"Northern Henan Ballade" is a famous erhu piece composed by Mr. Liu Wenjin in 1958. Through the contrasting development of two themes, the music shows the essential changes in the spiritual outlook of the people in northern Henan before and after liberation. . This work was performed at the "Fourth Shanghai Spring National Erhu Solo Competition" in 1963, causing a sensation in the music industry and being hailed as another milestone in erhu works after Liu Tianhua.

The music consists of an introduction and four sections, and is a complex trilogy with a cadenza section. Introduction: Played by accompaniment instruments, the rhythm is relatively free, creating the proper atmosphere for the erhu narrative. The first paragraph: The Erhu plays an euphemistic theme adapted from local opera music in Henan at a slow speed, weeping and complaining, depicting the mood of the oppressed people longing for freedom before liberation; when changes are repeated, rising and rising themes appear in the same section. The alternation of "1" and restored "1" makes the emotion even sadder. The second paragraph: through the interlude, from the key of C to the key of D, the mood changes suddenly, the melody is bright, and the rhythm is changeable. The theme is modified with the second, fourth, and sixth degrees of pre-approval or post-appropriate that are often used in Henan Opera. , full of joy and humor, showing a jubilant scene after liberation. The third section: It is a cadenza section. The music returns to the key of C. The rhythm is sometimes fast and sometimes slow, and the melody is ups and downs, which has a dramatic effect. The fourth section is a reappearance of the first section, but due to the changes in speed, intensity, playing skills and other factors, the music has also changed accordingly. It is bright, broad and romantic, expressing the people of northern Henan's praise and appreciation for the new life. Visions of the future.

"Northern Henan Ballade", with its profound content and innovative techniques, has established its position among erhu works. It has been a compulsory repertoire for erhu players for many years. It expresses a positive and enterprising spirit and shows the image of the people as the masters of the country.

"Ballade of Northern Henan" consists of two themes. Through the contrast of the two themes, it expresses the spiritual outlook of the people in northern Henan. This piece of music is divided into four sections. The first section consists of three backbone notes (3321), which appear four times, with additions and variations. The mood gradually rises, from steady and slow to affectionate and exciting. The bowing moves from mid-bow to full-bow, and the timbre is controlled more freely. In particular, the two characteristic notes, rising 1 and falling 5, appear alternately, expressing a specific emotion.

The second section requires the bow to be more flexible and have clear pauses. Because the music is more cheerful, the rhythm changes greatly. You need to slow down and practice from slow to fast until you are quite proficient. , and then play at normal speed.

In the third section, the loose board needs to be controlled from slow to fast, from few notes to dense, and it requires free control.

The last section requires smooth bowing, good sound quality, and increased vibrato speed and intensity. ... ...

"Spring Scenes in the South of the Yangtze River" is a famous southern erhu piece composed by Zhu Changyao and Ma Xilin based on the tones of Jiangsu folk songs. She vividly describes the Jiangnan water town with beautiful melody and fresh style. The pleasing beauty of this piece reflects the characteristics of the land of plenty, with a strong Jiangnan flavor, portamento, natural overtones, adagio, and allegro, all of which must be played properly.

"Liubo Song" was written in the winter of 1952. It is a touching narrative poem. The structure is rigorous and complete, and the melody is deep and beautiful. The music expresses the author's painful memories of his past wandering life and his inner dissatisfaction. "Liubo Song" is the representative song of blind artist Sun Wenming, composed in the winter of 1952. This piece of music is a true portrayal of his difficult life in a foreign land. He compared himself to water waves passing silently, and expressed his painful heart through the sound of the piano. Its ideological connotation is very profound. The melody is sad, lingering and deep, expressing sincere feelings. The music has a short structure and a reasonable structural layout. The characteristic tones run through the whole song and serve as key points. The whole song is divided into five sections: The first section of the melody rises upward and then falls, expressing the pain of wanting to complain but not giving up. The second section jumps back and forth multiple octaves in the high-pitched area, with measured cadence and deep pathos. The third paragraph further develops the musical thoughts of the previous paragraph and expresses the author's resentment towards real life.

The whole song is divided into three sections: introduction, allegro, midtempo, and allegro. The music structure is relatively square. Before the Erhu theme appears, the accompaniment instruments play a clear and bright melody with a freer rhythm. It seems to depict the beautiful scenery of the motherland's border areas in the morning light. After five measures, a fixed syncopated rhythm pattern appears, providing speed and rhythm for the erhu melody to enter. The first section of the music, in the key of A, has a warm and cheerful mood. Its musical character is very active, its melody is very dynamic, and it expresses the joy of harvest. The theme tone adopts the Sol mode, which is common among Uyghurs, and the tune always contains the rhythm of Xinjiang tambourine. The first twelve measures can be regarded as the first phrase, with the falling tone on the 5th, and the back and sliding of the 5th tone constitute the unique Xinjiang flavor of this piece of music. The first section is deeply upbeat, with a dancing and singing character. The rhythm of the beginning of the sentence has the syncopated rhythm shown in ancient Xinjiang hand, a sense of jumping. The right hand's bow movement should not be too continuous, but should be blunt (flexible). The left hand can be used to add some strokes and beats. The second section enters a singing medium and slow pace. You can use your hands to imitate the feeling of singing...the intensity and timbre in the middle part should be fuller (you can open up the bowing technique). The last paragraph should pay attention to the distinct sense of rhythm, which is 12 bars. The key is A minor at the beginning, and then switches back to A major, and in the progression that ends with A major, it is supplemented with D major. The change of sound patterns continues to the end, and the jubilant atmosphere becomes white-hot, reaching the climax of the whole song, and the music ends with extremely enthusiastic singing and dancing.

"Spring Dawn in Gusu" is a song composed by the young erhu performer Mr. Deng Jiandong Erhu music with a strong Jiangnan style. The music depicts the natural scene of Suzhou City in early spring. It is cheerful, melodious, sweet and lyrical, making people feel like they are in the quiet, clear, exquisite and beautiful Gusu gardens. At the climax, it is like a hundred birds singing joyfully, making people forget to leave. His movements of strings and bows reveal a spring-filled scene of heaven on earth. The music has a multi-section structure, consisting of an introduction and four sections. Introduction: loose board, free speed. The overtones and free-forming sound patterns are like a crystal clear river, showing a peaceful and quiet atmosphere; the beautiful melody with slides, fingers, and vibrato depicts the revival of all things and the singing of insects and birds. First section: Adagio. The melody is soothing and beautiful, the tone is soft, lyrical and singing, as if the spring breeze is blowing on the face, expressing people's joyful mood. Second paragraph: Andante. The tempo is slightly faster than the first paragraph, the melody is light and smooth, and the mood is relaxed and happy. The third section: Allegro. From slow to fast, the speed is twice as fast as the previous paragraph, and the mood is more enthusiastic and cheerful. Section 4: From larboard to allegro. The rhythm of the Largo part is widened, stretched and bold, with a sense of generosity and excitement; the Allegro part is full of birds chirping, one after another, the ups and downs of the melody, and the dense sound patterns push the cheerful atmosphere of the whole piece to a climax. Finally, after the third legato, the tune climbs from low to high, ending with the pizzicato.

Personally, I recommend practicing the three simple songs "The Grapes Are Ripe", "Northern Henan Ballade" and "Liubo Qu". Liubo Qu does not have a fast bow, so it is easier, but you should pay attention to your fingering. It is not recommended to practice "Spring Dawn in Suzhou" because it contains the essence of many songs such as "Spring Scenes in the South of the Yangtze River" and "Birds in the Empty Mountain", but the backend is a bit complicated. There is a wide board in "Spring Scenes in the South of the Yangtze River". If you don't have good luck with the bow, you will appear weak, so practice with caution.

Finally, "The Grapes Are Ripe" and "Northern Henan Ballade" have triangle symbols drawn on them.

I wish you success in the exam~

I have finished answering. I don’t know if it is useful, but it took me a lot of effort. I hope it will be useful!