How to pull the banhu of Henan Opera?

On the Fast Playing Method of Banhu in Henan Opera

The author is engaged in the performance of Banhu in Henan Opera. He studied under the famous Banhu master, Banhu educator and Banhu performer Zhang Yiqian for five years. According to my own experience in the accompaniment of troupe bands, plus nearly 30 years' teaching of banhu, this paper observes the improvement of students' performance level, and discusses how to practice banhu's performance level scientifically and effectively, so that beginners can avoid detours and talk about some superficial views.

Preparation before practicing the piano

I think everyone knows the importance of Banhu in Henan Opera in the band, so I won't go into details here. Players of different levels in the same band play this main string, and the performance effect of the whole band is completely different. Moreover, Banhu is a member of the string family, and its intonation problem is the first problem that every Banhu player has to solve, which is much more difficult than other instruments such as keyboards. Therefore, banhu players are required to perform basic exercises in a standardized and effective manner, develop good and correct playing habits, and become high-level and professional banhu players as soon as possible. In this regard, we must first do the following;

1. String tuning: Before starting to touch the strings and practice the piano, you must adjust the pure four-degree relationship between the inner and outer strings of Banhu. Generally, the "C" sound of the outer string and the "G" sound of the inner string have a pure four-degree relationship. Beginners can correct the "C" sound of the outer string and the "G" sound of the inner string with the help of electronic Andhadhun. The electronic tuner is very scientific, and you can listen to music by yourself.

2. Wear finger covers correctly:

At present, banhu usually uses metal strings, and the fingers of the left hand must wear nylon finger sleeves or metal finger sleeves. It is best to put a metal finger sleeve inside the nylon finger sleeve. The outer layer of this finger sleeve contains toughness, and the inner layer has hardness and weight, so that the fingers of the left hand can not only avoid the hard metal sound when touching the strings, but also make the finger sleeve firmly press on the strings. In addition, because the shape of the finger is not round, but flat or oval, if you want to wear the finger cover firmly and not fall off, you must trim the finger cover to conform to the shape of the finger, so that there are more internal contact surfaces between the finger and the finger cover, which are relatively firm and not easy to fall off. Of course, there are few such finger covers on the market, and even if there are, they may not necessarily conform to the shape of your left hand, so it must be customized according to your finger size. It's best to wear a finger cover about 3-5 mm beyond the finger cover. If you wear it inside, it will affect the flexibility of your fingers. If you wear it outside, it will easily fall and touch the strings. This is very important, otherwise it will be a great obstacle to practicing piano in the future.

Empty string practice

Once the strings are arranged in a pure four-degree relationship and the right finger sleeve is put on your left hand, then you can start practicing. First of all, practice the empty string. Generally speaking, it is necessary to draw the inner and outer hollow strings with a bow. The right hand should carry the bow smoothly, that is, the big arm should carry the small arm, and the small arm should carry the wrist. The push-pull bow must be flexible, and the strength of the bow root at the bow tip must be uniform. Try not to be too obvious when pushing and pulling the bow. It is best to practice slowly with the whole bow, so that the sound of the piano will not be noisy. Often people do not pay attention to the practice of empty string, or even do not practice playing empty string at all. This is extremely wrong. Is the foundation of the foundation. Whether the wrist of the right hand is flexible, whether the bow is carried smoothly, whether the strength is even, whether the timbre is pure, and whether the whole bow performance can form a habit are all formed in the practice of empty string. This will play a key role in playing opera aria well in the future.

Left-handed touch string finger type

In addition, the fingers of the left hand began to touch the strings. In this regard, the correct position of the index finger touching the string 5 1 must be found through electronic sound devices or under the guidance of teachers. Beginners can mark the correct positions first, that is, the positions of the inner chord 5 and the outer chord 1. Only the index finger of the left hand is fixed in an accurate position, and then the middle finger and the ring finger are separated in turn with a certain distance between them, that is to say, the index finger positioning method. Only when the position of the index finger is fixed correctly can the other fingers be unfolded in turn. At the same time, when the index finger, middle finger and ring finger touch the strings, the strings must be located in the middle of the finger sleeve, and the strings and finger sleeve are in a cross shape, and they must not be tilted up and down. It is necessary to form a correct "left finger touching the string" through practice. Otherwise, it is easy to cause inaccurate pronunciation. The intonation of banhu is difficult to master, unlike some musical instruments, which have keys and products. Generally, as long as it is calibrated in advance, there will be no big problem, and the pitch of stringed instruments is formed by many factors, such as position, finger type, usual playing experience, and the concept of pitch in mind. It can be said that nine times out of ten people who play the strings are not allowed. Only the pitch is different. Although the expert's performance can't guarantee the accuracy of 100%, the deviation is very small, so it can be said that people with average hearing can hardly hear it. Low-level people are not standardized when they start practicing the piano, and their habitual concept of intonation is biased, so some of the sounds that pop up are like sticking to the wall, while others are like "floating on the water". It sounds really painful. Beginners must remember this. Once they have formed bad habits carelessly, it is difficult to correct them. Having said that, I may say why some people pull banhu, the fingers of the left hand touch the strings are not so standardized, there are many people with oblique fingers, and the spacing between the index finger, middle finger and ring finger is not separated, but why does it sound that the intonation problem is not obvious? What's going on here? Here I can tell you that the fingers of the left hand touch the strings mentioned above, through master Banhu, Banhu educator, Banhu performer and Banhu. The reason why some comrades don't play in their own way is not obvious, which is relative, because in the process of playing slowly, the human brain can fine-tune the position of finger touching the string in time, and the hearing of the general audience is still limited. But once happiness appears, it will be too late to fine-tune the brain, and then the pitch problem will be exposed. The audience just thought your performance was not good, and no one said your method was not standardized. In fact, the pitch problem is at work.

So how can we form a correct "left finger touching the string"? Through the five-tone etudes of 1234566 and the seven-tone etudes of 1 2 3 4 5 6 7, after numerous repeated exercises, the correct "finger type" for fixing the left finger to touch the string was formed. The so-called pentatonic etude is an etude written with only 1 2 3 5 6 tonic notes, without practicing 472 partials. Because beginners have a poor concept of pitch, in Henan opera music, the deviation of 4 7 is very unstable. In order to form the correct habit of listening to strings as soon as possible, we should practice the pentatonic etudes in the initial practice. When the touch of the left finger is standardized, the concept of intonation is improved, and the practice of seven-part etudes is gradually carried out. Only by touching the strings with standard fingers can the correct music system be played. In the process of practice, no matter the scale or sound type, including etudes, Qupai music and vocals, we should practice slowly until the right hand and right hand are combined correctly, and then gradually accelerate, step by step and gradually deepen. Correct fingering is by no means achieved overnight. It needs sweat and hard work, the spirit of struggle, confidence and hope. Beginners, in particular, must persevere, persevere, be serious and practice hard, avoid impetuousness and step by step, in order to win. It is absolutely impossible to fish for three days and dry the net for two days. It is normal and painful to contact Banhula, as long as you get through this difficulty. Over this mountain, a bright road will flash under your feet and lead directly to success. I believe your piano will sound better. The successful process of many Banhu students fully proves this point. This is the same as other string exercises. Never eat a fat man in one bite. What's more, some beginners practice playing opera singing from the beginning, and as a result, they have practiced banhu for several years or even longer, but their playing level has not improved and will not succeed in the end.

Several common bow methods of banhu

Banhu in Henan Opera is the main leading instrument in Henan Opera Band, commonly known as the main string. It has a unique bow operation. Generally speaking, the bow pulling begins and the bow pushing ends. The strong beat or position in music must be played with a bow, and the weak beat or position must generally be played with a bow. Of course, if you need to emphasize the strong voice in the song, you must use the bow or shake the bow. For example, a few strong notes in the door, 3 "-2"-5 "-1"-you must play the tragic mood of music with the bow and the bow. There are also | 25555555 | in the gate on February 28th. The music of these two beats also needs to be played with the bow to achieve the effect. However, playing by the method of "one word and one bow" violates the general law that the strong tone position is to push the bow, which requires adjusting the bow method immediately after pulling the bow. It can be played as | 2 _ 55 _ _ 55 5555 | by adding words, so that the head of the melody is effectively played with the bow, and the duration of adding words remains unchanged, but the effect has reached the composer's original intention. There are generally three methods to adjust and push the bow; 1. Add words to play as above, 2. Play with your bow. 1.276 can be typed as 1. 22 7 6.3. Even the bow performance, such as | 3235 |, can be marked as | 3235 |. In short, once the bow is pulled in the strong shot or position, these three methods can be used to adjust it, and there can be no continuous violation. Bowing skills are divided into: splitting bow, receiving bow, shaking bow (shaking bow), breaking bow and bowing. Generally speaking, one word and one bow are used alternately, and three or four words and one bow are rarely used. Break the bow and jump lightly, use the bow for short stress, and use the trembling bow (vibrato bow) for long strong sound. In short, there are not many difficult bow skills in the accompaniment of Banhu in Henan Opera. As long as you have developed three methods to adjust your bow: starting with bow pulling, ending with bow pushing, strengthening your position and using it, you can say that your bow is fine. However, fingering skills are very important and must not be ignored by every accompanist.

Practice and application of fingering skills

Banhu in Henan Opera uses less fingering skills than other solo instruments. But more importantly, it doesn't require skill. Once skills are used, they must be standardized. The commonly used techniques are: fingering techniques can be divided into "sliding back", "sliding up", "sliding down", "playing strings", "kneading strings" and "cutting strings". The fingering skills of Banhu are very important. Banhu in Henan Opera can't use fingering, so it is not called Banhu in Henan Opera. Because fingering skills are the characteristics of banhu charm in Henan opera. As the saying goes, the taste of banhula depends on how well you use your skills. If the skills are not properly played, whether they are properly used will directly affect your banhu performance level and even the accompaniment effect of the whole band. It can be seen that the rational use of banhu skills and serious and standardized practice are very important. Let's focus on the practice and application of fingering skills.

Slip-back is the effect that the local sound begins to slide down two degrees quickly and then returns to the local sound. This process requires a bow to complete. For example, "sneak back" (5) use (? 1? 6) The actual performance effect is that the technique of (1) backward sliding is generally applicable to all five tonic tones (12356), with the index finger touching the strings (the "5" sound of the inner string and the "1" sound of the outer string) being the most commonly used, followed by the middle finger touching the strings (the "6" sound of the inner string and the "6" sound of the outer string) However, it depends on the specific situation and cannot be generalized. tr

Plucking the strings is also one of the fingering techniques in banhu's performance, and the symbols are: (tr) Its function is to produce Boeing-like effects on the basis of the original sound, such as (6) equals (6). The general practice method of "crosstalk" is to quickly hit the adjacent sound twice above the original sound, which is called complex crosstalk, and this stroke is called single crosstalk. There is still a period of time after the string is played, when the local voice is spoken. Generally, the complete "string performance" is rarely used between the time occupied by the local voice. The practice of "playing the strings" still needs to be started slowly and accelerated step by step. The fingers that play the strings must strike the strings hard to produce a clear playing effect. Absolutely avoid clicking noise. In that case, the meaning of playing the strings will be lost, and it is better not to use the technique of "playing the strings". Make good use of "playing the strings", which can moisten your piano sound a lot and is also the main feature of Banhu charm.

Sliding down and sliding up "Sliding down" mainly means that the fingers touching the strings quickly slide down to the local sound from three degrees above the local sound, and "sliding up" means sliding up to three degrees above the local sound. What needs to be explained here is the "sliding up" sound, which is marked as (? 0? 6? 8? 05) On the banhu, fingers slide down, and the phonetic symbol of "sliding down" is (5? 1? 9? 0? 6) On the banhu, slide your fingers upward. The proper use of up and down glide can play a very good role in banhu's imitation of singing.

Rubbing strings is a very common fingering in banhu accompaniment. Whenever there is slow music or long sound, you must use the skill of kneading strings to achieve the rhyme and taste that Banhu should have. Otherwise, your playing level will be greatly reduced. The practice of "kneading strings" should also be started slowly, so that the finger sleeve can slide up and down evenly and effectively. The sliding range must be uniform, neither wide nor narrow. With the increase of string kneading speed, the sliding amplitude of the left finger will also decrease, which will make the strings have a regular small-amplitude anti-Boeing effect. For example: (6) the strings sound. Marked as (6? 0? 9) Its effect is equal to (extremely fast 6767). The so-called anti-Boeing refers to the vibrato effect produced by the sound fluctuating between the local sound and a lower second degree (perhaps a smaller interval).

String cutting The so-called string cutting is to play the third or second (sometimes fourth) note below a major note before playing it, and then switch to the major note that should be played in a short time. The sound played in advance takes almost no time. It just plays a decorative role. This process still needs to be completed with a bow. For example, the notation of "3" sound should be (), which is the same as that of leaning on the sound, but the performance effect is very obvious, especially when multiple homophones are played together continuously, which can make each sound clear and bright.

In short, the use of banhu fingering skills is related to your playing level. How to use Banhu's fingering skills reasonably, appropriately and skillfully depends on the requirements of singing melody, as well as the emotional changes, local flavor, tone, rhyme and taste of Zhongzhou dialect to decide how to use Banhu's fingering skills and bow handling. Generally, when composing and designing human voices, composers don't mark the fingering symbols of Banhu's performance, which depends on the performer's experience and understanding of music, as well as long-term accumulated work experience and playing habits to arrange and handle skillfully. Playing banhu in Henan Opera must have its own characteristics, give full play to its irreplaceable performance and advantages, and play a better accompaniment role for the singing of Henan Opera. In this respect, Teacher Wang Guanjun has set a good example for us. Please listen to some plays performed by Miss Wang with Chang Xiangyu. They are really seamless and well presented. The application of various playing techniques, the handling of the relationship between strength and weakness, and the tacit cooperation with actors and other musical instruments in pitch, rhythm and even all aspects are really perfect. It sounds like a wonderful enjoyment, which can be said to be endless and memorable.

General rules of singing accompaniment.

There is a jargon in the field of traditional Chinese opera called "learning tongue" to accompany traditional singing. The so-called parrot-like, that is, Banhu must imitate singing with a decent image. The audience often praises a banhu as beautiful as singing, and other banhu can speak, which shows that the application of various playing techniques of banhu (including all kinds of bow fingering) should be accurate and reasonable, and should be selected according to the needs of "learning tongue" and imitating singing. It is chosen for the emotional change of plot development. For example, in this aria (3 5 乸 6-|132 |11|), "Sit down, mom", where the word "pro" is silent, but the tone of the word "qing" belongs to unvoiced, so it The state language in vowels should belong to the first sound, and its melody sound "6" can be played directly by touching the inner string of banhu with the middle finger, and the first sound of vowels can be played without any fingering skills. Examples like this don't need to be comprehensive, as long as the performers of Banhu think hard, learn the singing thoroughly, listen to how the actors sing, and then try to imitate it by combining various bow and finger techniques of Banhu. In addition, I want to talk about the performance of Banhu's "6" sound. Banhu has two "6" sounds, one is the empty outer string "6" and the other is the middle finger inner string "6". Generally speaking, when the melody is from top to bottom, such as "2 1 76 | 5-|", the outer string "6" should be played, because the three notes "2 1 7" are played with the middle finger and the index finger. The empty string is very bright. You can correct the pitch of the empty string by the way. Why not? If the melody is from bottom to top, such as "3 56 65 438+0 | 2-|", you should play the inner chord of the middle finger "6". Because "3 5" is played with the inner string and the index finger, it is convenient to press the middle finger "6" by the way. If the above two situations are completely reversed, it will be in big trouble. Also, if there are two "6" in the melody, such as "0 35 | 6 6 |", then the outer string "6" must be played before the inner string "6", and the tone of the inner string "6" is dark and easy to slide back. We call it Yin, and the outer string "6" is bright, so it is called Yang. It's called the combination of yin and yang. That sounds nice. This is experience, and this is the precious wealth left by the older generation of artists. In addition, we should follow the dialectical relationship between singing and music, that is, you are strong and weak, you are weak and strong, you are simple and complex, you are complex and simple, you are strong and strong, and you are weak and weak. This dialectical relationship is a set of practical and effective playing methods and accompaniment rules summarized by the older generation of artists. Only by following this rule can we beautify singing and play a good accompaniment effect. Never gild the lily, deliberately show off coquettish, or even pretend to be the host, ignore the singing and "get mad" at will. This is not an accompaniment to the actor's singing, but makes the actor feel a burden. In that case, we will lose more than we gain.

Accompanying elements of innovative aria in modern drama

The accompaniment methods and rules mentioned above generally refer to the accompaniment of traditional operas. But it should be said that there is a difference between the accompaniment of modern drama or innovative aria. The bands accompanied by traditional operas are generally small, mostly single folk bands. City and county troupes are small in scale. Then, in such a band, Banhu mostly plays the role of commander-in-chief, from the singing of each play to the music of Qupai, we must be meticulous and play carefully. Except for a few plucked instruments to fill in the blanks, it can basically be said to be a grand ensemble. Under the command of the drum, Banhu led other musicians in the band to play the musical aria of the whole play very rigorously. However, performing modern drama generally requires a lot of preparation work. Take the third regiment as an example. The orchestra is accompanied by an orchestra, and Banhu is just one of them. How to play the role of Banhu well has been handled very successfully by the artists of the Third Group of Henan Opera. Banhu's voice sometimes shines and sometimes disappears, so that other musical instruments can show their elegance. If necessary, even if it is outstanding, it will leave a deep impression on people. After listening to three bands, you will never forget the wonderful music. This not only reflects the composer's exquisite orchestration, but also reflects the performer's superb professional and technical level and meticulous professionalism. Even if it is a string-playing, a back-sliding, or even a clever use of various bow and finger techniques, and so on. We must give full play to the development of the plot and the thoughts and feelings of the characters.

It can be seen that the role of Banhu in Henan Opera is different from that in a small band. The innovative aria of accompaniment should be different. For example, the opera song of Chairman Mao's poem Spring and Snow in the Garden was written by the famous composer Wang Jixiao. The prelude is very atmospheric: "5-5432 | 5-5432 | 5553 | 6-3 |"

5-| "Obviously, there is no need to use some traditional techniques to play this piece, such as sliding backwards and rubbing the strings. If this goes against the composer's original intention, it will not be enough to show the magnificent landscape.

The difference between "accompaniment" and "solo"

I have seen some colleagues' banhu solo concerts. It should be said that the level of the lineup is high enough, and some good songs have indeed been played, which are deeply loved by the audience, and the scene has also produced good performance results. It can be said that applause is everywhere. But after reading it, I always feel that there are some unsatisfactory places, and there is still room for further improvement and sublimation.

Poor performance mood, lack of body language. This is my general feeling. As we all know, many performers, especially well-known performers, put themselves into the artistic conception of music with the development of musical emotion, including the clever use of body language, facial emotion and various bow and finger techniques. What you see is a vivid and beautiful picture, which is very harmonious as a whole, making people feel that it is really a kind of beautiful enjoyment, and it is unforgettable to be intoxicated.

There is a big difference between solo and accompaniment. Behind-the-scenes accompaniment, first of all, must absolutely ensure that musical emotions are in place, without special emphasis on body language and facial emotions. In the past, some performers deliberately shook their heads and wagged their tails, coquettish and even robbed the play, which was called "exposure" and "dew gourd ladle" in the field of traditional Chinese opera. This is the most taboo in the field of traditional Chinese opera music. Today, society is developing, human beings are making progress, ideas are being updated, and the understanding and appreciation of music performances are constantly changing and improving. Therefore, deliberate "exposure" is not desirable, but it is very necessary to devote yourself to playing, extend the artistic conception of music, and develop and express body language. Music performance without body language expression can not be called "music", it is a supplement to the artistic conception of music, and it is undoubtedly the basic standard for experts to judge the quality of music. We are engaged in Chinese opera music, and we were conscious in the past. It is not enough to be conscious, we must obey the development needs of the times. Banhu moved from "accompaniment" behind the scenes to "solo" at the front desk. With the change of status and identity, the audience's requirements for you have also changed. Everyone knows this, but we need to work harder to play music wholeheartedly and focus on the whole like famous artists.

In a word, after several generations of playing practice, Banhu of Henan Opera has summed up a set of scientific and effective playing techniques and accompaniment methods, which is very valuable for our beginners to practice Banhu. As a new generation of musicians, we must cherish this wealth, fully inherit it, accurately apply it to practice, further develop and innovate, and make our Banhu sound clearer, brighter and more pleasant.

Jiaozuo Art School Ye 20 1 1 Spring Jiaozuo