Before we learn to play this piece, we should understand its glory in the history of Chinese piano music. "Shepherd Boy Piccolo" won the first prize in the Chinese National Style Works Competition organized by Russian composer Alexander Nikolayevich Tsirpin in 1934. This was a major event that caused a sensation in the music world at that time. The book "The Biography of He Luting" (written by Shi Zhongxing) records that the New Evening News commented: "The most important and memorable thing is that he opened up the boundaries between Chinese tones and Western music theory. The success of his works encouraged us to work for the revival The techniques of improving Chinese music and studying Western music theory have been as vigilant as those who are extremely conservative in ancient music and those who advocate complete Europeanization."... Composer Qu Wei could still clearly describe his feelings after listening to this concert many years later. Feeling, "Its appearance has a very unusual significance and has created a new world for the nationalization of piano music."

This is indeed the case. "Shepherd Boy Piccolo" not only uses Western music techniques, It also shows the characteristics of national music. It has been more than 60 years since it came out, and its rich and fresh local sentiment has made Kuang people happy, moved, and amazed! The music depicts the beautiful fields in the south of the Yangtze River, with floating clouds above, water crossings below, shepherd boys and old cows, flutes and singing. . It is an audible lyric poem and a visible landscape painting.

Regarding fingering:

The first and third paragraphs are written with the same counterpoint technique. Compared with the first paragraph, the third paragraph has more changes in melody and is more lively. Joyful. In order to play the beginning, end, rise and fall of the melody well, we must carefully study the fingering and use reasonable fingering to play rounded lines. Do not use unreasonable fingers to cause the connections to be disconnected and the breaks to be continuous. . And following the same rules in the first and third paragraphs makes it easier to master. In addition to the existing marks on the score, I will add some additions, some of which are different from the ones on the score. Students can choose according to their own situation.

In the four sections starting from the first and third paragraphs, the fingering of the left hand should be unified:

The above are suggestions and changes on the fingering.

About musical phrases:

Practice the direction, beginning and ending of musical phrases according to the phrasing lines on the score, and pay attention to all rests. The short sentences should be broken up, but the atmosphere of connecting several small sentences into one large sentence should be maintained. For example, in measures 4-8 of the left hand, four small sentences are connected into one large sentence:

Because the left hand is easy to be ignored, I will give two examples of the left hand. In fact, the right hand should also have the same requirements to distinguish the musical phrases clearly. But the left hand must be practiced alone, because the low part it is responsible for is an independent part. Although it is sometimes in a secondary position, it must have its own cadences so that it can have polyphonic characteristics when played. The difficulty in playing a musical phrase well is that the left and right hands often perform staggeredly, that is, when the left hand is finishing, the right hand is starting, or vice versa. The dynamics marked on the score are mainly for the right hand. For example, at the beginning of the first and third sections, the tong marked in the second measure and the factory marked in the fourth measure are suitable for the right hand, but the left hand is the closing sentence and should be weak. , these should be paid full attention to when playing on the basis of practicing their respective parts separately.

About speed: The speed of the first and third sections should not be too fast, especially the third section, as it is easy to follow the second section. You should take a deep breath at the end of the second paragraph and start the third paragraph well. When playing the first and third sections, regardless of speed or music, imagine the beautiful scenery of Jiangnan, and use your fingertips to touch the keys to find a soft and clear sound to highlight the lyrical poetry; Afraid of force, just avoid bluntness) express the distant mountains and rivers, the sound of singing or flute in the wind. For such a vivid picture, the sound must be meticulous. This kind of sound pursuit is not easy, but you must work hard.

The second paragraph is relatively easy. The speed can be slightly faster, but faster is definitely not better. Lively but not rushed, the sound is grainy but not heavy, imitating a clear flute sound. The rhythm must be accurate.

Suggestions for pedaling:

You should be careful not to emphasize the accent with your hands when pedaling, and to close the end of the sentence.

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