In recent years, Madi didn't "live on his laurels". He devoted all his experiences to performance, creation and theoretical research, and successively produced a number of excellent works, such as Sacrifice Spirit, Customs on the Frontier, an autumn evening in the mountains, Desert, Homecoming, Spinning Thread, Delighting in Rain on a Spring Night and Running on a Dry Boat. Breaking the boundaries of "North-South School" and finding their own harmonious voice, gradually formed a "Madi Style" which integrates creation, performance and teaching, and mainly interprets "the ancient rhyme of Qin Feng".
In the golden autumn of p>27, when the first solo concert of Madi's flute works was held in Xi 'an, it is necessary to conduct in-depth discussion and research on Madi's flute music art while enjoying his flute works, so as to spread and carry forward this unique music style. "Maddy style" is mainly divided into three parts, namely: creation, performance and teaching.
"If you want to make a difference in the performing art of the flute, you must have your own works." This good word seems to be an indisputable fact. Everyone, from the older generation of Feng, Liu, Lu and Zhao to the young and middle-aged performers Yu Xunfa and Zhan Yongming, all have their own masterpieces, and Madi is no exception. With the 2-year-old exercise "Qinchuan Express My Feelings", he became famous. Behind the success, of course, there is the father's strict supervision and his own efforts, and more directly, it is based on the soil and cultural atmosphere of life that gives birth to creative inspiration. The ancient city of Xi 'an, located in the middle of Guanzhong Plain, commands Qinchuan in eight hundred miles. Rich in soil and rich in resources, outstanding in land and outstanding in people's spirit, thirteen dynasties have established their capitals here in the history of China, which lasted for thousands of years. The glory of Qin and Han dynasties, the heyday of Sui and Tang dynasties. In this ancient land, history has engraved countless wonders. Madi, a Chang 'an native who grew up at the beginning of this ancient Silk Road, has been deeply integrated into his blood. In his dozens of works, most of them reflect strong local characteristics. On this basis, he explores new musical elements from time to time and explores new creative ideas and concepts. His works have the following characteristics:
First, his creation is deeply rooted in folk songs, traditional opera music and traditional music. Talking about this, we should also start from Shaanxi's region, culture, language and folk songs. Shaanxi includes northern Shaanxi, Guanzhong and southern Shaanxi. After the Tang Dynasty, the climate deteriorated, the ecology decayed, the land was barren, and the drought continued. Fang Zhiyun was "restless, decisive, mellow and frugal." The languages used are Guanzhong dialect in the northwest Central Plains Mandarin and Shanxi dialect in northern Shaanxi. Influenced by their region, humanity and language, Shaanxi people have long been bold and resolute, and vigorous folk songs have emerged. The folk songs in Shaanxi are mainly composed of folk songs, minor, dance songs, chant, etc. The most well-known is the bold "Xintianyou", in addition to Shaanxi Opera, Errentai and Yangko. In addition, because it is an ancient capital with many dynasties, many types of ancient music, especially Tang Le, have been handed down to this day, enriching the types of music in Shaanxi. From the point of music itself, its mode characteristics, quotient and feather mode are mostly transferred to subordinate Gong Yin system, and it jumps back and forth for four or five degrees. Its color tone is relatively simple. The common musical groups are 512, 562, 623 and 5612. In addition, there are scales with local color characteristics, such as 7-tone scale (Yan Yue), and the partial tone drops by 7 and 4. It is with this unique musical style and profound cultural accumulation that Madi has formed his own unique style. Songs such as "Sacrifice the Sacrifice Spirit", "Qinchuan Express My Feelings", "Customs on the Frontier", "Dawn", "Spinning Thread" and "Running on a Dry Boat" are all adapted and refined according to local folk songs and dance songs. Qinqiang Qupai was transplanted from Qinqiang Paipai. An autumn evening in the mountains, on a Gate-Tower at Youzhou, note on a rainy night to a friend in the north and other tracks are made by combining the meaning of Tang poetry with the charm of ancient music. When you appreciate them, you will immediately feel the excitement and sadness of the yellow land, and appreciate the profound artistic conception of ancient music.
second, on the basis of local characteristics, be brave in bringing forth the old and bringing forth the new. After a series of works, such as "Qinchuan Express My Feelings" and "The Customs on the Frontier", were affirmed by the world, Madi tried to transfer the style of music from Qinchuan to other fields. In 21, he combined Wang Wei's "The desert is lonely and the long river sets the yen." Through the description of the caravan journey on the ancient Silk Road, coupled with the exotic tone, it presents a unique exotic style. Once this song came out, it was highly praised by many performers and flute friends, which can be said to add a touch of bright color to flute creation in the new century. Since then, this new creative trend of thought has been overwhelming, and in 23, it has successively used the music materials of southern Fujian to compose "Homecoming"; According to the artistic conception of Du Fu's Tang poem "Delighting in Rain on a Spring Night", he created the flute music "Delighting in Rain on a Spring Night" with the same name; In 25, "Watching Yangko" was adapted according to Shanxi folk songs ... Perhaps the new century has brought new creative thoughts to Madi. These pieces of music not only express their feelings through the scenery, but also integrate the author's perception of life and the pursuit of ideal realm, which fully reflects the author's profound understanding of "beauty".
Third, his works are rich and varied, and the main melody and accompaniment form an organic whole. There are flute solo, flute and band works, flute duet, flute music and other types in his works. The selected flutes are mainly alto flutes in F and E, which are suitable for "blowing feelings", and bass flutes which are good at expressing "meaning and rhyme", especially the non-film bass flutes, which produce a unique texture and perfectly express the deep connotation of the music. His works emphasize the coherence and listening ability of the main melody, and almost every melody will be memorable for a long time. When he was writing, he did not rush for success. Instead, he wrote down the melody roughly first, and then sang it repeatedly, in order to make the melody exquisite and perfect. "Qinchuan Express My Feelings" was born by changing the scale slightly, using the charm of Wanwan Qiang's opera, and adding the flute-like technique of folk melody. In addition, his works are not only the beauty of the main melody, but also the orchestration and the main melody complement each other. The orchestration not only adopts the traditional musical rhythm, but also adds more colors of local music, and uses the technique of "I am simple, you are simple and I am complicated". At the same time, it is interspersed with polyphony and promoted layer by layer, making the whole work distinct, ups and downs, and climaxes, which is meaningful.
Almost all of these excellent pieces of music and orchestration were written by Marty. This may not be difficult for a professional composer, but for Marty, it has to be admired for his talent. When I think about it carefully, it's true that "one side of the soil and water will nourish one side of the people", living in an ancient city with profound culture and rich humanistic atmosphere, and the understanding of excellent music culture and the diligence of the day after tomorrow have prompted beautiful and distant notes to naturally emerge from their hearts. At this time, we have already put aside the definition of amateur and professional, because only our inner voice is sincere.
A good tune needs a good performer to interpret and popularize it. As an outstanding flute player in contemporary China, Madi is even more obliged to interpret his own works. It can be said that his performance is gradually improved with the deepening of his works.
From the perspective of blowing, he pays attention to the continuity of breath, and his voice pursues looseness, roundness, transparency and brightness, which is compatible with North and South, and combines Chinese and Western. Marty believes that "playing the flute is based on qi, and qi is connected with everything." In his works, we can clearly feel his relaxation. No matter what style of music is played, the timbre is so round and clean, and the sound has strong penetration. When he plays, the air flow is very slow, and the air flows out naturally through the support of the lower abdomen (meaning that the mouth is open and it comes out from the abdominal cavity), which can make the sound more concentrated, reduce the air flow to the lowest point, and facilitate the control of the breath in a relaxed state; It is precisely because of this relaxed playing state that he used the gas vibrato with the characteristics of "Ma Shi" in his playing process. His gas vibrato is different from the general abdominal vibrato in a simple sense. According to the development and ups and downs of music, he uses gas vibrato with different speeds and breath positions to express the connotation of the music, and sometimes uses deep abdominal vibrato to express distant poetry. Sometimes, the shallow gas vibrato is used to express the sadness of weeping; Sometimes, the combination of the two is used, alternating between reality and reality, showing the charm of blending scenes. The use of these different ranges of gas vibrato, as people talk, tells a touching story. His natural playing method also draws lessons from the western flute playing method. The timbre is soft and graceful, and the timbre of high, middle and low is relatively unified. This playing method is particularly obvious in playing ancient melodies, which embodies the extraordinary realm of "vivid charm and integration of flute players".
In terms of playing techniques, in addition to the usual flute playing techniques, Marty also used some new playing techniques on the flute, such as "kneading, crossing, stopping, whistling, metal sound without film", which broadened the flute playing techniques. When it comes to rubbing, we will soon associate it with the performance of falling 7 in Qinchuan Express My Feelings. It is through putting the index finger and middle finger together, pressing down and rubbing the falling 7 harmoniously, which produces a unique effect like pressing the strings with banhu. This technique is used to imitate the bitter sound in Shaanxi music, which is very close to human voice. It is like moistening the cavity in the opera, adding infinite rhythm to the music. It can be said that this technique is almost the same. "Crossing Strike" was first used in Gao Ming's Good Northern Shaanxi, which produced a unique sense of agility and crisscross through the continuous alternating vibration of two adjacent fingers. Marty used it in "Sacrifice Spirit" to imitate the sound of mules, vividly; It is used in an autumn evening in the mountains to pursue ethereal artistic conception. When it comes to "an autumn evening in the mountains", in addition to the technique of "cross-strike", three special techniques of "stopping breath, whistling sound" are also pioneered. "Braking qi" originated from the technique of shakuhachi, which is filled with powerful qi at the touch of a hair, creating a sense of surprise and shock; "Huyin" is a combination of flute sound and throat sound, that is, while playing melody, the throat sings different tones, which has a harmonious effect; "Metal sound without film" refers to the use of a large bass flute without film to make a metal sound like a flute by controlling the airflow and timbre. This song uses these skills in order to show the profound artistic conception of ancient poetry through the distant flute sound. Marty's rational use of playing skills enhances the style of music, and at the same time forms a unique "style of Marty's works" feature.
When it comes to "beauty", every performer has his own point of view. Marty's understanding of "beauty" can be summarized by the following sixteen words: "combining reality with reality, combining rigidity with softness, deepening layer by layer, and creating feelings with charm". In his view, in a piece of music, besides the change in strength, there should be ups and downs in timbre according to the artistic conception of the music. From an aesthetic point of view, if the whole piece of music is a timbre, even if the timbre is very uniform and perfect, the unchanging beauty will not be perfect on the whole. From the point of view of his works and performance, Madi's works are composed of several levels. In different paragraphs, he also divides the charm and timbre into several levels, which are lingering and soft, soft and firm, with far-reaching meaning, and depicts the connotation of the music from the shallow to the deep. His works are like curves from low to high and from high to low, and his performance breaks the original belief that the "northern flute school" is rough.
While the career of interpretation is booming, Madi never forgets to organize his own experience and write books, and actively participates in professional bamboo flute teaching and amateur bamboo flute promotion.
In his spare time, Madi is not idle. In April 27, in order to better promote the popularization, education and exchange of bamboo flute art in Shaanxi, he founded the "Madi Di, Xiao and Lian Friendship Association". He gave up his house in Shaanxi Song and Dance Troupe as the activity place of the fraternity, held regular exchange meetings and lectures for flute friends, answered their questions, and personally demonstrated and explained them. Since its establishment just a few months ago, more and more friends have joined the fraternity. It can be said that this fraternity has become a paradise for flute friends. At the strong request of flute friends, in July 27, the first Madi Bamboo Flute Training Camp was held in Xi 'an. More than 3 campers from the United States, Heilongjiang, Guangzhou, Hunan, Shanxi, Henan, Jiangsu, Shandong, Inner Mongolia, Gansu, Hebei and other regions gathered together, and they exchanged and learned from each other. Teacher Ma gave guidance one by one, and the campers gained a lot. In the future, Marty said that he would hold more amateur exchange activities of this kind, and invited professional performers to participate in it from time to time. He was very willing to be the communication ambassador of "flute culture" and make suggestions for inheriting and carrying forward China's excellent national culture.
"Practice is the only criterion for testing truth." After years of teaching and practice, Marty has formed his own set of theories. He pays attention to: "the gas comes out of the abdomen, the abdomen is supported, the airflow is slowly released, and the mouth is ringing." Emphasize that you should be in a relatively relaxed and natural state when playing. "Qi is the foundation of playing" runs through his flute theory. China has always said that "the breath sinks to the bottom and the sound penetrates to the top". Only when the breath sinks, can the body be naturally relaxed. Relaxation and free from worry's cavity can make the breath flow smoothly and make a loose sound. Through the orderly adjustment of the mouth, the timbre of the three regions can be unified. When practicing breath, you can imitate the feeling of "dog panting" for physical exercises. When doing this exercise, you can lower your throat, open your mouth (in the state of making an "Austrian" sound), and keep your waistline expanding outward all the time. As soon as the breath enters and exits, you can find the sense of position of the breath and the sense of expansion and elasticity of your abdomen, suck it up, keep the diaphragm supporting outward, keep your mouth open, keep your throat clear, and rely on the support of your abdomen for eight breaths. After basically finding the feeling, you can try to play long notes on the flute, and then practice the transformation of breath in combination with ditty and folk songs. At the same time, you can practice the flexibility of your fingers and the elasticity of your tongue through etudes in a planned way. "Qi, tongue and fingers" are the three elements of playing the flute well. In playing music, he stressed that we should not blindly play one style of music, but should be more exposed to various styles of music, master the knowledge beyond music in a more comprehensive way, absorb more factors that can be used for reference in sister art, and give full play to our personality and cleverness as much as possible.