Most of the following are guzheng songs, some are guqin and pipa...
Mountains and Flowing Waters
Fishing Boats Sing Late
Guanshan Yue
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Guangling Powder
Jackdaws Playing in the Water
Autumn Thoughts
General's Order
Water Lotus
< p>Three Plum Blossom LanesYangchun White Snow
Yangguan Sandie
Autumn Moon in Han Palace
Yingzhou Ancient Tune
< p>Pipa LanguageHigh Mountains and Flowing Waters
Fishing Boats Sing Late
Guanshan Moon
Guangling Powder
Jackdaw Playing in the Water
Autumn Thoughts
General's Order
Water Lotus
Three Plum Blossom Lanes
Yangchun White Snow
Yangguan Sandie
Autumn Moon in Han Palace
Yingzhou Ancient Tune
Pipa Language
Guzheng: "Three Plum Blossoms" "Long", "Mountains and Flowing Waters", "Butterflies in Love with Flowers", "Fishing Boats Singing Evening", "Autumn Moon in the Han Palace".
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p>Guqin music. Also known as "Plum Blossom Yin" and "Jade Concubine Yin", it 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.
This song borrows objects to praise people with noble sentiments through the whiteness, fragrance and cold resistance of plum blossoms. The strange melody in the song is repeated three times in different micro positions, so it is called : "Three lanes".
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 have been preserved today, indicating 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 in 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 sound of Lingshuang." "The meaning of Sannong is to take three overtones and 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 technique 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".
5. House of Flying Daggers
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One of the traditional pipa songs. Also known as "Huaiyang Pingchu": the score was first seen in "Huaqiu Pin Pipa Score" (1819). Ming Wang Bao (1598-1662) "Sizhaotang Collection." "The Biography of Tang Pipa" records that Tang Ying, a Pipa master, once played "Chu and Han". "A song from the Chu and Han Dynasties. When the two armies are dueling, the sound shakes the heaven and the earth, and roof tiles are flying down. If you look at it slowly, you can hear the sound of gold, drums, gold, swords, and the sound of people and horses changing, but there is no sound.
For a long time, the resentment that is difficult to understand is the song of Chu; the sad and strong voice is the generous voice of King Xiang's lament and Farewell My Concubine; when falling into Daze, there is the sound of chasing horses; when it reaches Wujiang River, there is the sound of King Xiang committing suicide and being trampled by his remaining riders. King Xiang’s voice. It makes those who hear it excited at first, sad at the same time, and unable to shed tears at the end. This is what adults do. "The scenes, sounds and colors painted are very similar to today's "Ambush from Flying Daggers". The whole song is divided into thirteen sections, and the titles can be divided into three parts:
The first part:
( 1) The whole song "Lie Ying" is introduced, showing the motivating scene of the golden drums and war trumpets blasting before the battle, and the crowd shouting. The music gradually becomes faster and faster, and the complexity and alternation of modes make the music more unstable.
(2) "Blow and Beat"
(3) "Point General" theme presentation, using continuous long wheel finger techniques (dan wheel, one wheel, one wheel) and The combination of "buckle, wipe, flick and wipe" shows the majestic style of the soldiers.
(4) "Arrangement"
(5) "Walk in line" music and front. There is a certain contrast, and the techniques of "covering and dividing" and "covering and dividing" are used to further show the heroic and vigorous appearance of the army.
Part 2:
(6) Ambush shows the decisive battle. On the eve of the night, the Han army ambushed here, and the atmosphere was quiet and tense, which paved the way for the next two sections.
(7) The small battle at Jiming Mountain. , the music begins.
(8) The Battle of Jiuli Mountain depicts the life-and-death struggle between the two armies. The sounds of horse hooves, sword strikes, and shouts are intertwined, which is shocking. ", playing, arranging" alternately, and then used double strings, push and pull and other techniques to push the music to a climax.
Part Three:
(9) King Xiang was defeated.
(10) Wujiang Suicide first alternates between the sparse rhythmic repetition of homophones and the tight rhythmic sound of horse hooves, showing the scene of King Xiang and the Han army chasing after him after breaking through the enemy; then there is a tragic melody, It shows Xiang Yu committing suicide; after the last four strings "stroke", he suddenly "falls" (also known as "stop"), and the music stops abruptly.
The original music also includes: 11) Everyone wins.
(12) The generals compete for merit.
(13) Mr. Wei Zhongle’s performance ends with “cutting one’s throat”. It is deleted and not played. Most of the schools today use this method.
Looking at the whole song, it also has the layout of "starting, continuing, turning and combining". The second part contains three sections as the "Zhuan" section, and the third section contains two sections as the "Combining" section.
6. Sunset Flute and Drum (Spring River Flower Moonlight Night)
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Talk about "Spring River Flower Moonlight Night" ", I believe many people know this famous folk music ensemble. Its melody is rich in the characteristics of Jiangnan silk and bamboo music, and its rhythm is smooth and changeable. It has an oriental poetic charm. "Spring River Flower Moonlight Night" has always been deeply loved by the masses. Love, 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 as follows:
1. Sunset Flute and Drum
2. Flower pistils disperse and return to the wind< /p>
3. Guanshan is facing the moon
4. The setting sun is near the water
5. The sound of maple leaves in autumn
6. Wu Gorge Qianxun< /p>
Seven. The sound of the flute in the red trees
Eight. The view of the river at night
Nine. The fishing boat sings in the evening
Ten. The shadow of the setting sun Return to the Boat
With its soft melody and peaceful mood, the music depicts the beautiful scenery of the good time in the world: the evening drum sends away the sunset, and the sound of the flute welcomes the evening of the full moon; people float in light boats, rippling on the spring river. Above; the green mountains on both sides of the strait are verdant, and the flowers and branches create shadows; the moon is dancing in the heart of the water, and the oars are making sounds...
7. Questions and Answers for Fishermen and Woodcutter
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"Qiao Qiao Qiao Qiao" is a famous guqin song that has been circulated for hundreds of years. It 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.
Yiqiao Q&A: Guqin music, the music score was first seen in "Xingzhuang Taiyin Continuation" (written by Xiaoluan 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. "It's just a matter of paying a fisherman and a woodcutter to describe the gains and losses, right and wrong." 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 Questions and Answers of Fishermen and Woodcutter" is a famous song that has been circulated for hundreds of years. There are many kinds of scores now. "Qin Xue Chu Jin" says 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 music 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 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...
8. Hu Jia Eighteen Beats
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"Eighteen Beats of Hujia" was originally a piano song , said to be composed by Cai Wenji, is a vocal suite of 18 songs, accompanied by piano, which expresses Wenji's homesickness, ion's sadness and awe-inspiring resentment. Nowadays, Qin music is the most widely circulated.
Hu Jia Eighteen Beats: Guqin music, said to be composed by Cai Wenji, a vocal suite of 18 songs, accompanied by guqin. "Pai" means "Shou" in Turkic language, hence the name "Hujia" because the sound of the piano blends with the mournful sound of Hujia.
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 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, borrowing 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 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 clear and 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 poem since Qu Yuan's "Li Sao"...
9. Han Dynasty Gong Qiuyue
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"Autumn Moon in the Han Palace" was originally a pipa piece of the Chongming School. It is now circulated in various scores and performance forms. The music expresses the sadness and sorrow of ancient palace ladies and a 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 kinds of scores circulating now. It has evolved from one instrument score to different scores, and they are recreated using their own artistic means to create different music. 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.
Erhu "Autumn Moon in the Han Palace": The first section of a pipa song of the same name from 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 performance (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.
"Autumn Moon in the Han Palace" by Jiangnan Sizhu: The original "Yizi tune" (a palace) was used 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 "Yi" tuning method, lowering the major second tuning, and is lyrical and euphemistic, expressing the delicate and profound emotions of the ancient palace ladies. The feeling of sadness and depression. In the middle section, the orchestration is used, and the various parts complement each other, giving people pursuit and yearning. Finally, all the instruments are played in the slow tempo, showing that the bright moon in the sky is gradually setting in the west, and the earth has become 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 a lot of timbre changes and intentional fingering, one chant and three sighs, with both scenes and scenes, which is very contagious.
10. Yangchun Baixue
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According to legend, this is the Jin Dynasty in the Spring and Autumn Period "Yangchun" and "White Snow" are two instrumental pieces composed by Shi Kuang of the Qi Dynasty or Liu Juanzi of the Qi Dynasty. "Yangchun" means that all things know spring and the gentle breeze washes them away, while "White Snow" means the awe-inspiring cleanness of snow bamboo. The meaning of Lin.
"Yangchun Baixue" is a pipa suite composed of multiple variations of the folk instrumental music "Baban" (or "Liuban")
Yangchun Baixue: A pipa suite composed of multiple variations of the folk instrument "Baban" (or "Liuban"), a cyclic reproduction of the "Babantou" variant, and the various "Baban" variations are combined together to form a variation. relationship, and later inserted new material from "Hundred Birds Facing the Phoenix", so it is a variation structure with cyclic elements.