"Mountains and Rivers" was first written by Liezi Tang Wen. It is said that Yu Boya is good at playing drums and Zhong Ziqi is good at listening to music. Yu Boya said, Zhong Ziqi will understand. Yu Boya drummed on the mountain, and Zhong Ziqi said, "Good on drums, great on Mount Tai", but his ambition was running water. Zhong Ziqi also said, "Fortunately, on the drum, the soup is on the running water." Zhong Ziqi died, Yu Boya broke the piano and never played drums again, thinking that the world was not enough to be a drummer. Later, I used "high mountains and flowing water" as a metaphor for a bosom friend or confidant.
As a guzheng music, "Mountains and Rivers" is one of the representative tracks. However, there are three most common versions, one is Shandong Zheng School, the other is Zhejiang Zheng School and the other is Henan Zheng School.
There are three versions because the tunes are completely different, not because of the different playing techniques.
Shandong Zheng School of Qilu Big Class: When playing, the big finger is frequently used, which is vigorous and powerful. Even if it is a "flower finger", it is mostly a big finger playing with a "brace"; But the left hand is both rigid and soft, sonorous and deep, and the playing style is simple.
"Zhongzhou Classical Tune" (or "Voice of Zheng Wei") Henan Zheng School: The performance of Henan Zheng has a great feature, that is, the right hand starts from the place near the Qin code and flows to the place near Yueshan. At the same time, the left hand shakes a lot, and the music performance is very dramatic and effective. In Zheng, Henan, this skill is called "wandering". Among them, left-hand sliding pressure (left-hand pressing to the phoneme slightly retreats when playing the string, and greeting sounds slide up quickly, leaving no sensitive traces), small vibrato (vibrato is thin and tight), sliding vibrato (edge vibrato) and big vibrato (vibrato is wide and affectionate) are the most distinctive. In terms of playing style, no matter Adagio or Allegro, no matter whether the music is cheerful or sad, they are not keen on pursuing beautiful and elegant styles, but are good at being rich and simple, characterized by deep passion. Fu Xuan's evaluation of Henan Zheng music in Fu Zhengxu is that "the music is too high and too few, and the skill is difficult to work".
Zhejiang Zheng School, which has Wulin Yi Yun, is characterized by "big finger shaking", "four o'clock fast", "playing the piano" and "lifting the string", learning and integrating the playing techniques of pipa, sanxian, dulcimer and even western musical instruments. The application of "finger shake" in Zhejiang Zheng is played with thumb as a fine shake, and its effect is very similar to that of bowstring instruments. Strictly speaking, this is not found in the traditional Zheng music of other schools, because the fingering or fingering of other schools actually uses the thumb as a relatively quick support and parting, while the fingering of Zhejiang Zheng shows its own characteristics, which is different from other schools.
However, the mountains and rivers of Zhejiang Zheng School have beautiful tunes. At the beginning, the right hand spans three octaves to show the grandeur of the mountain and the clarity of the water at the same time. In the middle of the song, the right hand is as smooth as water, and the coordination of the left hand in the bass position is as high as a mountain. In the second half, the flower refers to the rapidity of continuous paddling and hitting the mountain. Finally, it ends with overtones, soft and crisp as a dripping stone.
"Mountain Flowing Water" takes "Boya Guqin meets a bosom friend" as the main line, and there are many kinds of Le Shu. There are two kinds of Qin music and Zheng music, both of which have the same name and different styles.
Running water fully uses the fingering of "overtone, roll, row, row, note, up and down" to describe the various trends of running water and express the meaning that wise people are interested in running water and enjoy it.
Running water: Guqin music, which makes full use of the fingering of "overtone, roll, stroke, stroke, note, up and down" to describe the various trends of running water.
The first paragraph: Introduction. Melody constantly jumps and changes the range in a large range. Virtual nudge refers to the change of tone and real tone, and the melody appears and disappears. I still see the top of the mountain, and the fog is uncertain.
The second and third paragraphs: clear overtone, lively rhythm, like "clank, quiet cold current;" Cold, loose roots. "Calm down and listen, you will feel happy. The third paragraph is an octave repetition of the second paragraph, omitting the tail of the second paragraph.
The fourth and fifth paragraphs: like the melody of a song, "Its rhyme is lingering and flowing."
The sixth paragraph: First, the melody of falling rocks fluctuates, and the rising tone and falling tone are greatly increased. Then, the continuous "rolling slow brush" makes the sound of running water, and a rising and falling tone is played on it. The ingenious combination of the two is really like the concept of "extremely boiling and surging", just like the roar of a dragon. Calm down and listen, and take a dangerous boat across the Wuxia Gorge. Dazzling, thrilling. I suspect that this body has gone to the deep mountains and forests, and it is difficult to fill all the valleys. "(See the postscript of Qin Xue Series of Running Water in Qing Dynasty, 19 10).
Paragraph 7: In the high-pitched region, the chord overtone first falls and then rises, and the sound potential is greatly reduced, just as "the canoe has passed, and the sound potential is erratic, sometimes the aftershock shakes, and sometimes it spins slightly." (Postscript to Qin Xuecong and Liu Jiaoshui)
The eighth paragraph: the change reproduces the melody like a song and adds new music materials. The sound of the piano is slightly faster and stronger, and the music is full of enthusiasm. At the end of the paragraph, the sound of running water is restored, which is memorable.
The ninth paragraph: the carol-like melody is from low to high, full of passion. At the end of the paragraph, the seed material of the fourth paragraph appeared again, and finally ended in Gongyin. The eighth and ninth paragraphs belong to the "polyphony" part of Guqin music structure.
The overtone of emotion at the end makes people immersed in the thought of "Yang Yang Hu, sincerely looking forward to the sound of ancient songs".
2. Guangling San: Guangling San of Jikang, also known as Guangling San. It is a large-scale piano music in ancient times, which appeared at least in the Han Dynasty. Its content has always been different, but the general view is to associate it with the piano music of Nie Zheng's assassination of korean king. Nie Zheng Stabbed the King of Korea, mainly describes the tragic story that Nie Zheng, the son of a sword maker, stabbed the King of Korea to death in order to avenge his father's death, and then committed suicide. In this regard, Cai Yong's Cao Qin has a detailed description.
The extant spectrum of Guangling San was first found in the Magic Secret Spectrum (1425) compiled by Zhu Quan in Ming Dynasty, which contained subheadings about stabbing Korea, rushing to the crown, getting angry and reporting swords. Therefore, ancient Qin composers stabbed Guangling San and Nie Zheng to death in korean king.
According to Zhao's History of the Three Kingdoms and Cultural Survey, there are 45 pieces in the total score of Guangling San, which are divided into six parts: finger, minor preface, major preface, correct voice, chaotic voice and post-preface. Zheng Zheng used to sympathize with Nie Zheng's unfortunate fate; After the affirmative voice, it expressed the praise and praise for Nie Zheng's heroic deeds. Positive voice is the main part of music, which shows the emotional development process of Nie Zheng from resentment to indignation, and profoundly depicts his revenge will of not fearing violence and preferring death to surrender. The whole song always runs through the interweaving, ups and downs, development and changes of the two theme tones. One is the theme of correct pronunciation found in the second paragraph of Correct Tone, and the other is the theme of disordered pronunciation that first appears at the end of the grand sequence. Affirmative tone is mostly at the beginning of a paragraph, highlighting its leading role. Chaotic themes are mostly used at the end of paragraphs, which makes all kinds of changing tunes come down to the same tone, which has the function of marking paragraphs and unifying the whole song.
The melody of Guangling San is passionate and generous. It is the only existing Guqin music in China with a fighting atmosphere with Mao Ge, which directly expresses the fighting spirit of the oppressed against the tyrant and has high ideological and artistic quality. Perhaps Ji Kang saw the rebellious spirit and fighting will of Guangling San, so he loved Guangling San so much and had such deep feelings for it.
Guangling San was once a smash hit in history. After the founding of People's Republic of China (PRC), Mr Guan Pinghu, a famous guqin musician in China, arranged and played according to the tunes contained in The Magic Secret, which brought this wonderful guqin back to the world.
Modern violinists believe that this song originated from the HeJian Zaqu in the series.
"Guangling" is the ancient name of Yangzhou, and "three" means exercising and enjoying music. The title of Guangling San shows that it is a kind of piano music popular in ancient Guangling area. This is a large-scale instrumental work in ancient China. Germinated in the Qin and Han Dynasties, its name was first recorded in the book Listening to Guangling Qingsan written by Wei Yingkun and Liu Kongcai. In the Wei and Jin dynasties, it gradually took shape and finalized. Later, it was once lost, and later generations found it in the "Magic Secret Spectrum" of the Ming Dynasty, and then rearranged it to get the "Guangling San" we are hearing now. Qin Le's content is said to tell the story of revenge for his father and assassination of Hanwang during the Warring States Period.
Ji Kang is a master of art. His works, such as Sound Without Sorrow, Difficult to Learn Nature, A Teacher's Advice, Ming Dan and Relieving Private Health, have been handed down from generation to generation, and he plays the piano very well, especially Guangling San, which attracts attention. Ruan Ji, who was thirteen years older than him at that time, was as famous as him. There is often a saying in the history of music that "Qin Qin is Ruan Xiao", but Ji Kang is superior to Ruan Ji in both thought and personality.
Ji Kang dismissed the long-standing dogmatic etiquette and hated the filthy and treacherous official career. He would rather be an unknown and free blacksmith outside Luoyang than follow the crowd. He is obsessed with pursuing the lofty realm of life in his heart: getting rid of bondage, releasing humanity, returning to nature and enjoying leisure. Wang Xiong's fire and powerful hammering are wonderful interpretations of this realm. Therefore, when his friend Dan Tao recommended him to be an official in the imperial court, he resolutely broke up with Dan Tao, and wrote the famous "Breaking Up with Mountain Residence" in cultural history to clarify his feelings.
Unfortunately, Ji Kang's outstanding talent and carefree lifestyle finally brought him disaster. His life philosophy of "not Tang Wu, but thin Zhou Li" and "the more famous a teacher is, the more natural he is" deeply hurt the key of the ruling class: Ji Kang despised the classics of sages so much and hated official career. If it goes on for a long time, it will not endanger my peaceful rule. This man can't kill Zhengmin, the king of Qing Dynasty. Isn't there a Lu An case here? If you are involved with him, you can kill him without giving anyone a hand. Then, under the slander and incitement of some villains who hated Ji Kang, in 262 AD, the ruler Si Mazhao ordered Ji Kang to be executed.
On the execution ground, 3,000 Thai and Thai students wrote to the court to pardon Ji Kang and worship him as a teacher, showing the society Ji Kang's academic status and personality charm, but this "unreasonable demand" will certainly not be accepted by those in power. Ji Kang's thought at this moment is not that his radiant life is coming to an end, but that there is no successor to a wonderful music. He asked for a piano and played the final "Guangling San" on a high execution platform in front of thousands of people who came to see him off. The sonorous piano sound and mysterious tunes are overwhelming and float into everyone's heart. After the play, Ji Kang calmly poked the beginning, when he was only 39 years old.
3. Ambush on all sides:
This is a big pipa with a historical theme. There is no definite theory about the age of music creation. These materials can be traced back to the Tang Dynasty. In Bai Juyi's famous long poem Pipa Trip (772-846), it can be found that the author Bai Juyi once heard the pipa music describing the fierce fighting scenes.
"House of Flying Daggers" is widely circulated and is one of the traditional pipa tracks, also known as "Huai Yang Ping Chu". The existing music score of this song was first seen in Pipa Travel edited by Hua Yu 18 18. The music describes the decisive battle in the Chu-Han War in 202 BC. The Han army ambushed the Chu army on all sides, Xiang Yu committed suicide in Wujiang River, and Liu Bang won. At the end of Ming Dynasty and the beginning of Qing Dynasty, it was recorded in the Biography of Pipa in Tang Dynasty that the pipa player once played a song of Chu and Han Dynasty: "The decisive battle between the two armies moved the world and the roof collapsed. Xu took a closer look, and there were golden drums, crossbows, war horses and war horses ... which made the listener excited first, then afraid and unable to cry. Too touching. " The scenes and sounds drawn are very similar to today's House of Flying Daggers. The whole song is divided into thirteen paragraphs, and the title of the song can be divided into three parts:
The first part:
(1) "Hunting Shadows" is the prelude to the whole song, showing the exciting scenes of the golden drums ringing and the people shouting before the war. Music has the characteristics of divergence and acceleration, and the complexity of modes and their alternate conversion further increase the instability of music.
2 "blow".
(3) The theme of "Dianjiangqu" shows the mighty style of soldiers in the form of a series of long round fingering techniques (but round after round) and the combination fingering of "buckle, rub, bounce and rub".
(4) "formation".
(5) The music of "Walking Team" has a certain contrast with before, and the brave posture of the army is further demonstrated by means of "covering, dividing" and "covering and rowing".
The second part:
(6) Ambush shows that the night before the decisive battle, the Han army ambushed here, and the weather was quiet and tense, paving the way for the latter two paragraphs.
(7) In the small battle of Jiming Mountain, the two armies of Chu and Han fought hand-to-hand, with swords and guns hitting each other, and the breath was short and the music began.
(8) The Jiulishan War depicts a life-and-death battle scene between the two armies. The sound of hooves, knives and shouts are intertwined and shocking. First, the alternating playing method of "row, row, play and row" is used, and then the music is pushed to a climax by techniques such as spelling two strings and pushing and pulling.
The third part:
(9) Wang Xiang was defeated.
(10) Wujiang committed suicide, repeating homophony in a scattered rhythm, alternating with the sound of horses' hooves with close rhythm, showing the scene of chasing each other with the Han army. Then there is a tragic melody, which shows Xiang Yu's suicide; After the last four strings are "scratched", they suddenly "fall" (also called "stop") and the music comes to an abrupt end.
The original song also includes:
(1 1) Chuan Kai.
(12) Generals will strive for merit.
(13) returned to camp triumphantly. Mr. Wei Zhongle's performance refers to "suicide", and the last three paragraphs were deleted and not performed. Today, most scholars adopt this method.
As far as the whole song is concerned, it also has the layout nature of "connecting and turning". The first part consists of five sections, namely connecting and turning, the second part consists of three sections, and the third part consists of two sections, namely connecting and turning.
4 Sorrow: Pyotr Il'yich Tchaikovsky's sixth symphony "Sorrow" profoundly shows his dissatisfaction with reality and his desire for justice and joy, but he can't find a way out under the reactionary rule of the czar. He used extremely mature and developed symphony techniques to vent his unspeakable sadness in his heart, which is his masterpiece handed down from generation to generation.
This work follows the structure of four movements of the symphony suite in writing. The first movement is Allegro, but it shows confusion, pain and hesitation; The second movement is a five-beat waltz, warm and cordial, as if reminding you of good memories in life; The third movement is the movement of strings and progressive music. Strings use fast three beats, while progressive music is the fourth movement of adagio from weak to strong, after a very strong ending. The melody of the strings in this chapter is so strong that people's hearts are shocked and torn by the greatest sadness. Usually, the last movement is brilliant, but Pyotr Il'yich Tchaikovsky regards the fourth movement as a sad adagio, which is a very primitive way.
Light in May: Ludwig van Beethoven
The first movement-2/2 continuous adagio in C minor, trilogy
The emotional expression of this movement is extremely rich, with meditation tenderness, sad singing and dark premonition. Although the accompaniment, theme and intensity have not changed much, it still shows the fluctuation of the author's heartstrings delicately through the changes of harmony, range and rhythm. This sonata contains Beethoven's original ideas. Its fantastic improvisation and the way to explore piano sounds have predicted Debussy Impressionism about 100 years later. The theme it is based on is simple: at the beginning of the music, endless fantasy is constructed by the triplet flowing out continuously, and after four festivals, the first theme looms in the alto. It is meticulous and quiet, slightly melancholy. 1 paragraph 1 minute 18 seconds, and the second theme appeared in B major. The middle part starts with the first theme. The triplet twists and turns to the high-pitched area, showing impatience. Then in the third paragraph, the first theme reappears calmly, and the second theme reappears in C minor, and then continues to play the finale of the basic motivation of bass, slowly disappearing and ending.
The second movement-Allegro, D flat major, 3/4 time, trilogy
This movement is relatively short, and Liszt described it as "a flower between two abyss". It perfectly connects the meditation of the first movement with the tension of the third movement with a completely different expression of light. The first paragraph is the theme of legato and staccato, and then the variation repetition. The middle part is also kept in D flat major. 2 paragraphs 1 min 13 seconds to reproduce the first paragraph. This action seems to be a warm smile left in an instant.
The third movement-Allegro for Excitement, in C minor, in 4/4 time, sonata form.
Although it is closely related to the first movement in tonality, it expresses completely different feelings. The first theme is the uncontrollable boiling and agitation of enthusiasm, like fierce rage and jumping again and again. The second theme is like a heartfelt complaint. It is near the end of the continuous eighth note, with firm rhythm, showing warm feelings and strong will. After a brief expansion, the inner excitement is even stronger. At the end, the boiling enthusiasm reached its peak and suddenly fell silent, but the surging mood did not subside. Beethoven once said that the two sonatas of his work No.27 are like fantasia. He instructed that there should be no pause between the movements of Moonlight Sonata, and that it would gradually unfold from the beginning movement to the intricate final movement in a suggestive way, thus providing a sense of climax. Beethoven's sonatas in this period are full of tentative practice, and he tries to re-evaluate the main creative principles of sonata form. Generally speaking, if we want to follow the traditional mode, sonata form often appears in only one movement, but usually in the first movement, but Beethoven broke this mode. Moonlight sonata is one of the works that classical music school began to transform into romantic music school.
This piano piece is called Moonlight Music because the German poet Ludwig Lairstadberg said, "After listening to the first movement of this piece, I think of Lake Lucerne in Switzerland and the bright moonlight rippling on the lake." Later, according to this passage, the publisher added the title of "Song of the Moonlight", and all kinds of legends about composers improvising in the moonlight became popular. In fact, it was not the bright moonlight that touched Beethoven's creation, but the painful mood of Beethoven and Juliet Gitchati (1784- 1856) after their first love failed.
Juliet Gitchati is the earl's daughter, 14 years younger than Beethoven. They really love each other, and the gap in family status forced them to break up. After suffering this heavy blow, Beethoven poured all the inner pain and strong indignation caused by the feudal hierarchy into this passionate piano music. So, this song is dedicated to her. On 1 1 month 16 this year, Beethoven mentioned her when he wrote to Wegele, saying, "She loves me and I love her." But by the beginning of 1802, she had fallen in love with Count Hallenborg and was forced to marry him by her family in 1803. Romain rolland linked this song with Beethoven's lovelorn love, saying, "Fantasy didn't last long, and the pain and indignation in sonata has surpassed love." Roland interprets the first movement as melancholy, whining and crying. Russian musician Ole Biyishev (1794- 1858) thinks that the first movement is "deep sorrow" of lovelorn, just like "hanging fire". However, 180 1 was the time when Beethoven and Gitchati fell in love. It may not be true to say that this work is about the pain of lovelorn love.
Perhaps Stasov (1824- 1906), a Russian art critic, is more reasonable in explaining this work. Recalling listening to Liszt's performance in Petersburg, he thought the sonata was a complete tragedy. The first movement was a state of mind full of tenderness and sometimes dark premonition. He had a similar impression when listening to anton rubinstein's performance: "... from a distance, as if from the depths of an invisible soul, a silent voice suddenly rose. Some voices are melancholy and full of infinite sadness; Have a plenty of meditation, with endless memories and gloomy omen ... "