Some are from Shandong, some are from Henan, and some are from Zhejiang.
Shandong's "Mountains and Flowing Waters": The emotion is stronger, the speed is faster, and there are more blowing sounds, like waterfalls in the mountains, and the rapids are rushing forward...
Henan's "High Mountains and Flowing Waters" (also known as "Flowers and Flowing Waters"): I have never played it... (bright, open)
Zhejiang's "High Mountains and Flowing Waters": softer and more emotional It is also softer, more delicate, the melody is elegant, the charm is meaningful, and the speed is also slower, like a mountain stream, with gurgling water, soft and slow, ............ (elegant, stretched)
Appreciation of Mountains and Flowing Waters [Translated]
As a guzheng piece, Mountains and Flowing Waters is a representative piece. But the most common versions of High Mountains and Flowing Waters are the Shandong Zheng School, the Zhejiang Zheng School, and the Henan Zheng School.
The reason why there are three versions is because the tunes are completely different, not because of the different playing techniques.
The Shandong Zheng School of "Qilu Daban": When playing, the big finger is used frequently and is strong and powerful. Even if it is the "flower finger", the big finger is mostly played by the lower flower finger in conjunction with the "tuo"; while the left hand's chanting, kneading and sliding are both hard and soft, sonorous and deep, and its playing style is simple and elegant.
Henan Zheng School of "Zhongzhou Ancient Diao" (or "Zheng and Wei Zhiyin")[/b]: A big feature of Henan Zheng playing is that the right hand starts from close to the piano code. Playing fluidly to a place close to "Yueshan", at the same time, the left hand trembled greatly. The musical performance was very dramatic and effective. In Henan Zheng, this technique is called "wandering". Among them, there are especially the left-hand slide (the left hand presses the note, then moves back a little when playing the string, and the sound slides up quickly, with no trace of sensitivity), small vibrato (the vibrato is tight and tight), sliding vibrato (trembling on the edge), Techniques such as Big Trembling (trembling with a wide amplitude and a passionate movement) are the most distinctive. In terms of playing style, whether it is slow or allegro, or whether the music is cheerful or sad, the music does not pursue a clear, elegant, delicate and beautiful style. Instead, it is known for its simplicity and simplicity, and is characterized by its deep inner impassionedness. Fu Xuan's evaluation of Henan Zheng music in "Zheng Fu. Preface" is that "the music is high and mediocre, but the skills are difficult to master."
The Zhejiang Zheng School of "Wulin Yiyun"[/b]: The performance characteristics include "big finger shaking", "quick four o'clock", "clipping", "string lifting" and other techniques, and draw lessons from them , learn and integrate the playing techniques of pipa, sanxian, dulcimer and even Western instruments. The "shaking finger" used in Zhejiang Zheng is played by making detailed shaking of the big finger. The effect is very similar to the performance of a long bow on a bowed string instrument. Strictly speaking, this is something that is not found in traditional Zheng music from other schools, because what other schools call “finger shaking” or “wheel fingering” actually uses the big finger to perform relatively fast “support” and “split” movements. ", and Zhejiang Zheng's "finger shaking" shows its own characteristics and is different from other schools.
But at the beginning, the right hand of the Zhejiang Zheng School has a beautiful melody. At the same time, it expresses the majesty of the mountains and the clarity of the water. The right hand in the middle of the song is as smooth as water, and the left hand in the bass position is like a mountain. It is as soft and crisp as stone.
"High Mountains and Flowing Waters" is based on "Bo Ya Gu Gu Qin Yu Zhi Yin", there are two kinds of music, including two kinds of music, the same name and completely different styles.
Ancient Qin music. Stories about high mountains and flowing water have been circulated during the Warring States Period, so it is also said that the music score of "High Mountain Flowing Water" was first seen in the Ming Dynasty's "Miraculous Secret Music (written by Zhu Quan in 1425)". The solution to the problem of "High Mountain" and "Flowing Water" in this score is as follows: "There are two pieces of music, "High Mountain" and "Flowing Water", and there is only one piece in the original version. The original intention is to care about the mountains, and the benevolent people want to enjoy the mountains. The later ambition is about flowing water, which means that the wise enjoy the water. In the Tang Dynasty, it was divided into two songs, not divided into sections. The mountains are divided into four sections and the flowing water is divided into eight sections. "For more than two thousand years, the two famous guqin songs "High Mountain" and "Flowing Water", together with the story of Boya Guqin meeting a close friend, have been widely circulated among the people.
With the Ming and Qing Dynasties, With the development of the art of playing the piano, "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, also known as "Seventy-two Rolling Flowing Waters", uses the technique of "chuu and zhu" to create the sound of running water. It is widely circulated for its vivid image and blend of scenes. According to research by qin experts, before the publication of "Tianwenge Qinpu", 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". However, Zhang Kongshan's notation has been expanded to nine sections, and later qin players mostly performed according to this score.
There is also a zither piece called "High Mountains and Flowing Waters". The music is very different from that of the zither piece, and it is also based on "Bo Ya's Drum and Gu Qin Meet a Friend". There are scores of various genres available. The most widely circulated and influential one is the Zhejiang Wulin School's biography, with its elegant melody and meaningful charm, which 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 songs with the same name and completely different styles.
Music Appreciation
"Flowing Water" makes full use of fingerings such as "overtone, roll, whisk, Chuo, note, up, and down" to describe the various dynamics of flowing water and express the ambition. In flowing water, a wise person enjoys the meaning of water.
Liu Shui: Guqin music, the music makes full use of fingerings such as "overtone, roll, whisk, Chuo, note, up and down" to depict the various dynamics of flowing water.
The first paragraph: the introduction part. The melody constantly jumps and changes sound areas in a wide range of sounds. Subtle finger shifting and sound changes alternate with solid sounds, and the melody disappears and appears. I can still see the top of the mountain, shrouded in clouds and mist, erratic and uncertain.
The second and third paragraphs: clear overtones and lively rhythm, just like "clanging, the cold current in the secluded world; clear and cold, the trickle of pine roots." Listen quietly, and you will be filled with joy. But life. The third section is an octave-higher repetition of the second section, omitting the end of the second section.
The fourth and fifth paragraphs: a cantabile melody, "its rhyme is long and graceful, just like flowing clouds and flowing water."
The sixth paragraph: first the undulating melody, with a dramatic Up and down pitch. Then there is a continuous "rolling and sweeping" sound, and a rising and falling tone is played above it. The ingenious combination of the two is really like a "very boiling and surging view, with the image of a dragon roaring. Rest and calm your mind." Listening to it, one feels as if one is sailing across the Wu Gorge in a dangerous boat. It is dizzying and thrilling, and one almost feels that one is rushing through the mountains and rushing through the valleys." (See the postscript of "Liu Shui" published in the Qing Dynasty, 1910. Year)
Paragraph 7: The continuous overtone groups in the high-pitched area first fall and then rise, and the sound potential is greatly reduced, just like "the light boat has passed, and the momentum is idle. Sometimes the aftermath shakes the rocks, and sometimes it spins."洑微椤.” (Postscript to "Qin Xue Congjiao·Liu Shui")
The eighth paragraph: The changes reproduce the previous cantabile melody and add new musical materials. A slightly faster and more powerful piano sound, the music is full of enthusiasm. The sound of running water returns at the end of the paragraph, which is evocative.
Paragraph 9: The carol-like melody starts from low to upward and is full of passion. The seed material from the fourth paragraph appears again at the end of the paragraph, finally ending on Gongyin. Sections 8 and 9 belong to the "restoration" part of the guqin music structure.
The overtones of Qingyue at the end make people immersed in the thoughts of "overwhelming, but the sincere sound of ancient tunes".
The song "Flowing Water" was recorded on a gold-plated record carried on the U.S. "Astronaut" spacecraft. It was launched into space on August 22, 1977, to preach the Chinese nation to advanced creatures on the planets in the universe. information of wisdom and civilization.