High Mountains and Flowing Waters

Ancient Qin music. It is said that Boya, a luthier in the pre-Qin Dynasty, once played the lute in a barren mountain. Zhong Ziqi, a woodcutter, was able to understand that this was a description of "the towering ambitions are in the mountains" and "the vast ambitions are in the flowing water". Boya was surprised and said, "How wonderful, 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 Gu Gu Qin Encountering a 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.

During the Warring States Period, there were already stories of music about high mountains and flowing water circulating, 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 various musical scores since the Ming and Qing Dynasties, "Liu Shui" adapted by Sichuan qinist Zhang Kongshan and 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, zhu" to create the sound of running water, is also called "Seventy-two Rolling Flowing Waters". It is widely circulated for its vivid image and blend of scenes. According to research by qinists, before the publication of the "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 the "Magical Secret Music".

Guangling Sanqin Music

According to "Qin Cao" records: Nie Zheng's father during the Warring States Period was forging swords for the King of Han, but he was killed because of delays. Determined to avenge his father, Nie Zheng went to the mountains to study piano for ten years. He mastered the skill 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 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.

"Qin Cao" written by Cai Yong of the Eastern Han Dynasty talks about the historical story 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".

Pingsha Luoyan

This song was called "Luoyan Pingsha" in the Ming Dynasty. The melody is melodious and smooth, and through the disappearing and appearing calls 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. It was first published in "Guyin Zhengzong" (1634) of the Ming Dynasty, also known as "Yan Luo Ping Sha". 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" said 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 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 and five, flying and lounging, and they are in 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, meaningful and fresh...

House of Flying Daggers

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 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. 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.

In the "Biography of Tang Pipa" by Wang Youding of the Ming Dynasty, there is a record of the scene when Tang Ying, who was known as "Tang Pipa" by the people at the time, played "Chu and Han": "When the two armies were fighting, 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" played by Tang Ying is consistent in plot and theme with "Ambush from Flying Daggers". 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.

Questions and Answers for Fishermen and Woodcutter

"Questions and Answers for Fishermen and Woodcutter" is a famous guqin song that has been circulated for hundreds of years. It reflects the yearning and hope of a reclusive person for the life of a fisherman and woodcutter. Get rid of the fetters of worldly things. The music is vivid and precise. This song expresses the fishermen and woodcutter's enjoyment of themselves among the clear mountains and green waters.

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. The gains and losses of a thousand years have been paid for. Just a word." 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.

There are many kinds of score books nowadays. "Qin Xue Chu Jin" says about 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 sighing sound of the oars are faintly visible under the fingers." Due to the accurate musical 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 seventh 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...

Sunset Flute and Drum

It is a lyrical and freehand piece of music , around 1925, Shanghai Datong Music Society adapted the classical music into a silk and bamboo music "Spring River Flower Moonlight Night".

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:

1, Sunset Flute and Drum 2, Flower Stamens Scattering and Returning to the Wind 3, Guanshan Linqueue Moon 4, The setting sun near the water

5. Autumn sounds of maples 6. Qianxun Wuxia Gorge 7. The sound of flutes in the mangroves 8. Evening view by the river

9. Fishing boats singing late 10. The shadow of the setting sun Return to the Boat

The music depicts the beautiful scenery of the world with its soft melody and peaceful mood: the evening drum sends away the sunset, and the sound of the flute welcomes the evening of the full moon; people float in their boats and ripple on the spring river. Above; the green mountains on both sides of the bank are verdant, and the branches of flowers create shadows; the moon is dancing in the heart of the water, and the oars are making sounds...

Autumn Moon in the Han Palace

"Autumn Moon in the Han Palace" was originally a pipa of the Chongming School There are many kinds of musical scores circulated nowadays. The music scores of one instrument have evolved into different musical scores, and they are recreated using their own artistic means to create different musical images. 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. 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.

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 (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.

Three Plum Blossom Alleys

Guqin music, also known as "Plum Blossom Yin" and "Jade Concubine Yin", is a masterpiece of plum blossoms in traditional Chinese art.

"Magical Secret Music" records that this music was first played by Huan Yi in the Eastern Jin Dynasty. The overtone melody in the song is repeated three times in different emblem positions, so it is called "Three Nongs". 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.

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 against 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 rhyme of Lingshuang." "San Nong means three overtones, with 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).

The music used for 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 method 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".

Yangchun Baixue

A pipa suite composed of multiple variations of the folk instrumental tune "Eight Banners" (or "Six Banners"). The cyclic reproduction of the "Ba Ban Tou" variant. The various "Ba Ban Tou" variations are combined together to form a variation relationship. Later, new material from "Hundred Birds Facing the Phoenix" was inserted, so it is a variation with cyclic elements. body structure. According to legend, it was written by Shi Kuang of Jin State or Liu Juanzi of Qi State during the Spring and Autumn Period. "Yangchun" means that all things know spring and is cleansed by the gentle breeze. "White Snow" means the sound of being clean and covered with snow and bamboo.

There are two different versions of "White Snow in Yangchun" circulated, "Dayangchun" and "Little Yangchun". "Dayangchun" refers to the ten and twelve sections of music score compiled by Li Fangyuan and Shen Haochu. "Little Indian Spring" was written by Wang Yuting, also known as "Allegro Yangchun", and has been widely circulated. What is introduced here is "Little Indian Spring"...

"White Summer" expresses the beautiful scenery of early spring when winter turns to spring, the earth revives, and everything flourishes. The melody is fresh and smooth, and the rhythm is relaxed and lively. It is divided into seven sections: 1. Dominate the place 2. Lotus swings in the wind 3. A bright moon 4. Meditation on the jade plate 5. Sound of iron plate 6. Sound of Taoist piano 7. Ming of Donggao crane

The subtitle was written by Li Fangyuan and has little to do with the content of the music.

The seven sections of the whole song can be divided into four parts: beginning, succession, transition and conclusion. It is a variation music with cyclical elements.

Introduction: (1) "Take the Top". At the beginning of the song, there is a variation of the "eight pantou" that lasts for 17 beats, which is repeated in the radicals of the next three parts. The melody of the original "Eight Boards" is modified with techniques such as "separation" and "adding flowers", and using playing techniques such as "half wheel", "clipping", and "push and pull", the sound effect is unique and interesting, making the flower clusters more beautiful. The melody is energetic.

Part two: (2) "Lotus Blossoms 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. In particular, "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 slow down and then gradually faster speed processing, uses powerful strumming techniques, and the musical atmosphere is extremely warm.

Eighteen Beats of Hujia

The guqin music is said to be composed by Cai Wenji. It is a vocal suite of 18 songs, accompanied by the guqin. "Pai" means "Shou" in Turkic language, so it is named "Hujia" because the sound of the piano blends with the mournful sound of Hujia. It expresses Wen Ji's homesickness, Ion's sadness and awe-inspiring resentment. Nowadays, Qin music is the most widely circulated.

At the end of the Han Dynasty, there was great chaos and years of war. Cai Wenji was kidnapped by the Huns during their escape and lived outside the Great Wall. Later, she married King Zuo Xian and gave birth to two children. She spent twelve years outside the Great Wall, but she missed her hometown all the time. Cao X pacified the Central Plains, reconciled with the Huns, and sent envoy Xie Lu to redeem Wen Ji with a large sum of money, so she wrote the famous long poem "Eighteen Beats of Hu Jia", describing the unfortunate experiences of her life.

Among the qin music there are versions of "Big Hu Jia", "Little Hu Jia", "Hu Jia Eighteen Beats" and other qin songs. Although the tunes are different, they all reflect Cai Wenxie's extremely contradictory and painful mood of missing his hometown but not being able to bear the separation of his flesh and blood. The music is euphemistically sad and tearful.

Huang Tinglan, a qin player in the Tang Dynasty, is famous for his skill in playing this piece. Li Qi's poem "Listening to Dong Da Playing the Hujia" contains: "Cai Nu used to make the sound of the Hujia, and she played it with eighteen beats. The Hu people shed tears and touched the grass, and the Han envoys returned to the guests with heartbreak." In the Qin music, the text Ji empathized with the sound and borrowed the music of Hujia, which is good at expressing homesickness and sorrow, and blended it into the tones of the guqin to express a kind of awe-inspiring resentment.

There are two types of handed down music. One is the Qin song with lyrics in "Qin Shi" (published in 1611) of the Ming Dynasty, the lyrics of which are the narrative poems of the same name written by Cai Wenji; the other is the "Cheng Jian Tang" in the early Qing Dynasty. The solo music contained in "Qin Pu" and subsequent scores, the latter is widely circulated in the piano world, especially the notations in "Wang Zhi Zhai Qin Pu" are the most representative.

The whole song has eighteen sections, using the three modes of Gong, Zheng and Yu. The contrast and development of the music are clearly divided into two levels. The first ten beats mainly describe the author's time in Hu. At the same time, he longed for his hometown; at the latter level, he expressed the author's hidden pain and sorrow of leaving his childishness.

The whole section of this song is inseparable from the word "miserable". It was adapted into a pipe solo. When played on the pipe, the sad and plaintive sound penetrates directly into the heart. Low is deep and sad.

Cai Wenji's "Eighteen Beats of Hujia" was praised by Guo Moruo as "the most admirable long lyric poem since Qu Yuan's "Li Sao""