What are the typical structural features of China traditional instrumental music used in the piano solo "Moonlit Night on a Spring River"?

In the opening music, people were brought into the melodious dusk scenery. Its theme is euphemistic and moving boat songs, and its variations or twists are like splashing water, nine-piece Legato, spinning down, or dancing like a beautiful woman under the moon, and like ripples of water waves blown by a breeze. At the end of it, I understand that the euphoria of drums, songs and paddles is slowly disappearing into the quiet night.

As far as musical instruments are concerned, the timbre of the piano is single, but through different playing methods, different touch keys, different pedal use, and sharp contrast between range and volume, associations of different timbres can be produced.

The piano piece "Moonlit Night on a Spring River" is expressed by homophonic wheel fingers and homophonic repetition. The dynamics simulation depicts the drum sound of Jianglou from near to far, from far to near, and the decorative sound simulation from slow to fast, from slow to urgent.

Although the piano version of "Moonlit Night on a Spring River" is also derived from ancient pipa music, it uses variations similar to western composition techniques.

In the arrangement of speed, it follows the typical structural features of traditional instrumental music in China, that is, "scattered-slow-medium-fast-scattered", which naturally reminds people of Bells and Drums at the Bottom of the River, Dongshan Mountain on the Moon, Wind Back Qushui, Flower Shadow Cascade, Deep Water, Fishing Singing Night, Tearing on the Shore and Radiation.

The first picture of Jianglou Drum simulates the distant sound of Jianglou Drum with decorative sounds and arpeggios, showing the melody from slow to fast, from weak to strong, from strong to weak. Then the flute-like melody was played, and with vibrato and a series of increasingly strong melody lines, the scene of sunset, unfinished afterglow, boats all over the river, quiet and intoxicating was drawn.

The second "picture" is on Dongshan Mountain, which is a gentle melody like a wave. The same tone runs through the end of the melody, raising the theme tone by four degrees, just like the gentle and changeable beautiful lines in the painter's picture.

The third song "Wind" returns to Qushui, and the melody introduces new tones, and the melody lines fluctuate and the sense of strength is enhanced, just like a breeze blowing on the river, the water is spinning and the stars are shining, as if showing a beautiful and moving picture.

The fourth "frame" is a cascade of flower shadows, and the speed, beat, melody, harmony and texture form different color contrasts before and after. At the beginning of the tune, the rhythm is scattered. After the slow melody line, the rhythm is gradually accelerated, and the cadenza is played faster, which makes the atmosphere look brand-new, in sharp contrast with the quiet artistic conception shown in front, just like a breeze blowing, the shadows in the water are swaying and chaotic.

The fifth picture is deep in the clouds. This piece of music uses different sound zones and timbres to form a sharp color contrast, which reminds people of the night scene in the middle of the river. The music first whirled in the deep bass like a chime, which made people think that the muddy waves of the river were turbulent and continuous. Then a series of melodies with decorative notes imitate the pipa to make elegant sounds. Bright colors are like waterfowl flying and singing in the clouds, sometimes soaring in the sky, free and full of vitality.

The sixth "article" of the fishing song is late, and its melody means "pen breaks meaning" The right hand shows a slightly faster melody, a long note is followed by a series of fluctuating notes, and the left hand takes a triplet of 32 minutes in the second half of the bar, followed by two or three octaves, like a small fish in the water. At this time, the melody of the right hand leaves an eighth pause of the same value, which makes the melody interesting and vivid, such as the blank space in the picture and the continuous charm of the voice.

The seventh "picture" ripples on the shore, from far to near, from slow to fast, from slow to sharp rhythm, like a picture lens. The speed of music is gradually accelerating. For example, many boats and boats race to return home, and the waves surge with rhythm, forming a magnificent landscape.

The eighth "painting" of yuan color, its texture melody and performance make people realize different musical images and three-dimensional sense of music. For example, the pipa sound of the left hand and the decorative sound of the right hand form two parts and two melody lines, and the fingers use different touch strength and touch position to form a distinct two-layer music line, depicting the rhythmic paddling of the pick and the vivid water ripples on the water.

The ninth "picture" is to return to the boat, which is the climax of the whole song and the mood has reached its peak. The rapid 32-minute notes of the right hand constitute the underwater acoustic background of beating the reef, and the horizontal melody of the left hand moves like the cheerful song of the fisherman's return, which constitutes the melody and praise for the beautiful country.

At the end of the tenth picture, the theme melody changes and reappears, and the adagio is free, quiet and elegant. Boiling drums, paddles and water waves slowly disappeared in the silent night. A series of 5-tone and 7-tone staccato chords present a quiet three-dimensional picture of a bright moon walking through the mist and shining silver on the river bank.

On the basis of maintaining the charm of the original music, the piano piece Sunset Flute and Drum cancels the subtitles in the original music, applies the principles of variation, expansion and circulation in China's traditional composition techniques, and adopts the unique free variation form of China, forming a whole structure in one go. The whole music gradually changed and unfolded, which enhanced the contrast between strength and speed. Just like China's freehand brushwork, he doesn't pursue roughness.