Top Ten Chinese Classical Music

Top Ten Chinese Classical Music Songs

(1), High Mountains and Flowing Water

Instrument: Guzheng

Introduction:

"High Mountains and Flowing Water" is based on the story of "Boya's encounter with his soulmate on the zither," and "High Mountains and Flowing Water" is only one song. The first song is about high mountains, which means that the benevolent people are happy with the meaning of mountains. Later, it was about flowing water, which means that the wise man is happy with the water. To Tang is divided into two songs, not divided into segments. In the Tang Dynasty, the piece was divided into two pieces, without any segment counting, and the piece was divided into four segments for the high mountains and eight segments for the flowing water." There are two kinds of music books for zither and zheng, and the zheng song "High Mountains and Flowing Water" is very different from the zither song, and there are many kinds of music books for various genres. The most widely circulated, the most influential is the Zhejiang Wulin School of the spectrum, melodious and elegant, the rhyme is meaningful, quite a "high mountains of lofty, flowing water of the Yang Yang" appearance.

(2) Guangling San

Musical Instrument: Guqin

Introduction:

According to the record of "Qin Manipulation", Nie Zheng's father, who was casting swords for the King of Han in the Warring States period, was brutally killed due to a delayed date. Nie Zheng, determined to avenge his father's death, went to the mountains to learn the qin for ten years, and became a master of the art, making him famous in Korea. When the king of Han called him to play in the palace, Nie Zheng finally realized his long-cherished wish of killing the king of Han and died of disfigurement. According to this story, the descendants composed a zither piece, impassioned, magnificent, for the guqin one of the famous big song. Jikang in the Han Wei period because of the opposition to Sima's dictatorship and was killed, before the execution had calmly played this song, the existing zither sheet music was first seen in the "magical secret score".

Guangling San: ancient qin music. Also known as "Guangling stop", according to the "Strategies of the Warring States" and the "Records of the Grand Historian": the Korean Minister Yan Zhongzi and Chancellor Man Lei have a long-standing enmity, and Nie Zheng and Yan Zhongzi friendship, he assassinated the Minister of the Han Dynasty for Yan Zhongzi, embodied a kind of "soldier for the death of the one who knows him" sentiment. This is a more common view, the title of the song in the "Magic Secret Score" is derived from this story.

(3), Plum Blossom Sanlang

Music Instrument: Guqin

Introduction:

The Plum Blossom Sanlang is one of the oldest Guqin compositions, with a beautiful and fluent melody, and an elegant and unique form, which celebrates the noble character of the literati through the depiction of plum blossom's frosty and proud demeanor, and is of high artistic value. The author, Huan Yi, is a famous general in the "Battle of Interfluo" in the Eastern Jin Dynasty. Plum blossom three fiddles" music theme performance plum blossom, three fiddles is actually three variations, ancient: high sound fiddles, low sound fiddles, swim fiddles said. The whole piece *** divided into ten sections, two major parts, the first part, the first six sections, using the cycle of reproduction techniques, the second four sections of the second part, describing the plum blossom static and dynamic two images.

Three Plum Blossoms is also known as Plum Blossom Leads and Jade Concubine Leads. The score was first published in the Ming Dynasty in the Miraculous Secret Score. The title of the score says that Huan Yi of the Jin Dynasty used to play the flute for Wang Hui "to the tune of Three Plum Blossoms. Later, people used the qin as the "Three Melodies". Plum Blossom Three Fiddles" is called "Three Fiddles" because the main tune is played in pans, and the same tune is repeated three times on different emblems. In the "Collection of Music and Poetry" (Volume 30, Pingtong Qu and Volume 33, Chingtong Qu), there is an explanation of the technique of using the flute to play the "lower fiddling, higher fiddling, and wandering fiddling" in the instrumental performance of the Sanghwa Sanlang. The structure of the three tunes may be a remnant of this form of performance.

(4) Yangchunbaixue

Instrument: Pipa

Introduction:

Yangchunbaixue, played by Tang Liangxing. Yangchun is a suite of sixty-eight-paneled pieces, most of which are variations of the old six-paneled pieces. The suite is included in the Pipa Score of Thirteen Great Pipa Pieces of the Northern and Southern Schools, edited by Li Fangyuan, and is titled Yangchun Ancient Pipa Pieces. There are many versions of this piece, but the ten- and twelve-part pieces are called "Big Yangchun," and the seven-part pieces are called "Small Yangchun" or "Fast Yangchun. This piece is light and lively, depicting the thriving scene of March, the return of spring to the earth and the growth of all things. It is one of the most basic traditional pipa compositions.

(5) Ambush on Ten Faces

Instrument: Pipa

Introduction:

There is no certainty as to when Ambush on Ten Faces came into being, but there is a description of it in the Tang Pipa biography of the Sishuodang Jie, Volume VIII of the Ming dynasty's Wang Yuding (1598-1662), which reads, "The Pipa is the most popular music in China. ...... and was especially enamored of the song of Chu and Han. When the two armies were dueling, the sound moved heaven and earth, and the tiled house was like flying down. Xu and check, there is the sound of gold, drums, swords and crossbows, horses and men to open up the sound; Russia and no sound. For a long time, there are complaints and difficult to understand only for the sound of the Chu song; poignant and strong for the king of Xiang song of generosity; Farewell to the sound of Ji; trapped in Dazhe have to chase the sound of riding; to the Wujiang River, the king of Xiang cut his own throat, the remaining riders ravaged trample the sound of the king of Xiang. So that those who hear it will be excited at first, and then sad, and then snot and tears will not come from it. It is so touching." From the text depicted in the "Chu Han" a song plot and the "Ambush on Ten Faces" depicted in line, it can be seen that as early as before the sixteenth century, "Ambush on Ten Faces" has been quenched in the folklore.

Now with Mr. Wei Zhongle performance, Qiu Chunjiao, Ye Xuran, Lin Youren, Hu Xiaofang notation, contained in the "pipa solo music collection" of the ten paragraph score analysis: [a] column camp [2] blowing [3] pointing the generals [4] lineups [5] walk the line [6] ambush [7] Jiming Hill small battle [8] nine miles of the mountain battle [9] the king's defeat [10] Wujiang cut their own throats

(6), the sand falling geese

The meaning of the song Ping Sha Falling Geese is different in various music scores. In the "Ancient Tone", it is said that this song: "The high and clear autumn, the wind is quiet and the sand is calm, the clouds are ten thousand miles away, and the sky is singing. Borrowing the faraway ambition of the partridge, write the heart of the scholar also. ...... The rhythm of the body where three up and three down. The first play like geese to guests, extremely cloudy misty, sequence of geese line and song, abruptly hidden abruptly apparent, if to if to come. It wants to fall also, back to the circle, hovering in the air; it will fall also. Rest sound oblique swept, around the continent three turns, its both fall also, this call and the other echo, three or five into groups, flying and singing and hosting, get the right mood: son and mother with the male and female to let, but also can taste it." The description of the nature of the geese in this passage is extremely profound and vivid. The whole song is euphemistic and fluent, meaningful and fresh. ......

(7) Autumn Moon in the Han Palace

Instrument: Guzheng

Introduction:

The Autumn Moon in the Han Palace was originally a Pipa song of the Chongming School, and there are many kinds of scores in circulation, which have evolved from the score of one kind of musical instrument into different scores and are recreated using their own artistic means in order to shape different musical images. This is a common situation in the circulation of folk instrumental music. The performance forms of "Autumn Moon in the Han Palace" are Erhu, Pipa, Zheng, and Jiangnan Silk and Bamboo, etc. It mainly expresses the grief of an ancient palace maid. It mainly expresses the grief and sorrow of the ancient courtesans and a life mood of hopelessness, loneliness and coldness. Pipa song "Han Palace Autumn Moon" is also known as "Chen Sui". It is written in the image of song and dance in the lonely harem, which makes it even more obvious that the song is clear and depressing, and there are different genealogies. At present, it is generally based on the Wuxi Wu Wanqing (1847-1926), but Liu Dehai added a lot of timbral changes and intentional diffusion of fingerings, a chant and three sighs, both scenarios, very infectious.

(8) The Woodcutter and the Fisherman

Instrument: Guqin

Introduction:

The Woodcutter and the Fisherman is a famous piece of music that has been handed down for hundreds of years, and there are a variety of scores available. The "Beginner's Guide to the Study of the Chinese Zither" says of this piece, "The meaning of the piece is deep and long, and the spirit is free, while the loftiness of the mountains, the ocean of the water, the ding-ding of the axe, and the ugh-nai of the sculling boat are all hidden under the fingers." Because of its accurate and vivid musical image, the piece has been popular among zither players for hundreds of years. The music begins with a leisurely tune, showing an ethereal and spontaneous style, and the echoes of the upper and lower phrases create the mood of a fisherman and woodcutter answering each other. The theme tone changes and develops, and new tones are constantly added, together with the use of the rolling technique, forming a climax in the seventh section. It portrays the hermit's unrestrained and elegant mood. The strong sound caused by the use of the splash and triple-play techniques, in response to the syncopated rhythms, gives the impression of towering mountains and the woodcutter's thumping axe. The thematic tones presented at the end of the first section are shifted and varied and repeated throughout the piece, leaving a deep impression on the audience.

(9), sunset xiaodu

Instrument: pipa

Introduction:

"Sunset xiaodu", also known as "Xunyang pipa", "Xunyang night moon", is one of the representative works of pipa quwenqu. This song was circulated in the Jiangnan area in the 18th century at the latest. The music depicts the beauty of the time on earth with soft melody and peaceful tone: the drums send away the setting sun, and the sound of xiao usher in the evening of the full moon; people are in a light boat swinging on the spring river; the green hills on both sides of the river are superimposed on the green hills, and the flowers are in the shadows; the water surface swings with the moon, and the oars and sculls add sound ......

(10), Eighteen Beats of Hu Jia

Instrument: Hu Qin

Introduction:

At the end of the Han Dynasty, there was a great chaos in the country.

At the end of Han Dynasty, Cai Wen Ji was captured by Xiong Shuang during her flight, and was displaced to the outer regions of the Seychelles, where she later married King Zuo Xian and gave birth to two sons and daughters. She spent twelve springs and autumns outside of the city, but she missed her hometown all the time. After Cao Cao had pacified the Central Plains and made peace with Xiong Nu, he sent his envoys to redeem Wen Ji with a large amount of money, so she wrote the famous poem "Eighteen Beats of Hu Jia", in which she recounted her unfortunate life experience. There are versions of "Big Hu Jia", "Small Hu Jia" and "Eighteen Beats of Hu Jia". Although the tunes are different, they all reflect the extremely contradictory and painful feelings of Cai Wenxilu, who missed his hometown but could not bear the separation of his flesh and bones. The music is so sad that it tears the liver and intestines.