What kinds of cadences are there in Huangmei Opera?

Three cavities is "color cavity", "immortal cavity", "Yin Si cavity" three cavities collectively. The three cavities have many **** the same point. First of all, the three chambers synthesize the elements of the Songboard and Plate Chambers in the music system, presenting the state of "quasi-Plate Chambers". Each of the three cavities has a basic cavity, and the color cavity and the immortal cavity are four lines, and their word arrangements, compound sentence positions, and the use of gongs and drums are all relatively fixed, with a sense of the stereotype of the song form. However, each cavity of the three cavities is derived from a pair of boards or several boards, and also forms some supplementary cavity sentences, therefore, the three cavities are also characterized by the board cavity system. 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 with each other, and also different from the male and female cavities of most of the flower songs which are sung with the same cavities and the same tunes, but the male and female cavities are different from each other melodically, so that it is easy to differentiate them from each other. Furthermore, in the dramatic performance function, the three cavities have both lyrical and narrative performance ability. The three cavities are a group of sister cavities with different interests, and their differences are also very obvious. For example, the sources of the three cavities are different. Color cavity, also known as "playing color tone", it is gradually evolved from the flower cavity song. Xian cavity, also known as "Taoist cavity", "Taoist feelings", produced in the local Taoist music, directly into the Huangmei Opera or first absorbed by the Qingyang cavity by the Huangmei Opera heritage. The Yin Si Cavity, also known as the "Soul Returning Cavity", comes from the Qing Yang Cavity, so it is also called the "Yin Si Gao Cavity". The expressions and uses of the three cavities are also different: the colorful cavity expresses the joyful and celebratory feelings of light and high spirits; 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 the sentimental emotions, and the yinshi cavity is an expression of the somber cavity, which was originally used for the expression of sadness in the drama of the dead spirits or characters who are about to pass away, and the words and sounds of the cavity are mournful and sad, as if they have entered the netherworld in general. In addition, the tuning and syntax of the three chambers are not the same. The color cavity, the immortal cavity has five tones, six tones, two kinds of levitation, Yin Si cavity is five tones, Shang style. 1. color cavity color cavity is the basic structure of the four sentence body. 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 starts with "six mallets of flower cadence", after the second phrase, "four mallets of flower cadence" is used, after the third phrase, "two mallets of flower cadence" is used, and after a section of the colorful cadence, "one mallet of flower cadence" can be used. After a section of colorful cantata, the section can be terminated with "one mallet of colorful cantata". The colorful accent is in the form of a levy, mostly in five tones, and occasionally in the form of a straight Gong tone. The four lines of the cadence are 5 5 6 5. The old Cai Cavity and Huangmei Tea Ceremony are similar but not the same, and the four lines of the cadence are 6 5 6 5 or 1 5 6 5. From the material of the music, the second line of the Cai Cavity and the fourth line are very similar in melody, while the third line has a strong expansion, forming the ABCB structure of "starting and ending". The auxiliary boards of the colorful cavity include 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 a soloist or in pairs, enhances the narrative function of the colorful cavity. The pairs of boards are one board and one line, and there are five-word sentences and seven-word sentences in the word pattern. The pairs of boards are often connected with the following sentence and the third sentence of the colorful cavity with the function of "turning" sentence, and can also be connected with the previous sentence of the pairs of boards after the second sentence of the colorful cavity, or connected with the pairs of boards after singing a section of the colorful cavity, and so on. The supplementary lines of the colorful canton are mainly "mai canton", which takes the place of the third line. It replaces the third line, which is shorter than the third line, and has a freshness of sound on the first line to increase the momentum of the music. The way the colorful cadence falls is to slow 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", which has the same melody 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 to expand 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 colorful cavity, due to the singing of the words of the sentence form and give birth to a board without eyes of the flowing water falling stone out of the board and roll singing and use of a large section of the colorful cavity to. The colorful cavity is an example of the many variations of a song, which shows that the freedom of the traditional singing of Huangmei Opera has always been very great. When some kind of accent formed a rough frame, smart artists will be "according to the original and diffraction of the text", from the edge of the body is not very clear, breeding a lot of branches, and can even increase or decrease, evolved a variety of variants. This is probably the "composing method" of folk artists. Color accent because of its music system between the main cavity, flower cavity, and their joint use is also very common, especially in the small drama, color accent and flower cavity joint use more frequently. In addition, in the early small opera performances, the color accent is often used for "playing color". The so-called playing lottery is a kind of fund-raising activity outside the opera, which is a means for artists to get income. And regardless of some artists in the color in the vulgar performance, but for the color of the tune when the audience is the widest, most representative of the characteristics of the opera singing. Artists "one in a hundred" chose it, the audience also "never tire of hearing" accepted it, then the color cavity of the form of features and musical interest when it is not to be ignored. 2. Xian cavity Xian cavity of the basic structure of the body is also a four-sentence, but the form is more complex than the color cavity. The immortal cavity should repeat the words in two parts, one is the last three words of the first sentence (seven-character sentence), and the other is the whole sentence of the fourth sentence. In this way, the length of the four phrases becomes uneven, creating a contrasting effect within the cavity where some phrases are skimmed over and others are emphasized. Repeated phrases are a common means of expression in the Gaokong, and in Yuexi Gaokong, the repeated phrases are circled with symbols on the transcripts, which shows the importance artists attach to it. The repetition of phrases in the high cadence is repeated with a new melody, and the cadence width has great changes, which is similar to the repetition of phrases in the immortal cadence of Huangmei Opera. Fancy 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 ending, which is the same as that of the colorful cavity. However, in the internal war cavity, "two mallets of flower cavity" are inserted between the first sentence and the three-word phrase, and after the three-word phrase, "four mallets of flower cavity" are inserted to form the first sentence of the song (including the phrase) in a tightly drummed state, which is very different from the average usage of gongs and drums in the colorful cavity. In the old Xian Cavity, there are also the use of the "helpers" and the "leaning gongs" to beat the rhythm with the cavity, which are all the characteristics of the high cavity remaining. The auxiliary boards of Xianqiang are several boards (also called pair of boards), which are the upper and lower sentence structures formed by changing and repeating the second and third sentences of Xianqiang. The supplementary lines of Xianqiang are "Maiqiang", which is the same as "Caiqiang Maiqiang" in terms of the length of the lines and the sound. Xianqiang has a remarkable 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. Take "The Pairing of Heavenly Immortals" as an example, when all the fairies secretly came to the Heavenly River to watch the beauty of the earth, it was the immortal accent that expressed their pleasure after being relieved; when the seven fairies performed a small spell to make the thousand-year old acacia tree open its mouth to speak, it was the male singing of eccentric timbre and exaggerated tone that accompanied this magical scene; when Dong Yong was told that the seven fairies were going to be forced to leave him, and that the old acacia tree, which was the matchmaker's witness, was mute and could not help, he sang with great sadness and sorrow. When Dong Yong learns that the seven fairies will be forced to leave him and the old acacia tree, which has been the witness of the matchmaking, is also mute and unable to help him, he sings with great sadness, "Mute wood, mute wood, calling out three times in a row, not speaking." Here the immortal accent is still used. Such different situations, different characters, and contrasting emotional expressions are all reflected in Xianqiang, which makes us think that Xianqiang has the valuable characteristic of "character variation"! The so-called "character variation" refers to the possibility that a simple tune, through the genius of the artist, evolves into several or even more tunes of different character, which not only expands to the expression of sadness and happiness, but also, for the drama, these "character variation" tunes, which have a different character, can be used to express the emotions of different characters. Moreover, for the theater, these "character-alienated tunes" are going to become the expression of special feelings of a certain character in a specific situation, and become the irreplaceable "this one". In the case of Huangmei Opera, or even in the case of traditional opera as a whole, the technique of "character variation" has not been sufficiently emphasized, and its great potential is far from being realized. It is easy for people to let the programmed thinking prevail, from the song pattern to the set pattern of the plate cadence, to break free from a rope and set a new rope, so that people are always spinning around in a circle. Of course, as far as Huangmei Opera is concerned, we have no right to blame the former artists. When the Huangmei Opera from the two small plays, three small plays to the development of the opera, people revered the preference of the Peking Opera plate complete, compared with this tree, Huangmei Opera is simply a small plant, therefore, make every effort to make their own plate, of course, is the ideal of the dream. Today, when we already have a deeper understanding of our own tradition and a clearer understanding of our future, we should not be obliterated by re-entering the trajectory, along the creation of "this one" road forward, we will make this "character variation" results to flourish. 3. 3. Yinshi Cavity Yinshi Cavity is the main cavity of Huangmei Opera and the three cavities with the most singular expression and the most adequate cavity dragging. It is used exclusively for sadness, and there are four to six bars on the last word of the upper and lower lines. The yinshi cavity has three twists and turns, and is very good at expressing the despair of the people in the drama as if they were dead. Because of this characteristic, it is often used in conjunction with the main cavity to complement the sadness of the main cavity. The yinshi cavity is a five-voice commercial modulation. The tonal color is different from the main cavity, as well as from the colorful cavity and the immortal cavity. This makes it stand out from the group of cadences and is easy to distinguish. Because of its cavity sentence growth and single expression, it is not suitable to be used repeatedly, usually only used once and then transferred to the auxiliary plate style and supplement the cavity sentence. From here, we seem to be able to "realize" the requirements of the plate cadence for the upper and lower phrases: it excludes non-narrative overly long dragging cadences, and at the same time, it takes a "neutral color" for the expression, and those cadences that are too parochial in mood and not easy to change are not suitable to be used as prototypes of variations, and are not suitable to be used as prototypes of variations. It is not suitable to be used as the prototype of variation, and it is not suitable to be used as the mother of the upper and lower phrases. The auxiliary plate of the yinshi cadence is the several plates of the upper and lower phrases, with strong narrative ability, and its melody comes from the upper and lower phrases of the yinshi cadence, which is also in the five-tone Shang mode. The supplemental phrase of Yinshiqiang is "Yinshi Maiqiang", its structure and sound are the same as that of Caiqiang Maiqiang and Xianqiang Maiqiang. It is often used after the upper and lower lines of the yinshiqiang to shift to the several plates of the yinshiqiang or other cadences. Due to the interoperability of expressions, the Yinshi cavity is often combined with the "crying medium", and the sadness is supplemented by the tone of crying, in order to achieve a more intense tragic performance.