Although the rivers and lakes are big, there is an unwritten rule that is unity: pay attention to status. The higher the level, the more respected. I may not know your name, but as long as you are an elder with eight bags, you must bow when you meet.

So is the orchestra. Every move is compiled by hundreds of people, and there are several voices in the middle. Who is the master? Who is Ji? Who is the focus? Who is a walk-on?

Get the stool ready and I'll show you.

- 1-

Every piece of music played by an orchestra needs the cooperation of all parts, and among them, we can divide it into melody type and accompaniment type according to the nature of the music played.

As the name implies, the melody type is the protagonist and the red flower, and the accompaniment type is the supporting role and the green leaves. Therefore, in an orchestra, the status of a voice can be defined as follows: the higher the proportion of melody in the music played, the higher the status, and vice versa.

Therefore, we can call the melody part with a high proportion of melody music and the accompaniment part with a high proportion of accompaniment music as melody part.

As the protagonist, the melodic voice is often the focus of attention in the performance. However, any advantage means disadvantage. The easier it is to shine, the easier it is to make mistakes. Because in the spotlight, every detail will be magnified.

On the contrary, accompaniment, as a supporting role, is often relatively inconspicuous. However, behind every shining protagonist, there must be a supporting role with profound skills, just as the greener the leaves, the more dazzling the bonuses.

However, under the brilliant light of the protagonist, many people ignore the value of the supporting role. I didn't realize that in fact, in most cases, the accompaniment of the supporting role is more diligent than the melody of the protagonist.

Because it is not a melody, there are many unpleasant sounds in the accompaniment music, even strange sounds. For many musical instruments, such as stringed instruments, it is difficult to find the sound, let alone play it fluently.

There is also rhythm. If the melody is mostly coherent in rhythm, then the accompaniment is likely to be the second half beat, even the notes behind the dotted line and so on.

Therefore, the accompaniment part needs a deeper foundation of music theory in order to be impartial and play in place in the disturbance of melody.

Moreover, what is more rare than the foundation of music theory and playing skills is the awareness of accompaniment. After more than ten years of band rehearsal, I understand that no instrument can only play melody forever, and there must be times when you accompany it.

The so-called accompaniment consciousness is not to rob the play and be a green leaf. At this time, you are not the protagonist, you should play with the melody, which may be light or weak, and hide yourself under the melody.

This is not an easy task. Because everyone wants to appear by himself and want to be the protagonist. If you knew you were destined to be the denominator, would you still do it?

I guess many people's answer may be no.

-2-

Take the national orchestra as an example (the fact is that symphony orchestra, wind orchestra and keyboard orchestra are just bystanders, so I won't talk nonsense). A complete orchestra can be divided into five parts: strings, plucked strings, blowpipe, bass and percussion instruments.

Of these five voices, only the bass part is relatively more accompaniment. Because the compilation of national orchestras evolved from western symphony orchestras, and there is a lack of bass instruments in national instruments, cello and double bass were introduced as bass parts. Because the national orchestra itself has its own string voice, in most cases, the melody is for them, and the bass voice has degenerated into an accompaniment voice.

The other four parts will be melody and accompaniment to each other according to different music, regardless of their status. The real status difference is reflected in the sub-voice part of the loud voice part.

First of all, the string voice consists of three sub-voices: Gao Hu, Erhu and Zhonghu. From the perspective of musical instruments, the difference mainly lies in the range, which corresponds to high, medium and low. In terms of melody proportion, the proportion of the three sub-voices decreases in turn, and their status decreases accordingly.

Secondly, the plucked voice consists of six sub-voices: pipa, Qin Liu, dulcimer, guzheng, zhongruan and Daruan.

The plucked sound is the most distinctive sound in the national orchestra, because the instruments are rich and colorful, and the top ones are very distinctive, far from being comparable to western plucked instruments.

Among them, pipa and guzheng have long been household names, so I don't need to go into details. Even zhongruan, a relatively unpopular instrument, became famous in recent years because of Feng Mantian's appearance in Brilliant China.

Among the six sub-voices, Pipa, Qin Liu and Guzheng are relatively melodious, while dulcimer, zhongruan and Daruan pay more attention to accompaniment.

Thirdly, the pipe blowing part consists of three parts: flute, sheng and suona.

These three parts are evenly matched, but they are subdivided:

Di Zi: Band-Aid, Qu Di, Xindi;

Sheng: treble sheng, alto sheng and bass sheng;

Suona: soprano suona, alto suona, bass suona.

In the subdivision of the above categories, the proportion of melody types decreases in turn, and their status decreases in turn.

Fourth, make a sound. The percussion part of the national orchestra is also a highlight.

First, it is all-encompassing, and the variety is outrageous. Traditional to chime, western to timpani; Big to the clouds and gongs, small to the cymbals; Normal to drum, wonderful to spring buckle. Even the old driver, like me, broke his chin many times in rehearsal because of the name of percussion instruments.

Second, it presents a more obvious differentiation trend. The timpani is the eternal protagonist and the firm king. Drums, cymbals, gongs and other musical instruments are in second place, followed by others. According to different trajectories, the appearance probability has fluctuated and adjusted, but it is generally above a level. The rest, such as drums and triangles, belong to walk-on instruments, which appear irregular and disappear regularly.

-3-

All right, popular science is over. Finally, present an egg:

As a popular form of entertainment, spitting is also common in orchestras. Tucao in the orchestra often has strong voice characteristics, which are generally attributed to Aunt Jiang:

Strings: We are really unlucky. Almost every song is busy from beginning to end. While rehearsing, the attacker has been resting, and occasionally knocking, we can't wait to turn it upside down, which is really unreasonable.

Plucking: We have four strings, twice as many as strings, and we play almost from beginning to end. Are we the busiest? Don't rob!

Blowpipe: The same performance, why is it difficult to pluck the strings and play, and there are only six or eight people, and we only have two? Bad luck.

Strike: Who said we were idle? We're busy, okay? We are busy counting bars! Otherwise, you have made a mistake, and see if the conductor will scold you. Of course, many people don't understand. Anyway, I can't hear you if I say it wrong.

Beth: I'll see if you're noisy. Because I am in folk music, and my heart is symphonic …

Ok, the popular science is over. How much can you understand the above spit?

Please leave me a message if you don't understand anything. Maybe I will use an article to answer your question.

I am Sandy, a woman who is determined to speak music in grounded language. I raise my hand to ensure that all the content is based on real life experiences, not Baidu.

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