1. Ancient music common sense of ancient culture

Ancient music tunes are divided into Gong (C), Shang (D), Jiao (E), Bianzheng (F), and Zheng ( There are seven types: G), Yu (A), and Bian Gong (B). Bian Zheng is equivalent to the F key of modern Western music, with a sad tone. The Yu tone is equivalent to the A key in modern Western music, which is higher than the Bian Zheng tone and can express anger or high emotions. For example, "Warring States Policy. Yan Policy": "Gao Jianli was building a building, and Jing Ke was singing in harmony. It was the voice of the revolution, and the soldiers all shed tears. He went forward and sang: 'The wind is rustling, and the water is cold. When the strong men leave, "I will never return!" The sound of the feathers returned, and all the people were stunned, and their fingers were raised. "One of the five sounds of the palace." Usually equivalent to the do sound in the roll call of today's tune. The "Gong" sound is the master of the five tones and the king of the five tones, commanding all the tones. "Guoyu · Zhou Yu Xia" says: "The husband's palace is also the master of music, the third and the feather." "Book of Rites·Yue Ji" says: "The palace is for the king, the merchants are for the ministers, and the horns are for the people..." Song Zhangyan's "Ci" "Yuan·Five tones mutually generate" also says: "The palace belongs to the earth, the image of the king... The palace, Zhongye, is in the center, flowing in all directions, singing and giving, and it is the outline of the four tones."" Gong Diao (style) is also called Zhongdiao (style) )'s "lord" and "lord", that is, in terms of what is now called "turning up". "Books of the Sui Dynasty·Music Records" says: "Each palace should have five tunes." Niu Hongsui, because of Zheng's old translation, also asked the ancient "pentatonic and five rhythms" to be used as palaces: "Yale" has only one tune for each palace. , only 'Yingqi' plays five tunes, which is called 'five tones'; 'Manyue' uses seven tunes..." This so-called "gong" is connected with "jun". There are tune (style) names composed of Gong sound as the main sound and knot sound. Duan'anjie of the Tang Dynasty's "Yuefu Miscellaneous Records·Bie Yue Shi Pentatone Wheel Twenty-eight Diagrams" said: "The first of the seven palace tunes is used to transport the Zhenggong tune,...the sixth is used to transport the Xianlu Palace, and the seventh is used to transport the Huangzhong Palace." Zhang Yan's "Etymology" "Also said: "Each of the twelve rhymes has five tones, which are performed into palaces and tunes...Huangzhonggong (Jun): Huangzhonggong (mode), Huangzhongshang (mode), Huangzhongjiao (mode), Huangzhongbian (bianzheng mode) , Huang Zhongzheng (mode), Huang Zhongyu (mode), Huang Zhongrun (Run Palace mode) "

One of the five tones of the Shang Dynasty. Usually equivalent to the re sound in the roll call of today's tune. The sound of "Shang" is the second level of the five tones, second to "Gong". The ancients believed that "Shang, which belongs to metal, is the image of a minister", and "the minister is in harmony with it". There are tune (style) names composed of Shang sound as the main sound and knot sound. For example, the "Seven Tune of Rusheng Shang" in the "Yuefu Miscellaneous Records: The Picture of the Twenty-eight Tone Wheels of Bie Yue Shi" written by Duan Anjie of the Tang Dynasty.

One of the five tones of the horn. Usually equivalent to the mi sound in the roll call of today's tune. "Jiao" is the third level of the five tones, second to "Shang". The ancients believed that "the horn belongs to wood and is the symbol of the people." There are tune (style) names composed of the main sound of the horn sound and the knot sound. For example, the "seven tones of the upper tone horn" in the "Yuefu Miscellaneous Records: The Picture of the Twenty-eight Tone Wheels of Bie Yue Shi" written by Duan Anjie of the Tang Dynasty. Among the ancient tunes (styles), there are Jiao tunes with Jiaoyin as the tune, or Jiao tunes with Leungong as the horn.

One of the five tones of Zheng. Usually equivalent to the sol sound in the roll call of today's tune. "Zheng" is the fourth level of the five tones, second to "Jiao". The ancients believed that "Zheng belongs to fire and is the symbol of things". There are tune (style) names composed of Zhengyin as the main sound and the knot sound.

One of the five tones of feather. Usually equivalent to the la sound in the roll call of today's tune. "Yu" is the fifth level of the five tones, second to "Zheng". The ancients believed that "feathers belong to water and represent the image of things." There are tune (style) names composed of Yu sound as the main sound and knot sound. For example, the "Seven Tune of Pingshengyu" in "Yuefu Miscellanies·Pictures of the Twenty-Eight Tune of the Five-tone Wheel of Bie Yue Shi" written by Duan Anjie of the Tang Dynasty.

Bianzheng is one of the "two changes" in the ancient musical scale. The musical sound between Jiaoyin and Zhengyin. "Historical Records·Jing Ke's Biography" says: "Gao Jianli was building a building, and Jing Ke was singing songs. It was the voice of the Revolutionary War, and all the soldiers shed tears." People in the Song Dynasty also called it "Leap War", which was called "Leap War". In the Twelve Rhythm, it usually refers to the sound of the same rhythm below the Zheng sound (equivalent to #fa); it also refers to the sound of the same rhythm as the Jiao sound (i.e., Qingjiao, equivalent to fa). It is also translated by Zheng in "Sui Shu·Music Chronicle" Together with Su Kui, it is said that "today...'Qingyue' Huangzhong Palace (both) uses Xiaolu (Zhonglu) as a subversion". There are tune (style) names composed of the main sound and the knot sound. "Book of Sui Music Records" records that Su Kui said: "Each palace (all) should have five tunes (styles). If you don't hear it, you will change the palace, and change the two tunes (style) into seven tunes (style)." Zheng translated The answer is: "Zhou has a rhythm of seven tones... If we don't use the 'two changes' as the tune now, it will be a winter and summer sound that is not prepared for the four seasons. Therefore, each palace (all) must have seven tunes (styles). "Everyone followed. In Song Zhangyan's "Etymology: Eighty-Four Tune", there are seven tunes (styles) under the twelve palaces (both), listed as the "modes" of "bianzheng".

Bian Gong is one of the "two changes" in the ancient musical scale. The musical sound between Yuyin and Gongyin.

Some people in the Song Dynasty called it "Leap Palace". In the Twelve Rhymes, some refer to the sound that is lower than the palace sound (equivalent to si). For example, "Book of the Later Han Dynasty·Lu Li Zhi" says: "The yellow bell is the palace...the bell is the palace of change"; there are also the sounds above the feather sound. The sound of Yilu (equivalent to bsi), for example, "Book of Jin·Lu Li Zhi" says that "the tune (scale) of Qingjiao uses Guxi as the palace,... Taicu as the palace of change." There are tune (style) names composed of Bian Gong as the main sound and the ending sound.

2. What are the rhythms of ancient China?

I hope it will be helpful to you.

In ancient times, there were five tones and seven tones. This "sound" is roughly equivalent to In today’s scale, the fifth note is Gong Shang Jiao Zheng Yu. Together with Bian Gong and Bian Zheng, it forms the seven notes. The comparison with today’s seven note scale is:

Gong Shang Jiao Bian Zheng Yu Bian Palace

1 2 3 4 5 6 7

Among the seven tones, if any one of them is dominant (that is, as the core tonic in the main melody of the music), it forms a Modes, different modes have different emotional colors and expression functions, and therefore can also produce different musical effects. For example, "Jing Ke's Assassination of the King of Qin" tells that when Jing Ke and his party set out, "Gao Jianli was building a building, and Jing Ke was singing in harmony. It was the sound of the Bian Zheng, and all the soldiers shed tears." The "voice of the Bian Zheng" is the Bian Zheng mode. This mode The melody is desolate and tragic, suitable for tragic songs. There is another sentence below: "Fu Yi Sheng is generous", and "Yu Sheng" is the Yu mode. This mode is high-pitched and exciting, so after listening to it, "all the scholars were angry and raised their fingertips."

In ancient times, there were six rhythms, which were the twelve tones of ancient music. It included six yang rhythms such as Huang Zhong and Wu She, and six yin rhythms such as Da Lu. The twelve rhythms not only had their own specific It has a name, and also has a fixed pitch, such as Huang Zhong is equivalent to the C key of today's Western music, Wu She is equivalent to the A key, etc.

In ancient times, there were also eight types of musical instruments, which are a general term for musical instruments, including eight categories: gold (bells, etc.), stone (chime, etc.), silk (qin, se, etc.), bamboo (pipe, flute, etc.), each of which The category includes several types of musical instruments, such as "The loud sound is emitted on the water, and the sound is like bells and drums" in "The Story of Shizhong Mountain", "The sound is like the Wushe of King Jing of Zhou Dynasty, the one who is boring the mandarin, the song of Wei Zhuangzi" "Zhong Ye". "Wu She" means Wu She bell, because this bell conforms to Wu She rhythm; Sing bell is chime bell, which is often used as accompaniment for singing, so it is called "Singing bell".

Chinese national musical instruments are an indispensable component of Chinese music. After thousands of years of development, they have formed a situation of numerous varieties and rich repertoire, which can be roughly divided into two categories: ensemble and solo. The ensemble instruments are mostly gongs and drums, suona, erhu, pipa, dulcimer, sanxian, flute, sheng, Xiao and so on. Solo instruments are usually guqin, pipa, erhu, banhu, flute, zither, etc.

3. Please give me the names of ancient Chinese five-tone songs

When people with tone-deaf singing sing, they often sing out of tune, often out of tune, and unable to grasp do and re. There are seven musical scales: , mi, fa, sol, la, and ti. Singing has become a "singing song" or "shouting song" without any beautiful melody.

Everyone in the karaoke parlor has this kind of torture experience. Everyone laughs that the rapper has no artistic talent and is "tone deaf." Why is it called "Five Tones" when it is clearly called "Seven Tones"? This is about the concept of "five tones".

China is a country with ancient civilization and the development of music has a long history. However, ancient music is based on the pentatonic scale, which is different from that in the West. If we compare it with the seven-tone scale of Western music, the "five tones" of ancient and Chinese music are equivalent to do, re, mi, sol, la, minus the semitone ascending "fa" and "ti".

Of course, the five-note roll call of ancient Chinese music cannot be the same as the "Duo, Lai, Mi, Suo, La" of Western music. In the Tang Dynasty, "He, Si, Yi, Chi, Gong" was used ; In more ancient times, "gong, shang, jiao, heng (pronounced zhǐ), and yu" were used. Therefore, if we pay closer attention, authentic ancient Chinese music does not have two scales: "fa" and "ti".

For example, the Jiangnan tune "Jasmine" that is still often heard today is one of the ancient songs. If the whole song is hummed in roll call, it only has "Duo, Lai, Mi, Suo, La". There are no two sounds of "fa" or "rare" at all; the same is true for the famous ancient song "Manjianghong" written by Yue Fei. By the way, if you find that a piece of music called "ancient Chinese music" has the "Fa, Xi" scale roll call, then it is either a counterfeit or has been modified by modern people.

The pentatonic scale is the basic scale of ancient Chinese music, so there is an idiom of "pentatonic deficiency".

4. Rhythm in temperament music

We call the absolute exact height of each tone in the musical sound system and its mutual relationship as temperament. Before Bach, the father of music, vigorously advocated twelve equal temperaments, there were not only many types of Western scales, but also the division of intervals was based on the system of pure temperament. Pure temperament means that the simpler the ratio of the sound wave vibrations of two tones, the more harmonious the two tones will sound, and vice versa. This is also an innate characteristic of the human ear, so the sound wave vibration ratio of the so-called harmonious intervals in the early days is roughly as follows:

A perfect one degree 1:1 A perfect octave 1:2

A perfect fifth 2: 3 Perfect fourth 3:4

Major third 4:5 Minor third 5:6

Major sixth 3:5 Minor sixth 5:8

To sum up, the most harmonious interval is of course a perfect first, followed by a perfect octave, but the second and seventh are quite disharmonious intervals. The vibration ratio must be a very strange ratio. Although pure temperament best meets the requirements of human ears for bel canto and can produce very beautiful harmonic sound effects, it is not very practical. Because such a ratio will cause a lot of trouble due to shifting the tonality. For example, the main note of C major is DO. The pitch of other notes should be determined based on DO as the starting point, but if it is transferred to G major, The pitch of all the notes will change slightly. Before the Baroque era, there were few modulations due to the simple form of the music. However, as the form of the music became more complex, pure temperament became a rather troublesome system. With the development of music, the shortcomings of pure temperament were revealed. In order to solve this problem, the twelve equal temperaments came into being.

A: Twelve equal temperament:

Divide a pure octave (such as c1-c2) evenly into twelve equal parts - semitones. This law is called "Law of Twelve Equals".

B: The biggest advantage of twelve equal temperament:

No matter how you transpose or modulate, you can get equal musical effects. But this is relative, because the twelve equal temperaments divide an octave into 12 equal parts, so the vibration ratio between each semitone is an infinite decimal that cannot be divided, so no matter which one is played*** It is impossible to obtain a truly completely harmonious musical effect, but the impact of the twelve equal temperaments is quite small, and it is still a very good interval system in comparison. The current reason why MIDI cannot replace real people's performance is because when real people play, performers will use their own ears to judge the degree of harmony of intervals, which is usually closer to pure temperament. However, it is not possible to do this better in computers at present. The fundamental reason is the definition of intervals. There are fundamental differences in the system, but the differences are not too big. But technological progress is changing this situation, and it is increasingly possible to obtain natural music through computer playing. In fact, it is part of the pure temperament. It stipulates that the frequency ratio of fifths is 2:3. Other intervals are generated by several fifths. The pentatonic scale Gong Shangjiao Zhengyu (1 2 3 5 6 in the simplified notation) ) is determined according to the law of mutual generation of fifths, and the order is: Gong → Zheng → Shang → Yu → Jiao. Practice has shown that the melody played according to the law of fifths is the most beautiful. String instruments are typical instruments that are tuned according to the law of fifths.

5. The charm of ancient Chinese music

Traditional Chinese medicine believes that the five tones, namely Jiao, Zheng, Gong, Shang, and Yu, correspond to the five elements (wood, fire, earth, metal, water) , and connected with the five internal organs and five emotions of human beings. For example, palace-style music is melodious, quiet, honest and solemn, as generous and solid as "earth", and can enter the spleen; Shang-style music, high-pitched, tragic, sonorous and majestic, has the characteristics of "gold" and can enter the lungs; horn-style music is full of vitality , full of vitality, with the characteristics of "wood", which can enter the liver; Zheng mode music, warm and cheerful, lively and relaxed, has the characteristics of "fire", which is pleasing to the heart; Yu mode music, sad and sad, desolate and soft, like flowing clouds and flowing water, has the " "Water" properties, can enter the kidneys. The "Five Tones Cure" of traditional Chinese medicine is to select repertoire based on the characteristics of the five modes of music and the relationship between the five internal organs and the five elements to harmonize emotions, regulate the internal organs, balance yin and yang, and achieve the purpose of maintaining the dynamic balance of the body's qi and maintaining human health.

Representative music of the Bianzheng mode is the Fou music played by Gao Jianli before Jing Ke went to Qin Dynasty. Its style is tragic and desolate.

Music in Bian Gong mode is relatively rare and is currently missing.

6. What is rhythm~

We can classify sounds into three categories: speech, musical sounds, and object sounds.

Without sound, not only humans would not be able to survive, but also all living things would not be able to survive. Human culture is created jointly by people, so everyone can enjoy the fruits of culture.

Music culture is no exception. It is the unique language of mankind. The explanation of the term "temperament" should be: using mathematical methods to calculate the acoustics of physical vibrations; using mathematical methods to calculate the relationship between the frequencies of the sounds emitted when objects vibrate; the standard height of each melody scale in music mutual relationship.

Before humans had language communication, in order to capture a large wild animal in a group, they would use their own calls or blow their horns to indicate their geographical location. The pitches were Relative height, this is the oldest rhythm. In the ancient Xia and Shang dynasties, humans created many musical instruments through various self-entertainment activities and intuitive judgment, such as ox horn, ox bone flute (only two or three tones), reed pipe flute, etc.

People create temperaments when playing musical instruments. Although these temperaments are not calculated, their audibility is judged intuitively by the human ear, resulting in "1", "3", "5", "6" and so on have rhythms with relative pitches. Due to historical reasons and people's limited understanding of music at that time, its rhythm was not fixed.

So when did the temperament begin to be initially clarified? It can be said that it was during the Xia Dynasty (about 21st century BC), when the reed flute (called a flute) had appeared and become popular. People could play two, three or even more pipes of different lengths with their mouths at the same time. When the reed flutes and flutes sounded at the same time, it was discovered which reed flutes and flutes had good and bad relative pitches.

Therefore, the good-sounding and harmonious reed flutes (different lengths and pitches) are kept for easy imitation in the future. From then on, people discovered that the longer the flute, the lower the sound; the shorter the flute, the higher the sound.

According to today’s melodic verification methods, it can be seen that the musical intervals of the reed flute that the ancients retained and used in harmony are: the octave, pure fourth, and pure fifth intervals with a certain pipe length as the standard tone; The Concorde flute made of octaves, perfect fourths, and perfect fifths is made based on the pure fourth pipe length. The Concorde flute is made of octave, pure fourth, and pure fifth based on the pure fifth pipe length. Guan... There is a record of "harmony" in the oracle bone inscriptions unearthed from the Yin Ruins in China (about 1401 BC to 1122 BC). "He" is the predecessor of Xiaosheng (from Thirteen Miao to Seventeen Miao).

It can be seen that the history of Sheng dates back to at least 3,000 years ago. Since there is such instrumental music as "harmony", there must be rhythm.

From ancient times to the present, the temperament modulation of Sheng is to use traditional fourths, fifths, octaves and sounds to adjust the pitch. It can be seen that during this period, our country's ancient four-, five-, and eight-tone interdependent rhythms came into being.

This four-, five-, and octave tuning method still has practical significance in today’s instrumental music tuning. Please look at the diagram of the fourth, fifth, octave cycle, and whirlpool tuning methods: the production of rhythm is inseparable from sound, and the production of sound comes from vibration.

When we use a sounding body (such as a string or a bamboo tube) to vibrate through external force, the earliest sound wave emitted is the fundamental frequency sound. This fundamental frequency is the easiest for people to hear, and then press its The vibration of each part produces many overtones that coexist. Since the overtones after the third overtone are very weak, it is difficult for the human ear to distinguish them.

Please look at the overtone relationship diagram: when an instrument produces a 1 (Do) sound, there is actually a "regular overtone series" (in the overtone series of each object sound, there are antinodes and Nodes, nodes make no sound, only antinodes make sound). my country's pentatonic scale (Gong, Shang, Jiao, Zheng, Yu) was probably established in the Shang Dynasty (about 16th century BC).

After humans continue to accumulate experience in artistic practice, it was developed due to the fact that the predecessor of "龠" was the reed pipe and flute. After countless experiments, the musicians established a certain music based on the human hearing. Taking the root canal as the basis, the reed flutes of different lengths and consonant pitches are modulated using the laws of four, five and octave intergeneration, thus producing "1", "2", "3", "5", "6", these pentatonic scales are fixed and used. At this time, the musicians discovered that the ratio of the length of the reed, flute, and flute to the rhythm was 9, 8, 7, 6, 5.

That is: the length of 9 is Gongyin, Shangyin is eight-ninths of Gongyin (9:8), Jiaoyin is (9:7), and Zhengyin is (9:6) , the feather sound is (9:5). From the relationship ratio of these parts, the ancients came up with a calculation method to prove each tone in the pentatonic scale, which is China's earliest temperament calculation method recorded in history books.

After the pentatonic scale was established in ancient times, a certain tonic connected many different high and low tones with mutually reinforcing laws to create a tone. There were three main modes of music at that time: Qing mode (Yu mode), Ping mode (Gong mode), and Side mode (Shang mode).

Around 770 BC, there is a record in "Zhou Li Chun Guan": Da Si Yue "plays six rhythms, six tones, five tones, eight tones, and six dances to bring ghosts and gods..." There is also " "Book of Rites? Li Yun" records: "The five tones, six rhythms and twelve pipes are still in the palace." In summary, it can be seen that the "Five Tones" are the main body of all ancient music, and the "Six Temperaments" are developed from the "Five Tones".

Namely: Gong, Shang, Jiao, Zheng, Yu, Bian Gong "7". On the basis of the "Six Laws", the ancients further developed it into the "Seven Laws".

The development method still uses the "law of five degrees of mutual generation". At the end of the Spring and Autumn Period and the Warring States Period, ancient musicians made full use of the method of "four, five, and eight degrees of revolving palaces to generate the rhythm" and carried out a major reform of the rhythm system.

The "Twelve Rules" were produced and used; their names are: Huangzhong "1", Dalu "#1", Taicu "2", Jiazhong "#2", Guxi " 3", Zhong Lu "4", Ruibin "#4", Lin Zhong "5", Yi Ze "#5", Nan Lu "6", Wu She "#6", Ying Zhong "7"). At the same time, "24 laws", "pure laws", "more than three hundred laws" and so on were produced and used.

At that time, there had not been the invention of "simplified musical notation" and "line notation", so when the "note name" was determined, it was decided by the court musicians. Although twelve equal temperaments had already appeared at that time, because most musical instruments could not play twelve equal temperaments, there were too many temperament systems, and composers did not have a perfect composition method, so twelve equal temperaments were not widely spread among the people.

Musical temperament, after more than 2,000 years of practice by countless musicians, has proven that the application of three types of temperament: "the temperament of fifths", "pure temperament" and "twelve equal temperament" is relatively complete. And also among the people.

7. What is temperament

We call the absolutely accurate height of each sound in the musical sound system and its mutual relationship as temperament.

The classification of temperament is formed in the long-term development of music practice. There are many types of temperament, and the well-known main temperaments are "pure temperament", "intergenerational temperament of fifths" and "twelve average temperament". "Law" three kinds. Among them, the "Twelve Equal Laws" are currently widely used by countries around the world.

Temperament Fantasy Pure Temperament Before Bach, the father of music, vigorously advocated twelve equal temperaments, there were not only many types of Western scales, but also the division of intervals was based on the pure temperament system. Pure temperament means that the simpler the ratio of the sound wave vibrations of two tones, the more harmonious the two tones will sound, and vice versa.

This is also the innate characteristic of human ears, so the sound wave vibration ratio of the so-called harmonious intervals in the early days is roughly as follows: perfect one degree 1:1 perfect octave 1:2 perfect fifth degree 2:3 perfect fourth degree 3:4 Major third 4:5 Minor third 5:6 Major sixth 3:5 Minor sixth 5:8 To sum up, the most harmonious interval is of course a perfect one, followed by a perfect octave, but the second and seventh are It's quite a discordant interval. The vibration ratio must be a very strange ratio.

Although pure temperament best meets the requirements of human ears for bel canto and can produce very beautiful harmonic sound effects, it is not very practical. Because such a ratio will cause a lot of trouble due to shifting the tonality. For example, the main note of C major is DO. The pitch of other notes should be determined based on DO as the starting point, but if it is transferred to G major, The pitch of all the notes will change slightly.

Before the Baroque era, because the form of music was simple, transpositions were rare. However, as the form of music became more complex, pure temperament became a rather troublesome system. Twelve Equal Temperaments With the development of music, the shortcomings of pure temperament were revealed. In order to solve this problem, Twelve Equal Temperaments came into being.

A: Twelve equal temperament: It divides an octave into 12 equal intervals, each interval is defined as a semitone, and two semitones constitute a whole tone.

B: The biggest advantage of Twelve Equal Temperament: No matter how you transpose or modulate, you can get equal musical effects.

But this is relative, because the twelve equal temperament divides an octave into 12 equal parts, so the vibration ratio between each semitone is an infinite decimal that cannot be divided, so No matter which *** is played, it is impossible to obtain a truly completely harmonious musical effect, but the impact of the twelve equal temperaments is quite small, and it is still a very good interval system in comparison. The reason why MIDI cannot replace the effect of real-person performance no matter how much progress is made is because when real-person performance is performed, the performer will use his or her own ears to judge the degree of harmony of the intervals. It is usually closer to pure temperament, but it cannot be done on a computer. The fundamental reason is the interval definition system. There are fundamental differences, but the differences are not too big.

Semitone, whole tone The smallest pitch distance in the twelve equal temperament structure is called a semitone. The distance between two tones is equal to two semitones and is called a whole tone.

There are twelve semitones in an octave, which is six whole tones. Consonants Sounds with the same pitch but different meanings and notations are called consonants.

Enharmonic notes are derived from the equal temperament, because it is possible to produce enharmonic notes only when the semitones are equal. The law of mutual generation of fifths is actually part of the pure temperament. It stipulates that the frequency ratio of fifths is 2:3. Other intervals are generated by several fifths. The pentatonic scale Gong Shang Jiao Zhengyu (1 in the simplified notation) 2 3 5 6) According to the law of mutual generation of fifths, the order is: Gong → Zheng → Shang → Yu → Jiao.

Practice has shown that the melody played according to the law of fifths is the most beautiful. String instruments are typical instruments that are tuned according to the law of fifths. Edit this paragraph's formal characteristics The relationship between music and people is so close, and the influence of different melodies on people has long been recognized by traditional Chinese culture.

Chinese Confucianism and Taoism both have their own series of music. Confucius heard the beautiful music - Shao music, "the lingering sound lingered around the beams", and "for three days he did not know the taste of meat"! Many of Hua Yanjun's famous songs are Taoist music. China's ruling classes of all dynasties have closely linked music with "rituals". Many of the "wind", "elegance" and "song" in "The Book of Songs" are lyrics, which were all set to music at that time.

Chinese feudal society also raised music to the level of reflecting public opinion in governance and governing the country. "Lu's Spring and Autumn", "Historical Records", "Hanshu", "Houhanshu", etc. all took the trouble to record it. There is a similar "political motto" about music and governance: "Therefore, when the sound of governing the world is peaceful and joyful, the government is peaceful; when the sound of troubled times is angry, the government is good; when the sound of the country is destroyed is sad, the government is dangerous. . Music is about politics, but it is also about changing customs. ”

Today, with the rise of China, classical music is also faced with the issues of inheritance and development, reference and innovation, tolerance and independence. In terms of exploring nationality and cosmopolitan nature, outstanding repertoire such as "Butterfly Lovers" and "Er Fountain Reflects the Moon" have achieved the perfect orchestration of Chinese and Western instruments, and have achieved good results in promoting the pure Chinese spirit.

In terms of the combination of people's nature and society's nature, "Little River Flowing", "Nine Bends of the Yellow River", etc. have entered the hall of elegance and become good works that are loved by experts and ordinary people. In terms of exploring the personality of musical instruments and the integrity of the band, "First Moon Plum", "Fighting Tigers on the Mountain", "Liuyang River", etc. have achieved outstanding results.

In terms of the combination of life and ideology, "Yellow River Cantata", "Fighting Typhoon", etc. have undoubtedly become model works. In the combination of sensibility and rationality, "Dance of the Yao People" and "The Train Enters the Miao Village" are definitely good works that have achieved success.

In terms of innovation and exploration of form and technology, the Chinese classical band draws on Western music instruments and expression techniques. Western music for big, medium and violin, including harp and traditional Chinese instruments zither, xiao, flute, ruan The combination of , pipa, erhu, etc. has been successful. Because these instruments, whether in Chinese music or Western music, are instruments that can be connected to high notes at the top and bass at the bottom.

As the suona and other instruments in Chinese music and the trumpet and other instruments in Western music have more distinct and unique personalities, and are not very inclusive, there have been no successful works in the exploration of compatible combinations. See if you can create some new styles of Chinese wind and percussion music by combining the Chinese suona with percussion instruments such as drums, gongs, and cymbals, combined with Western piano, trumpet, steel drum, etc.

Can the oldest Chinese music such as xun, sheng, guqin, etc., be combined with the participation of xiao and flute, combined with Western music clarinet, etc. to create some new styles of Chinese folk music and Chinese ancient music.

Strive to eventually not rely on audio equipment and be able to perform outdoors in front of large audiences.