"Variations on a Theme of a Folk Song in Northern Shaanxi" is a piano solo adapted by pianist Zhou Guangren based on the folk song "Thirty Mile Pu" in northern Shaanxi. It is a widely circulated excellent Chinese piano music work. Whenever I hear or play this piece of music, it reminds me of the ravine-ridden Loess Plateau and the hardworking people of northern Shaanxi who have gone through many vicissitudes of life.
1. Cultural background
The prototype of "Variations on a Folk Song Theme of Northern Shaanxi" is the folk song "Thirty Mile Pu" in northern Shaanxi. It is a folk song that originated in northern Shaanxi and is a typical "Xintianyou" song in northern Shaanxi. Xintianyou was born and sung in the vast Loess Plateau, where there are crisscrossing ravines and continuous ups and downs. Loess and yellow wind have shaped the unique natural landscape of northern Shaanxi. The vastness and grandeur are filled with tragedy and desolation, and the depression and loneliness breed perseverance and stability. The unique geographical environment here has produced the unique style characteristics of northern Shaanxi folk songs. The miserable and tragic life of the people who drive and walk to the west end gives the folk songs of northern Shaanxi a unique roughness and desolation.
It is said that the folk song "Thirty Mile Pu" in northern Shaanxi was compiled and sung based on a true story. It is said that the fourth sister and the third brother were a pair of sweet lovers. Later, the third brother went to other places as a soldier and when he came back The fourth sister is already married. As a result, this deep and sad love song was born and spread.
Example 1 of the score:
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Some people have also recorded the melody of this song. The form is as follows:
Score example 2:
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This song turned out to be a It is a long narrative song with more than 30 paragraphs of original lyrics, but people only sing a few paragraphs in the song. The double-fourth frame in the melody is a typical feature of Xintianyou in northern Shaanxi. The long-jumping intervals appear vigorous, unrestrained and rough. The big jump of fifths downwards in the ninth measure gives people a very desolate feeling. The last three The descending melody of the bar is like a helpless and deep sigh, expressing the helplessness of life and fate. All of these are closely related to the Loess Plateau, which is full of ravines, and to the miserable life of the local people. "A long song should cry", what we read from this song is the sourness of life and the twists and turns of fate. The infinite pain in the heart is expressed by "singing", and there is a bitterness and desolation of wanting to cry without tears.
2. Analysis of musical form
The expressiveness of "Variations on a Theme of Northern Shaanxi Folk Song" adapted by Zhou Guangren is very different from the original folk song "Thirty Mile Pu". It becomes a very piano-like variation with a narrative character. The whole song consists of a theme and eight variations and nine sections of music. The theme and variations one and two form the first part, which expresses the suffering life of the people in northern Shaanxi in the old society. Variations three, four and five form the second part, which express the The struggle of the people in northern Shaanxi, Variations 6, 7, and 8 make up the third part, showing light and victory. Through variations, the work arranges a changing process from suffering - struggle - victory according to the author's conception, expressing the theme that justice will surely defeat evil, greatly improving the expressiveness of the original folk song and turning it into a masterpiece. A large-scale piano work.
The theme of the folk song here is changed to 3/8 time, using a slightly slower medium tempo and a dim tone to express the "hard times". The first two phrases are in the key of G, and the last two phrases are in the key of G. Moving to the C Hui mode, it can also be regarded as the C Zheng mode (such as the second example). The descending tones in the accompaniment texture of the fourth measure are like gentle sobs, and the repeated use of the bE sound constitutes the so-called "bitter tone" scale, giving people a sad and miserable feeling. The last three bars of the theme are imitations of the lower fifth (upper fourth) of the three bars that precede it. Score Example 3:
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The main melody of Variation 1 is still in the high range, and the musical texture becomes slightly more active. But it is still unified in the darker tones of the darker "Troubled Years".
The main melody of Variation 2 moves to the bass area, and the rhythm and submelody in the high area are lightly embellished, which further sets off the deepness of the bass melody.
The theme and variations one and two make up the first part. Its basic mood is consistent and has a narrative nature, as if it is telling people about the tragic life of past sufferings.
The three-texture variation turns into a thick column chord, the speed is accelerated, and the rhythm is firm and powerful. This variation theme does not appear in its entirety, but is simplified into the backbone sounds. The reverse progression of the left and right hands adds tremendous power, is full of impact, and expresses an image of tenacious resistance and struggle.
Variation 4 adds a dotted rhythm on the basis of Variation 3. The music has greater power and impact, and the struggle seems to be more intense
These three variations make up the whole song. The second part shows the image of an arduous struggle.
It is a transitional phrase, as if a gust of wind has blown away the dark clouds in the sky, symbolizing the coming of light after struggle.
Next, Variation 6, Variation 7, and Variation 8 form the third part of the piece, "The Sky in the Liberated Areas."
Variation six changes to G key, which is high-pitched, bright, stretched, and full of singing, expressing the joy of victory through struggle. In fact, this variation is the prototype of the folk song, and it has been cleverly arranged by the author into a variation here.
Variation 7 is a cheerful sixteenth note in the high range, imitating the musical effect of a bamboo flute, with bright tone and cheerful rhythm. The submelody in the bass area and the main melody in the treble are interesting, showing the lively scene of people in the liberated areas singing, dancing and celebrating victory.
Variation 8 is the climax of the whole piece. The octave-repeated column chord contains the main melody, like a magnificent chorus, forming a powerful torrent. The key returns to the key of C. The upward off-key progression in bars 10, 11, 12, 13, and 14 pushes the whole song to a climax. Illustration of musical form:
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Judging from the tonal layout, "Variations on a Folk Song Theme of Northern Shaanxi" has In the three-part variation form, the theme and the first five variations all have C as the palace, variations six and seven have G as the palace, and variation eight returns to C as the palace. Judging from the narrative plot and emotional changes, it is also It has three parts: A, A1, and A2 make up the first paragraph, A3, A4, and A5 make up the second paragraph, and A6, A7, and A8 make up the third paragraph.
3. Comparison of the singing and playing of the folk song "Sansanlipu" and "Variations on a Folk Song Theme of Northern Shaanxi"
The folk song "Sansanlipu" is an emotional and simple song When singing excellent folk songs, we must first understand its humanistic background and cultural connotation, understand the basic emotions it expresses, and grasp its basic emotional characteristics as a whole. Only by understanding the overall style characteristics of Northern Shaanxi culture can we understand the style characteristics and cultural connotation of Northern Shaanxi Xintianyou. Only by understanding the style characteristics and cultural connotation of Northern Shaanxi Xintianyou can we sing this type of folk songs well, including this song "Thirty Miles" shop". Because every folk song is a profound accumulation of local national culture and has a close flesh-and-blood relationship with its cultural matrix. It is not enough to just do this. You must also carefully study the personality characteristics of this song and sing out its unique personality, including the pronunciation, articulation, rhythm, embellishment and other subtle processing of each word. Now with adapted folk songs Based on "Thirty Mile Pu", let's briefly talk about the processing of singing.
Score Example 4:
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The adapted folk song is an ABA＇三 The segment structure increases the changes and contrasts of beat and rhythm, enriching the expressive power of art.
The first two sentences of paragraph A are narrative in nature. You should not put too much emotion into the singing. Just sing it plainly and narratively. The word "来" in the first sentence can slide up from the bottom. Going up, the word "name" can be straightened first and then trembled to increase the rich style of the folk song. The third sentence should be more emotional, but it should be sincere, intrinsic, and reserved, but not excessive. The entire section A should leave room for the direct expression of true feelings in section B to make the singing rich and layered.
Section B changes to three beats, which is a direct expression of inner feelings. This section should be prevented from being sung in a dance-like triple beat, and should be sung affectionately and with strong emotion.
A' expresses the helplessness that the lovers cannot get together, revealing the infinite melancholy in the heart. A' structurally responds to the beginning, making the work more complete.
2. Performance processing of "Variations on a Theme of Northern Shaanxi Folk Song":
To perform "Variations on a Theme of Northern Shaanxi Folk Song", you must first understand the content and background of the folk song "Thirty Mile Pu" , it is best to be able to sing the song "Sansanlipu". Because this song and its cultural background are both the cultural background of "Variations on a Theme of Northern Shaanxi Folk Song", understanding "Sansanlipu" is also about understanding the cultural background of "Variations on a Theme of Northern Shaanxi Folk Song". Secondly, we need to understand what new ideas there are in the adaptation that were not available before. For example, "Thirty Mile Pu" expresses personal emotions, while "Variations on a Theme of Northern Shaanxi Folk Songs" has risen to express the struggle process of the whole nation, and then sublimated to the whole nation. Human beings have reached the ideological level of light through struggle from darkness. This is the basic idea of ??"Variations on the Theme of Northern Shaanxi Folk Song" and is an important breakthrough in the folk song "Thirty Mile Pu". If you do not master this point, it will be difficult to perform this song well. A piano piece. Next, every variation of the work must be carefully processed. The tempo of variation 1 is mid-tempo, not too fast. The legato of the melody should be very singing. The left-hand harmony should be deep and not too loud. The voices on the last beat of the third and seventh measures should be transcended, and the melody should be slightly more prominent. , but not too much. The third sentence is a turning point, which should be lighter and highlight the bass of the left hand to outline the descending tone of the "bitter tone" scale. (See example three).
Although the texture of Variation 1 and Variation 2 is somewhat fluid, the mood must be consistent with the theme, and the timbre should be kept slightly darker, not bright.
Variations 3 and 4 use staccato playing, from weak to strong, firm and powerful, showing the image of "struggle". Variation 5 should be played full and powerful. When the hands are spread out to the two poles, the sound should be strong and powerful. This variation is always a syncopated rhythm. The two-note sound pattern should be pedaled on the second note.
The following connecting sentence requires very smooth and coherent sentences.
Variation six is ??the prototype of folk songs. Here it becomes cheerful in nature. It uses a bright tone to play a loud singing melody, giving people an intoxicating feeling.
Variation 7 is a scene of people celebrating and dancing. The sixteenth notes should be smooth and even, the progression of the left and right hands should have a polyphonic feel, and the volume of the two parts should be just right and corresponding.
After Variation 7, there is another four-bar modulation link, which should be smooth and unrestrained. The parallel progressions of the left and right hands should be neat, and the crescendo leads to the climax of Variation 8.
Variation 8 is the climax of the whole song. The speed should not be slow, the intensity should be strong, the ending should be stronger, and it should show great momentum. Play firmly and confidently, with a slight emphasis on the bass repeating in the first octave of each measure.
"Northern Shaanxi Folk Song Theme Variations" expresses the idea of ??overcoming darkness and reaching light through struggle, and expresses the struggle process of pursuing victory. It is the epitome and image portrayal of the Chinese nation striving for happiness and light from suffering. The music has a narrative and plot character, and at the same time it has very strong emotions and strong artistic appeal.