Tell me some famous lullabies, preferably with short scores, please.

Boat songs and lullabies

The famous "city on the water", Venice, has a kind of flat-bottomed, narrow boats called "gondolas". The boat song is the origin of the song sung by the gondolier, widely popular in Italy. In the nineteenth century, it became a favorite genre of romantic lyricism. The tune of the boat song is simple and fluent, free and easy, usually in 6/8 beat, with strong and weak beats alternating and undulating in a regular manner, depicting the swaying of the boat. The boat song in Act II of French composer Offenbach's opera The Tales of Hoffmann is a typical Venetian gondola boat song. In the moonlit night, the poet Hoffmann's friend Nicklaus and the poet's lover Julietta in a gondola, wandering in the canals of Venice, singing the duet, like the general up and down of the microwave ripples of the tune, closely matching the accompaniment of a rocking and swinging tone pattern. The piece is divided into three sections, with the second section beginning with "Blow, Breeze". The third section repeats the tune and lyrics of the first section. At the end, Giulietta and Nicklaus sing the word "ah," echoing each other. The song faded into the evening breeze.

Boat songs have instrumental songs in addition to vocal songs. Boat songs in instrumental music are lyrical sketches that, like boat songs in vocal music, have a sing-song lyrical melody and a rocking and swaying accompaniment pattern, and are often written in 6/8 time. Mendelssohn's piano piece Songs Without Words contains three Venetian Gondola Songs, the first of which, Songs Without Words in G Minor, was written in Venice in 1830. The music is fresh and fluent, beautiful and vivid; the melody and swaying and undulating rhythm of the song run through the whole piece, shaping the musical image of a light boat swinging on the water. Tchaikovsky's piano suite The Four Seasons also includes a boat song. 1876, Tchaikovsky was asked by Bernard, publisher of Petersburg's monthly magazine The Novelist, to write a piano piece every month for the Novelist's music supplement. Benard selected twelve poems in the chronological order of the twelve lunar months and offered them to Tchaikovsky as titles for the twelve pieces. The piece is in three sections, the first and third sections being on the same theme, with a deep, melodic, slightly melancholy melody, like a romantic piece. Although it does not use 6/8 beat, but 4/4 beat from strong beat to weak beat a swinging rhythm. It also reflects the image of a light boat swinging. In the middle section, the speed turns faster, the rhythm is also active, and from the minor key into the major key, from four beats to three beats, written out of the "mountains and valleys should be heard, the wind rises and the water rushes" image; singing paddles, dissolved into a piece, you can hear the sound of the waves splashing. The melody of the third section, in the end of each section, added the accompanying voice, the original "solo", turned into a "duet"; singing one after another, the performance is more vivid. Finally, the boat gradually left, and the gentle lapping of the waves disappeared into the distance.

Lullabies are also known as lullabies. Lullabies were originally sung by mothers in their cradles to make their babies sleep quietly, and have since evolved into a musical genre. The musical image of lullabies generally has a warm, friendly, peaceful atmosphere. The tune is calm, slow, beautiful, and full of a mother's warm wishes for her child's future. The accompaniment often imitates the swinging rhythm of the cradle. Because the lullaby and the rhythm of the boat song is very close, but also have a lyrical singing melody and quiet drug atmosphere, there are many **** the same characteristics, so the German composer Richard? Strauss used Mendelssohn's "Boat Song" melody in the lullaby of his "Family Symphony". The Family Symphony is about a day in the life of the composer's family. The lullaby is one of the passages. There are two melodies in this piece of music: one represents the child, the child theme. It is played by an ancient oboe, a tuba, and a viola with a muted voice. The ancient oboe played one minor third lower than the present-day oboe, an A-flat oboe. The other is the melody of a lullaby, which describes the song coming from a mother. Played by the bass clarinet, the opening two bars are the melody of Mendelssohn's Song without Words in G minor. The author uses polyphony to combine these two melodies. Supporting these two melodies are rhythmic patterns depicting the swinging of a cradle, played by two tubas. At the end of this music, we can hear the bells ringing seven times, played by the carillon. At this point the father's theme appears on the cello and the mother's theme on the violin, depicting the parents casting a blessed eye over the sweetly sleeping child.

Lullabies are also like boat songs, with both vocal and instrumental works. 6/8 time is also a typical beat for lullabies. For example, the following is a vocal lullaby in 6/8 meter, the composer of which is said to be Mozart. The song is developed from a short two-bar melody as a thematic core, with a bright and fervent tone, full of hope for the child's future. The rhythm, which describes the gentle swinging of the cradle, runs from beginning to end. In addition to lullabies in 6/8 time, lullabies in triple and quadruple time can all utilize harmonic and rhythmic techniques to depict the swinging of the cradle. Schubert's Lullaby utilizes the constant alternation of stable and unstable chords to represent the effect of a swinging cradle. It is a folk song style song, and the music is full of infinite warmth and caress. Brahms' "Lullaby" is characterized by the ebb and flow of strong and weak beat rhythms. To create the image of the cradle swinging. It is also a folk song style song, the tune is gentle and beautiful, showing a mother's affectionate wishes for her child.

Composers often adopt lullabies into opera. For example, the French composer Godard wrote a lullaby in the opera "Josselin". But instead of a baby, it is about a dying woman. It is a lyrical song characterized by opera music. The whole piece is divided into two parts. The first part is equivalent to the declamatory key in opera, and the second part is equivalent to the aria in opera. The declamatory tone is a recitative tone based on speech tones. The first part of this lullaby has the nature of a declamatory tune, but with a strict three-beat meter, not as free as a true declamatory tune. An aria is a lyrical or dramatic recitative in an opera. The second part of this lullaby has some of the characteristics of a lyrical aria. However, it does not have the three-part structure commonly used in arias. The opera Josselin, based on a poem by the French poet Lamartine, recounts the story of Josselin, a monk of the monastery, who hides in the Eagle's Cave in the Tauffigny Valley during the outbreak of the Bourgeois Revolution in France in 1789. Laurence, an aristocratic girl, also disguised as a boy, hides in this valley. Josselin hides her in the eagle's cave where he hides, realizes that she is a young girl, and the two fall in love with each other. Laurence reminds him not to forget that he is a monk of the soil, so Josselin breaks up with Laurence and goes back to the monastery. Years later, Josselin was invited to do penance in Paris for a dying woman, Laurence, who on her deathbed expressed her desire to be united with Josselin in heaven. This lullaby is Josselin's lullaby for Laurence. The first part is a monologue of a declamatory nature. The second part is a lullaby in four beats with an accompaniment depicting the swaying of the cradle.

In addition to lullabies written for the human voice, there are also lullabies written for various instruments. These instrumental lullabies are more developed than vocal lullabies in both content and scale. Instrumental lullabies are not limited to hypnotizing and depicting a baby falling asleep, but are more about expressing inner thoughts and feelings, and delineating a peaceful and poetic spiritual realm. Chopin's lullaby is a far-reaching piano tone poem. The left hand is a constant repetition of a stable chord and an unstable chord from beginning to end. Describing the swing of the cradle, this constant repetition of a short melody or harmony is called a fixed motive. The right hand is a constant variation of a phrase, and the whole piece is based on the melody of a phrase, which unfolds continuously by means of variations; under the backdrop of the fixed motif, it develops from a single voice alone to a two-part repetition; and from a simple, well-proportioned tempo to a light, florid melody. The right hand dances like a windblown willow, while the left hand is like a solid tree trunk. The whole piece maintains a quiet atmosphere and is full of subtle tonal changes. The French writer Alexandre Dumas had a vivid description when he talked about Chopin's lullaby in one of his theater works, he said: "The quiet music gradually permeates the atmosphere. It envelops us in the same feeling, a feeling that can be compared to that of a Turkish bath after which all consciousness is dispersed into a state of calm. The body, harmoniously exhausted at this time, has no more desire than the need for rest; the mind sees that the doors of the prison which held it captive have all been opened, and goes where it will, but it always tends to the blue dream."