The carrier of Shaanxi opera music is composed by composers according to the music spectrum of the characters' sorrows and sorrows, and is played by instrumental music. Pipa, as a playing instrument in it, has its specific position and specific musical properties. Its four strings represent different sound quality and volume, and the severity of playing is rapid and slow, which often follows the formation of the cavity structure of Shaanxi opera board and has the effect of stringed instruments. In the performance of Shaanxi Opera, the pipa plays a role in setting off the music itself, which is related to the plot, connected with the story, knowledgeable with the characters, and integrated with drums, gongs, hairpins and small hinges. In addition, the crisp and bright sound of the pipa and the * * * sound induction produced by the sound quality are melodious, stretching, quiet and soft, which is very compatible with Shaanxi Opera music. Shaanxi opera music is a complex, and its accompaniment plays harmonious music for many musical instruments in a big musical atmosphere, serving the transition sound, tail sound, cohesion sound, aria sound, folded plate sound and cantata plate sound of Shaanxi opera, which is very important for the actor's aria expression. Shaanxi Opera has two major modes, namely joyous tone and bitter tone (also called Hua Yin and crying tone), and six fixed musical plates. The expression of music depends on the close coordination and connection of the sounds of various musical instruments, which makes the singing well organized. This established playing method is the charm of Shaanxi Opera music. Pipa is common in many musical instruments, and it is not unusual to blend together to complete a certain piece of music or a certain aria. However, it can be played independently in the rhythm of music that shows the emotional changes of the characters, showing the inner joy, anxiety, sorrow, and even the nervous ideological changes of the characters, and truly achieving the realm of "a string of emotions".
Many traditional operas, newly edited historical operas and modern operas on the stage of Shaanxi Opera are inseparable from the intervention of music. In the expressive force of the stage, the specific styles of Shaanxi Opera music are consistent. Pipa's performance is based on the rhythm of the whole music. Every fulcrum, every strength, such as clear lines, puts beautiful music in place layer by layer, forming an independent artistic quality in pipa playing. In the overall artistic layout of music, pipa solo has a special meaning, and its performance can be divided into three types: grief, nervousness and lyricism, revealing the main body of the essence of Shaanxi opera music and the theme of characters' personality, and playing a role in passing on or transiting emotions.
grief and indignation. Grief and indignation is a portrayal of the characters' emotions at the top, which refers to the spontaneous catharsis of people when they are hit or unable to fight, with obvious subjectivity. For example, the classic traditional drama "Dou E Yuan? When "Killing the Field" is 1% off, Dou E's grief and indignation are expressed by playing the pipa alone. Dou E's grief and indignation came from the accusation against the feudal evil forces, and the helplessness of fate and struggle cast a bleak color on her mind. In "Killing the Field", the pipa's performance points are concentrated between Dou E's prostration, and the music is sad and tragic, expressing Dou E's yearning for Cai's mother-in-law and lamenting the unfair fate. Pipa plucks the strings alone, first with a long tone, which is pure and carefree, with a heavy meaning, and then with a pause, another long tone, which is carefree and deep, full of bitter charm, a little quiet, a light tone, like a sigh, to a sudden, the sound of music comes one after another, to a short tone, and then comes to an abrupt end. When listening to pipa music, viewers are more sympathetic to Dou E's tragic fate. Dou E's emotional grief and indignation, played by pipa, highlights her anger and pain, pain and sadness, thus increasing the feasibility and readability of characterization and moving the audience.
nervous type. Tension is an externalized form of emotion, which has intense or urgent thoughts and feelings and uneasy factors in the early stage of release. Once the nervous mental state is arranged reasonably, the characters themselves or their opposites can form a tacit understanding and achieve the purpose of empathy. For example, in the fifth scene of the modern Shaanxi opera "Xijing Story", when Luo Tianfu advised his only son Luo Jiacheng to wake up, the pipa played alone to catch up with the ups and downs of the feelings of the father and son, which can be described as profound. Here, the voice of the pipa is actually the voice of Luo Tianfu's humanity, and it places a noble, kind, simple and true peasant quality. Pipa starts after Luo Tianfu's affectionate singing, and it is urgent and short, showing a tense atmosphere and a tense mood. "Boom, boom, boom", even three * * * tones have the same sound quality, from light to heavy, and the stop is more powerful and clean. The input of music gives Pipa more space to play, and at the same time, it pays attention to the characters and their life scenes without being divorced from reality, so the transmission to the characters is concrete and clear.
lyrical. Lyricism is the expression, even venting, of characters' emotions. Emotion is both external and internal, both gathering and releasing. The point of emotion mainly depends on the angle and moderation of grasping. For example, the emotional touch of Empress Yves in the traditional Shaanxi opera "Mourning for Maiji" originated from her meeting with her former lover in the Buddhist temple. Iverson expresses the value of life with compassion, great love and kindness. Her spirit of self-sacrifice enriches her supreme and good character, and she is the embodiment of the quiet, the enlightened and the kind. But in the face of his childhood sweetheart, there were ripples in his heart. Playing the pipa alone has virtually enhanced their inner understanding and acceptance, as well as their surprise after meeting and their meditation after the surprise, thus restoring the true nature of the characters. The sound of the pipa is smooth and stretched, such as the breeze soothing the heart, or the water flowing in a stream. The sound rises and slides down, and then rises again after sliding down, and it is joyful and chants repeatedly until harmony participates. The lyrical pipa music lengthens their emotional lyricism and forms a real inner communication.
Pipa has its unique sound quality in the performance of Qin opera music. Its simple and clear playing method and elegant and soft voice seem to be more active and profound than other musical instruments in expressing characters' emotions. The diversity of Qin opera music makes more musical instruments play their due roles. Pipa players should have a clear attitude and play the pipa accurately to make it sound more perfect.