It is said that Boya, a pianist in the pre-Qin period, once played the piano on a barren land, but Zhong Ziqi, a woodcutter, can understand that this is a description of "ambition in the mountains" and "running water with ambition". Boya was surprised: "Great, my son's heart is the same as mine." After the death of chef Hippo, Boya lost her bosom friend, broke the piano and never played it for life, so there was a song of high mountains and flowing water.
Guangling San (Guqin Qu)
Also known as "Guangling Stop". One of the Hunan-Chu Qudan Tunes in the Han and Wei Dynasties. Ji Kang was killed for opposing Sima's dictatorship. Before his execution, he calmly played this song as a sustenance. The existing piano score was first seen in The Secret Music of Magic.
Another story: It was originally a kind of folk music popular in Guangling area (now Shouxian County, Anhui Province) at the end of the Eastern Han Dynasty. He once played with Qin, Zheng, Sheng, Zhu and other musical instruments, and now only the ancient Qin music is left, the earliest recorded is the Magic Secret Music. There was no content record in the early days, but now most musicians explain it according to the folklore of stabbing Hanwang (which is different from the official history). According to Cao Qin, Nie Zheng was a Korean during the Warring States Period, and his father was killed for casting a sword for korean king. In order to avenge his father, after ten years of hard work on Mount Tai, he changed his voice and appearance, returned to Korea and played the piano not far from the palace. His superb piano skills stopped pedestrians and horses. When the king of South Korea learned about it, he was called into the palace to play. Nie Zheng took advantage of it unprepared, drew a dagger from his belly and stabbed korean king. He disfigured himself so as not to implicate his mother.
Later generations added subsection titles to the guqin Song Guangling San, and some of them were named after the plot corresponding to the story. The emotions expressed in music do have a lot in common with this tragic legend. Guangling San contained in The Magic Secret Spectrum consists of (one paragraph), a minor preface (three paragraphs), a major preface (five paragraphs), a positive tone (eighteen paragraphs), a chaotic tone (ten paragraphs) and a postorder (eight paragraphs) * * 45. This song has long been a masterpiece, and many musicians have translated it after liberation. The melody of the music is special, and the second string is homophonic with the first string, so that the bass melody can be played on these two strings at the same time, achieving a strong acoustic effect.
Pingsha geese (Guqin music)
Also known as "wild goose falling flat sand" or "flat sand". The authors are Chen Ziang in Tang Dynasty, Mao Minzhong in Song Dynasty and Zhu Quan in Ming Dynasty. The score of this piece of music was originally recorded with authentic ancient sounds in the late Ming Dynasty (1634). After it came out, it was deeply loved by musicians. It is not only widely circulated, but also processed and developed, forming various versions with different sections, modes, modes and artistic conception. This is one of the most popular piano pieces.
For Qu Qing's understanding, there is a description of autumn scenery, which means "clear autumn is sparse and geese fly". There are "take autumn breath, calm and smooth, the cloud is Cheng Wanli, the sky is soaring, and it is used to write the heart of Yi Shi for Hongzhi"; There is also Hongyan's "feeling belongs to the care of the item, the state rises and falls, and the elephant gathers later, and it is shocked and revived." "When it falls, the sand is flat and the water is far away, the heart is idle, the friends have no guesses, and the men and women have narratives." It sends out the feeling that the world is sinister and not as good as the geese. At present, most of them are seven paragraphs, and the main melody and musical image are roughly the same, with ups and downs and continuous beauty; The timbre is quiet and beautiful, but there is movement in silence. Pingsha, written by Zhucheng School, is vivid and unique by adding a scene of geese Qi Fei calling each other through simulation under the background of fixed sound pattern.
Meihua Sannong (Guzheng Music)
This song pays tribute to people with noble sentiments through the white, fragrant and cold-resistant characteristics of plum blossoms. In the first half of the music, a quiet and comfortable overtone tune is played, showing the noble and serene silence of plum blossoms. The second half in a hurry describes the unyielding dynamics of plum blossoms. The two sections are different in timbre, melody and rhythm, with sharp contrast. The overtone tune in the same song is repeated three times in different emblem positions, so it is called "Three Pavilions".
Ambush on all sides (pipa)
One of the traditional pipa music. Also known as Huaiyang Pingchu, the music score was first seen in Huaqiu Pipa Score (18 19). Ming Wangbao (1598- 1662) "Four Zhao Tang" Collection. In the Biography of Pipa in Tang Dynasty, it is recorded that Tang Ying, a pipa family, once played Chu Han. "Chu a song. The two armies fought a decisive battle, and the heavens and the earth moved. If the roof tiles fell, Xu regarded them as golden sounds, drums, gold, swords, men and horses, and there was silence. Over time, those who have grievances are difficult to understand, and they are Chu Ci; Those tragic ones are the generous voice of Wang Xiang's elegy and the sound of farewell; Trapped in daze, there is a sound of chasing; When I arrived in Wujiang, there was a king's throat, and I rode it. It makes the listener feel excited at first, then sad, and finally can't cry, and its adults are like this. "The scenes and sounds drawn are very similar to today's House of Flying Daggers. The whole song is divided into thirteen paragraphs, and the title of the song can be divided into three parts:
The first part:
(1) "Hunting Shadows" is the prelude to the whole song, showing the exciting scenes of the golden drums ringing and the people shouting before the war. Music has the characteristics of divergence and acceleration, and the complexity of modes and their alternate conversion further increase the instability of music.
2 "blow".
(3) The theme of "Dianjiangqu" shows the mighty style of soldiers in the form of a series of long round fingering techniques (but round after round) and the combination fingering of "buckle, rub, bounce and rub".
(4) "formation".
(5) The music of "Walking Team" has a certain contrast with before, and the brave posture of the army is further demonstrated by means of "covering, dividing" and "covering and rowing".
The second part:
(6) Ambush shows that the night before the decisive battle, the Han army ambushed here, and the weather was quiet and tense, paving the way for the latter two paragraphs.
(7) In the small battle of Jiming Mountain, the two armies of Chu and Han fought hand-to-hand, with swords and guns hitting each other, and the breath was short and the music began.
(8) The Jiulishan War depicts a life-and-death battle scene between the two armies. The sound of hooves, knives and shouts are intertwined and shocking. First, the alternating playing method of "row, row, play and row" is used, and then the music is pushed to a climax by techniques such as spelling two strings and pushing and pulling.
The third part:
(9) Wang Xiang was defeated.
(10) Wujiang River committed suicide, repeating homonyms with random rhythm, and alternating tight rhythm with the sound of hooves, showing the scene that Wang Xiang and the Han army chased each other after breaking through and leaving. Then there is a tragic melody, which shows Xiang Yu's suicide; After the last four strings are "scratched", they suddenly "fall" (also called "stop") and the music comes to an abrupt end.
The original song also includes:
(1 1) Chuan Kai.
(12) Generals will strive for merit.
(13) returned to camp triumphantly. Mr. Wei Zhongle's performance refers to "suicide", and the last three paragraphs were deleted and not performed. Today, most scholars adopt this method.
As far as the whole song is concerned, it also has the layout nature of "connecting and turning". The first part consists of five sections, namely connecting and turning, the second part consists of three sections, and the third part consists of two sections, namely connecting and turning.
Sunset Drum (Pipa)
It turned out to be a pipa solo, named Sunset Flute Drum (also known as Sunset Flute Song, Xunyang Pipa, Xunyang jathyapple and Xunyang Song). About 1925, this piece was first adapted into a national orchestra. After liberation, it has been adapted by many people, which is more perfect and deeply loved by domestic and foreign audiences. Through euphemistic and simple melody, smooth and changeable rhythm, clever and delicate orchestration and clever performance, music vividly depicts the charming scenery of the riverside on a moonlit night and praises the charm of Jiangnan water town. The whole song is like a long scroll of landscape painting, with delicate strokes, soft colors, beautiful and elegant, and fascinating.
The first paragraph, "Bells and Drums in Jianglou", describes the setting sun reflected on the river, and the smoke rippled. Then, the band played a beautiful theme in unison, and the phrases were linked and euphemistic. The drums are soft and profound (fragment 1). The second and third paragraphs show the artistic conception of "Mount Dongshan on the Moon" (the second paragraph) and "Wind returns to water". Then, if you see the river blowing gently, flowers swaying, reflections in the water, layers of trance. Entering the fifth stage of "deep clouds", the magnificent scenery of "there is no dust in the sky on the river, and there is a solitary moon wheel in the sky" arises spontaneously. The band played in unison, speeding up the pace, just like the picture of white sails, fishing songs in the distance, singing one by one from far and near. In the seventh paragraph, the pipa is played with a sweeping wheel, just like a fishing boat breaking through the water and setting off waves lapping on the shore. The climax of the whole song is the ninth paragraph "Alas, it is to return to the ship", which shows the artistic conception of "Alas, yes" from far and near by breaking water and splashing waves. Returning to the boat, everything is quiet, and the river is even more quiet. The whole song ends in a melodious and slow melody, which makes people memorable.
Yuqiao Q&A (Qin Xiao District)
There are more than 30 versions of this song in the past dynasties, and some of them have paid the lyrics. Music expresses contempt for those who pursue fame and fortune through the pleasure of firewood. The music adopts the way of dialogue between fishermen and firewood workers, with the rising tone indicating questions and the falling tone indicating answers. The melody is elegant and unique, which shows the leisure of the fisherman. As Qin Xue Jin Chu said, "Yuqiao Q&A" is meaningful and free-spirited, but the majestic mountains, magnificent water, tinkling axes and lingering songs are looming in your fingers. The question-and-answer session is reminiscent of mountains and forests. "
Eighteen beats of Hu Jia
At the end of the Han Dynasty, Cai Yan (Yueshi), the daughter of Cai Yong, a famous writer and guqin, was captured by Xiongnu in the mutiny, lived as a concubine in South Xiongnu and Zuo Wang Xian, and gave birth to two children. Later, Cao Cao sent someone to take her back. She wrote a long poem about miserable life and homesickness.
The whole poem consists of eighteen paragraphs and eighteen complete sets of songs. Guo Moruo said that in Turkic, the word "first" is called "beat", and eighteen beats are eighteen songs. Because this poem was written by Hu Jia for crying, it was named "Eighteen Beats of Hu Jia" or "Hu Jiaming". Originally A Qin music, it gradually evolved into two different instrumental music after Wei and Jin Dynasties, called "Dahujiaming" and "Xiaohujiaming". The former is a direct biography of Eighteen Beats of Hu Jia.
Huang, a pianist in the Tang Dynasty, was famous for being good at playing this piece. Li Jie has a poem "Listen to Dong Da's Blowing an Essay": "This song was written by Mrs. Cai. In ancient times, 18 verses were sung one by one, and even the Tatars shed tears on the grass, which made Han feel sad and returned home." It is a summary of the content of the song. The existing music scores were first found in the book The Secret Book of Magic published by 1425, which is called "Hu Jia Da Xiao". They are all instrumental music without lyrics. Singing piano music "Eighteen Beats of Hu Jia" was first written by Sun Pixian in the thirty-ninth year of Wanli in Ming Dynasty (A.D. 16 1 1), and it is the most widely circulated music book now. Its lyrics are Wen Xi's "I didn't do anything at the beginning of my life ...". Music basically adopts the method of one word and one sound, which has the characteristics of early songs. From the first beat to the ninth beat, as well as the twelfth and thirteenth beats, the ending is the same, influenced by the Han Dynasty and Daqu. The whole song is a six-Otoha tone, and the rising intrinsic sound (up to 5) and the high note formed in the mold (up to 1) are often used as tone external sounds. I feel sad and happy, which is quite touching.
Autumn Moon in Han Palace (Erhuqu)
There are two popular forms of playing this song, one is the zither and the other is the erhu. According to records, Erhu Opera 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.
Yangchun Baixue (Pipa)
Pipa solo, also known as "Chun Xue", is an excellent ancient pipa song which is widely circulated. With fresh and smooth melody and lively and brisk rhythm, it vividly shows the scene of early spring when winter goes and spring comes, the earth recovers, everything is thriving and full of vitality.
There have always been two different versions of "Da Yangchun" and "Xiao Yangchun" (also known as "Allegro Yangchun"). The former refers to ten or twelve pieces of music edited by Li Fangyuan and Shen Haochu; The latter was handed down by Wang Yuting (1872- 195 1), a modern pipa master. The whole song is only seven paragraphs, divided into four parts, and it is a variation with cyclical factors. The title of "Qi" is "Best". The prototype of "Eight Plates" has been changed and developed by using common folk techniques such as adding flowers, "dividing the world" and structural expansion. The tune has been polished by playing skills such as half-round and push-pull and is full of lively and cheerful emotions. The first eight bars of music are reproduced in the back, which are the "heads" of all parts of the whole song. There are two parts in the "bearing" department: "Lotus in the wind" and "a bright moon". After the reappearance of "Head-to-Head" in eight bars, the melody in the high-pitched area is more beautiful, the structure is also expanded, and the mood is more enthusiastic than that in the "upper" part. The "Biography" section includes three sections, namely, "Jade version of Zen meditation", "Iron policy board sound" and "Taoist piano sound", which is a comparative section.
Eight-board variation is developed by dividing, rotating and changing rhythm, and new music materials are introduced in the sixth paragraph. In playing, I sometimes play strong notes by pulling; A brisk melody is played in minutes, especially a series of overtones in the sixth paragraph, which is more like "pouring pearls of all sizes into a plate of jade", sparkling and full of vitality. The title of "He" is "Gao Dong He Ming", which copies the second paragraph and expands it at the end. By playing sixteenth notes continuously and adding "strokes" to the head of each beat, the music intensity is continuously increased, so that the whole song ends in a strong atmosphere.