What are the characteristics of Huangmei opera singing?

Huangmei Opera singing voice euphemisms and fresh, divided into two categories: flower and flat words. Flower accent to perform small plays, rich in life and folk song flavor, more "liner notes" such as "Houshe", "feed but" and so on. There are plays such as "Husband and Wife Watching the Lantern", "Blue Bridge Meeting" and "Playing Pigweed".

Ping words is the main singing in the theater, often used in large narrative, lyrical, sounds euphemistic and melodious, there are "Liang Zhu", "Tianxian match" and so on. Huangmei Opera uses the gaohu as the main accompanying instrument, and other ethnic instruments and gongs and drums, which is suitable for the performance of a variety of subject matter of the play.

Huangmei Opera has three forms of singing: the main cavity, the flower cavity, and the three cavities.

The main cavity of Huangmei Opera is the most dramatic and expressive cavity in the traditional singing of Huangmei Opera. It is based on the principle of the musical structure of the plate change body or plate cavity body, and it is this main feature that distinguishes it from the "flower cavity" of the song-plate concatenation body or song-plate body as well as the "three cavities" that have the characteristics of both systems.

The main cavity does not mean that it is the main one in all the repertoire of Huangmei Opera. In fact, the small flower opera basically does not use the main cavity, and some of the big opera is not the main cavity, the reason why this cavity system is called the main cavity, is on its musical form and musical performance function.

In addition, from the history of the development of Huangmei Opera music, the main cavity is also later than the flower cavity and three cavity. This development process and the repertoire from the monodrama, two small plays, three small plays to the development of the string play and ultimately can play the whole course of the opera coincides.

So, it can be considered that the main cavity is a product of the mature stage of the development of Huangmei Opera, and its emergence marks the framing of the basic style of Huangmei Opera music.

Huangmei Opera originated from folk songs and dances, and the labor songs of mountain villagers, the alley rhymes known to women and children, and the joyful songs and dances in the lantern festivals and social fires are the source of the development of Huangmei Opera.

The three cavities of Huangmei Opera are collectively known as "Color Cavity", "Fairy Cavity" and "Yin Si Cavity". Three cavity has many **** the same point. First of all, the three cavities in the music system synthesized the factors of the song and the plate cavity, presenting a "quasi-plate cavity" state.

The three chambers each have a basic chamber, the color chamber, the immortal chamber for the four sentences, their word arrangement, the position of the compound sentence, the use of the gongs and drums are more fixed, with a sense of the fixed frame of the song. However, each cavity of the three cavities is derived from a pair of boards or several boards, and also forms a number of complementary cavity phrases, therefore, the three cavities are also characterized by the board cavity.

Secondly, in the male and female cavities, the three cavities are different from the male and female cavities of the main cavities which are connected by the transcription, and also different from the male and female cavities of most of the flower songs which are sung by the same cavities and the same tunes, but the male and female cavities are more different from each other melodically, so that it is easy to differentiate them from each other. Moreover, in the dramatic performance function, the three cavities have both lyrical and narrative performance ability.

The three chambers are a group of sister chambers with different interests, and their differences are also very obvious. For example, the sources of the three cavities are different. The colorful cavity, also known as "playing colorful tune", which gradually evolved from the small song of the flower cavity.

The immortal cavity, also known as "Taoist cavity" and "Taoist sentiment", was produced by local Taoist music, which directly entered Huangmei Opera or was absorbed by the Qingyang cavity and then inherited by Huangmei Opera. It is also known as the "Soul Returning Cavity", which comes from the Qingyang Cavity, so it is also known as the "High Cavity of the Yin Si".

The expressions and uses of the three cavities are also different. The colorful cavity expresses the joyful and celebratory feelings, while the male immortal cavity has a spacious and free temperament, and through the treatment of special singing methods, it can also obtain strange comedic colors or express sentimental emotions.

The yinshi accent is a somber accent, which was originally used to express the sadness of the dead or dying characters in the drama, with its mournful words and sound, as if they were entering the netherworld.

In addition, the tuning and syntax of the three cavities are different. The colorful cavity and the immortal cavity have two kinds of modes: the five-tone emblem mode and the six-tone levy mode, while the yinshi cavity has the five-tone Shang mode. The basic structure of the Color Cavity is a four-sentence form. The male and female cadences maintain the same tuning, the same arrangement of characters, and the same core repertoire, but the melodic line is lower for the male cadence and higher for the female cadence.

The colorful cadence begins with "six mallets of the flower cadence", the second sentence is sung with "four mallets of the flower cadence", the third sentence is sung with "two mallets of the flower cadence", and a section of the colorful cadence can be used for the singing of the end of the cadence. After a section of colorful cantata, the section can be terminated with "one mallet of colorful cantata". The colorful cavity is in the form of a tone, mostly five, and occasionally the aim is to change the palace tone.

From the point of view of the musical material, the second sentence and the fourth sentence of the colorful cavity are very similar in melody, while the third sentence has a strong development, forming a structure of "starting and ending".

The auxiliary boards of the colorful cavity are the pair of boards and the scattered boards, which are composed of the upper and lower sentences, and this kind of boards, either sung by one person or by two people, enhance the narrative function of the colorful cavity. The pairs of boards are one board and one line, and the word pattern has five-word sentences and seven-word sentences. It is often connected with the third sentence of the colorful cavity with the function of "turning" sentence, and it can also be connected with the previous sentence of the colorful cavity after the second sentence or after singing a section of the colorful cavity and then connected with the colorful cavity, and so on.

The main supplement to the color accent is the "mai canton", which takes the place of the third line. It is shorter than the third sentence and has a fresh feeling to increase the momentum of the music.

The way the colorful cadence falls is by slowing down the ending phrase, using the decreasing speed to form a cushion to cause the termination. In addition, the colorful cadence also stays on the "cutting board," whose melody is roughly the same as the "flat word cutting board.

The four basic lines of the color accent are sometimes expanded due to the increase in the number of words sung. One of the ways of expansion is to add more lines by "adding caps at the beginning of the sentence" and the other is to add more rolls.

For example, in the "Three Character Classic", the ugly singing of the colorful cavity, because of the singing of the words of the phrase varied and gave birth to a board without eyes of the flow of water and stones out of the board and the roll of the singing and the use of a large section of the colorful cavity to.

The colorful cavity of this song is an example of the great freedom of the traditional singing of Huangmei Opera. When some kind of accent formed a rough frame, smart artists will be "according to this and diffraction of the text", from the edge of the body is not very clear, derived from many branches, and can even increase or decrease, evolved a variety of variants. This is probably the "composition method" of the folk artists.

Color accent because of its musical system between the main cavity, flower cavity, and their association is also very common, especially in the small opera, color accent and flower cavity more frequently used. In addition, in the early performance of the small opera, the color accent is often used for "playing color".

The so-called lottery is a kind of fund-raising activities outside the play, is a means of income for artists, used to play the lottery tunes when the audience is the most extensive, most representative of the characteristics of the opera singing. Artists "one out of a hundred" chose it, the audience also "never tire of hearing" to accept it, then the color cavity of the form of features and musical interest is not to be ignored.

The basic structure of the immortal cavity is also a four-sentence body, but the form is more complex than the color cavity. The immortal cavity in two parts to repeat the words, one is the first sentence of the last three words, the other is the fourth sentence of the words repeat the whole sentence.

This makes the length of the four phrases uneven, and creates a contrasting effect within the cavity where some phrases are skimmed over and others are emphasized.

Complex sentences are a common means of expression in the high cadence, and in the Yuexi high cadence, the complex sentences are to be circled with symbols on the transcript, which shows the importance that artists attach to it. Gaoqiang's compound sentence, by repeating the words to a new melody, the cavity amplitude also has a great change, which is similar to the Huangmei Opera Xian cavity compound sentence technique.

Floral gongs and drums are also used in Xianqiang. The "six mallets of flower cavity" is used as the beginning, and the "one mallet of flower cavity" can be used as the end, which is the same as that of the colorful cavity. However, in the first sentence of the internal war cavity and the three-word phrase between the "flower cavity two mallets", in the three-word phrase, followed by the "flower cavity four mallets", the formation of the first sentence of the singing of the state of the tightly drums, which is with the color cavity of the gongs and drums in the use of the average has a great deal of difference.

In the old Xianqiang, there was also the use of the "gongs", which were used to beat the rhythm with the gongs, and these are the characteristics of the high cadence. Xianqiang auxiliary board style has several boards, is the second and third sentence of the Xianqiang body to change and repeat the formation of the upper and lower sentence structure. The supplementary sentence of Xianqiang is "Maiqiang", which is the same as "Caiqiang Maiqiang" in terms of the length of the sentence and the sound.

The Xianqiang has a distinctive feature that it can form different variants by means of variations, which are not slightly different in the general sense, but have considerable differences in expression.

Taking "The Pairing of Heavenly Immortals" as an example, when all the fairies sneak to the heavenly river to watch the beauty of the earth, the expression of their pleasure after being liberated is in the immortal accent.

When the seven fairies cast a small spell to make the thousand-year-old acacia tree speak, this magical scene is accompanied by a male singing accent with a strange timbre and exaggerated tone.

When Dong Yong learns that the Seven Fairies will be forced to leave him, and that the old acacia tree, which has served as a matchmaker's witness, is mute and unable to help, he sings sadly, "Mute wood, mute wood, three times in a row, do not speak," where the immortal accent is still used. The different situations, the different characters, and the contrasting emotions are all reflected in the immortal accent.

Yin Si cavity is the main cavity of Huangmei Opera and the three cavities in the most single expression, drag the cavity of the most adequate cavity. Dedicated to sentimental times, there are 4 to 6 bars on the last word of both the upper and lower cadences.

The yinshi cavity has three twists and turns, and it is very good at expressing the despair of the people in the drama as if they were dead. Because of this feature, it is often used in conjunction with the main cavity to complement the sadness of the main cavity.

The yinshi cavity is a five-tone mode. The tone color is different from that of the main cavity, as well as from that of the colorful cavity and the immortal cavity. This makes it easy to distinguish it from the others.

Yin Si cavity because of its cavity sentence growth and expression of a single and should not be used repeatedly, usually only used once in the auxiliary plate style and supplement the cavity sentence. It seems that we can "realize" the requirements of the board cavity style for the upper and lower sentences from here.

It excludes non-narrative long dragging, and at the same time, it takes a "neutral color" for the expression, and those phrases whose moods are too parochial and not easy to change are not suitable to be used as prototypes of variations, and are not worthy of being the mother of the upper and lower phrases.

The auxiliary plate of the yinshi cadence is a number plate with the structure of the upper and lower sentences, which has a strong narrative ability, and its melody comes from the upper and lower sentences of the yinshi cadence, which is also a five-tone commercial mode.

The supplemental phrase of Yinshi Cavity is "Yinshi Mai Cavity", which has the same structure and sound as that of Cai Cavity Mai Cavity and Xian Cavity Mai Cavity. It is often used after the upper and lower lines of the yinshi cadence to shift to the yinshi cadence of several plates or other cadences.

Because of the interoperability of the expression, the yinshi cavity is often combined with the "crying medium", and the sadness is supplemented by the tone of crying, in order to seek a stronger tragic performance.