The top ten Chinese classical music "Mountains and Flowing Waters", "Three Plum Blossom Alleys", "Spring River Flower Moonlight Night", "Autumn Moon in the Han Palace", "White Snow in Spring", "Questions and Answers of Fishermen and Woodcutter", "Eighteen Beats of Hujia" , "Guangling San", "Pingsha Luoyan", "Ambush from all sides".

1. High mountains and flowing water

It is said that the pre-Qin harp master Boya once played the harp in the barren mountains and wilderness. The woodcutter Zhong Ziqi was able to understand that this was a description of "the towering ambition is high in the mountains" and "the vast ocean". The ambition is in the flowing water." Boya was surprised and said: "How wonderful, my heart is the same as my own." After Ziqi's death, Boya suffered from pain and lost the sound of his friend.

It is said that Boya, a luthier in the Pre-Qin Dynasty, once played the lute in a barren mountain. Zhong Ziqi, a woodcutter, was able to understand that this was a description of "the towering ambition is in the mountains" and "the vast ambition is in the flowing water". Boya was surprised and said: "It's so good, my heart is the same as mine." After Ziqi's death, Boya lost his close friend due to pain, dropped his harp and cut off the strings, and never played again for the rest of his life, hence the song "Mountains and Flowing Waters".

2. Guangling Sanqin Music

Also known as "Guangling Zhixi". One of the Xianghe Chu tunes in the Han and Wei dynasties. Jikang was killed for opposing Sima's dictatorship. Before his execution, he calmly played this piece of music for sustenance. The earliest surviving musical score can be found in "Magic Secret Music". Also known as "Guangling Stop". One of the Xianghe Chu tunes in the Han and Wei dynasties. Jikang was killed for opposing the dictatorship of the Sima family. Before his execution, he calmly played this piece of music for sustenance. The extant piano score was first seen in "Qinqi Mipu". Another saying: It was originally popular in the Guangling area (now Shouxian County, Anhui Province) in the late Eastern Han Dynasty. folk music. It was played with musical instruments such as qin, zither, sheng, and zhu, and now only the ancient qin music remains, the earliest recorded in "Magical Secret Music". There is no record of the content in the early days, and most qin players now interpret it according to the folk legend that Nie Zheng assassinated the King of Han (which is different from official history). According to "Qin Cao": Nie Zheng was a Korean during the Warring States Period. His father was late in making swords for the King of Han and was killed. In order to avenge his father, he went to Mount Tai to study the piano assiduously for ten years. After painting his body and swallowing charcoal, his voice and appearance changed, he returned to Korea and played the piano not far from the palace. His superb piano skills stopped passers-by and cows and horses stopped in their tracks. After the King of Han learned about it, he summoned him to the palace to play. Nie Zheng took advantage of his unpreparedness and pulled out a dagger from the belly of the piano and stabbed the King of Han to death. In order not to harm his mother, he disfigured himself and committed suicide.

Later generations have added section titles to the Guangling San (Guangling San), some of which are named after plots corresponding to the story. The emotions expressed in the music are indeed quite similar to this tragic legend. similarities. "Guangling San" recorded in "Magical Secret Pu" refers to (one paragraph), minor preface (three paragraphs), major preface (five paragraphs), main tone (eighteen paragraphs), random tone (ten paragraphs), and postscript ( Eight paragraphs) ***Forty-five paragraphs. This piece of music has long been extinct. It was only after liberation that many pianists translated and played it. The music is specially tuned, and the second string and the first string have the same sound, so that the bass melody can be played on these two strings at the same time, achieving a strong sound effect.

3. Wild Geese Falling on Pingsha

In the Ming Dynasty, this song was called "Wild Geese Falling on Pingsha". The melody is melodious and smooth, and through the disappearing and appearing wild geese, it describes the scene of a flock of wild geese circling in the sky before landing. Also known as "Yan Luo Ping Sha" or "Ping Sha". The author is said to be Chen Ziang from the Tang Dynasty, Mao Minzhong from the Song Dynasty, Zhu Quan from the Ming Dynasty, etc. There are different opinions. The music score of this piece was first published in "Guyin Zhengzong" (1634) in the late Ming Dynasty. After it came out, it was deeply loved by qin players. Not only was it widely circulated, but it was also processed and developed into multiple versions with different characteristics in terms of number of sections, tuning, mode, artistic conception, etc. It is one of the most popular qin music. .

As for the understanding of the mood of the song, some people use the meaning of "clear autumn and the sound of flying geese" to describe the autumn scenery; "The ambitions of the swans describe the ambition of a scholar"; there are also those who read from the swan geese's "feelings of looking back, the attitude of joking up and down, the image of soaring and then gathering, the spirit of being startled and then rising again", "Once it falls, the sand is flat and the water is far away, The mood is at ease and the heart is at ease, friends have no suspicion, and men and women have conversations." It expresses the emotion that the world is dangerous and not as good as the wild goose. Most of the songs circulating now are seven sections, and the main tones and musical images are roughly the same. The melody rises and falls, continues, and is beautiful and beautiful. The tone is quiet, but there is movement in the silence. The Zhucheng School's "Pingsha" adds a section that uses simulated techniques to express the flying geese against the background of fixed sound patterns. The scene of one echoing the other is vivid, vivid and unique.

4. Plum Blossom Three Lanes

This song borrows objects to sing, and uses the whiteness, fragrance and cold resistance of plum blossoms to praise people with noble integrity. The strange melody in the song is It is repeated three times in different micro positions, so it is called "Three Nongs".

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".

5. House of Flying Daggers

The music describes the final decisive battle of the Chu-Han War in Gaixia in 202 BC. The Han army used an ambush formation from all sides to defeat the Chu army. Xiang Yu committed suicide in Wujiang River, and Liu Bang won.

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 the roof tiles are like 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. , those who are resentful and difficult to understand are the songs of Chu; those who are sad and strong are the voices of King Xiang's tragic songs and generous voices, and the voices of Farewell My Concubine; when falling into Daze, there are the sounds of chasing horses; when they reach Wujiang River, there are the sounds of King Xiang committing suicide, and the rest of the riders trample Xiang. Wang’s voice makes the listener excited at first, sad at the end, and unable to cry at the end. The scene, sounds and colors painted are very similar to those in "Ambush from Flying Daggers" today. The whole song is divided into thirteen sections, all of which can be divided into three parts:

Part One:

(1) "The Camp" is the introduction to the whole song, showing the golden drums and war trumpets before the battle. Cheering in unison, an inspiring scene of everyone shouting. The music gradually becomes faster and faster, and the complex nature of modes and their alternating transformations add to the instability of the music.

(2) "Blow and Beat".

(3) The theme of "point general" is presented, using continuous long wheel fingering techniques (dan wheel, one wheel and one brush wheel) and the combined fingering of "buckle, wipe, flick, wipe" to express the generals A mighty demeanor.

(4) "Arrangement".

(5) The music of "Walk in Line" has a certain contrast with the previous one, 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 Two:

(6) Ambush shows the night before the decisive battle, where the Han army ambush, the atmosphere is calm and tense, paving the way for the next two paragraphs.

(7) A small battle at Jiming Mountain. The armies of Chu and Han were in close combat, fighting with swords and guns, breathing rapidly, and the music began to unfold.

(8) The Battle of Jiuli Mountain depicts the life-and-death struggle between the two armies. The sound of horse hooves, clashing swords, and shouts intertwined and shocked the hearts of the people. First, use the alternating playing method of "stroke, row, strum, row", and then use techniques such as playing double strings, push and pull, etc. 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; the last four strings "stroke" and then "fall" (also known as "stop") suddenly, and the music stops abruptly.

The original song also includes:

(11) Everyone wins.

(12) The generals compete for merit.

(13) Return to camp after victory. Mr. Wei Zhongle's performance ended with "suicide", and the last three sections were deleted and not played. Today, most families adopt this method.

Looking at the whole song, it also has the layout characteristics of "starting, continuing, turning and closing". The first part contains five sections as the "starting and carrying parts", the second part contains three sections as the "turning" section, and the third part contains two sections as the "joining" section.

6. Sunset Flute and Drum (Spring River Flower Moonlight Night)

This is a lyrical and freehand piece of music with a beautiful and smooth melody. Around 1925, Shanghai Datong Music Club adapted this piece into a silk and bamboo piece

"Moonlight Night on the Spring River". The earliest version is "Sunset Flute Song" in 1842. The "Jinle Textual Research" written before 1864 called it the traditional pipa song "Sunset Flute Song". When it was adapted into "Xunyang Pipa" in 1895, the previous six sections were included. Compiled into ten sections, each section borrowed its title from the Tang Dynasty Yuefu. In 1932, it was changed to a folk music ensemble and named "Spring River Flower Moonlight Night". The mood has also developed from the original "late autumn farewell to the river" to a more healthy and uplifting, full of spring spirit. Fresh and beautiful.

After the liberation, the whole song was divided into ten sections with a band ensemble, like ten consecutive pictures: 1. Bells and drums in the river tower, 2. Moon rising over the east mountain, 3. Wind returning to the water, 4. Terraces of flower shadows, 5. Deep water and clouds, 6 , The fisherman sings late, 7. Returns to the shore and pats the shore, 8. The radiator sings in the distance, 9. Returns to the boat, 10. Ending

7. Questions and answers for fishermen and woodcutter

This song is in There are more than 30 versions of the genealogy passed down through the ages, some of which also include lyrics. The music expresses the fishermen and woodcutter's enjoyment of themselves among the green mountains and green waters.

It turned out to be a pipa solo called "Sunset Flute and Drum" (also known as "Sunset Flute Song", also known as "Xunyang Pipa", "Xunyang Night Moon", "Xunyang Song" ). Around 1925, this piece was adapted into a national orchestral piece for the first time. After liberation, it was edited and adapted by many people, making it more perfect and deeply cherished by audiences at home and abroad. Through euphemistic and simple melody, smooth and changeable rhythm, ingenious and delicate orchestration, and precise performance, the music vividly depicts the charming scenery of the Spring River on a moonlit night and fully praises the grace and beauty of the Jiangnan water town. The whole song is like a long landscape scroll with fine brushwork, soft colors, elegance and elegance, which is fascinating.

The first paragraph, "Jiang Tower Bells and Drums" depicts the setting sun reflecting on the river and the wind ripples. Then, the band played a beautiful cantabile theme in unison, with the phrases connected in the same tone, euphemistic and calm; the bass drum rolled softly, creating a profound artistic conception (fragment 1). The second and third paragraphs express the artistic conception of "Moon above Dongshan" (Fragment 2) and "Wind returning to wind and flowing water". Then it was like seeing the breeze blowing in the river, the flowers and plants swaying, and the reflections in the water, layer by layer, in a trance. Entering the fifth section of "Deep Water and Clouds", the magnificent scenery of "the river and the sky are the same color without dust, and the moon is solitary in the bright sky" emerges spontaneously. The band plays in unison and speeds up, just like the scene of white sails dotted with fishermen singing in the distance, approaching from far away, and singing one after another. In the seventh section, the pipa is played with a sweeping wheel, which is like the movement of a fishing boat breaking the water and causing waves to hit the shore. The climax of the whole song is the ninth section "Alas Nai Returning to the Boat", which expresses the artistic conception of returning to the boat breaking the water, splashing waves, and the sound of the oar "Alas Nai" from far to near. After returning to the boat and going away, everything is silent, and the Spring River seems even more peaceful. The whole song ends in a melodious and slow melody, which makes people have endless aftertaste.

8. Hujia Eighteen Beats

A piece of music composed based on the poem of the same name. The theme reflected is "Wen Ji returns to Han Dynasty". During the war at the end of the Han Dynasty, Cai Wenji lived in the southern Huns for twelve years. As the wife of King Zuoxian, she missed her hometown very much. When Cao Cao sent someone to take her back to the mainland, she was not allowed to leave her two children. Her joy of returning home was overwhelmed by the pain of parting her flesh and blood, and she felt very conflicted.

At the end of the Han Dynasty, Cai Yan (Wenji), the daughter of the famous writer and guqin player Cai Yong, was captured by the Xiongnu during the war. She stayed in the south and became the concubine of the Xiongnu king Zuoxian. They gave birth to two children. child. Later, Cao Cao sent someone to take her back, and she wrote a long poem describing her tragic life experience and her feelings of homesickness for her son.

The whole poem consists of eighteen sections, composed of a set of eighteen songs. According to Guo Moruo, in Turkic language, "Shou" is called "Pai", and "Eighteen Pai" means eighteen songs. And because the poem was written by her in response to Hu Jia's lamentation, it was named "Hu Jia's Eighteen Beats" or "Hu Jia Ming". It was originally a Qin song, but after the Wei and Jin Dynasties it gradually evolved into two different instrumental music, called "Da Hu Jia Ming" and "Xiao Hu Jia Ming". The former is the direct successor of "Eighteen Pats 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": "Cai Nu used to make the sound of the Hujia, with eighteen beats per play, the Hu people shed tears and touched the grass, and the Han envoys returned heartbroken to the guests." This is a summary of the content of the song. . The existing music score was first seen in the "Magic Secret Music Book" published in 1425, called "Da and Xiao Hu Jia", and they are all instrumental music without lyrics. The singable Qin song "Eighteen Beats of Hujia" first appeared in "Qin Shi" engraved by Sun Pixian in the 39th year of Wanli in the Ming Dynasty (1611 AD), which is now the most popular musical score. Its lyrics were written by Wen Ji "At the beginning of my life, I did nothing...". The music basically uses a word-for-note approach, with the characteristics of early songs. From the first beat to the ninth beat, as well as the twelfth and thirteenth beats, they all have the same ending, showing traces of being influenced by Xianghe Daqu of the Han Dynasty. The whole song is in a six-tone feather tune, with the rising Zhengyin (5-sharp) and the high pitch (1-sharp) formed in the molding commonly used as modal outtones. The mood is sad and exciting, and deeply touching.

9. Autumn Moon in the Han Palace

This song has two popular performance forms, one is a zheng song and the other is an erhu song. According to records, Erhu was passed down by Mr. Liu Tianhua. "Autumn Moon in the Han Palace" is intended to express the resentment and sorrow of the oppressed palace ladies in ancient times, and to arouse people's sympathy for their misfortune.

This song has two popular performance forms, one is a zheng song and the other is an erhu song. According to records, Erhu was passed down by Mr. Liu Tianhua. "Autumn Moon in the Han Palace" is intended to express the resentment and sorrow of the oppressed palace ladies in ancient times and arouse people's sympathy for their unfortunate experiences.

10. White Snow in Yangchun

According to legend, this was written by Shi Kuang of Jin State or Liu Juanzi of Qi State during the Spring and Autumn Period. "Yangchun" and "White Snow" in the existing piano scores are two instrumental pieces. "Yangchun" means that all things know spring and the gentle wind washes them away, while "White Snow" means awe-inspiring cleanliness and snow and bamboo trees.

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I don’t know if the following counts~

(1) Butterfly Lovers

( 2) Two springs reflect the moon

(3) Spring River with Flowers and Moonlight Night