A very ancient stringed instrument, originally called "Kanhou" or "Konghou". There are three types of shapes in the literature: "lying harp, vertical harp and phoenix-headed harp". The harp has a long history and a long history. It has a wide range of sounds, soft and clear timbre, and strong expressive power. In ancient times, in addition to being used in palace music, it was also widely spread among the people. Nowadays, it is often used for solos, ensembles, accompaniments for singing and dancing, and is used in large ethnic orchestras. In ancient times, there were three types of konghou: the lying one, the upright one, and the phoenix-headed one. "Historical Records. Book of Fengshen" says: "So the South Vietnamese people prayed to Taiyi in the temple, and Houtu began to use music and dance, and called songs and composed twenty-five strings. From then on, "Ji Konghou Qin Se" was written in "Tongdian" by Du You of the Tang Dynasty: "Emperor Wu of the Han Dynasty asked the musician Hou Diao to make it... According to its shape, it is like a zither but small, with seven strings, and it is played like a pipa." This is a sleeping harp and harp of the harp and harp type. From the brick book of the Wei and Jin Dynasties tombs in Jiayuguan, Gansu Province, there are no frets on the panels. The vertical harp was introduced from the Western Regions in the Han Dynasty and was later called "Hu harp". "Music Chronicles of the Sui Dynasty" records: "The modern music of the Xiang Pipa and the upright-headed konghou comes from the Western Regions and is not a Chinese instrument."
The shape of the phoenix-headed konghou is similar to that of the upright konghou, and it is often used as a musical instrument. The phoenix head is named after its decoration. The sound box is placed on the lower crossbar, and the upward curved wood is equipped with a zhen or qizhen to tighten the strings. The phoenix-headed harp was introduced from India.
The vertical harp is shaped like a half-bowed back, with a curved ringing groove. It is set on an upwardly curved curved wood, with legs and ribs, and more than 20 strings stretched out. It is held vertically in the arms. , played simultaneously with the thumbs and index fingers of both hands from both sides, so people in the Tang Dynasty called playing the harp also called "Qing the harp". According to ancient murals and documents, there are 23, 22, 16, 7 and other types of strings used to erect the konghou.
The harp is an ancient Chinese plucked instrument with a long history. According to research, it has been circulating for more than 2,000 years. In ancient times, in addition to being used by palace bands, the harp was also widely circulated among the people. During China's prosperous Tang Dynasty (618-907), with the rapid economic and cultural development, the art of harp playing also reached a very high level. It was during this period that the ancient Chinese harp was introduced to neighboring countries such as Japan and North Korea. In the temple of Tora Daiji Temple in Japan, there are still two remnants of the Tang Dynasty harp. However, this ancient musical instrument fell out of popularity in the late fourteenth century and gradually disappeared. People can only see some patterns of the harp in previous murals and reliefs.
The two types of harps popular in ancient China are the horizontal and vertical harps. The new Yanzhu harp is developed based on the basic shape of the ancient vertical harp. The shape of the new Yanzhu harp is similar to that of the Western harp, but the difference is that it has two rows of strings, each row has thirty-six strings, and each string is supported by a herringbone string post on the sound box. On the top, the shape of this kind of string pillar looks like the formation of wild geese flying in the sky, so this kind of harp is called the wild goose pillar harp.
The sound of the Yanzhu harp is soft and clear, with a wide range and rich expressive power. It can play both ancient and modern national music and harp music. Since the left and right rows of strings have the same tone, they are equivalent to two harps. It is very convenient for playing fast melodies and overtones. It can also play melody and accompaniment in the middle range with the most beautiful sound with both hands at the same time. This is also the case with other musical instruments. Incomparable. In addition, Yanzhu Konghou is unique in playing vibrato, slide, vibrato and other playing techniques.
Types of konghou
1. Yanzhu konghou
2. Modulated konghou
In recent years, Chinese composers have created and adapted konghou He has composed many pieces of music, among which the solos include: "Mountains and Flowing Waters" (Li Huanzhi), "Hunan Fei Bamboo" (Cui Junzhi), "Fishing Boat Sings Evening" (Cao Zheng, Cui Junzhi), "Moon High" (Qu Chunquan, Cui Junzhi), "Yangguan San" "Stacks" (Yang Tongba, Liu Wenjin), "Sifan" (Tang Hongyun), "Facial Painting" (Li Haihui), "Quatrains" (Li Haihui), "Luo Shen" (Feng Guangying), "Wenxin Diaolong" (Cui Junzhi) and "Folk Songs" Suite" (Zhang Fuquan, Cui Junzhi), etc. The ensembles include: "Along the River During the Qingming Festival" (Liu Weiguang), a harp and flute duet, "Autumn Thoughts on the Dressing Table" (Du Ciwen), a harp and harp duet "Fish Beauty" (Wu Zuqiang) , Du Mingxin, adapted Du Yong), etc. The concertos include: "Fantasy of Miluo River" with harp and national orchestra (Li Huanzhi), "Fantasy of Miluo River" with harp and national orchestra, "Yin of harp and harp" with national orchestra (Li Huanzhi), "Capriccio of Ancient Mausoleum" with harp and national orchestra (Shi Wanchun) , Yang Qing), "Peacock Flying Southeast" with harp and orchestra (He Zhanhao), "Dance of the Yi Nationality" with harp and string orchestra (Yang Zhihua), and "Moon Reflected in Two Springs" with harp and string orchestra (Chen Jiaju, Zhang Dinghe), etc. "High Mountains and Flowing Waters" expresses the artistic conception of "lofty mountains with high aspirations, vast oceans with flowing water". "Xiang Fei Bamboo" is created based on the famous song "Fortress" of the Han Dynasty
3. Fengshou Konghou
4. Small Konghou
Small Konghou, my country A plucked string instrument used by ethnic minorities in the ancient north. Also known as angular harp. It is a kind of vertical harp, which is the smaller of the vertical harp. It has a long history, simple structure, beautiful appearance and easy use. It has been circulated in the court and among the people for a long time, and was lost in the Qing Dynasty. It was revived in the 1930s and introduced new ones in the 1980s. Small konghou in various shapes have appeared on the music stage in my country and the world, and are used for solos, ensembles or accompaniments.
The small konghou, which has a long history, originated from ancient hunting bows and has the initial form of the development of ancient musical bows into ancient musical instruments. Since it was introduced from Persia to the Central Plains of my country via the Western Regions in the Eastern Han Dynasty, it has been used in the courts of all dynasties. In the Sui and Tang Dynasties, it was used in Xiliang music, Qiuci music, Shule music, Gaoli music and Tianzhu music. In the murals in Dunhuang from the Northern Wei Dynasty to the Tang and Song Dynasties, you can see the angular harps that ancient instrumentalists "held vertically in their arms" and played "with both hands in unison". The traces of ancient musical bows are still retained, but they are thickened and bent upward. The *** ring groove. Not only is the method of tying the strings simple, but the number of strings is also mostly eight. The author thinks: This is the small harp among the angular harp. The "Twenty-two (one made of three) strings" recorded in Du You's "Tongdian" of the Tang Dynasty and the "Twenty-Five Strings" recorded in Wu Zimu's "Mengliang Lu" of the Song Dynasty are obviously the largest of the angular horns. According to the law of development of things, it is generally simple first and then complex. The angular harp must also be small first and then big, and the strings are stretched from small to large. The small konghou was circulated until the late Ming Dynasty and was lost in the Qing Dynasty, but it is still recorded in historical records. "Tongkao of Xuwen of the Qing Dynasty" said: "The small konghou is played by women, with a copper string tied to the handle around the waist. It goes with the string, with a tassel hanging from the head, and the shape is very beautiful. ... The only stringed instrument that can walk and play is It’s just a kind of small harp.” The book also includes an image of the small harp.
The Xiaokonghou solos composed and adapted include "Tang Palace Nocturne", "Three Plum Blossom Alleys", "Fishing Boat Sings Evening", "Sifan", "Palace Maid's Resentment" and "Palace Banquet", etc. The ensemble pieces include "Yangguan Triple" and "Qujiang Caprice" duet with guanzi and konghou, and "Liangzhou San" with konghou, sheng and guanzi trio.
Honghou Music
/m?f=ms&tn=baidump3&ct=134217728&lf=&rn=&word=%F3%ED%F3%F3&lm=-1
Sifan
/p?word=%F3%ED%F3%F3&pos=3&s=3
Introduction to Konghou
/p?word=%F3%ED% F3%F3&pos=5&s=1
平湖秋月
/v_show/id_XOTI1NTY2NA==.html
[ Pí pá ]（English: Lute, pipa)< /p>
Plucked string instruments. During the Northern and Southern Dynasties, it was introduced from India to the mainland via Qiuca. wooden.
The speaker is semi-pear-shaped, with four strings. The neck and panel are equipped with "phase" and "fret" to determine the phonetic position. When playing, hold the instrument upright, press the strings with your left hand, and play with the five fingers of your right hand. It is an important national musical instrument that can be used as a solo, accompaniment, or ensemble. The so-called pipa in history does not only refer to the pipa with a pear-shaped sound box, but a variety of plucked instruments with similar shapes and different sizes, such as the current Liuqin, Yueqin, Ruan, etc., which can be said to be Pipa type musical instrument. The names "Pi" and "Pa" come from the right-hand technique of playing these instruments. Pi and Pa are originally the names of two playing techniques. Pi is played forward with the right hand, while Pi is played backward with the right hand. Pipa is the main plucked instrument with a long history in my country. After generations of players' improvements, the shape has tended to be unified, and it has become a four-string pipa with six phases and twenty-four frets. Pipa has a wide range of sounds, various playing techniques, and rich expressive power. When playing, each finger of the left hand presses the strings at the corresponding fret, and the right hand wears a celluloid nail to pluck the strings to pronounce the sound.
The pipa is traditionally a pentatonic instrument. By the time of the Republic of China, the number of pianos had begun to be increased according to the twelve equal temperaments. The current standard pipa has eight phases and thirty frets. The expressiveness and adaptability of the pipa have been greatly enhanced. It can not only play traditional music, but also Western and modern works. And good for working with symphony orchestras. Created conditions for further development later. By the mid-to-late 20th century AD, the art of pipa had made new developments. In terms of pipa production, the original silk strings were changed to nylon steel strings, and some even used silver strings to increase the volume and accuracy of the pipa. *Ming. In terms of technique, the use of the left thumb and chords greatly improves the expressiveness of the pipa again. As a result, a large number of outstanding solo works have emerged that integrate traditional music and modern composition theory, as well as ensembles with various instruments and pipa concertos with small orchestras and symphony orchestras. In the 21st century, pipa not only shows a return to the prosperous Tang Dynasty in China, but also attracts more and more attention from music lovers around the world. Many traditional music and contemporary works are loved by Chinese and foreign audiences. It can be said that Pipa has begun to enter the international music scene.
Play a stringed instrument. Liu Xi's "Explanation of Names" calls it "Bibao": "Bibaba originally came from Hu Zhong, and it was the drum played immediately. When pushing the hand forward, it is called Bibi, and when it is drawn, it is called Biao. When it resembles the drum, it is named after it." After the approval, it was rewritten as Pipa. From this point of view, pipa is derived from onomatopoeia.
In modern times, the old four-phase ten-pin, twelve-pin, and thirteen-pin pipa has been basically no longer used, and has been replaced by the six-phase eighteen-pin, twenty-fourth, twenty-fifth, and twenty-eighth pins. Enjoy the pipa. Arranged according to the law of twelve equals. The backboard of the pipa is made of rosewood, rosewood, and rosewood. There are two transverse bracing beams and three sound columns built into the belly, which are bonded to the panel. The hand covering is made of mahogany, horn, ivory or old bamboo, with a sound hole on the inside, also known as "Nayin". The head of the piano is carved with the characters longevity, music, bat, wishful thinking, phoenix tail and other styles, and some are inlaid with jade stones. The neck of the piano is called a phoenix neck, and it is connected to the string groove and the mountain pass. It is attached to the front and has a phoenix pillow (also called a phoenix platform) attached to the back. The phase is made of horn, mahogany or ivory, and the product is made of bamboo, which is a symbol of phoneme. Total length is approximately 96 cm.
There are twelve tuning methods for Pipa, and the commonly used tunings are A, d, e, and a. The six-phase and twenty-eighth fret pipa has a range of A-g3. The right hand has fingering techniques such as playing, picking, pinching, rolling, double playing, double picking, dividing, hooking, wiping, pressing, buckling, whisking, sweeping, round, half-round, etc. The left hand has kneading, chanting, lifting, tapping, Techniques such as virtual pressing, twisting strings, overtones, pushing, pulling, playing, and notes. Can play a variety of harmonies and chords. It is widely used in ethnic bands and a variety of local operas and folk arts accompaniments. Famous pieces of music include "Ambush from Flying Daggers", "The Overlord Disarms", "Moonlight Night in Hanyang", "White Snow in Spring", "Moon High", the concerto "Little Sisters of the Heroes of the Prairie", etc.
Types of pipa
1. Five-string pipa
2. Nanyin pipa
3. Xiang pipa, moon pipa, treble pipa , electric pipa
Five-string pipa:
At the turn of the Han and Wei dynasties, it was introduced to our country from India via the "Silk Road" by musicians from the Western Regions. The earliest records can be found in "Book of Sui Dynasty". It was popular in the Central Plains in the fifth and sixth centuries AD. Later it spread to the south of our country.
In the 500 years from the Northern and Southern Dynasties to the Sui and Tang Dynasties, the five-string pipa was popular and became the main instrument in the nine and ten music genres of the Sui and Tang Dynasties in Xiliang, Qiuci, Tianzhu, Shule, Anguo and Goryeo. The five-string pipa is described in the works of many poets such as Zhang Hu and Bai Juyi in the Tang Dynasty. The structure of the five-string pipa is roughly the same as that of the ancient four-string pipa. By the Song Dynasty, it was no longer used in Jiaofang and was replaced by the four-string pipa. Pipa replaced.
In the Tang Dynasty, a variety of musical instruments were introduced to Japan from my country. Among them, the mother-of-pearl and red sandalwood pipa was introduced to Japan in 756 AD and is hidden in the Shoso-in of Todaiji Temple in Nara, Japan. The five-stringed wooden pipa is made of fine craftsmanship and is decorated with mother-of-pearl. There is also a scene of a camel rider playing the pipa embedded on its belly. It has become a rare treasure in the world's art treasure house.
In the 1930s, the Shanghai Datong Music Concert made a five-string pipa with three strings on the right side of the head and two on the left. Bass string. Due to war and other reasons, this five-stringed pipa has been lost. In recent years, in terms of pipa reform, there has been an exploration of narrowing the string spacing on the four-string pipa and adding a bass string to make it a five-string pipa. In order to maintain the traditional shape of the pipa, a new low D (or E) string is tied to the stringer at the headstock (center above the string groove). This five-string pipa expands the bass range, enriches the timbre, improves playing skills, and opens up new prospects for pipa music creation and performance.
Nanyin Pipa:
After passing through the generations, the Pipa has changed to varying degrees in terms of appearance, specifications and playing postures. The Nanyin Pipa is named after playing the folk music "Fujian Nanyin". Since the Tang Dynasty, the pipa has developed into a vertical position, but Fujian Nanyin has always maintained the ancient horizontal position, so it is also known as "horizontal position".
Nanyin pipa is popular in southern Fujian and Taiwan. It is one of the main instruments used to play Fujian Nanyin and plays a conducting role in the band. It is often paired with Nanyin Dongxiao to play the melody of the music together, making the light and euphemistic Fujian Nanyin rich in local characteristics.
The structure of Nanpa is exactly the same as that of Pipa.
The playing style of Nanpa is simple and unique, and its phonology has the flavor of striking a bell. The main playing techniques include strumming, picking, finger-picking (quick picking), finger-pointing, finger-tipping, falling down, half-jumping, pressing, nail-finger (equivalent to the "buckle" of holding the pipa vertically), fast-falling finger and Slow down and so on.
There are many popular varieties of pipa now. According to the selection of materials, craftsmanship and sound quality, they are divided into advanced, intermediate and popular pipa. According to the number of phases and products, it can be divided into four phases with 10 products, six phases with 18 products, 24 products, 25 products and 28 products.
Xiangpa:
Based on the pipa, the back plate, which originally only served as a sound reflection, was made thinner so that it could vibrate, and the strings were changed to move up and down. To increase the volume of the piano and use the tuning method of the cello. It can participate in band performances and is most suitable for playing large-scale national orchestral works with modern themes.
Yueqin:
It has the advantages of two instruments: Yueqin and Pipa. It can be tuned and played according to the traditional method of Pipa, or it can be tuned and played using violin strings. The pronunciation of "Yuepa" is more sonorous and powerful than that of Yueqin, with louder volume, pure sound quality, crisp, full and translucent timbre. It is most suitable for Beijing Opera accompaniment with Jinghu.
Treble pipa:
The upper right part of the body is crescent-shaped, with a sound hole and a sound window on the belly. The sound column inside the piano is adjustable, and the pronunciation is one octave higher than that of the ordinary pipa. , balanced high and low, and beautiful sound.
Electric pipa:
The appearance of the pipa maintains the national style of the original pipa. Only some electrical components are installed on the panel of the piano case. The pickup is placed under the strings close to the string binding. Electromagnetic induction converts the vibration of the strings into electrical signals, and then produces sounds through amplifiers and speakers. In order to avoid reverberation caused by vibration, the electric pipa increases the thickness of the panel and reduces the volume of the loudspeaker box, making the sound quality purer. The tone of the electric pipa is soft, beautiful, crystal clear, and has rich expressive power
Pipa's School
Wuxi School:
In the early Qing Dynasty, Pipa was divided into the south , two factions in the north. The Southern School, that is, the Zhejiang School, is represented by Chen Mufu, who uses the lower body to draw the wheel. The music he is good at includes "Haiqing", "Removal of Armor", "Moon High", "Pu'an Curse", "General's Order", "Water Force Drill", "Chen Sui", "Wulin Yiyun", etc. The northern sect, that is, the Zhili sect, is represented by Wang Junxi, who uses Chulun. The music they are good at includes "Ambush from Flying Daggers", "Sunset Flute and Drum", "Xiao Pu'an Curse", "Yan Yue Zhengsheng", etc. Wuxi Hua Qiuping and Hua Zi together learned from the North and South Schools and compiled "North and South Music". The three-volume "Secret Book of the Second School of Pipa Music" uses Gongchi music and has relatively complete fingering records. It is the earliest Pipa music book published in my country. The school taught by Hua was called the Wuxi School.
The "Secret Book of Pipa Pupu" of the Northern and Southern Schools was published three times, which had a great influence on later generations of scholars and provided valuable information for the study of ancient Pipa Pupu. Although there are not many direct descendants of the Wuxi sect. At present, there are very few people who perform according to the original score of "Fahrenheit Score", but other schools have more or less adopted some of the music in "Fahrenheit Score" to organize the current popular performance words. Therefore, the Wuxi School played a connecting role in the middle of the Qing Dynasty and made due contributions to the development of pipa.
Pinghu School:
The Pinghu School is represented by Li Fangyuan. The Li family is a pipa family and has played the piano for five generations. Li Fangyuan’s father often took the piano to socialize and visited famous players. Li Fangyuan was influenced by his family. Next, he called himself a "pipa addict". Not only did he have outstanding skills, but he also compiled the "New Score of Daqu Pipa of the Northern and Southern Schools", which was published in the 21st year of Guangxu's reign in the Qing Dynasty. Later generations called it "Li's Score", a genre taught by Li. It is called Pinghu School.
The Pinghu School has been passed down from generation to generation by Li Qiyu, Li Fangyuan, Wu Mengfei, Wu Baijun, Zhu Yunqing (Zhu Ying), etc. There are "New Scores of Thirteen Daqu Pipa Scores of the Northern and Southern Schools", "Yiyi Room Pipa Scores", " Zhu Ying's Pipa Score" and so on.
Wu Mengfei was personally taught by Li Fangyuan, and later by Zhang Ziliang, a student of Li Qiyu. He often performed in Shanghai and had extensive artistic activities, making a positive contribution to the promotion of the Pinghu School.
Zhu Yunqing studied under Wu Baijun, a student of Li Fangyuan. In view of the "Fahrenheit Music Book" which states that "the left hand is forbidden to use the two fingers when pressing strings", he pioneered the method of using the big finger of the left hand to press the strings, and broke through the tradition of not using the little finger to press the strings. restricted area.
The Pinghu School’s performance is both literary and martial, and the music is delicate. It is often accompanied by virtual soothing movements to enhance the lingering feeling. Wuqu pays attention to momentum, and the lower part of the wheel is mainly used ("General Order" uses the upper part of the wheel). Pinghu Pipa has a considerable influence on the formation of various styles of Pipa today.
Pudong School:
The Puyue School was inherited from Ju Shilin, and was passed down by Ju Shilin, Ju Maotang, Chen Zijing, Ni Qingquan, Shen Haochu and other teachers. There are "Ju Shilin Pipa Score" and "Chen Zijing". "Pipa Score", "Yangzhengxuan Pipa Score", etc.
Ju Shilin was a native of Huinan, Nanhui County during the Jiaqing period of Emperor Qianlong of the Qing Dynasty. His date of birth and death is unknown. He was good at socializing and was known as "the best in the south of the Yangtze River".
It is said that Ju once took a boat to Xushuguan in Suzhou. Since the city gate was closed at night, Ju played the pipa for fun. The officers and soldiers guarding the gate were so moved by the sound of the lute that they were so happy that they opened and closed the gate to let him go. The beautiful legend of "Bounce Hushuguan". Ju Shilin left a handwritten pipa score of "Xianxu Youyin", which was published by People's Music Publishing House in 1983 and was titled "Ju Shilin Pipa Score".
Ju Shilin’s disciples include Ju Maotang, Chen Zijing, Cheng Chuntang, etc. According to "Nansha Magazine": "At that time, there were those who were good at playing pipa in my city: one was Mr. Chen, and the other was Chen Zijing. Zijing often traveled and ate outside. , recalling that Guangxu Dinghai (1887) went to Wang's house outside the east gate of Shanghai. Shizi was sitting respectfully, and he saw his fingers covered with bronze armor, playing "The King Unarmored" with a loud and unparalleled tone. People said: Chen Shanwu Tao, Cheng. The gong and drum technique of the Pudong School began with Chen, and Chen's disciple Cao Jinglou was the best at this technique. Another disciple of Chen, Ni Qingquan, used a pipa that was larger and longer than usual. It was called a big set of pipa, which could highlight the momentum of martial arts.
Chen Haochu, another disciple of Chen, made important contributions to the development of the Pudong School, trained a large number of pipa players, and compiled and published the "Yangzhengxuan Pipa Score".
The characteristics of Pudong School Pipa are: majestic martial arts, good use of the large pipa, full and powerful bowing, and quiet and delicate compositions. Its distinctive traditional techniques include: pinch roll, long pinch roll, various pinch and sweep, big split, fly, double fly, wheel rolling on four strings, changing the number of strings, merging four strings, three strings and two strings, sweeping and skimming, eight Sound wind nodding, a variety of chanting, timbre changes, gongs and drums playing, etc.
Chongming School:
Chongming is located in the northeast corner of Shanghai. It is inherited from the pipa music of "Yingzhou Ancient Diao". Since it originated from Chongming Island, later generations are called Chongming School. The Chongming School has been passed down from generation to generation by Jiang Tai, Huang Xiuting, Shen Zhaozhou, Fan Ziyun, and Fan Shaoyun, and is famous for its meaningful and beautiful style of literary music. The Chongming style pipa can be traced back to the Kangxi period of the Qing Dynasty more than 300 years ago. At that time, the northern style pipa was introduced to the Tongzhou area close to Chongming, and there were people such as Bai Zaimei, Zi Yuru and his son, Fan Huapo, Yang Tingguo and others. The early Chongming style pipa inherited the Northern style pipa from Bai Zaimei. The evolution of its style was influenced by local customs and customs.
In 1916, the publication of "Yingzhou Ancient Diao" edited by Shen Zhaozhou and re-edited by Xu Lipun and renamed "Mei'an Pipa Pu" enabled the Chongming Pipa to be carried forward.
In 1918, Liu Tianhua, a master of modern traditional Chinese music in my country, studied Yingzhou ancient pipa music with Shen, and brought these music to various places to perform. In 1928, he recorded the main music of the school, "Flying Flowers and Diancui", which was instrumental in promoting Chongming. Pai Pipa played a very positive role.
The pipa fingering method of the Chongming School requires "the twist method is sparse but vigorous, the wheel method is dense but clear", and advocates "slow but continuous, fast but not chaotic, elegant and upright music, the sound is not too high, and the rhythm is not too fast". In particular, the chakra finger is famous for its "lower wheel", so the sound is delicate and soft, good at expressing quiet and elegant emotions, and has a leisurely and delicate taste. At the same time, he "emphasizes the clip and neglects the wheel", prefers single notes and clips, and believes that "although the wheel finger is easy for people to hear, too many fingers will be too low and will be inelegant." Therefore, most of its repertoire is classical music, among which the famous slow and classical music such as "Flying Flowers and Spots of Green" and "Zhaojun's Resentment" are elegant and correct; while "Fish Playing in the Water" and other small songs are full of the interest of life.
Wang School:
Wang School, also called Shanghai School, is an important pipa school in the history of Chinese music development since the 20th century, and is also the only school named after an individual. The formation of the Shanghai School set off the third climax in the history of the development of pipa in my country.
Wang Yuting’s pipa skills were inspired by Wang Huisheng. Later Wang Huisheng taught Chen Zijing pipa music to Jiang. Later, he was taught by Ni Qingquan and Cao Jinglou of the Pudong School and Yin Jiping of the Pinghu School. They incorporated the traditional ancient pipa scores into a performance score based on the actual performance of the flower tones, which was widely taught.
Wang taught his students to use Gongchi notation, and each time he copied it in his own hand and gave it to his students, it has become a precious calligraphy treasure to this day. Anyone who performs according to the Wang family's music will be called the Wang School by later generations. In "Pipa Performance Method" compiled by Lin Shicheng and published by the Music Publishing House in 1959, the "Shanghai Wang Yuting School" was first listed in writing as one of the pipa schools.
The first characteristic of the Wang School's performance is that at that time, most of the Southern Pipa pipas used the lower wheel, but Wang creatively used the upper wheel, thus laying the foundation for the use of the upper wheel on the pipa. Secondly, he did not stick to the traditional playing method and carefully modified the ancient music to make it more concise and achieve better results than before. Wangpai's pipa performance was powerful and touching.
Wang has trained a large number of outstanding modern and contemporary pipa players. Such as Wei Zhongle, Sun Yude, Li Tingsong, Cheng Wujia, Jiang Fengzhi, etc.
How to choose Pipa
[Edit this paragraph]
1. Look
First look at the materials used in Pipa. The materials of pipa, in terms of the material of the back plate, are divided into four types: top grade, high grade, mid grade, and low grade. The highest grade is made of red sandalwood, which has the best sound and the most expensive price. At present, there are very few pipas with a whole piece of red sandalwood backing. Although there are some, they are made of two or three pieces of red sandalwood. The high-end ones use mahogany as the backing material. There are many varieties of mahogany, among which old mahogany (black and red in color, which is difficult to buy at present) and new mahogany (light red in color, most of the mahogany pipa currently available on the market) This type) is made of backing material, has better sound quality, and is slightly more expensive. The mid-range ones are made of rosewood and fragrant rosewood as backing materials, with good sound quality and moderate price. The second-grade ones use white wood (such as (hole) wood, etc.) as the backing material, which has poorer sound and the cheapest price. The whole backboard material is the best, and the elephant shell is the most expensive.
No matter what kind of material is used to make the backboard, most of them use a single piece of backing material, and do not like to use a backing material made up of several pieces. Because the backing material is made up of several pieces, the appearance and sound will not be affected when you buy it new. But after using it for a period of time, traces of spelling will be seen in the joints. If they are deglued, the sound will also deteriorate. The entire backing material must also be checked for cracks or deformation.
How to distinguish the backing material of rosewood, old mahogany and new mahogany, you can use a knife to scrape off the paint at the back of the mountain pass and the upper end of the backing material, and then use the test method or use the naked eye to observe its wood grain and color to identify. If you don’t understand the wood grain color of red sandalwood and don’t know how to test it, you’d better ask someone who knows how to look at it to choose it together, because there are too few red sandalwood materials at present, and it is inevitable that there will be shoddy products.
The materials used for Shankou, Liuxiang, and Fengzhen, in terms of cost and price, include ivory, jade, white horn, black horn, aggregate, mahogany, etc. Elephant shell is the most expensive and mahogany is the cheapest. There are several types of head flowers: ivory, jade, aggregate, etc. There are several types of precious seeds, including ivory, rosewood, boxwood, and mahogany.
The head, string grooves and strings should be evenly matched. In terms of the shape of the pipa, the size of the head, the curvature of the string groove, the slope of the four strings, the length, thickness, etc. are all based on uniformity and beautiful fit. The grinding work should be fine and the paint color should be elegant.
The neck of the pipa (the six phases) should not be too thick or wide, nor should the first fret position be too thick or wide. If it is too thick and wide, the left hand will feel tired when pressing notes, which is not conducive to the left hand's pressing action, especially Women's fingers are shorter and more laborious.
Carefully observe whether the distance between the phase and the left outer end of the first string on the first fret and the outer end of the fourth string is similar. It is common that the distance between the first string and the left outer end of the first fret is short, and the distance between the fourth string and the right outer end of the first fret is longer. When playing "yin" or "pull" on the sub-strings, the string body can easily slide out of the fret end and cause the string to slide out of the fret end. No more music. This is a production flaw. Most of the reasons are due to not sticking the back hand to the center of the lower abdomen of the panel, or because the Yamaguchi string is opened to the left or unevenly.
The surface of the compound hand should be horizontal and should not be semicircular. Firstly, it is related to pronunciation. Secondly, it is semicircular. When the string body is tightened upward, the string body at the mouth of the compound hand will In a concave shape, the string body will easily break here.
The first string is the thinnest, has the highest pitch, and is used more often. For this reason, the first string is the easiest to break and often needs to be replaced. Generally, a wire trough is sawn under the turn-through hole of the compound string, and the strings can be changed through this trough, which can save the time of changing the strings. However, some manufacturers only saw a very thin wire trough. When actually changing strings, they cannot use this wire trough to change strings, making this wire trough useless.
So this wire trough must be wider, and the back side of the wire trough must be removed more, so that the string can be easily changed through this wire trough.
The frets and phases are phonetic devices on the pipa, and the position of each fret must be aligned to produce accurate notes. Between each product, from top to bottom, from wide to narrow, the arrangement is very even. In particular, you should look at the distance between the upper end of the 18th fret and the string body, which should be O. 4 to O. 5 cm; if the distance exceeds O. If it is above 6 cm, you will feel very tired when pressing the next button. For this reason, the distance between the string body and the upper end of the 18th fret exceeds O. The 6 cm product is a manufacturing defect and should be replaced.
2. Listening:
The pipa, which has a strong and resonant volume and rich golden and stone timbre, is the first choice of buyers. A pipa with good sound will make you love it and never let go when you play it. The more I play, the more I love playing. It can be said that I never get tired of playing. Therefore, when purchasing a pipa, you must first play it and listen to its sound effects.
As for the timbre of the pipa, the older generation of performers once listed five timbres: "sharp", "tang", "loose", "crisp" and "explosive", and asked for the sharp, tangy and "explosive" to be measured on a pipa. It has five tones: loose, crisp, and explosive. "Sharp" means that the sound of the lower treble is very bright; "tang" means that the sound of the upper bass area is very rich; "loose" means that the sound is very sensitive after playing the string; "crisp" means that the sound of the first, second, and third frets is very clear. The tone of the position is very crisp; "explosion" refers to the tone that can make the sound of metal and stone. The sound is thick and weighty, and the sound can be transmitted far. Among them, there are huge contradictions in the production of Tang, Song and Bao. For example, on the pipa that can produce the sound of hall and pine, the sound of explosive metal and stone cannot be heard in most cases. On the pipa that can produce the sound of solid and rich metal and stone, the sound effect of hall and pine is mostly lost. How to make a pipa have a loud volume, a very sensitive response, and at the same time a sound of metal and stone, and a solid and powerful tone. This is the goal of pipa masters, and it is also a technical issue in production. Here is No detailed introduction is given.
The technique used to make the panel, and the texture of the panel, whether it is good or not, have the most direct and close relationship with the pronunciation of the pipa. In the past, panels were made of sycamore wood boards from Zhejiang, Fujian, Anhui and other places. After many experiments and comparisons, it is now made using sycamore boards grown in Lankao, Henan. However, Lankao's paulownia boards also have advantages and disadvantages. But in a high-quality Lankao Paulownia tree, there are only two best boards. Whether the best paulownia board can be selected is another knowledge that the production masters have when selecting materials.
Pipa Famous Songs
The Sunset Flute and Drums Are Silent
The White Snow Dragon Boat in Spring
Haiqing Naked a Crane on the Song
Qinglian Yuefu Song and Dance Introduction
House of Flying Daggers Flower Party
Autumn Moon in Han Palace
Overlord Removes Armor and Improves Exercise
Feihua Diancui Yi Nationality Dance
Five Heroes of Langya Mountain in the Big Waves
Zhaojun's New Feather Tune Green Waist
Tianshan Spring Torch Festival Night
p>