The original singer of "Fifteenth Moon" is Dong Zhenhou.
"The Moon on the Fifteenth Day" is a song written by Shi Xiang, composed by Tie Yuan and Xu Xiyi, arranged by Lou Lianguang, and sung by Dong Zhenhou. The song was composed in 1984.
After the song "Fifteenth Moon" was sung, the simple lyrics expressed the feelings of the border guards and their wives. People are familiar with this song, but few people know the birthplace of this song - Qiulinggou, Huade County, Inner Mongolia.
One day in 1984, when the lyricist Shi Xiang was discussing "What kind of songs do soldiers like" with army officers and soldiers, a company commander asked him to compose a song about soldiers' wives. At first, Shi Xiang was confused about how to address the military wife. Calling the military wife "wife" was too old-fashioned, and calling her "dear" and "sweetheart" was too fashionable.
It wasn't until the lights were about to go out at night that he opened the window to broaden his mind. He saw the bright moon and remembered Su Shi's poem: "People have joys and sorrows, and the moon waxes and wanes. This matter It’s hard to be complete in the past. I hope people will live long and live thousands of miles away from each other.” A bright moon is in the sky, and the husband and wife look at each other. You miss me and I miss you too, so Shi Xiang used "you" and "I" to solve the problem of person, and he quickly finished writing "The Fifteenth Day" based on his feelings. Moon" lyrics.
Song Appreciation
In the 8 bars of the first part, the tone adopts the materials of northern folk tones. It is simple, smooth, euphemistic and moving. It embodies the emotions in the scenery and expresses the border soldiers' longing for their hometown. Missing my wife and children. The following 8 sections: "You guard the baby's cradle, and I patrol the border defense line of the motherland; you cultivate the farmland in your hometown, and I stand guard on the border." The recitative tone narrates the couple on a bright moonlit night. of different situations.
In the comparison, "hometown" and "border", "wife" and "husband" are cleverly combined into one. This part of the music shifts to the feather mode (e feather mode), which contrasts with the Zheng mode (d Zheng mode) in the first part, and also prepares for the return to the Zheng mode (d Zheng mode) in the third part. From a melodic point of view, these 8 bars adopt the modulation technique to gradually push the melody higher and prepare for the climax of the third part. Therefore, the second part has the structural function of "connection".