The Ding Shande Long March has several movements as follows:

The Ding Shande Long March has ten movements.

The ten movements of "Song of the Long March-The Red Army is not afraid of expedition difficulties" are: Farewell, Breakthrough of Blockade, Glory of Zunyi Meeting, Crossing Chishui for Four Days, Flying over Dadu River, Crossing Snow Mountain Grassland, Arriving in wuqi, Celebrating Victory, Reporting Good News, and Assembling Division.

The Song of the Long March was composed by Chen Geng, Sheng Mao, Tang He and Yu Qiu, and was written in 1965 based on Xiao Hua's poems. To commemorate the 3th anniversary of the victory of the Long March, Xiao Hua wrote the Long March poems, and then adapted them.

Extended information:

On the great Long March in the revolutionary history of China, the Chinese Red Army of Workers and Peasants started from Ruijin, Jiangxi, and joined forces in Ganzi, Sichuan. On the way, it passed through ten provinces and crossed 25, miles from south to north. The composer used the material of national music with distinctive features to combine the tones of folk songs and traditional songs of the Red Army in various relevant areas, and woven popular music language with ingenious music ideas to create a vivid and vivid musical image.

For example, the tone of "tea-picking drama" in Jiangxi used in Farewell, this melody is fluent and full of singing, which aptly shows the lyrics that "men and women, old and young, come to see each other off, and tears touch clothes to tell stories." Hold the hand of the Red Army tightly, when will relatives return to their hometown? " The inseparable feelings of the army and the people also coincide with the departure place of the Long March.

Another example is the tone of the Dong nationality's big-na-attack songs used in Zunyi Conference, which not only vividly, vividly and subtly shows the natural scenery of the area, such as "Miaoling show, rising sun, birds singing and announcing the Spring Festival", but also implies that the convening of Zunyi Conference has pointed out the forward voyage for the Chinese Red Army of workers and peasants.

The folk tones used in "The Red Army is Not Afraid of Expedition" are very representative folk music tones in the region experienced during the Long March. The author used these regional music and cultural symbols to record the various places experienced by the Red Army during the Long March.