1. Mountains and Flowing Waters
Ancient Qin 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 explanation of the "High Mountain" and "Flowing Water" in this score is: "The two songs "High Mountain" and "Flowing Water" are only one piece. The original intention is to "High mountains" means benevolent people enjoy mountains. Later, it means "flowing water" means "wise people enjoy water". In the Tang Dynasty, it was divided into two parts, not divided into sections. Later, the two famous guqin songs "High Mountain" and "Flowing Water", together with the story of Boya playing the guqin and meeting a close friend, were widely circulated among the people.
"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.
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". 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 "Mountains and Flowing Waters". The music is very different from 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 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 with the same name.
2. Guangling San
"Guangling San" is also known as "Guangling Zhixi". It is a large-scale piano piece in ancient times and is one of the top ten famous ancient pieces in my country. It has appeared since at least the Han Dynasty. There are always different opinions on its content, but the general view is that it is connected with the piano music "Nie Zheng Assassins the King of Han". "Nie Zheng Assassins the King of Han" mainly describes the tragic story of Nie Zheng, the son of a swordsmith during the Warring States Period, who stabbed the King of Han to death and then committed suicide in order to avenge his father's murder. Regarding this, Cai Yong's "Qin Cao" has a more detailed description.
The existing music score of "Guangling San" was first seen in the "Magic Secret Music Book" (1425) compiled and printed by Zhu Quan of the Ming Dynasty. "Guangling San" and "Nie Zheng Assassins the King of Han" are sub-titles of sections such as "Reporting the Sword" and so on. Therefore, ancient qin composers regard "Guangling San" and "Nie Zheng Assassins the King of Han" as having the same song and the same name.
According to Zhao Xiyao et al.'s "An Overview of the Culture of the Three Kingdoms", the score of "Guangling San" has forty-five sections, divided into finger, minor sequence, major sequence, main tone, and random tone. , and six subsequent parts. Before Zhengsheng, it mainly expressed sympathy for Nie Zheng's unfortunate fate; after Zhengsheng, it expressed praise and praise for Nie Zheng's heroic deeds. The main part of the music is the main part, which focuses on Nie Zheng's emotional development process from resentment to indignation, and profoundly depicts his will to revenge without fear of rape and death. The whole song is always characterized by the interweaving, ups and downs, development and changes of the two themes. One is the main tone of the main tone that appears in the second paragraph of "Zhengsheng", and the other is the main tone of the chaotic tone that first appears at the end of the main sequence.
The main tone is often found at the beginning of the section, highlighting its main conductor function. The chaotic main tune is mostly used at the end of a section. It brings various changed tunes into a single tone, marking the section and unifying the whole song.
The melody of "Guangling San" is passionate and generous. It is the only existing Guqin music in my country that has a fighting atmosphere. It directly expresses the fighting spirit of the oppressed against the tyrant, and has great significance. High ideological and artistic quality. Perhaps Ji Kang saw the spirit of resistance and fighting will in "Guangling San" and why he loved "Guangling San" so much and had such deep feelings for it.
"Guangling San" was famous for a while in the Qing Dynasty. After the founding of the People's Republic of my country, Mr. Guan Pinghu, a famous guqin master in China, organized and notated it according to the tunes contained in "Magical Secret Score", making this wonderful guqin music Music is back in the world.
Modern qin scholar Yang Shibai believed in his "Qin Mirror" of "Qin Xue Series" that this song originated from Hejian Zaqu "Nie Zheng Assassination of King Han".
"Guangling" is the ancient name of Yangzhou, and "San" means to perform or lead music. The title of "Guangling San" indicates that this is a qin music popular in the ancient Guangling area. This is a large-scale instrumental work in ancient my country. It sprouted in the Qin and Han dynasties. Its name was first recorded in Wei Yingzhu's "Books with Liu Kongcai": "Listen to Guangling's Qingsan". By the Wei and Jin dynasties, it had gradually taken shape and was finalized.
Later, it was lost for a time, and later generations found it in the "Magical Secret Book" of the Ming Dynasty court, and then reorganized it, and finally got the "Guangling San" we hear now.
3. Questions and Answers about Fishermen and Woodcutter
There are more than 30 versions of this song in the history of the music, some with lyrics. The existing genealogy first appeared in the Ming Dynasty.
The music score of Qiaoqiao Qiao was first seen in "Xingzhuang Taiyin Continuation" (written by Xiao Luan in the Ming Dynasty in 1560): "The rise and fall of ancient and modern times are like the opposite hand, but the green mountains and green waters remain intact. The gains and losses of thousands of years, the right and wrong, It’s just a matter of paying the fishermen and woodcutter.” 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 music expresses disdain for those who pursue fame and fortune through the fisherman and woodcutter enjoying themselves among the green mountains and green waters. The music adopts the form of a dialogue between a fisherman and a woodcutter, with rising melody representing questions and descending melody representing answers. The melody is elegant and unrestrained, showing the leisurely and contented attitude of the fisherman and woodcutter. As stated in "Qin Xue Chu Jin": "The music of "Qiao Qiao Qiao" has profound meaning and free and easy expression, while the majestic mountains, the ocean of water, the tin dings of axes, and the songs of oars are looming under the fingers. When it comes to the question and answer section, it makes people think of mountains and forests. "
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 fisherman 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...
This song has a certain hermetic color, which can arouse people's interest in the life of fishermen and woodcutter. Yearning, but the deep meaning of this song should be 'many things in ancient and modern times are all talked about in a joke', and 'a thousand years of gains and losses, right and wrong, are just a matter of words for fishermen and woodcutters'. The thousand-year-old topic of gain and loss is deconstructed by a conversation between the fisherman and the woodcutter. This is the main theme of the music. The most famous representative of "fishing" in history is Yan Ziling of the Eastern Han Dynasty. In his early years, he was a classmate of Liu Xiu, Emperor Guangwu of the Han Dynasty, and Liu Xiu admired him very much. After Liu Xiu became emperor, he asked him to be an official many times, but he refused. Yan Ziling stayed out of office all his life and lived in seclusion in Tonglu, Zhejiang, fishing all his life. The representative of "woodcutter" in history was Zhu Maichen, a minister during the reign of Emperor Wu of the Han Dynasty. Zhu Maichen was born into poverty in his early years. He often went to the mountains to collect firewood and lived by selling wages. Later, his wife left him because she could not bear the poverty. The song "Qiao Qiao Qiao" is the accumulation of thousands of years of culture. "The green hills are still there, and the sunsets are red a few times." All the stagnation in the world disappears in the elegant and unrestrained melody of "The Questions and Answers of Fishermen and Woodcutter". This state of mind is amazing.
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 remain intact. The gains and losses of a thousand years are all 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 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 fisherman's question and answer on the guqin lyrics - excerpted from "Lantian Guan Qin Music Score"
The first paragraph
Ask about the past and present, let the mulberry fields change the sea. Sun, Bird, Moon, Rabbit, flying birds are hard to keep. The sky is high and the earth is high, the boat is empty. Always living in a small space. No need to worry. Time flows eastward like water, fishermen and woodcutter, unaware of the existence of princes. I believe in fishermen and woodcutters, but I don’t know that there are princes. This country spends the Spring and Autumn Period with me.
Second Paragraph
In the difficult times, in the mountains, forests, lakes and seas, fishing and woodcutter work, you and I depend on each other. Only in these mountains, forests, lakes and seas, fishing and woodcutter work, you and I depend on each other, so why do we need wealth? Fishing, woodcutter, hills and valleys, day and night. Woodcutter and firewood are collected on the top of the mountain, and fishing is done by the waterfront. The purpose of woodcutting is always in woodcutting, and the purpose of fishing is always in fishing. The fisherman and the woodcutter met each other and asked, "How is the joy of fishing?" So what is the joy of woodcutter?
Paragraph 3
It’s so much fun to look at the mountains and rivers, the clouds and the mist. Silk fiber is a hard work of life, and worldly affairs are in vain. So what is the joy of fishing and woodcutter? It refers to the scenery of mountains and rivers and laughter. Sigh that in life, fame, wealth, success and failure, destiny comes from heaven. It's not as good as it is, it's not as good as settling down and forgetting about the opportunity, having no honor or humiliation, having fun on the top of the clouds and the mist. When we meet Jiju, when we meet Jiju, we clap our hands and sing loudly, and sing loudly. Countryside, romance, this is my comfort zone.
Paragraph 4
Rise at dawn and walk with the moon, lying under the stars and sleeping in the moon. The net is also cast, the boat is tied to the waterside, the wind is calm and the waves are calm. When cutting down trees, you go into the deep forest with an ax, and the fog clears. Stay safe all day long, get the fish and pay the salary. They are broken and rotten, with huge mouths and thin scales, and are sold to people in the market.
Paragraph 5
The flowers bloom and the leaves fall, I don’t know the world, and I don’t remember the spring and autumn. Where can there be more depth and tranquility among the peach fields and flowing water? Sitting alone on the rocky slope, I have traveled all over the distant hills and mountains, my strength is exhausted and I have rested. What else can I ask for? What else can I ask for? What more can I ask for? What more can I ask for? Let the weeds and flowers fill the ground with sorrow. Summer turns to cold, spring returns to autumn, and white hair is swaying. Green mountains and green waters make you prepared and happy to forget your worries. The whirling years will last long for you and me.
Paragraph 6
In ancient and modern times, there are many heroes who served as ministers and prime ministers. They were kings of Dingbo and Kuang. They became spiritual and powerful, and spread glory all over the world. So far, they have all become empty. They have all become empty. . The prosperity has withered, but it is the same as that of grass. The prosperity and decline are victorious and defeated, the rise and fall are obscured, the time changes and the situation changes, and the falling flowers are also allowed to flow eastward with the water. Reminiscing about the past philosophy, how to fish for strictness and keep the breeze high. Wang Zhi got to meet the immortal, and he still admires his trace. How things are in the world, how things are in the world, how they are. Look at those past and present are all illusory dreams, a hundred years of time flies by, don't ask about right and wrong. The wax club comes together to have fun with a glass of wine. I enjoy fishing and woodcutting, laughing at the haze, so what else can I ask for?
Paragraph 7
Today we meet for gatherings and the shadows of the sun move. Tomorrow we meet again, cloudy and sunny and unknown, and it depends on the weather. Only fishermen and woodcutters are the cheapest.
Paragraph 8
The mountains come from the vast sky, and the water comes from the vastness. The joy of fishing and woodcutter lies in the mountains and rivers.
4. Eighteen Beats of Hujia
"Eighteen Beats of Hujia" is an ancient Yuefu Qin song. One chapter is a beat, and there are eighteen chapters, so there is this The name reflects the theme of "Wen Ji returns to the Han Dynasty". During the war at the end of the Han Dynasty, Cai Wenji lived in the southern Xiongnu for twelve years. As the wife of King Zuoxian, she missed her hometown very much. When Cao Cao sent someone to take her back to the mainland, she had to leave her two children and return home. The joy of hometown was overwhelmed by the pain of parting from flesh and blood, and the mood was very contradictory.
Guqin music, said to be composed by Cai Wenji, is a vocal suite of 18 songs, accompanied by 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 Wenji'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 songs there are versions of "Big Hu Jia", "Xiao Hu Jia", "Eighteen Beats of Hu Jia" 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, was 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 every time she played the Hujia, there were eighteen beats. The Hu people shed tears and touched the grass, and the Han envoys returned heartbroken to the guests." 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 musical notation. 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 Qin 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 that time, he was longing 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 solo for the pipe. 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 since Qu Yuan's "Li Sao""
Full poem *** 10 Eight sections, composed of a complete set of eighteen songs. According to Guo Moruo, in Turkic language, "Shou" is called "Pai", and "Eighteen Pai" means eighteen songs. And because the poem was written by her in response to Hu Jia's lamentation, it was named "Hu Jia's Eighteen Beats" or "Hu Jia Ming". It was originally a Qin song, but after the Wei and Jin Dynasties it gradually evolved into two different instrumental music, called "Da Hu Jia Ming" and "Xiao Hu Jia Ming". The former is the direct successor of "Eighteen Pats of Hujia".
5. Yangchun White Snow
It is one of the top ten famous ancient songs in China and one of the top ten famous Guqin songs. According to legend, this was written by Shi Kuang, a musician from Jin State, or Liu Juanzi from Qi State during the Spring and Autumn Period. "Yangchun" and "White Snow" in the existing musical scores are two instrumental pieces. The "Magical Secret Music Score" said in its explanation: ""Yangchun" takes the meaning of all things knowing spring, and the gentle breeze is indifferent; "White Snow" takes the meaning of awe-inspiring and clean, The sound of snow and bamboo. '
"Spring and White Snow" expresses the beauty of early spring when winter turns to spring, the earth revives, and everything thrives. The melody is fresh and smooth, and the rhythm is relaxed and lively.
"White Snow in Spring": 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 "A Hundred Birds Facing the Phoenix" was inserted, so it is a variation with cyclic elements. body structure.
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".
The allusion of Yangchun Baixue comes from the article "Song Yu's Answer to the King of Chu's Questions" in "The Songs of Chu".
King Xiang of Chu asked Song Yu if he had any hidden virtues. Why don't the common people praise you very much? Song Yu said that there were singers who visited Yingzhong in the state of Chu. At first they sang "Xialiba people", and there were thousands of people in the country who were harmonious. When the singers sang "Yang A Xie Lu", there were only a few hundred people in the country. When the singers sang "Spring Snow", there were only a few dozen people in the middle school. When the song added some difficult skills, namely, "introducing businessmen, carving feathers, and mixing them with military conquests," there were only a few people in the middle school who were able to succeed. Song Yu's conclusion is, "It is the music that makes it high, and its harmony that makes it few." '
The more elegant and complex the songs such as "Yangchun Baixue" are, the fewer and fewer people can sing along with them, that is, the songs are high-pitched and low-key.
Of course, the purpose of this discussion between Song Yu and King Xiang of Chu was not to talk about the song itself, but to emphasize the huge gap between elegance and vulgarity, and to defend his talents and virtues from being recognized by the world. Song Yu went on to say that "birds have phoenixes and fish have kun", which is naturally extraordinary and can be compared with common things. Song Yu said, "It's not just the bird that has the phoenix and the fish that has the kun, but also the scholars." 'Finally, Song Yu drew his own conclusion, that is, 'a saint's movements are magnificent and aloof and alone; how can a worldly people know what his ministers are doing? 'Song Yu means that great and extraordinary people in the world often act independently, and their thoughts and behaviors are often not understood by ordinary people.
Shen Kuo of the Northern Song Dynasty pointed out in "Mengxi Bi Tan·Volume 5·Music Rhythm 1" that "Song Yu's Answer to the King of Chu's Questions" clearly stated that 'those who have guests singing in Yingzhong' have guests. Singing in Ying. It’s not that people from Ying are singing, let alone that people from Ying are good at singing. Shen Kuo believed that Yingzhong was the old capital of the Chu State and had "shabby and prosperous people". The reason why there were so few people who sang it was because they didn't know or had never heard of this song. Song Yu
It is a bit unreasonable to describe himself in this way. Isn't it ridiculous to accuse the people of Ying because they are not familiar with songs like Yangchun Baixue? Shen Kuo also pointed out that some details in the allusion of Yangchun Baixue were later misinterpreted and spread. For example, those who were good at singing were called "Ying people", but the original text meant that Ying people were not good at singing.
The allusion of Spring and Snow illustrates the huge differences in aesthetic taste and ability among different appreciators. The higher the artistic quality of the music, the fewer people can appreciate it. I have to admit that this difference has a lot to do with the subjective taste of the viewer, and sometimes it is difficult to get an objective and fair evaluation. As Ge Hong of the Western Jin Dynasty pointed out in the book "Guangji": "Watching and listening are different. Good, love and hate are difficult to agree on." '
For those who are accustomed to listening to the music on the Pu Sangjian and the voices of the lower Liba people, of course they cannot understand the nobility and elegance of Yangchun Baixue and Huang Zhongdalu. From this point of view, there is not much difference between ancient and modern times. When people today appreciate music, most of them think it is best to listen to the ears and happy to the heart. '
'Who does Xue Chang want to harmonize with? There are many unreasonable customs. 'A diversified world cannot live without 'Xue Sing' and 'Vulgar Feelings'. It seems that the more popular any music is, the more supporters it has. This is the same reason that the best-grossing concerts today are often pop songs. Of course, elegant art has its own value. The longer it goes by, the more precious it becomes.
In China in the 1940s, Mao Zedong tried to unify high art and popular culture.
Mao Zedong once said in "Speech at the Yan'an Forum on Literature and Art", "Even if yours is 'Yangchun Baixue', since it is something enjoyed by a few people for the time being, the masses are still singing 'Lower Riba People', so if you don't improve it, If you only care about scolding people, then no matter how much you scold them, it will be in vain. Now it is a matter of unifying the "Yangchun Baixue" and "Xiaoliba people"
, and it is a matter of improving and popularizing the unification. Without unity
The most advanced art of any expert will inevitably become the narrowest utilitarianism; to say that this is also noble is just self-proclaimed noble, and the masses will not approve it. The original intention of unification may have been good, but in the ultra-left era, Yangchun Baixue became the target of criticism, and the lower-class people also became political vassals.
Although "Yangchun Baixue" is accused of being a high art, when the ancient song "Yangchun Baixue" is solved in many books, it is said that it vividly expresses the coming of winter and the coming of spring with its fresh and smooth melody and lively and brisk rhythm. , the earth revives, everything flourishes, and the scene of early spring is full of vitality. Obviously this is solved literally in the four words "Yangchunbaixue". The allusion of "Yangchun Baixue" and the qin music "Yangchun
Baixue" are too far apart in time and have no musical connection.
The song "Yangchun Baixue" is very likely related to the Sanqu of the Yuan Dynasty. "Spring White Snow" written by Yang Chaoying in the Yuan Dynasty is a famous collection of Sanqu in the Yuan Dynasty. Yuan opera has certain requirements in terms of rhyme and rhythm. Bai Renfu's "Zhuma Ting" included in "Bright Spring and White Snow" contains this sentence, "White snow and bright spring, a west wind breaks the heart." 'It can be seen that the song Yangchun Baixue already existed in the Yuan Dynasty.
As for how the heartbreaking song "White Snow" in the Yuan Dynasty evolved into the light and smooth music of today, it is difficult to understand. I haven’t said enough yet, so I’ll leave it blank here so that I can appreciate it with all my friends.
6. Goose Falling on the Sand
"Goose Falling on the Sand" is a guqin piece, which has been spread by many schools. Big-hearted.
"Pingsha Luoyan" was first published in the Ming Dynasty's "Guyin Zhengzong" (1634), also known as "Pingsha Luoyan".
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.
In the Ming Dynasty, this song was called "Wild Geese Falling on the Pingsha". The music score was first published in the "Guyin Zhengzong" musical score collection. The melody of "Goose Falling on the Flat Sand" is melodious and smooth. Through the disappearing and appearing wild geese call, it describes the eye-catching scene of a flock of wild geese circling in the sky. "Tianwen Pavilion Music Score" writes: "The autumn air is high, the wind is calm, the sand is flat, the clouds travel thousands of miles, and the sky is flying. It borrows the distant aspirations of the swans. It is also the person who writes about the ambition of the Yishi." There is also "Hui Xiang" from Hongyan. The feeling of looking and looking, the attitude of joking up and down, the image of flying and then gathering, the spirit of being startled and rising again." "Once it falls, the sand is flat and the water is far away. The mind is at ease and the mind is at ease. Friends have no guesses, and men and women have their own stories." It expresses the dangers of the world, Not as good as Yan Xing's emotion. Most of the songs circulating now are seven sections, and the main tones and musical images are roughly the same. The melody rises and falls, continues, and is beautiful and beautiful. The tone is quiet, but there is movement in the silence. The Zhucheng School's "Pingsha" adds a section that uses simulated techniques to express the flying geese against the background of fixed sound patterns. The scene of one echoing the other is vivid, vivid and unique.
Although "The Wild Geese Falling on the Sand" appeared relatively late, it is one of the most widely circulated works in the past three hundred years. There are nearly a hundred kinds of piano scores publishing this piece. The reason why it is widely circulated is not only that the melody is smooth and beautiful, but also because of its novel and unique expression techniques, which are easy for the audience to understand.
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, meaningful and fresh...
7. Sunset Flute and Drum
Also known as "Xunyang Pipa", "Xunyang Night and Moon", "Spring River Flower Moonlight Night", it is It is one of the representative works of ancient Chinese pipa music and one of the top ten famous ancient songs in China. This song was circulated in the Jiangnan area at the latest in the 18th century. The author is anonymous.
Historical evolution
This is a famous traditional pipa opera set that has been circulated since the Ming and Qing Dynasties. The title of the song was first seen in "Yao Xie" (1805~1864) of the Qing Dynasty. "Jinle Textual Research". The music score was first seen in the manuscripts of Ju Shilin (before 1820) and Wu Wanqing (1875). The manuscript of Wu Wanqing around 1875 was composed of ***6 paragraphs plus 1 coda, without section titles. Subsequently, each school's genealogy was divided into different sections. In the "New Score of Thirteen Daqu Pipa Scores of the Northern and Southern School" compiled by Li Fangyuan of the Pinghu School in 1895, the title of the song is "Xunyang Pipa", the style of the music has been expanded, and there are 10 sections. The section titles are: ①Sunset Flute Drum, ② flower stamens scattered and returned to the wind, ③ Guanshan facing the moon, ④ facing the water and setting sun, ⑤ autumn sound of maple, ⑥ Qianxun Wu Gorge, ⑦ flute sound in the red trees, ⑧ evening view by the river, ⑨ fishing boats singing in the evening, ⑩ sunset Return to the boat in the shadow. In the "Yangzhengxuan Pipa Score" compiled by Pudong Shen Haochu in 1929, the song is called "Sunset Flute and Drum", and its subsection titles are: ① Returning to the wind, ② Queuing the moon, ③ Linshui, ④ Mountain climbing, ⑤ Howling, ⑥View at night, ⑦Return to the boat. From 1923 to 1925, Liu Yaozhang and Zheng Jinwen of the Shanghai Datong Ensemble changed this piece into a silk and bamboo ensemble. At the same time, it was renamed "Spring River Flowers Morning and Autumn Moon Night" according to "Spring River Flowers Chaoqiu Moon Night" in "Pipa Ji", which is still used today. this name.
8. Ambush from Flying Daggers
This is a large-scale pipa song with historical themes. It is one of the top ten ancient Chinese songs. There is no definite conclusion as to when the music was composed. The data can be traced back to the Tang Dynasty. In the famous long poem "Pipa Xing" written by Bai Juyi (772-846), it can be found that the author Bai Juyi had heard pipa music that represented fierce battle scenes.
"Ambush from Flying Daggers" is widely circulated and is one of the traditional pipa songs, also known as "Huaiyang Pingchu". The existing score of this piece was first seen in "Pipa Xing" compiled by Hua Qiuping in 1818. The music describes the final battle of the Chu-Han War in 202 BC. The Han army used an ambush formation from all sides to defeat the Chu army. Xiang Yu committed suicide in Wujiang River and Liu Bang won. At the end of the Ming Dynasty and the beginning of the Qing Dynasty, in the "Biography of Tang Pipa" in "Si Zhao Tang Ji", it was recorded that the pipa player Tang Ying once played a piece of "Chu and Han": "When the two armies fought in a decisive battle, the sound shook the heaven and earth. , The roof tiles are flying down. As you look closer, you can hear the sound of golden drums, swords and crossbows, and the sound of people and horses...it makes those who hear it feel excited at first, and then become frightened and unable to cry. "The scene painted is so touching. Judging from the sound, color and Jinzhi,
Looking at the whole song, it also has the layout nature of "starting, continuing, turning and combining". The first part contains five sections as "Qi and Cheng", the second section contains three sections as "Zhuan" section, and the third section contains two sections as "Heading" section. In Wang Youding's "Biography of Tang Pipa" of Ming Dynasty, it is recorded that there was Tang Ying, known as "Tang Pipa", once played "Chu and Han": "When the two armies were fighting in a decisive battle, the sound shook the heaven and the earth, and the tiled houses were like flying down.
Slowly and carefully, there is 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 the generous sound of King Xiang's tragic song, Farewell My Concubine. Voice. When they fell into Daze, there were the sounds of chasing cavalry. When they reached Wujiang River, there were the sounds of King Xiang committing suicide, and the sounds of remaining cavalry trampling and fighting for King Xiang. It makes those who hear it excited at first, frightened at the same time, and unable to cry at the end. "It can be seen from this description that "Chu Han" and "Ambush from Flying Daggers" played by Tang Ying are consistent in plot and theme. It can be seen that this song has been circulated among the people as early as 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 Music" compiled by Hua Qiuping in 1818, all subsequent collections of pipa music have included The music score of "Ten Faces" is different in each version: "Fahrenheit" is called "Ten Faces", which was handed down by Wang Junxi of Zhili, with thirteen sections; "Li's Pu" is called "Ten Faces". "Huaiyin Pingchu", written by Hanzi in the Sui and Qin Dynasties; Jinshan Zhou Ruiqing Houqing edited it, with eighteen sections; "Yangzhengxuan Pu" is called "Ten Faces", named "Huaiyin Pingchu", with eighteen sections; "Yingzhou Ancient" The tune is called "Ambush from Flying Daggers", with ten sections.
Nine. Autumn Moon in the Han Palace
During the reign of Emperor Yuan of the Han Dynasty, in order to marry the Xiongnu, the beautiful Wang Zhaojun married in a distant desert. "Autumn Moon in the Han Palace" has been passed down through the ages.
This song is one of the top ten famous ancient songs in China. It has two popular performance forms, one is a zheng song and the other is an erhu song, composed by Liu Tianhua. This song is intended to express the resentment and sorrow of the oppressed palace ladies in ancient times, and to arouse people's sympathy for their misfortunes. The zheng music is played using many techniques such as chanting, gliding, and pressing. The style is simple and elegant, and it is a representative song. The erhu music is a Shandong zheng music that is unique in nature; the erhu music is slow in speed, the bowing is delicate and changeable, the melody often has short rests and pauses, the music is intermittent, and the use of various complex techniques expresses the mournful and sad emotions of the palace maids. It has a deep artistic appeal.
"Autumn Moon in the Han Palace" was originally a pipa piece of the Chongming School. It has been circulated in various scores and performance forms. The music expresses the sad and sad mood of the ancient palace maids. The 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 versions of it circulating now, and it has evolved from one instrument score to different scores, and each uses its own unique music. Artistic means are recreated to create different musical images, which 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. The sad mood 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 Chongming Pipa song of the same name was transplanted into a Cantonese ditty, played by Cantonese Hu. It's called "Three Pools Reflecting the Moon". Around 1929, Liu Tianhua recorded the score of the Cantonese and Hu song "Autumn Moon in the Han Palace" and changed it to Erhu (played only in the first position).
Jiang Fengzhi compiled and performed it. "Autumn Moon in the Han Palace" has been greatly edited to avoid being lengthy and affecting the performance. Its speed is slow, the bowing technique is delicate and changeable, there are often short rests and pauses in the melody, the music is intermittent, and the erhu is soft. The timbre, the use of minor third notes, and the repeated occurrence of characteristic changes in Zhengyin express the sad and sorrowful mood of the palace maids, which is very contagious.
"Autumn Moon in the Han Palace" by Jiangnan Sizhu: The source used. It is called "Yizi Diao" (A Palace) 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 many timbre changes and intentional fingerings, one chant and three sighs, with both scenes and scenes, which is very contagious.
10. Plum Blossom Three Movements
The first plum blossom breaks people's hearts, the second plum blossom takes a lot of thinking, the third plum blossom stirs up troubles, and the water in the depths of the clouds is vast.
"The third plum blossom" is one of the top ten famous ancient songs in China. , also known as "Plum Blossom Yin" and "Yu Fei Yin", is a masterpiece of plum blossoms in traditional Chinese art. The "Magic Secret Music" compiled by Zhu Quan of the Ming Dynasty records that this song was first played by Huan Yi in the Eastern Jin Dynasty. Adapted from flute music to guqin music, the whole song expresses the noble character of the plum blossoms, which are proud of the snow and frost. This song uses objects to praise people with noble integrity through the characteristics of plum blossoms' whiteness, fragrance and cold resistance. The whole theme is repeated three times, and each repetition is played with overtones, so it is called "Three Nongs", which reflects the noble character of the white plum blossoms and the proud snow. The music used for this performance is Yushan. The Guangling School's "Qinpu Harmony" (edited by Zhou Xianzu of the Qing Dynasty, published in 1820) has a more regular rhythm and is suitable for ensemble playing. , its rhythm is freer, and the modulation before the end of the song is refreshing.