1. Nationalization of melody and harmony in creation

Piano works adapted from national instrumental music are often composed directly using relatively complete folk melodies, in order to be consistent with simplicity, peace and lightness. , ethereal folk melodies, and the use of harmony also incorporates national factors to dilute the functionality of Western harmony and increase the nationality of the harmony and the color of the melody.

The adaptation of "Sunset Flute and Drum" by Li Yinghai retains the melody and tone of the original song. The melody lines are soft, gentle, and coherent. The logical emphasis of the melody is in line with Chinese five-character and seven-character poems. The intonation is ups and downs, and has a rich flavor. ethnic style. In terms of harmony, it is mainly composed of superimposed chords of the second and fourth degrees, combined with the fifth degree. The harmony is completely derived from the melody, which can be called a model of the use of national mode harmony in China① .

Chu Wanghua's "Er Quan Ying Yue" directly adopts the national melody from the original erhu song. The rich national charm and touching appeal seem to show before us scenes of painful past events. picture. This piece has four variations on the theme. The variation technique is mainly through the expansion and contraction of sentence length, combined with the rise and fall of the active range of the melody, to express the development and circuitous progress of the music. In terms of harmony, this piece has been harmonized vertically and horizontally, and the distinctive pentatonic melody style has been integrated into the vertical harmonic processing (including the superposition of fourth and fifth degrees and the addition of second chords). application) and horizontal linear processing (including the linearization of harmonic sequences), especially the interspersing and linear expression of polyphonic means in different parts, etc., enable traditional ethnic instrumental music to be successfully used on the carrier of Western music New attempts and breakthroughs.

In Wang Jianzhong's adaptation of "A Hundred Birds Pay Attention to the Phoenix", the theme and tone materials of the original suona song are retained, sometimes with regular sentence patterns and sometimes with improvisation, making the musical image more vivid and colorful. , and more contagious. The music is played in a playful manner, humorous and full of folk life flavor. In terms of harmony, the wonderful piano texture vividly reproduces the sounds of various birds from one bird to a flock of birds through creative ornamentation, dissonance, overtone progression, etc. The image is so vivid In addition, it also vividly reproduces the fun of suona playing. As long as you think about how different instruments suona and piano are, you can't help but admire the composer's brilliance②.

2. Imitation of the timbre of national musical instruments in creation

The unique timbre characteristics and sound effects of our country’s national musical instruments make the music rich in Chinese charm and embody the aspirations of our people. Aesthetic appeal, therefore absorbing and imitating the timbre characteristics and sound effects of national instruments is one of the important methods to enhance the national style and local color of piano works. This technique is mostly used in adapted music③.

Li Yinghai's "Sunset Flute and Drum" can be said to be a successful example of using this writing technique. The piece has 11 sections, including an introduction, theme, eight variations and an ending. It absorbs China's polyphonic texture writing and the empty harmony of fourth and fifth degrees, and simulates the pipa, guzheng, xiao and other ethnic groups. The timbre characteristics and sound effects of the instrument, such as using two measures of vibrato in the right hand to imitate the finger-playing method of the pipa, and the chord structure of the left hand using the interval relationship of the pipa's tuning, naturally remind people of the timbre of the pipa. Another example is that in the prelude to Sanban, the homophonic sounds from sparse to dense and from slow to fast repeatedly imitate the sound of drums from far to near, and the subsequent compound arpeggios and decomposed chords imitate the playing methods of pipa and guzheng, while bringing The G sound of the descending grace note appearing in different octaves is an imitation of the timbre of the flute. "Sunset Flute and Drum" simulates the timbre of national musical instruments to exude a strong Chinese flavor, bringing people into the picturesque, fresh and wonderful natural scenery, creating a pure, elegant and distant musical artistic conception , embodying the traditional Chinese aesthetic thought of "harmony between man and nature".

In Chu Wanghua's "Er Quan Ying Yue", since the original music is an erhu solo, the author tried his best to imitate the specific timbre and charm of the erhu in the adaptation, such as by using straight lines with large intervals in the melody line Rise and fall, the melody line changes greatly between each phrase, and the sound areas switch frequently to simulate the sound of the erhu's horizontal bow movement; through the method and strength of the finger touch keys, the lateral movement between the fingers and the sustain The use of pedals, etc., to imitate the coherent sound effect of Erhu. When performing, the player will subconsciously think of the timbre and tune of the erhu, and the linear characteristics and unique rhythm of the string instrument will also be naturally revealed.

In Wang Jianzhong's "A Hundred Birds Pay Attention to the Phoenix", since the original song is a suona solo, the imitation of the unique timbre of the suona must be reflected in the music. The song makes extensive use of decorative tones. Through creative decorative tones, dissonances, semitone progressions and other piano textures, it combines new timbre techniques with traditional piano playing techniques to vividly depict the sounds of various birdsong, vividly and vividly. Reproduce the fun of playing suona. For example, the whole song appears many times in the high-pitched area with the "doubling sound" technique of imitating the suona with single apparitions, and there are also minor second decorative sounds in bars 22-26, which are the microtonal effects of the suona. The use of piano's apparitions, vibratos, arpeggios, overtones, scratches and other techniques to imitate birdsong and the sound and color effects of nature has become the richest national artistic feature of this piece of music and one of the roots of its successful adaptation. Here the piano has almost It became a Chinese folk instrument.

Conclusion

As a foreign instrument, piano music is quite different from traditional Chinese music in terms of thinking and aesthetic consciousness. Piano music is mainly based on polyphonic thinking, while traditional Chinese music is based on polyphonic thinking. Most of the thinking is monophonic, which prompts composers to absorb various nutrients from Chinese national music culture, skillfully grasp the characteristics of traditional music and combine it with modern composition techniques, so that the national charm and modern flavor of the work can be integrated into one, in order to conform to The aesthetic taste of Chinese audiences.