"Northern Henan Ballad" is a famous erhu piece composed by Mr. Liu Wenjin in 1958. Through the contrasting development of two themes, the music shows the essential changes in the spiritual outlook of the people in northern Henan before and after liberation. . This work was performed at the "Fourth Shanghai Spring National Erhu Solo Competition" in 1963, causing a sensation in the music industry and being hailed as another milestone in erhu works after Liu Tianhua.

The music consists of an introduction and four sections, and is a complex trilogy with a cadenza section. Introduction: Played by accompaniment instruments, the rhythm is relatively free, creating the proper atmosphere for the erhu narrative. The first paragraph: The Erhu plays an euphemistic theme adapted from local opera music in Henan at a slow speed, weeping and complaining, depicting the mood of the oppressed people longing for freedom before liberation; when changes are repeated, rising and rising themes appear in the same section. The alternation of "1" and restored "1" makes the emotion even sadder. The second paragraph: through the interlude, from the key of C to the key of D, the mood changes suddenly, the melody is bright, and the rhythm is changeable. The theme is modified with the second, fourth, and sixth degrees of pre-appropriate or post-appropriate notes that are often used in Henan Opera. , full of joy and humor, showing a jubilant scene after liberation. The third section: It is a cadenza section. The music returns to the key of C. The rhythm is sometimes fast and sometimes slow, and the melody is ups and downs, which has a dramatic effect. The fourth section: It is a reappearance of the changes in the first section, but due to the changes in factors such as speed, intensity and playing skills, the music has also changed accordingly. It is bright, broad and romantic, expressing the people of northern Henan's praise and appreciation for the new life. Visions of the future.

"Northern Henan Ballade", with its profound content and innovative techniques, has established its position among erhu works. It has been a compulsory repertoire for erhu players for many years. It expresses a positive and enterprising spirit and shows the image of the people as the masters of the country.

"Northern Henan Ballade" consists of two themes. Through the contrast of the two themes, it expresses the spiritual outlook of the people in northern Henan. This piece of music is divided into four sections. The first section consists of three backbone notes (3321), which appear four times, with additions and variations. The mood gradually rises, from steady and slow to affectionate and exciting. The bowing moves from mid-bow to full-bow, and the timbre is controlled more freely. In particular, the two characteristic notes, rising 1 and falling 5, appear alternately, expressing a specific emotion.

The second section requires the bow to be more flexible and have clear pauses. Because the music is more upbeat, the rhythm changes greatly. You need to slow down and practice from slow to fast until you are quite proficient. , and then play at normal speed.

In the third section, the loose board needs to be controlled from slow to fast, from few notes to dense, and it requires free control.

The last section requires smooth bowing, good sound quality, and increased vibrato speed and intensity. ... ...

"Spring Scenes in the South of the Yangtze River" is a famous southern erhu piece composed by Zhu Changyao and Ma Xilin based on the tones of Jiangsu folk songs. She vividly describes the Jiangnan water town with beautiful melody and fresh style. The pleasing beauty of this piece reflects the characteristics of the land of plenty, with a strong Jiangnan flavor, portamento, natural overtones, adagio, and allegro, all of which must be played properly.

"Liubo Song" was written in the winter of 1952. It is a touching narrative poem. The structure is rigorous and complete, and the melody is deep and beautiful. The music expresses the author's painful memories of his past wandering life and his inner dissatisfaction. "Liubo Song" is the representative song of blind artist Sun Wenming, composed in the winter of 1952. This piece of music is a true portrayal of his difficult life in a foreign land. He compared himself to water waves passing silently, and expressed his painful heart through the sound of the piano. Its ideological connotation is very profound. The melody is sad, lingering and deep, expressing sincere feelings. The music has a short structure and a reasonable structural layout. The characteristic tones run through the whole song and serve as key points. The whole song is divided into five sections: The first section of the melody rises upward and then falls, expressing the pain of wanting to complain but not giving up. The second section jumps back and forth multiple octaves in the high-pitched area, with measured cadence and deep pathos. The third paragraph further develops the musical thoughts of the previous paragraph and expresses the author's resentment towards real life. The fourth section enters the high-pitched area and is an unfolding section. Influenced by Abing's song "Er Quan Ying Yue", a similar melody appears. The fifth section combines the characteristic tones of the first and second sections, with the last sentence of the first section serving as the end of the music. Sun Wenming has superb acting skills, unique playing style, and many innovations in Erhu playing techniques. His erhu position was so great that he even invented a way to play it without using a heavy weight, and his tuning was six degrees lower than our current standards. Therefore, "Liubo Song" is played with the "5-2" string as "1=B flat". The whole song has a soothing rhythm, echoing from beginning to end.

The first section is Adagio, with a concise and general outline. It not only sets the tone for the whole song, but also provides the "gene" for the development of the following sections. It begins with a song-like melody, soothing and leisurely, with joy flowing out of the heart like water, full of poetic and picturesque flavor [1][2]. The second section has a brisk rhythm, lively and swaying mood, and is played with repeated additions, forming a musical contrast with the first section. The tempo is slightly faster than the previous section. Ten dotted eighth notes form the skeleton of this section, driving the progression of the series of notes and expressing active emotions. The appearance of the middle phrase "#4" makes the tonality tend to move up a fifth, and then quickly falls back, making people feel that there seems to be some unstable factor in the mood.

The two long overtones are just right, playing the role of connection and balance, allowing the emotions to be moderately controlled. In the third section, the rhythm changes to an extremely slow pace, and the song is chanted repeatedly, full of thoughts about society, career and ideals. The use of double dots (dotted notes plus dots) gives people a sense of trance, as if there is melancholy hidden in leisure. Although I am temporarily happy at the moment, I still cannot predict what the future will be like and whether my wishes will be realized smoothly. The repeated appearance of the same sentence pattern shows that the author has difficult to resolve his thoughts. This section is at the center of the whole song and is a meticulous work. The fourth section is a light, witty Allegro section with a more jumping melody than the second section. Fifteen "tr"s are used in this section. The phrases are mostly staccato and minor legato, and the mood is active and light. The use of overtones is skillful and original. Its characteristics are: (1) short, with short duration; (2) fast, with fast speed; (3) continuous, used continuously; (4) many, dozens of them are used in one piece. This is one of Liu Tianhua's contributions to Erhu playing skills, setting an innovative example for future generations. The fifth section is a partial reproduction of the third section, and finally three overtones are added to end the whole song, making this section have the nature of an epilogue. The central position of the third section in the whole song is confirmed here. The three overtones at the end are far-reaching and meaningful, with endless aftertaste; especially the last "i", which falls on the bottom of the inner string, appears and disappears, making people listen carefully for the sound and contemplate deeply. The mood becomes calmer, the music gradually fades away, and the whole song ends in a dreamlike mood. The whole piece has a clear and pleasant melody, which embodies the author's returning to basics and enjoying himself while expressing his thoughts on his career and his longing for the future. There is a lack of joy in leisure; there is emptiness in living in peace. This was Liu Tianhua's situation and mentality at that time.

"The Wish of the People of Honghu", this song is arranged based on the pattern of "Look at the Liberation of the Working People in the World" from "The Red Guards of Honghu" composed by Zhang Jing'an and Ouyang Qianshu. The music tells the story of the sufferings suffered by the people of Red Lake in the old society, and shows the struggle of the Red Guards and their imagination for the future. The final song expresses the determination of the heroine Han Ying to show up for the cause of people's liberation with majestic momentum.

is a popular Erhu solo composed since the 1980s based on Xinjiang Uighur music tunes. It vividly depicts the moving scenes of Xinjiang people singing and dancing during the grape harvest season. The structure of the work Rigorous, distinct musical form, fresh and graceful tunes, rich and unique style, bright and hearty rhythm, warm and unrestrained emotions are rare masterpieces that express the characteristics of the music styles of ethnic minorities in my country. As a performer, in order to deepen the understanding of the works and perfectly perform them To express its meaning, it is necessary to conduct comprehensive research and analysis on it, so as to make it vivid, fresh and have strong artistic appeal. The work has fresh melody, strong local style and short and concise, and is often used in stage performances. One of the must-play repertoire for professional Erhu learners. The whole song is divided into three sections: introduction, allegro, midtempo, and allegro. The music structure is relatively square. Before the Erhu theme appears, the accompaniment instruments play a clear and bright melody with a freer rhythm. It seems to depict the beautiful scenery of the motherland's border areas in the morning light. After five measures, a fixed syncopated rhythm pattern appears, providing speed and rhythm for the erhu melody to enter. The first section of the music, in the key of A, has a warm and cheerful mood. Its musical character is very active, its melody is very dynamic, and it expresses the joy of harvest. The theme tone adopts the Sol mode, which is common among Uyghurs, and the tune always contains the rhythm of Xinjiang tambourine. The first twelve measures can be regarded as the first phrase, with the falling tone on the 5th, and the back and sliding of the 5th tone constitute the unique Xinjiang flavor of this piece of music. The first section is deeply upbeat, with a dancing and singing character. The rhythm of the beginning of the sentence has the syncopated rhythm shown in ancient Xinjiang hand, a sense of jumping. The right hand's bow movement should not be too continuous, but should be blunt (flexible). The left hand can be used to add some strokes and beats. The second section enters a singing medium and slow pace. You can use your hands to imitate the feeling of singing...the intensity and timbre in the middle part should be fuller (you can open up the bowing technique). The last section should pay attention to the distinct sense of rhythm, which is 12 bars. The key is A minor at the beginning, and then switches back to A major, and in the progression that ends with A major, it is supplemented with D major. The melody The change of sound patterns continues to the end, and the jubilant atmosphere becomes white-hot, reaching the climax of the whole song, and the music ends with extremely enthusiastic singing and dancing.

"Spring Dawn in Gusu" is a song composed by the young erhu performer Mr. Deng Jiandong Erhu music with a strong Jiangnan style. The music depicts the natural scene of Suzhou City in early spring. It is cheerful, melodious, sweet and lyrical, making people feel like they are in the quiet, clear, exquisite and beautiful Gusu gardens. At the climax, it is like a hundred birds singing joyfully, making people forget to leave. His movements of strings and bows reveal a spring-filled scene of heaven on earth. The music has a multi-section structure, consisting of an introduction and four sections. Introduction: loose board, free speed. The overtones and free-forming sound patterns are like a crystal clear river, showing a peaceful and quiet atmosphere; the beautiful melody with slides, fingers, and vibrato depicts the revival of all things and the singing of insects and birds. First paragraph: Adagio. The melody is soothing and beautiful, the tone is soft, lyrical and singing, as if the spring breeze is blowing on the face, expressing people's joyful mood. Second paragraph: Andante. The tempo is slightly faster than the first paragraph, the melody is light and smooth, and the mood is relaxed and happy. The third section: Allegro.

From slow to fast, the speed is twice as fast as the previous paragraph, and the mood is more enthusiastic and cheerful. Section 4: From larboard to allegro. The rhythm of the Largo part is widened, stretched and bold, with a sense of generosity and excitement; the Allegro part is full of birds chirping, one after another, the ups and downs of the melody, and the dense sound patterns push the cheerful atmosphere of the whole piece to a climax. Finally, after the third legato, the tune climbs from low to high, ending with the pizzicato.

Personally, I recommend practicing "The Grapes Are Ripe", "Northern Henan Ballade" and "Liubo Qu". It is easier to practice "Liubo Qu" without a fast bow, but you should pay attention to your fingering. It is not recommended to practice "Spring Dawn in Suzhou" because it contains the essence of many songs such as "Spring Scenes in the South of the Yangtze River" and "Birds in the Empty Mountain", but the backend is a bit complicated. There is a wide board in "Spring Scenes in the South of the Yangtze River". If you don't have good luck with the bow, it will appear weak, so practice with caution.

Finally, "The Grapes Are Ripe" and "Northern Henan Ballade" have triangle symbols drawn on them.

I wish you success in the exam~

I have finished answering. I don’t know if it is useful, but it took me a lot of effort. I hope it will be useful!