(Note: Atlas source) "Wedding": The bright and melodious sound of the bamboo flute shows the idyllic beauty of beautiful scenery. Then, erhu played the theme developed from "Mei Ling in Wanxi" at a slow speed, euphemistically and simply, depicting the joy and shyness of a girl's wedding. After the cheerful drum music, erhu vividly shows the scene of the wedding night with its freely stretched tunes, exquisite and changeable techniques, Hu Da's duet and piano embellishment.
This movement can be divided into three levels. The content of the first level can be summarized by "marrying far away" or "thinking of a gentleman in a boudoir" Slow and steady rhythm, tactfully lyrical tone. It not only shows the distance and hardship of the wedding journey, but also shows the bursting joy that the bride is about to marry her beloved. China ancient women's implicit character of "wanting to talk about rest" and their beautiful vision and yearning for the future life are vividly and delicately expressed. The theme of music appeared three times. When playing, we should pay special attention to the soft extension of the bow and the elastic relaxation of the strings, and deal with the fluctuation of strength and the sense of rhythm with pauses, sustain and semicolons. At the same time, pay attention to the contrast and change of three emotions in the theme, and orderly show the feelings of vastness and remoteness, lyricism and joy, meditation and yearning.
The performance on the second floor can be summarized as "Bridal Sedan, Wedding Banquet". Cheerful rhythm, brisk music and crisp sound of gongs and drums paint a wedding scene of beating gongs and drums, arranging ceremonies, couples worshiping heaven and earth and guests celebrating. Here, the theme of erhu is condensed and developed into variation, which is lively. The music changed from G key to C key, and from feather key to fine-tuning key, which further rendered the joy and lively celebration scenes of people attending the wedding. Here, we should use dexterous small bows, brisk accents, joyful vibrato and other skills to vividly show the lively and happy welcoming scene. The second paragraph (15- 135) can be divided into three parts. The first section "Welcome the Wedding" (15-39) is a three-part variation, the first section (15-22) is the theme sound, and the erhu is played at medium and slow speed. The second paragraph (sections 23-35) is an extended variant of the first paragraph and belongs to a non-whole paragraph. The first four bars are variations and repetitions of the first phrase of the theme, and the following melody is developed at the end of the clause. The third paragraph (36-39) is a shortened variation of the theme. After repeating the first part, it is concentrated at the end of the sentence and falls on the e feather. Dulcimer transition in the middle (40-49 bars).
The second part, Allegro Minor (50-97 sections), is characterized by the reappearance of a single three-part from the perspective of tonality contrast, and the repeated changes of the three-part from the perspective of theme sound. The first paragraph (50-57 bars) is a 4+4 structure, and the second paragraph (58-82 bars) is also a square paragraph, which is the contraction and variation of the theme tone. Don't play too fast, because the wedding procession is on a bumpy road, so the music should jump happily. The tone of each sentence should be elastic, not stiff, but it should be played with a sense of movement, and it should be the same after being transferred. Sections 92 and 93 should be fast and light, like candles and flames floating in the air in the bridal chamber, which is very warm. The next melody is like a dialogue between the hero and heroine, warm and sweet.
The Third Wedding Night (section 98- 135): Adagio Quiet. We should pull out that sweet artistic conception. The first long note sol should be treated from strong to weak, and the speed of the bow should be gradually slowed down. The next six notes should be played smoothly, and the long notes should be played later to make the expression of feelings more delicate. When changing the bow, there should be no trace. The first beat in the second section of this paragraph should be played with the pad finger, and the second finger in the thirty-second section should be played easily. Pay attention to the pitch, the speed of 33 segments should be slightly compact, and the speed of 35 segments should be la. This passage has repeatedly used the comparison of speed and intensity to express the emotions of newly married women. For the player, the speed in the music score is different from the factors such as pitch and rhythm, because the player can't accurately find the one-to-one correspondence when the speed of the music score is converted into sound, and the change of the strength given by the sound is like injecting blood into life, thus producing the spirituality or vitality of music. Although dynamics is not the main factor of music, it plays a great role in converting music score into sound, and even the tension of dynamics changes causes a slight change in music speed. In the creation of "Newly Married", the composer used dynamic symbols, such as P, mp, F, ff, fff and sf, which gradually strengthened and weakened, which undoubtedly endowed this erhu song with infinite charm. During this period and the subsequent sudden changes, composers used the signs of speed and strength to express the feelings of their works, so they should carefully understand and try to understand the composer's aesthetic taste when playing.
"Mutation" (paragraph 136-270) is an unfolding song. It is written that on the wedding night, officers and men come to arrest able-bodied men for military service, and even the groom on the wedding night is doomed. The newly married woman struggled with the soldiers for this and finally ended in failure. Can be divided into two parts. The performance of timpani in the first three bars of the first part (136- 188) gives people an ominous omen. From 140, it is a mutation. Erhu uses scattered crying to express the grief of newly married women, and the band uses continuous sixteenth notes to set off this atmosphere. The second part (paragraph 189-270) is changed to Allegro, and some materials in the theme tone are combined with the tonality of the leading tone and the extended variation of the duration to develop the tone. Erhu plays a continuous and rapid sixteenth note, which increases the tension. Starting from paragraph 249, it pushed the whole song to a climax through the upward modeling of eight short notes. 257-260 continuous triplets are repeatedly played, reaching the highest tone of the whole song in 252, ending with a heavy fall on the gong in 267, and the homophonic tone in 269-270 paves the way for the later tone sandhi.
This performance should pay attention to the strength of the bow, and each note should have a head, which depends on the explosive force of the wrist. Changing the sound from fa to sol is fa, so you need to rub it. In the next phrase, the sound of sol rising to la should also be rubbed by sliding, and the sound of fa should be rubbed by strong pressure here. Don't break between each phrase, several inflections will naturally connect until the next sound. The first two bars of Allegro are strong, not weak. It is the same speed and strength as the "Allegro" below. 16 to 25 and 49 to 58 quarter notes need to use the whole body's strength to maintain the duration and strength of the bow, and instantly explode the anger in the bride's heart. The eighth and sixteenth notes from the 90th bar appear alternately in the following triplet, with the strength from P to ff. The continuous triplet contains endless resistance and pushes the mood to a climax. The last long tone do should be played in a strong tone to express the tragic feelings of the protagonist. Section 27 1-375 can be divided into four parts. The material of the first part (section 27 1-293) is taken from the theme, which is an acyclic form. The first 16 segments are G feather mode, which is two polyphonic segments, and the last seven segments are converted into F quotient mode, which belongs to the development of new materials. The first four sections of the second part (sections 294-293) were changed to B Palace, making it clear. Erhu and the band imitated the dialogue between newlyweds with cannon, and returned to the G feather tune from section 298. The third part (sections 329-335) has a wide rhythm, which shows the firm and heroic attitude of the groom in going to the frontier for military service. It is the end of the whole song. After the interval of four bars, the erhu played the theme sound with moderate and weak strength, and the sound gradually disappeared from strong to weak with the rhythm and sound pattern of the troops marching, depicting a picture of a newly married woman watching her husband leave with the troops in tears, which gave people endless nostalgia.
The melody of the farewell paragraph is similar to the first paragraph, but the mood of this paragraph is deep and sad. It describes that after fierce resistance, the newlyweds have to accept this cruel reality and leave each other on their wedding night. Don't be too strong at first, don't bow your head, the first three of the fourth bar should be pulled into overtones first, then into real notes, and the strings should be rubbed. In the second half of the second beat in 13, the intensity is from strong to weak and the speed is from fast to slow. The four-fingered strings in the third beat of bar 34 and the second beat of bar 35 should be rubbed hard, with great intensity and not too fast frequency, giving people the feeling of sobbing.
Turn to C: Broadboard. This passage is to be played tragically and firmly, and it is full of bows, describing the scene that her husband resolutely went to the army for the stability of his hometown.
Finally, the main theme reappears and returns to the main theme with a majestic and powerful broadboard. Don't push too hard, pull the bow smoothly, and don't rub the strings too much. The performance is even more tragic and desolate, rendering the scene of a newly married woman watching her husband's army go away with tears in her eyes, ending in a fading.