In recent years, Madi has not "lived on its laurels". He devoted all his experience to performance, creation and theoretical research, and successively created a number of outstanding works, such as Sacrifice Spirit, Customs on the Frontier, Autumn Night in the Deep Mountains, Desert, Homecoming, Spinning, Delighting in Rain on a Spring Night and Running on a Dry Boat.
In the autumn of 2007, the first solo concert of Madi's flute works was held in Xi 'an. While appreciating his flute works, it is necessary to conduct in-depth discussion and research on his flute music art in order to spread and develop this "unique" music style. McGrady Style is mainly divided into three parts, namely, creation, performance and teaching.
"If you want to make a difference in the performing art of flute, you must have your own works." This good word seems to be an indisputable fact. From Feng, Liu, Lu and Zhao of the older generation to Yu Xunfa and Zhan Yongming of the middle and young age, they all have their own masterpieces, and they are no exception. With the 20-year-old practice "Qinchuan confession", it became famous in one fell swoop. Behind the success, of course, my father's strict supervision and his own efforts, and more directly, the soil and cultural atmosphere based on life gave birth to creative inspiration. Xi 'an, an ancient city, is located in the middle of Guanzhong Plain, which governs Qinchuan for 800 miles. Rich land, rich resources, excellent land and excellent people's spirit, thirteen dynasties in the history of China established their capitals here, which lasted for thousands of years. The glory of Qin and Han dynasties, the heyday of Sui and Tang dynasties. In this ancient land, history has engraved countless miracles. Madi, a Chang 'an native who grew up at the beginning of the ancient Silk Road, has been deeply integrated into his blood. In his dozens of works, most of them reflect strong local characteristics. On this basis, he explored new musical elements and new creative ideas and concepts from time to time. His works have the following characteristics:
First, his creation is deeply rooted in folk songs, traditional opera music and traditional music. Talk about this, but also from Shaanxi's region, culture, language, folk songs. Shaanxi includes northern Shaanxi, Guanzhong and southern Shaanxi. After the Tang Dynasty, the climate deteriorated, the ecology decayed, the land was barren and the drought continued. Fang Zhiyun's "restless, decisive, mellow and frugal" languages include Guanzhong dialect in the Central Plains Mandarin in northwest China and Shanxi dialect in northern Shaanxi. Influenced by its region, culture and language, Shaanxi people have long been bold and resolute, and there have been vigorous folk songs. Shaanxi folk songs are mainly composed of folk songs, minor tunes, dance music and songs. The most famous is the bold "Journey to Heaven", in addition to Shaanxi Opera, Errentai and Yangko. In addition, because it is an ancient capital with many dynasties, many types of ancient music, especially Tang Le, have been passed down to this day, enriching the types of music in Shaanxi. From the perspective of music itself, its mode characteristics, quotient and feather mode are mostly transferred to the subordinate Gong Yin system, and it keeps jumping back more than four or five degrees, and its timbre is relatively simple. Common music groups are 5 12, 562, 623, 56 12, and there are also scales with local color characteristics, such as the 7-tone scale. It is with this unique musical style and profound cultural accumulation that Madi people have formed their own unique style. Songs such as Sacrificing the Soul, Expressing the Feelings of Qinchuan, Border Customs, Dawn, Spinning and Running on a Dry Boat are all adapted and refined from local folk songs and dance music. Qinqiang Qupai was transplanted from Qinqiang Qupai. Songs such as Autumn Night in the Mountain, Youzhou Tower and Rainy Night for Friends in the North combine the meaning of Tang poetry with the rhyme of ancient music. When you appreciate them, you will immediately feel the excitement and sadness of the yellow land and realize the profound artistic conception of ancient music.
Second, based on local characteristics, be brave in innovation. After a series of works, such as "Qinchuan Express" and "Border Customs", were affirmed by the world, Madi tried to transfer the musical style of Qinchuan Customs to other fields. 200 1 Combined with Wang Wei's Lonely Smoke in the Desert, Long River sets the yen. Through the description of the caravan journey on the ancient Silk Road, coupled with the exotic tone, it presents a unique exotic style. Once this song came out, it was highly praised by many players and flute friends, which can be said to add a touch of bright color to flute creation in the new century. Since then, this new creative trend of thought is unstoppable, and in 2003, Minnan music materials were used to compose "Going Home"; According to the artistic conception of Du Fu's Tang poem Delighting in Rain on a Spring Night, he created the flute Delighting in Rain on a Spring Night with the same name. In 2005, Watching Yangko was adapted from Shanxi folk songs ... Perhaps the new century has brought new creative thinking to Madi. These music works not only express their feelings through the scenery, but also integrate the author's perception of life and the pursuit of ideal realm, which fully embodies the author's profound understanding of "beauty".
Thirdly, his works are rich and varied, and the main melody and accompaniment constitute an organic whole. His works include flute solo, flute and band works, flute duet and flute music. The selected flutes are mainly alto flutes suitable for "blowing feelings" in F and E, and bass flutes good at expressing "meaning and rhyme", especially non-membrane bass flutes, which produce unique texture and perfectly express the deep connotation of music. His works emphasize the coherence and listening ability of the main melody, and almost every melody will be unforgettable for a long time. When he writes, he is in no hurry to achieve success. Instead, write down the melody roughly first, and then sing it repeatedly in order to make the melody exquisite and perfect. Qinchuan Express Feelings was born on the basis of slight changes in scales, using the charm of Wan Wan Qiang opera and adding the flute technique of folk melody. In addition, his works are not only the beauty of the main melody, but also the orchestration and the main melody complement each other. The orchestration not only adopts the traditional music rhythm, but also adds more local music colors, and uses the technique of "I am simple, you are simple, and I am complex". At the same time, it is interspersed with polyphony and promoted layer by layer, which makes the whole work distinct, ups and downs, climaxes and meaningful.
Almost all these excellent music and orchestration were written by Marty. This may not be difficult for a professional composer, but for Marty, I have to admire his talent. If you think about it carefully, it is indeed "one side of the soil and water will nourish one side of the people". Living in an ancient city with profound cultural heritage and rich humanistic atmosphere, the understanding of excellent music culture and the diligence of the day after tomorrow have prompted beautiful and distant notes to emerge naturally from their hearts. At this time, we have put aside the definition of amateur and professional, because only our inner voice is sincere.
Good music needs good performers to interpret and popularize. As an outstanding flute player in contemporary China, Madi is even more obligated to interpret his own works. It can be said that his performance is gradually improved with the deepening of his works.
From the perspective of blowing, he pays attention to the continuity of breath, and his voice pursues looseness, roundness, transparency and brightness, compatibility between North and South, and combination of Chinese and Western. Marty believes that "playing the flute is based on qi, and qi is connected with everything." In his works, we can clearly feel his ease. No matter what style of music is played, the timbre is so round and clean, and the sound is very penetrating. When he plays, the airflow is very slow, and the air naturally flows out through the support of the lower abdomen (meaning that the mouth is open and comes out of the abdominal cavity), which can make the sound more concentrated and reduce the airflow to the lowest point, which is conducive to controlling the breath in a relaxed state; It is precisely because of this relaxed playing state that he used the air vibrato with the characteristics of "horse history" in the playing process. His air vibrato is different from the general abdominal vibrato. According to the development and ups and downs of music, he uses air vibrato at different speeds and breathing positions to express the connotation of music, and sometimes uses deep belly vibrato to express distant poetry. Sometimes shallow vibrato is used to express the sadness of crying; Sometimes, the combination of the two shows the charm of scene blending. The use of these different ranges of vibrato tells a touching story with people talking. His natural playing method also draws lessons from the western flute playing method. The timbre is soft and beautiful, and the high, medium and low timbres are relatively unified. This kind of playing method is especially obvious when playing ancient music, which embodies the extraordinary realm of "the flute player is vivid and comprehensive".
In terms of playing techniques, in addition to the commonly used flute playing techniques, Marty also used new playing techniques such as "kneading, crossing, stopping, whistling, and metal sound without film" on the flute, which broadened the flute playing techniques. Speaking of rubbing, we will soon think of the performance of Qinchuan confession 7. It is through the forefinger and middle finger together, downward pressure, harmonious friction falling 7, producing a unique effect like pressing strings with a banhu. This technique is used to imitate the bitter sound in Shaanxi music, which is very close to human voice. Just like the runqiang in opera, it adds infinite rhythm to music. It can be said that this technique is almost the same. "Crossstroke" was first used in the brilliant Good Northern Shaanxi. Through the continuous alternating vibration of two adjacent fingers, it produces a unique sense of spirituality and crisscross. Marty used it to imitate the voice of a mule in Sacrifice Spirit, which is vivid. Used in an autumn night in the mountains, pursuing ethereal artistic conception. Speaking of Autumn Night in a Mountain, in addition to the technique of "horizontal strike", it also pioneered three special techniques of "stopping and whistling". "Shaqi" originated from the technique of shakuhachi, which is explosive and full of powerful qi, producing a sense of surprise and shock; "Huyin" is a combination of flute and throat, that is, while playing melody, throat sings different tones, which has a harmonious effect; "Metal sound without film" refers to the use of a film-free bass flute to produce a flute-like metal sound by controlling the airflow and timbre. This song uses these techniques to express the profound artistic conception of ancient poetry through the distant flute. Marty's rational use of playing skills enhances the style of music and forms a unique "Marty's style" feature.
When it comes to "beauty", every performer has his own opinion. Marty's understanding of "beauty" can be summed up in sixteen words: "the combination of reality and reality, the combination of rigidity and softness, deepening layer by layer, inspiring people." In his view, in a piece of music, besides the change of strength, there should also be ups and downs of timbre according to the artistic conception of the music. From an aesthetic point of view, if the whole piece of music is timbre, then even if the timbre is very uniform and perfect, the unchanging beauty will not be perfect as a whole. Judging from his works and performances, Madi's works are composed of several levels. In different paragraphs, he also divided the charm and timbre into several levels, which are touching and soft, soft and firm, with far-reaching implications, and portrayed the connotation of the music from the simple to the deep. His works are like curves from low to high and from high to low, and his performance broke the original belief of "Beidi School".
While the deductive career is booming, Madi has not forgotten to sort out his own experiences and books, and actively devoted himself to professional bamboo flute teaching and amateur bamboo flute promotion.
In his spare time, Madi is not idle. In April 2007, in order to better promote the popularization, education and exchange of bamboo flute art in Shaanxi, he initiated the establishment of the "Dixiao Xiaoyu Friendship Association". He gave up his house in Shaanxi Song and Dance Troupe as the activity place of the fraternity, and held regular exchange meetings and lectures for flute friends to answer their questions and demonstrate and explain in person. Since it was founded a few months ago, more and more friends have joined the fraternity. It can be said that this fraternity has become a paradise for flute friends. At the strong demand of flute lovers, in July 2007, the first Madi bamboo flute training camp was held in Xi 'an. More than 30 campers from the United States, Heilongjiang, Guangzhou, Hunan, Shanxi, Henan, Jiangsu, Shandong, Inner Mongolia, Gansu, Hebei and other regions gathered together to exchange ideas and learn from each other. Teacher Ma guided the campers one by one, and the campers gained a lot. Madi said that he will hold more such amateur exchange activities in the future and invite professional performers to participate from time to time. He is very willing to be the ambassador of the "flute culture" and make suggestions for inheriting and developing China's excellent national culture.
"Practice is the only criterion for testing truth." After years of teaching and practice, Marty has formed his own set of theories. He pays attention to: "Breathing out of the abdomen, abdominal support, slow airflow, and mouth resonance." Emphasize that you should be in a relatively relaxed and natural state when playing. "Qi is the foundation of playing" runs through his flute theory. China always said that "the breath sinks to the bottom, and the voice is downright bad". Only when the breath sinks can the body relax naturally. Relaxing the worry-free cavity can make the breath flow smoothly and make a loose sound. Through the orderly adjustment of the mouth, the timbre of the three areas can be unified. When practicing breath, you can imitate the feeling of "dog panting" for physical exercise. When doing this, you can lower your throat, open your mouth (in the state of "Austrian" sound) and keep your waistline expanding outward. As soon as the breath comes in and out, you can find the sense of position of the breath and the distensibility and elasticity of the abdomen, suck it up, keep the diaphragm supported outward, open your mouth, keep your throat open, and rely on the support of the abdomen for eight breaths. After basically finding the feeling, you can try to play long notes on the flute, and then practice the transformation of breath by combining ditty and folk songs. At the same time, you can practice the flexibility of your fingers and the elasticity of your tongue through etudes in a planned way. "Qi, tongue and finger" are the three elements of playing the flute well. In playing music, he stressed that we should not blindly play one style of music, but should be more exposed to various styles of music, master the knowledge beyond music more comprehensively, absorb more factors that can be used for reference in sister art, and play our own music as much as possible. What music wants is the prosperity of "letting a hundred flowers blossom and a hundred schools of thought contend".
Qinchuan Express My Feelings has been circulated for nearly 30 years, but in recent years, Madi has gradually entered the eyes of flute colleagues. As a talented piper who is a late bloomer, he embodies everyone's elegance in creating works, playing bamboo flute, popularizing education and bamboo flute theory. We will pay attention to the prosperity of this flute altar together on 10/3. We also look forward to Madi's future artistic path, just as Mr. Lu Chunling, the master of the flute, sent a message: "Take the lead, and the art of the flute will take off"!