saying this is that Jin Zhuonan, a Shandong guqin player, adapted it from the traditional folk guzheng song "Shuangban" spread in Liaocheng, Shandong Province, and its two evolution songs "Three Rings Set the Sun" and "Running Water Exciting the Stone". /kloc-in the 1930 s, Jin Zhuonan passed it on to Lou Shuhua, and Lou Shuhua made full use of the "flower finger" technique in the second half of the music to make the music artistic. ?

The current music score is selected from the Guzheng Playing Method edited by Cao Zheng and published by 1958 Music Publishing House.

This piece of music was adapted into various forms of performance, while Li adapted it into a violin piece based on the Zheng piece of the same name.

2. Introduction to the author

Lou Shuhua (1907— 1952) is a A Zheng player. Hebei Yutian people. 1925 studied under Zheng with Wei Ziyuan in Beijing and Henan. 1935, 1936 went to European countries with China Music Tour Group to introduce China Zheng art, and recorded Zheng solo music records such as "One World" and "Guan Ju" in the same year. Lou Shuhua has been engaged in guzheng teaching for many years, which has changed the traditional notation of guzheng music and is convenient for playing according to music. There are 2 1 zither etudes and selected zither songs.

Cao Zheng (1920-) is from A Zheng. Born in Xinmin County, Liaoning Province. When I was a child, I was accepted as a student by Lou Shuhua and given ancient songs such as "Fishing Boat Singing Late". From 65438 to 0947, he taught Zheng in Xuzhou "Smoked Kite Club" and held a solo concert of Zheng. Recorded fishing boats singing late, mountains and rivers and other records. Has spread overseas. In his early years, he designed fingering symbols for playing Zheng, and translated Miyachi notation into notation and staff.

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3. Music analysis

"Fishing boats sing late" vividly depicts the happy scene of sunset, colorful clouds, fishing songs everywhere and fishermen's harvest with a singing melody, and shows the author's praise and love for the great rivers and mountains of the motherland. In the first half of music (the first paragraph), phrases are basically "opposite" structures that answer up and down, giving people a sense of regular structure; In the second half of the music (the second and third paragraphs), with the rising and falling melody and the gradual development of speed and strength changes, it shows a warm scene of a hundred ships fighting for return.

The whole song can be roughly divided into three paragraphs.

The first paragraph, adagio. This is a melodious, smooth and lyrical paragraph. Accompanied by the playing skills such as rubbing and singing with the left hand, the music shows beautiful lakes and mountains-the sunset is gradually sinking, the sails are slowly moving, and the fishermen sing softly ... giving people the meaning of "singing late" and expressing the author's inner feelings and appreciation of the scenery.

In the second paragraph, the music picked up speed. This piece of music is developed from the previous one. Judging from the whole melody, the "Zheng" sound is the central sound of the melody. In the second paragraph, there is a clear angle sound "4", which makes the melody temporarily out of tune and turn into a subordinate sound, causing contrast and change. This piece of music vividly shows the fisherman's happy mood of rowing his boat home and braving the wind and waves.

The third paragraph, Allegro. In the process of melody, a series of sound modeling and variation techniques are used. It vividly depicts the sound of rowing, sculling and splashing waves. With the development of music, the speed is gradually accelerated and the intensity is constantly enhanced. In addition, it also highlights the unique way of sliding and pushing the board, showing the warm scene of fishing boats near the shore and fishing songs flying.

After the climax came to an abrupt end, the ending flowed out slowly, and its keynote was the contraction of a phrase in the second paragraph, which finally ended in the palace sound, which was unexpected and intriguing.

lotus flower just appearing above the water—

"Water Lotus": traditional Cantonese Hakka guzheng music, Zhongzhou ancient tune. Playing the traditional 16-string steel wire guzheng is simple in tone and elegant in style, which shows the noble sentiment of the lotus flower "emerging from the mud without dyeing, stirring up ripples without demon".

The melody of the whole song is beautiful and elegant; Moderate speed, leisurely; The right hand of the performer embellishes the tune with the forward-leaning sound played by Liantuo, which is full of strength. At the same time, it plays with different contacts to create a rich tone contrast: near Yueshan, the tone is elegant and bright; The middle part is often played between Yueshan and Yanzu, and the timbre is soft and beautiful. On the other hand, the left hand plays a variety of chord-pressing functions. When pressing 3 and 6 again, it rises to 4 and (b7). Constitute a special "soft cover" (weight 36); The above glide has a long lasting charm, with occasional heavy vibrato embellishment and light color.

The whole song is not long, but it vividly depicts the demeanor and temperament of Shuilian with various rich expressions. Yin Biao, a classical guitarist, once arranged this piece for a guitar solo.

Guqin music During the Warring States Period, there was a story of Qin Le about high mountains and flowing water, so it was also said that "high mountains and flowing water" was written by Boya. The music score was first seen in The Secret Music of the Ming Dynasty (written by Zhu Quan at 1425). The solution of this score is: "Mountain Flowing Water is two songs, but there is only one. The first ambition is to care about mountains and rivers, saying that benevolent people are Leshan. The ambition of the future is to care about running water, which means that the wise are happy with water. The Tang dynasty is divided into two songs, regardless of section. The highest mountain is divided into four sections and eight sections of flowing water. " For more than 2,000 years, two famous guqin songs, Mountain and Running Water, together with the story of Boya guqin meeting a bosom friend, have been widely circulated among the people.

"Mountain Flowing Water" takes "Boya Guqin meets a bosom friend" as the main line, and there are many kinds of Le Shu. There are two kinds of Qin music and Zheng music, both of which have the same name and different styles.

With the development of Qin's performing arts since Ming and Qing Dynasties, "mountain" and "water" have undergone great changes. The legendary secret score is not segmented, but later the piano score is segmented. Among the numerous music scores since Ming and Qing Dynasties, Running Water, which was adapted by Zhang Kongshan, a pianist of Sichuan School, was included in Tian Wen Song Score (1876) compiled by Tang Dynasty in Qing Dynasty. The sixth paragraph of the technique of "rolling, brushing, dialing and noting", also known as "seventy-two rolling and brushing water", is widely used because of its vivid image and blending of scenes. According to the research of Qin family, before Tian Wenqin's Song Score was published, there was no sixth paragraph played by Zhang Kongshan in all Qin Scores, and the whole song had only eight paragraphs, which was consistent with the solution of the Magic Secret Manual. However, the biography of Zhang Kongshan was increased to nine paragraphs, and then the Qin family followed suit.

There is also a guzheng song "Mountain Stream and Running Water", the music is quite different from piano music, and it is also based on "Boya Guqin meets a bosom friend". There are many genres of music books. The most widely circulated and influential is the Biography of Zhejiang Wulin School, with elegant melody and meaningful charm, which has the appearance of "majestic mountains and flowing water".

Shandong School's "Mountain Flowing Water" is an ensemble of four ditties, namely, Qin Yun, the wind shaking the bamboo, the bell ringing at night and the rhyme of the book, also known as four paragraphs and four paragraphs of brocade.

The Mountain Flowing Water of Henan School is based on the folk song Old Liu Ban, with a fresh and lively rhythm. Folk artists often play this song when they meet for the first time to show respect and make friends. There is no * * in common between the three and the guqin song "Mountain Flowing Water", and they are all different songs with the same name.

Guzheng solo, Lin Chongxue running to Liangshan at night is a wonderful chapter of Water Margin, which has been put on the stage many times. 1962, Lu Xiutang and Wang Xunzhi adapted and developed the tune of "New Water Preface" according to the theme of Kunqu Opera "Running Sword at Night", showing the scene of Lin Chongxue running to Liangshan at night.

Although the guzheng song "Lin Chong Running at Night" is written with the theme of "sword", in music, it basically reflects the contradiction and conflict between reality and ideal. Music from the beginning of the downturn, driven by the unique techniques of Kunqu opera melody and guzheng, finally showed a positive trend of "winning", which was also touching.

The whole song is divided into four paragraphs. The first paragraph is adagio, with free rhythm. The syncopation rhythm in the bass area alternates with the fingering melody in the middle and high notes, which expresses Lin Chong's inner sigh and grief.

The second part turns to Allegro, and the rhythm and techniques in the first half are changeable, imitating the gongs and drums in traditional Chinese opera and expressing a feeling of fear and anxiety; In the second half, accompanied by the fixed bass of the left hand, the right hand plays a fast melody in the high-pitched area, which has a sense of urgency.

In the third paragraph, the snowstorm was simulated by means of rolling and sweeping strings, singing again and shaking double strings.

The fourth melody is compact and firm, which shows that Lin Chong finally made up his mind to rush to Liangshan.

Autumn moon in Han Palace

This song is one of the top ten famous ancient songs in China. There are two popular forms of performance: one is the Zheng; The other is Erhu Opera, which was handed down by Mr. Liu Tianhua. This song is intended to express the bitterness and crying of the oppressed maids in ancient times and arouse people's sympathy for their unfortunate experiences. The performance of Zheng music uses a variety of skills such as singing, sliding and pressing, and its style is simple. It is the representative of Shandong Zheng music. Erhu Opera, on the other hand, is slow in speed, exquisite and changeable in bow shape, with short pauses in melody and intermittent music. The use of various complex techniques shows the sadness of maids and has deep artistic appeal.

Autumn Moon in Han Palace was originally a pipa of Chongming School, and now it has a variety of music scores and playing forms. Music shows the sadness of ancient ladies and a helpless, lonely and indifferent artistic conception of life.

Autumn Moon in Han Palace was originally a pipa of Chongming School. Now there are many kinds in Le Shu, which have evolved from one instrument to different ones, and have been recreated through their own artistic means to create different musical images. This is a common situation in the circulation of folk instrumental music. The popular forms of Autumn Moon in Han Palace are erhu, pipa, Zheng Qu and Jiangnan Sizhu. It mainly shows the sad mood of ancient ladies-in-waiting and a helpless and lonely life artistic conception.

"Swimming in Western Western jackdaw" is one of the top ten soft collections of Chaozhou string poems. Music expresses a carefree life interest by describing the scene that cold ducks are leisurely and chasing each other in the water.

Western jackdaw in the West: Western jackdaw in the West, also known as Gull Bird, is a famous Zheng Song in Chaozhou, and it is the most poetic of the top ten collections of Chaozhou string poems. With its unique and elegant melody, fresh style, unique charm and lively ups and downs, the whole song shows the scene that cold ducks are leisurely and chasing each other in the water.

The whole song has three paragraphs, and each paragraph has a distinct musical personality and clear paragraph boundaries, which is a typical plate variation. In the first paragraph, the head board (also known as the adagio) is 4/4 beat; The second paragraph, copying (also known as torture), 1/4 beat; In the third stage, the third board (also called the middle board) is also 1/4 beat, which is faster. The arrangement of this piece of music is a typical structural style of Chaozhou string poem suite.

By appreciating the performance of western Western jackdaw in the water, we can appreciate some special changes in the melody and tonality of Chaozhou music.

Fishing Song in the East China Sea is a folk music suite created by Ma Shenglong and Gu Yu 1959.

structure

The tune is based on Zhejiang folk music and focuses on percussion instruments such as gongs and drums.

The music is divided into four parts, and the playing time is about 1 1 minute:

(1) The Ocean of Dawn

② "Fishermen go out to sea to fish"

③ "Overcome the stormy waves"

(4) "Happy after the harvest"

affect

The main melody of this piece is catchy and is often played by folk music groups all over the country.

In his film Kung Fu in 2004, Stephen Chow used fishing songs from the East China Sea twice as the main soundtrack.

This piece of music was composed by the composer in 1975 with the theme of fishermen's working life on the coast of the East China Sea.

At the beginning of the music, the left hand kept scraping up and down, setting off the calling sound played by the right hand, showing a surging sea picture. After the introduction, * * * is divided into three parts. In the first part, the right hand plays an open, beautiful and singing theme melody composed of four degrees, and the left hand embellishes the singing theme with arpeggios and glide to make it more attractive; Then, the music is set off by the alternating appearance of arpeggios and scratches, and the scene of fishing songs going away with the waves is truly displayed to the audience. Since then, the theme has derived a contrast melody of cheerful jumping. After repeated playing, the left hand dropped eight degrees to reproduce the theme melody, and the right hand played a bumpy sound pattern as a foil, showing the fishermen's happy sailing scene. In the second part, the fishermen's work scene is expressed in the tone of hymn, with distinct rhythm and dialogue phrases that lead the crowd. When playing, we should accurately grasp the rhythm stress in the score and stabilize the rhythm. The gradual change of strength here is the embodiment of fishermen's cooperation and Qi Xin's cooperation in the works, which should be clearly shown when playing. The third part is the theme reappearance, with broad music and passion. With the theme melody gradually weakening in repetition, we seem to see the returning of the singing and dancing fleet in the sunset, and the beautiful songs drifting away express the fishermen's yearning for a better future.

This piece of music is composed by Professor Qu Yun of xi Normal University in Qin Zheng, Shaanxi Province. The music is composed of traditional pieces of Xi's ancient music, such as Fish Cake, Liuqingniang and Xiangshan Shooting Drum, which depicts the annual "Incense Festival" in Guanzhong, Shaanxi. And with the deep and profound melody of Shaanxi local style, it shows the piety and ethereal and lofty artistic conception of pilgrims, as well as the bustling activities of people who are clamoring for gongs and drums, roaring songs and worshipping in the mountains. It is one of the representative tracks of Shaanxi Zheng School.

In the adagio of this piece of music, the most important thing to explain is the fingering of "chopping". The sound to be played on the spectrum is clearly marked, so it must be played according to the notation. They are basically used at the end of sentences. In adagio, there will always be some suffix sentences, so it is necessary to divide the phrases well and distinguish the severity of the phrases. In addition, in adagio, the vibrato amplitude of the left hand is large, and the falling tone is the key sound to express the mood. Moreover, the speed and rhythm of a fingerplay in Adagio must not be too slow, because many students are easy to procrastinate because they don't grasp the fingerplay well. Slow down and hurry up, don't play too fast, just play clearly. In this way, the speed of Allegro in the back can be shown. If you are comfortable with this loose board, you should master the expansion and contraction of speed and the handling of strength and weakness. Allegro for this song is not difficult, but the speed must go up. Be careful not to have the same strength twice, the first time is slightly lighter, the second time is slightly stronger, and the last time is over.

In music processing, the state of performance is very important. No matter what music you play, you should devote yourself wholeheartedly. There is only melody in my heart, without any distractions, even during the performance.

I'm still wondering where I played wrong just now, which will greatly affect performance 2. In addition, it is also important to understand the works, analyze phrases and grasp the advantages and disadvantages. Have to go through repeated scrutiny and careful tempering. On the basis of careful analysis of the music, we strive to make every note have its own playing position and strength, and have its own expression and attitude. Only in playing can rational analysis and emotional passion be integrated and music can be perfectly expressed.

Edit inbound typhoon

Introduction to music

Typhoon War: Wang Changyuan wrote a guzheng solo at 1965 when he was studying at Shanghai Conservatory of Music. When she experienced life at the pier of Shanghai Port, she felt that the workers were fighting against the typhoon. The whole song is magnificent and vivid, and consists of five paragraphs.

The first paragraph (1-33): The music shows a busy dock scene from the beginning.

The second paragraph, typhoon attack (scattered board part): A sudden typhoon attack threatens the cargo safety at the dock.

The third paragraph (34- 156). This is the central paragraph of the whole song, with the longest length. The first four sections are the introduction, and sections 38-44 are the theme. The theme keeps appearing and changes every time, which shows the indomitable spirit of dockers. The appearance of the second theme (starting from section 44) overlaps with the end of the first theme, and the rhythm is slightly denser than that of the first theme, which shows the tense atmosphere of workers fighting against typhoons. It is a transitional period from the second beat of 5 1. In section 66, the theme appears again, with more intense rhythm and more tense atmosphere. After the second transition, the theme began to appear in section 93. Arriving at the bar 109, the sound zone turned higher and the workers were bravely fighting against the typhoon. Since section 93, there is no transition in the repetition of the theme. Until 154, the dock workers fought more fiercely in the fight against the typhoon.

In the fourth paragraph, the typhoon (157-179) has passed, and the dockers are gratified and proud to have overcome this natural disaster and protected the state property. The end of the fourth paragraph overlaps with the beginning of the fifth paragraph.

The fifth paragraph (paragraph 179-the end of the whole song), the jubilant pier. The music shows the melody of the first paragraph, but the atmosphere is more warm and tense than the first paragraph, and the workers are engaged in busy work again.