Farewell song
"Three Layers of Yangguan" is a touching ancient song, one of the top ten guqin songs in China. It is also a rare masterpiece in China's ancient music works. It has been widely sung by people for thousands of years and has strong artistic vitality. This piece of music was produced in the Tang Dynasty, and is based on the famous poem "Send Yuan to Twenty Shores" by the famous poet and musician Wang Wei. Because there are places like Weicheng and Yangguan in the poem, it is also called Weicheng Qu and Yangguan Qu. About the Song Dynasty, the score of Three Layers of Yangguan was lost. At present, the ancient song "Three Layers of Yangguan" is adapted from a piano piece. The earliest piano music of Three Musts in Yangguan was Yin Zheshi Qin Zi Pu, which was published in the fourth year of Hongzhi in Ming Dynasty (149 1), while the current pop music was originally recorded in Inventing Qin Pu in Ming Dynasty (1530), and was later adapted and recorded by Zhang He in Qing Dynasty. After the founding of New China, Wang Zhenya adapted it into a mixed chorus.
brief introduction
This poem by Wang Wei was widely circulated in the form of songs in the Tang Dynasty and was included in the third paragraph of Yizhou Daqu. At the end of the Tang Dynasty, the poet Chen Tao once wrote a poem saying, "The third time Song was in Yizhou, he sang the words defended by Youcheng." It shows that there is a certain connection with Daqu in Tang Dynasty. This song was very popular in the Tang Dynasty, not only because the four short poems were full of deep feelings of farewell, but also because the tune was affectionate and touching. Poets in the Tang Dynasty used many poems to describe it, such as Li Shangyin's "Red cherry with snow, heartbroken singing sunshine" and so on. Moreover, some poets have been separated from Wang Wei for nearly a hundred years, which shows the popularity of this song in the Tang Dynasty.
evaluate
Qing Dynasty's "Qin Ding's Ci Poem Volume One Yangguanqu": According to, this is also a seven-character quatrain, and the farewell song of the Tang Dynasty, three times, is not a musical method. Su Shi's Tri-fold Theory: The old story in Yangguan is tri-fold, but the singers in this world just repeat every sentence. A word is 40% off, and none of it is true. Or sing every sentence three times and get a 30% discount, then there would be no polyrhythm. When I was in Mizhou, Wenxun County was careful, and I got a cloud from the ancient sun. His voice became sad and broken, and he knew nothing about it. Every sentence is sung once, but the first sentence is not folded in half, so we know that the ancient version is covered with three folds. In Huangzhou, I occasionally read Lotte's poem about wine: Get drunk when you meet, and listen to the fourth sound of Yangguan. Note: Fourth, I advise you to drink more wine to test it. If a sentence is repeated, it is the fifth sound, and now it is the fourth sound, so the first sentence will not be repeated. There is a big stone tune "The Three Layers of Yangguan" in the Chun Xue Collection of the Chayuan: Weicheng is facing the rain, and the dust is light for an instant. Sprinkle the guest house green to make it soft and bright. The guest room is greener, and thousands of willows are new. Don't worry, I advise you to drink more, and your life will be less. Since ancient times, wealth and fame have been divided. Don't thin the capacitance meter, it's damaged. Don't worry, I suggest you have another glass of wine. I'm afraid you'll run to the sun in the west, and you'll swim like a dream, for no reason. Consistent with Su Shi's theory, it is an addition.
Flowing water
Handbook: It is also the first book in Zhu Quan's Handbook of Magic. But at present, people who play "Running Water" all use Zhang Kongshan's "Running Water". The flowing water of Zhang Kongshan is only available in the printed version of Qin Pu of Tianwen Pavilion (1867), but the banknote version of Zhang Kongshan's flowing water (1808- 1876) transmitted by Gu Yucheng of Huayang, Sichuan Province is quite different. 1850 or so, Zhang Kongshan's spectrum exhibition in Wuhan is different. Qu Qing: Zhu Quanxu said: "The two songs" Mountain "and" Running Water "are just one. The first ambition is Guanshan, and the meaning of benevolence is Leshan. Later, my ambition was to care about the meaning of running water and the wise man enjoying water. In the Tang dynasty, it was divided into two songs, which were not segmented. In the Song Dynasty, the "mountain" was divided into four sections and the "flowing water" was eight sections. According to the Records of the History of Qin Dynasty, Lieziyun said, "... Boya will never play the string and never play the piano for life." So there is the song "Mountains and Rivers". "
I want to press: the two songs "Mountain" and "Running Water" have evolved since the early Ming Dynasty. The first half of Zhu Quan's (magic cheats) is written in a category called "Taikoo Shenpin". "Mountain" is short, "Running Water" is long, and it is not segmented, which proves that he is implying that he compiled the music score of the Tang Dynasty, and the fingering does have traces of the late Tang Dynasty and the early Song Dynasty. In Feng Xuan Pin (1539) written in the middle of Ming Dynasty, these two songs are still short before and long after, but the fingering is changed. By the middle of the Ming Dynasty, Zheng's The True Story of Piano Score (1585) had four sections of high mountains and eight sections of flowing water (he added a postscript). At this time, the high mountain dedicated to the imperial court is also four sections, and the flowing water is also eight sections (according to Zang Chunwu's 65438+ piano score). However, it is only fifteen years away from Yang Biao Orthography. Yang Lun's "Boya New Law" (1600), also published in Nanjing, turned the mountain into six sections. Yan Hui (1647, but he became famous in the piano world around Wanli 1600) divided Gao Shan into eight sections. From then on, all the "high mountains" in the Qing Dynasty were eight stages. Judging from Yang Biao's timing, Running Water was originally eight paragraphs, but in Zhang Kongshan's Running Water, a paragraph was added between the original fifth and sixth paragraphs and became nine paragraphs (see Gaoshanwen). The added paragraph, that is, the sixth paragraph of Zhang Pu, uses the so-called "seventy-two rolling pen" technique to simulate the sound of dripping water in spring. Tian Wen Pu Ge has set some new fingering for these rolling strokes and the harmony in rolling strokes, but it is very puzzling. Zhang himself wrote in "Little Knowledge": "Yu played the piano with Mr. Feng and dictated it. Shangyi and Shanhao are the most difficult songs to learn. Moreover, although the "running water" collected by each spectrum is different, it is actually similar, but the six paragraphs of this exercise are completely suspended. It has been a long time, and I began to listen to his spirit ... "We don't have Feng's information yet, but it can be seen that there will be another version of Running Water by Zhang Kongshan. Gu Yucheng originally used the traditional rolling pen and marginal notes for this paragraph, but it was not very confusing. Gu's spectrum has a strong sense of melody in the simulated water flow, while the spectrum of Tian Wen Ge is closer to the simulated underwater sound.