High Mountains and Flowing Waters

It is said that the pre-Qin harp master Boya once played the harp in the wilderness. The woodcutter Zhong Ziqi was able to understand that this was a depiction of "lofty ambitions in the mountains" and "foreign ambitions". Running water”. Boya was surprised and said: "It's so good, my heart is the same as mine." After Ziqi's death, Boya suffered from pain and lost the sound of his friend.

"High Mountains and Flowing Waters" is based on "Bo Ya's drum and harp meet a close friend", and there are many musical scores. There are two types of music: Qin music and Zheng music. Both have different names and completely different styles.

Ancient piano music. During the Warring States Period, there were already circulating stories about high mountains and flowing water, so it is also said that "High Mountains and Flowing Water" was written by Boya. The music score was first seen in the Ming Dynasty's "Magic Secret Music Score (written by Zhu Quan in 1425)". The solutions to "High Mountain" and "Flowing Water" in this score are:

"The two songs "High Mountain" and "Flowing Water", There is only one song in the original version. The original intention is to express the love of mountains, and the later intention is to express love to flowing water. In the Tang Dynasty, it was divided into two parts, and later it was divided into four sections for high mountains and eight sections for flowing water. "Duan." For more than two thousand years, the two famous guqin songs "High Mountain" and "Flowing Water" have been widely circulated among the people together with the story of Boya playing the guqin and meeting a close friend.

With the development of Qin playing art since the Ming and Qing Dynasties, "High Mountain" and "Flowing Water" have undergone great changes. "Legend Secret Music" was originally not divided into sections, but later generations of piano music scores were divided into sections. Among the various musical scores since the Ming and Qing Dynasties, "Liu Shui" adapted by Zhang Kongshan, a qin player of the Sichuan School, included in "Tianwenge Qin Pu" (1876) compiled by Tang Yiming of the Qing Dynasty, is particularly distinctive, with the addition of "roll, whisk, The sixth section, which uses the technique of "chuu and zhu" to create the sound of running water, is also known as "Seventy-two Rolling Flowing Waters". It is widely circulated for its vivid image and blend of scenes. According to the research of qin experts, before the publication of "Tianwen Pavilion Qin Pu", the sixth section of "Liu Shui" played by Zhang Kongshan was not included in any qin score. The whole song only had eight sections, which is consistent with the explanation of "Magic Secret Music". But the biography of Zhang Kongshan? Hu Yanxin? Oh Wei? The hairpin leaves are cracking the coriander like the seeds.

There is also a zheng song "Mountain Flowing Water", the music is very different from the Qin music, and it is also based on "Bo Ya Drum and Qin Encounter" bosom friend". There are scores of various genres available. The most widely spread and influential one is the Zhejiang Wulin School's biography, which has elegant melody and meaningful charm, and has the appearance of "towering mountains and oceans of flowing water".

The Shandong School's "High Mountains and Flowing Waters" is a medley of four ditties, "Qin Yun", "Wind Swinging Green Bamboo", "Night Quiet with Bells" and "Shu Yun", also known as "Quartet". ”, “Four Duanjin”.

The Henan School's "High Mountains and Flowing Waters" is taken from the folk song "Laoliuban", with a fresh and lively rhythm. Folk artists often play it when they first meet to show respect and friendship. There is absolutely no difference between these three songs and the guqin song "High Mountains and Flowing Waters". They are all different songs of the same name.

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Appreciation of Ancient Chinese Famous Songs Part 2

Guangling Sanqin Music

According to "Qin Cao" records: Nie Zheng's father in the Warring States Period made swords for the King of Han, but suffered a tragic death due to delay in making swords. kill. Determined to avenge his father, Nie Zheng went to the mountains to study piano for ten years, perfected his skills, and became famous in Korea. The King of Han summoned him to the palace to perform, and Nie Zheng finally fulfilled his long-cherished wish to take revenge on the King of Han, and died of disfigurement. Later generations composed a guqin tune based on this story. It is impassioned and magnificent and is one of the famous guqin tunes. During the Han and Wei dynasties, Ji Kang was killed for opposing the dictatorship of the Sima family. Before his execution, he calmly played this piece of music. The earliest existing musical score was found in the "Magical Secret Music".

Guangling San: Guqin music. Also known as "Guangling Zhixi", according to records in "Warring States Policy" and "Historical Records": Korean Minister Yan Zhongzi had an old feud with Prime Minister Xia Lei, and Nie Zheng was on good terms with Yan Zhongzi. He assassinated the Korean Prime Minister for Yan Zhongzi, which reflected A kind of sentiment that "a scholar will die for the one who knows himself". This is a relatively common view, and the title of this song in "Magical Secret Score" comes from this story.

Cai Yong's "Qin Cao" of the Eastern Han Dynasty talks about the historical stories related to this song: Nie Zheng was a Korean during the Warring States Period. His father was killed by the King of Han because he failed to make swords for the King of Korea. Nie Zheng failed in his assassination attempt to avenge his father, but when he found out that the King of Han was fond of music, he disfigured himself and went to the mountains to learn piano skills for more than 10 years. When he returned to Korea with his unique skills, no one knew him. So, when he found an opportunity to enter the palace to play the piano for King Han, he pulled out a dagger from the belly of the piano and stabbed King Han to death. Of course, he himself also died a heroic death. Yang Shibai, a modern qin master, believed that this song originated from Hejian Zaqu "Nie Zheng Assassination of King Han" in his "Qin Mirror" compiled by "Qin Xue Series".

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Appreciation of Ancient Chinese Famous Songs Part Three

Pingsha Luoyan

In the Ming Dynasty, this song was called "Luoyan Pingsha". The melody is melodious and smooth, and through the disappearing and appearing of wild geese, it describes the scene of a flock of wild geese circling in the sky before landing.

"Goose Falling on the Flat Sand" is a guqin piece that has been passed down by many schools. It is intended to express the ambition of the Hongqi and describe the ambition of the Yishi.

Goose Falling on Pingsha: Guqin music, first published in "Guyin Zhengzong" (1634) of the Ming Dynasty, also known as "Goose Falling on Pingsha".

Since its advent, more than 50 collections of music scores have been published, and there are many genres of music. Only the first volume of "Guqin Music Collection" published in 1962 included the performance scores of six qin players. About the author of this music , some said it was written by Chen Liang in the Tang Dynasty, Mao Minzhong and Tian Zhiweng in the Song Dynasty, and some said it was written by Zhu Quan in the Ming Dynasty. Because there is no reliable historical data, it is difficult to confirm whose hand it came from.

The meaning of "Goose Falling on the Flat Sand" has different interpretations in various musical scores. "Guyin Zhengzong" says this song: "It is based on the crisp autumn air, calm wind and flat sand, clouds traveling thousands of miles, and flying sounds in the sky. It uses the distant aspirations of the Hongqi to write about the ambition of the Yishi. ... The whole rhythm rises and falls three times. . The first shot is like a swan geese visiting, very ethereal in the sky, the geese are moving in harmony, disappearing and suddenly appearing, if they are about to fall, they look back and circle in the sky; they are about to fall, passing by. There are three islands on the island, and as they fall, they respond to each other, flying in groups of three or five, flying and making food, and they find the right place: the male and female will give way to each other, and you can also appreciate the nature of the wild geese. The description is extremely profound and vivid. The whole song is euphemistic and smooth, timeless and fresh...

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Appreciation of Ancient Chinese Famous Songs No. 4

Plum Blossom Three Lanes

The overtone tune in the song is repeated three times in different emblem positions, so it is called "Three Lanes". It is said that Jin Hengyi composed "Three Plum Blossoms" for flute, and later generations transferred it to Qin music. The music praises people with noble sentiments by praising the tenacious character of plum blossoms that are not afraid of the frost and fight against the wind and snow.

Third Plum Blossom Lane: Guqin music. Also known as "Plum Blossom Yin" and "Jade Concubine Yin", it is a masterpiece of plum blossoms in traditional Chinese art. "Magic Secret Music" records that this music was first played by Huan Yi in the Eastern Jin Dynasty.

The title of "Plum Blossom Fall" written by Bao Zhao of the Southern Song Dynasty (approximately 414-466) in Volume 24 of Guo Maoqian's "Collection of Yuefu Poems" states that ""Plum Blossom Fall" is also a piece of music in this flute." The voice still exists." There are also descriptions of the flute song "Plum Blossoms Fall" in many Tang poems that exist today, which shows that the flute song "Plum Blossoms Fall" was more popular from the Southern Dynasties to the Tang Dynasty.

As for the music content of "Three Plum Blossoms", the music scores of the past dynasties have introduced it. The flute music "Plum Blossoms Fall" from the Southern Dynasty to the Tang Dynasty mostly expresses the emotion of sorrow and separation.

The Ming and Qing qin music "Three Plum Blossoms" mostly expresses the noble and unyielding integrity and temperament of plum blossoms in the frost. "Plum is the clearest flower, and Qin is the clearest sound. It is best to write the clearest thing with the clearest sound, and it should have the sound of Lingshuang." "The meaning of Sannong is to take three overtones and the same chord. "It's a strange sign." (Ming Dynasty's "Bo Ya Xin Fa") It can be seen from this that it was first a flute piece, and was later adapted into a guqin piece (it is difficult to determine who the author is).

Today's performance includes the Yushan School's "Qinpu Harmony" (compiled by Zhou Xianzu of the Qing Dynasty, engraved in 1820), which has a regular rhythm and is suitable for ensemble playing; the late Guangling School's "Jiaopu" "An Qin Pu" (edited by Qin Huaihan in the Qing Dynasty, published in 1868), its rhythm is relatively free, and the modulation before the end of the song is refreshing.

The structure of this song adopts the technique of cyclic reproduction, repeating the entire theme three times, and using overtones for each repetition, so it is called "Three Nongs". It embodies the noble character of the pure white plum blossoms and proud snow and frost. In 1972, Wang Jianzhong adapted it into a piano piece. The tone was taken from this piece, and the theme was Mao Zedong's poem "Yong Mei".

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Appreciation of Ancient Chinese Famous Songs Part 5

House of Flying Daggers

< p>The music describes the final decisive battle of the Chu-Han War in Haixia in 202 BC. Xiang Yu committed suicide in Wujiang River, and Liu Bang won.

House of Flying Daggers: a famous traditional pipa martial arts set. It depicts the scene of the Battle of Gaixia during the conflict between Chu and Han, and it is very story-telling.

The music score was first seen in Hua Qiuping's "Pipa Score" in the 23rd year of Jiaqing in the Qing Dynasty (1818). Before this score, there was only "Chu and Han" depicting the same theme.

In "The Biography of Tang Pipa" by Wang Youding of the Ming Dynasty, there is a record of Tang Ying, who was known as "Tang Pipa" at the time, playing "Chu and Han": "When the two armies were fighting in a decisive battle, the sound was loud and clear. Heaven and earth, tiled houses are like flying down. If you look at it slowly, you will hear the sound of gold, drums, swords and crossbows, and the sound of men and horses fighting. But there is no sound. If there is resentment for a long time and it is difficult to understand, it is the song of Chu; if it is sad and strong, it is King Xiang. The sound of tragic songs and the sound of Farewell My Concubine were heard in Daze, and in the Wujiang River there was the sound of King Xiang committing suicide. "Yes." From this description, it can be seen that "Chu Han" and "Ambush from Flying Daggers" played by Tang Ying are consistent in plot and theme. This shows that this song had been circulated among the people before the 16th century.

"Chu-Han" became popular during the Jiajing and Wanli periods of the Ming Dynasty and was deeply loved by pipa players.

Since the publication of "Pipa Score" compiled by Hua Qiuping in 1818, all subsequent pipa score collections have contained the score of "Ten Faces".

Each version has different sections and sub-section headings:

"Fahrenheit" is called "Ten Faces", which was passed down by Wang Junxi of Zhili, with thirteen sections;

"Li family genealogy" is called "Huaiyin Pingchu", written by Hanzi in the Sui and Qin Dynasties; Jinshan Zhou Ruiqing Houqing edited it, with eighteen sections;

"Yangzhengxuan genealogy" is called "Ten Faces", one name "Huaiyin Pingchu" has eighteen sections;

"Yingzhou Ancient Diao" is called "Ambush from Flying Daggers", and has ten sections.

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Appreciation of Ancient Chinese Famous Music No. 6

Sunset Flute and Drum

< p> is a lyrical piece of music. Around 1925, the Shanghai Datong Music Society adapted it into a silk and bamboo piece "Spring River Flowers and Moonlight Night" based on the classics.

Speaking of "Spring River Flowers and Moonlight Night", I believe many people know this famous folk music ensemble. Its melody, which is rich in the characteristics of Jiangnan silk and bamboo music, is euphemistic and graceful; its rhythm is smooth and changeable, and it has an oriental poetic charm. "Spring River with Flowers and Moonlight Night" has always been loved by the masses. It has been adapted into solo and ensemble pieces for various Chinese and Western instruments, and its lyrics have also been used in dramas. It can be said to be the most well-known traditional Chinese music. But do you know that "Spring River with Flowers and Moonlight Night" was originally adapted from a famous traditional pipa song "Sunset Flute and Drum".

"Sunset Flute and Drum" is also known as "Xunyang Pipa" and "Xunyang Night Moon". It is one of the representative works in pipa music. This song was circulated in the Jiangnan area at the latest in the 18th century. "Sunset Flute and Drum" is a lyrical and freehand piece of music. The original music is divided into 10 sections, which are as follows:

1. Sunset Flute and Drum

2. Flower pistils disperse and return to the wind< /p>

3. Guanshan is facing the moon

4. The setting sun is near the water

5. The sound of maple leaves in autumn

6. Wu Gorge Qianxun< /p>

Seven. The sound of the flute in the red trees

Eight. The view of the river at night

Nine. The fishing boat sings at night

Ten. The shadow of the setting sun With its soft melody and peaceful mood, the music of "Yi Gui Zhou" depicts the beauty of the good time in the world: the evening drum bids farewell to the sunset, and the sound of the flute welcomes the evening of the full moon; people float on the spring river in light boats; green hills and flower branches on both sides of the bank are covered Making shadows; the moon is dancing in the heart of the water, and the oars and oars are adding sound...

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Appreciation of Ancient Chinese Famous Songs Part 7

Q&A on the Fisherman and Woodcutter

This song expresses the fishermen and woodcutter enjoying themselves among the clear mountains and green waters.

"The Questions and Answers of Fishermen and Woodcutter" is a famous guqin song that has been circulated for hundreds of years. It reflects the yearning of a reclusive person for the life of a fisherman and woodcutter, hoping to get rid of the fetters of worldly things. The music is vivid and precise.

Yiqiao Q&A: Guqin music, the music score was first seen in "Xingzhuang Taiyin Continuation" (written by Xiao Luan in the Ming Dynasty in 1560): "The past and present have been ups and downs, but the green mountains and green waters have remained intact. "It's just a matter of paying a fisherman and a woodcutter to describe the gains and losses, right and wrong." This song reflects a reclusive person's yearning for the life of a fisherman and a woodcutter, hoping to get rid of the fetters of worldly things. The music is vivid and precise.

"The Questions and Answers of Fishermen and Woodcutter" is a famous song that has been circulated for hundreds of years. There are many kinds of scores now. "Qin Xue Chu Jin" says this song: "The meaning of the music is profound, the expression is free and easy, and the majestic mountains, the ocean of water, the tinkling of the axe, and the sound of the oars are faintly visible under the fingers." Due to the accurate music image, It is vivid, so it has been widely circulated among piano players in recent hundreds of years.

The music begins with a leisurely melody, showing an elegant and free style. The echoes of the upper and lower sentences create the interest of the fishermen and woodcutter's dialogue. The theme tone changes and develops, and new tones are constantly added, coupled with the use of rolling whisk techniques, reaching a climax in the 7th paragraph. It depicts the hermit's unrestrained, unrestrained and contented mood. Among them, the strong sound created by the techniques of splashing and three-bombing echoes the syncopated rhythm, making people feel the towering mountains and the sound of the woodcutter's axe. The theme tone presented at the end of the first paragraph has been shifted, and the changes are repeated throughout the whole song, leaving a deep impression on people...

Download address: /2550/music/download/guqin/yuqiaowd.mp3< /p>

Appreciation of Ancient Chinese Famous Songs No. 8

Autumn Moon in the Han Palace

It is intended to express the resentment and sorrow of the oppressed palace ladies in ancient times and arouse people's sympathy for their misfortune.

"Autumn Moon in the Han Palace" was originally a pipa piece of the Chongming School. It is now circulated in various scores and performance forms. The music expresses the sadness and sorrow of ancient palace ladies and a helpless, lonely and cold artistic conception of life.

"Autumn Moon in the Han Palace" was originally a pipa piece of the Chongming School. There are many kinds of scores circulating now. It has evolved from one instrument score to different scores, and they are recreated using their own artistic means to create different music. This is a common situation in the spread of folk instrumental music. The current popular performance forms of "Autumn Moon in the Han Palace" include erhu music, pipa music, zheng music, Jiangnan silk and bamboo music, etc. It mainly expresses the sadness and sadness of ancient palace ladies and a helpless, lonely and cold artistic conception of life.

Erhu "Autumn Moon in the Han Palace": The first section of the pipa song of the same name of the Chongming School was transplanted to a Guangdong ditty, played by Cantonese Hu, also known as "Three Pools Reflecting the Moon".

Around 1929, Liu Tianhua recorded the score of the Cantonese and Hu tune "Autumn Moon in the Han Palace", and changed it to the erhu performance (played only in the first position).

The "Autumn Moon in the Han Palace" compiled and performed by Jiang Fengzhi has been greatly abridged to avoid being lengthy and affecting the performance. Its speed is slow, the bowing method is delicate and changeable, short rests and pauses often appear in the melody, the music is intermittent, coupled with the soft timbre of the erhu, the use of minor third notes, and the repeated occurrence of characteristic changes in the sound. , showing the mournful and sorrowful mood of the palace maid, which is very contagious.

"Autumn Moon in the Han Palace" by Jiangnan Sizhu: The original "Yizi tune" (A Palace) was used and was passed down by Sun Yude. It turns out that Shen Qichang's "Yingzhou Ancient Diao" (edited in 1916) uses "Zhenggong Diao (G Palace)" for the silk and bamboo composition ensemble. The pipa still uses the B-shaped tuning method, lowering the major second tuning, and expressing the delicate and profound emotions of the ancient palace ladies. The feeling of sadness and depression. The orchestration is used in the middle section, and the various parts complement each other, giving people pursuit and longing. Finally, all the instruments are played in the slow tempo, showing that the bright moon in the sky is gradually setting, and the earth is becoming silent.

Pipa song "Autumn Moon in the Han Palace": also known as "Chen Sui", it depicts the loneliness of the harem in the form of singing and dancing, which is more representative of sadness and depression. It is generally based on Wu Wanqing of Wuxi. 1847-1926), but Liu Dehai added a lot of timbre changes and intentional fingerings. One chant and three sighs, both scenes and scenes, are very contagious

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Appreciation of Ancient Chinese Famous Songs No. 9

Yangchun Baixue

According to legend, it was written by Shi Kuang of Jin or Liu Juanzi of Qi during the Spring and Autumn Period. "Everything knows spring, and the gentle breeze means cleansing. "White Snow" means the sound of being clean and snowy, and the dazzling snow and bamboo.

"Yangchun Baixue" is composed of the folk instrumental music "Eight Bans" (or "Liu Bans") )

Yangchun Baixue: A pipa suite composed of multiple variations of the folk instrumental tune "Bababan" (or "Liuban"). "The cyclical reproduction of the variations, the various "Eight Boards" variations are combined together to form a variation relationship, and later the new material of "A Hundred Birds Worship the Phoenix" is inserted, so it is a variation structure with cyclical elements.< /p>

There are two different versions of "White Snow in Yangchun", "Dayangchun" and "Little Yangchun". "Dayangchun" refers to the ten-section and twelve-section music scores compiled by Li Fangyuan and Shen Haochu. "Little Summer" was composed by Wang Yuting. The story, also known as "Allegro Yangchun", is widely circulated. What is introduced here is "Little Indian Spring"...

"Yangchun White Snow" expresses the beauty of early spring when winter comes to spring, the earth revives, and everything flourishes.

p>

"Spring and White Snow" expresses the beautiful scenery of early spring when winter turns to spring, the earth revives, and everything is prosperous. The melody is fresh and smooth, and the rhythm is relaxed and lively. It is divided into seven sections: 1. Taking the lead 2. Lotus in the wind 3. A bright moon 4. , Jade Ban Meditation 5, Tie Ce Ban Sheng 6, Taoist Qin Sheng 7, Dong Gao He Ming subtitles were written by Li Fangyuan and have little to do with the content of the music.

The whole song can be divided into seven sections. It consists of four parts: inheritance, transfer and integration. It is a variation piece of music with cyclical elements.

Starting part: (1) "Take the Best" has a seventeen-beat "eight" at the beginning. "Ban Tou" variant, which is repeated in the radicals of the next three parts. The melody of the original "Ba Ban" is modified with techniques such as "devicing from the world" and "adding flowers", using "half wheel" and "clip bomb" , "push-pull" and other playing techniques, the sound effects are unique and interesting, making the melody of the flower cluster full of vitality.

Part 2: "Lotus in the Wind", (3) "A Bright Moon". In these two variations of "Ba Ban Tou", after the "Ba Ban Tou" is repeated over the head, the melody rises twice and moves in the high-pitched area, expressing a more enthusiastic emotion.

Moving parts: (4) "Jade Ban Zen", (5) "The Sound of Tie Ce Ban", (6) "The Sound of Taoist Qin" There are many developments in these three paragraphs factors. The first is the segmentation and inversion of the music structure, and the emergence of new beats and strong syncopated rhythms. The second is to use playing fingering techniques such as "抭fen", "ban" and "overtone" to make the music sometimes light and smooth, sometimes sonorous and powerful. Especially in "Tao Yuan Qin Sheng", the entire section highlights overtones, just like "big beads and small beads falling on a jade plate", crystal clear and full of vitality.

Combined part: (7) "He Ming in Donggao". It is a dynamic reappearance of the main part, which is expanded at the end, adopts a sudden slowdown and then gradually faster speed processing, and uses powerful strumming techniques to create an extremely warm musical atmosphere.

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Ten Appreciation of Ancient Chinese Famous Songs

Sa Shang Qu

< p> "Song on the Fortress" is a traditional pipa opera. The music expresses Wang Zhaojun's sadness and grief by describing Wang Zhaojun's longing for his motherland.

Sai Shang Qu: Pipa's traditional large-scale literary composition. The music score was first seen in Li Fangyuan's "Pipa Score". He based it on five independent ditties in Hua Qiuping's "Pipa Score": "Thinking of Spring", "Resentment of Zhaojun", "Crying Face Returns", "Next to the Dressing Table", and "Complaint". "Resentment" was synthesized into a song, named "Song on the Fortress", and was falsely attributed to Wang Zhaojun.

The whole song has five sections:

1. Spring Thoughts in the Palace Garden 2. Zhaojun’s Resentment 3. Concubine Xiang’s Tears 4. Autumn Thoughts on the Dressing Table 5. Thinking of the Han Dynasty

This song describes Wang Zhaojun's longing for his motherland, which is sad and melancholy, and has a strong artistic appeal. In playing, the emphasis is placed on the pushing, pulling, chanting, rubbing, chanting, and leading techniques of the left hand, making the melody more euphemistic and gentle.

The most appropriate poem to describe this song is "The strings cover up the sound" in Bai Juyi's "Pipa Xing"

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