Are there any guqin pieces that match this picture? Why?

Folding 1. High Mountains and Flowing Water

Legend has it that the pre-Qin qin master Yu Bo Ya once played the qin in the wilderness woodcutter Zhong Ziqi was able to comprehend that this was a depiction of the "lofty ambition in the high mountains" and "oceanic ambition in the flow of the high mountains and flowing water. ". Bo Ya was shocked and said, "I am glad that Zi Zi's heart is the same as mine." After the death of Zi period, Bo Ya lost his soulmate and broke the strings, so there is the song of high mountains and flowing water. [2] Since the Ming and Qing dynasties, a variety of music scores to the Qing dynasty Tang Yiming edited the "Tianwenge music score" 1876 in the collection of the Sichuan school of qin Zhang Kongshan adapted the "flowing water" is particularly characteristic of the addition of the "roll, whisk, nick, note" techniques for the sound of running water in the sixth paragraph, also known as the "seventy-two rolls of whisking running water "This piece has been widely popularized for its distinctive images and scenarios. According to zither experts in the "Tianwenge zither spectrum" before the introduction of all the zither spectrum in the "flowing water" are not Zhang Kongshan played the sixth section of the whole song only eight sections and the "magical secret spectrum" solution to the title of the match, but Zhang Kongshan's spectrum has been added to the nine sections of the music after the zither players are mostly based on this spectrum.

There is also a zheng piece called "High Mountains and Flowing Water", which is very different from the zither piece and is also based on the story of "Boya's encounter with his soulmate". There are a variety of genres of music. The most widely circulated and influential is the Zhejiang Wulin School's spectrum of melodious and elegant flavor and timelessness with the "towering mountains and flowing water of the Yang Yang" appearance. The Shandong School's "High Mountains and Flowing Water" is a combination of four small pieces of music, also known as the "Four Pieces of Music" and the "Four Pieces of Brocade", including the "Zither Rhythm," "Wind Swinging Cuizhu," "Quiet Bells at Night," and "Book Rhythm. Henan School of "High Mountains and Flowing Water" is taken from the folk "old six boards" board head song rhythm fresh and fast folk artists often play at the first meeting to show respect for the intention of friendship. These three and the guqin song "high mountains and flowing water" between no **** the same place are the same name and different song style is completely different.

The song "High Mountains and Flowing Water" was recorded on a gold record and launched into space on August 22, 1977 to preach the message of Chinese wisdom and civilization to the advanced creatures of the cosmic planets.

Folding 2. Guangling San

Guangling San According to the record of "Zither Exercise", in the Warring States period, Nie Zheng's father, who was casting swords for the King of Han, was killed because of the delayed date. Nie Zheng was determined to avenge his father's death, and went to the mountains to learn the zither for ten years. The King of Han called him to the palace to play the zither, and Nie Zheng finally realized his long-cherished wish of killing the King of Han and died of his own disfigurement. The story of Nie Zheng's death is based on the story of his death, and he composed a piece of music based on this story, which is one of the most famous pieces of the guqin, and has an impassioned and magnificent atmosphere.

The earliest surviving score of "Guangling San" is found in the Miraculous Secret Score (1425) compiled and printed by Zhu Quan of the Ming Dynasty, in which there is a score about "assassinating Han", "rushing to the crown", "anger", "retribution", and "revenge".

There is a sub-title in the score about "stabbing Han", "charging the crown", "getting angry", "reporting the sword" and so on, so the ancient qinquists regarded "Guangling San" and "Nie Zheng stabbing the King of Han" as different names and the same song.

According to Zhao Xiyao's "Overview of the Culture of the Three Kingdoms", the score of "Guangling San" has forty-five segments in six parts: the finger, the small preface, the big preface, the main sound, the chaotic sound, and the post-preface. Before the main sound, it mainly expresses the sympathy for Nie Zheng's unfortunate fate, and after the main sound, it expresses the praise and commendation for Nie Zheng's heroic deeds. The main part of the piece focuses on Nie Zheng's emotional development from resentment to indignation, which profoundly characterizes his will to take revenge against violence and death. Throughout the piece, there are two thematic tones that intertwine, undulate, develop and change. One of them is the main tone of the main sound, which is found in the second section of the "main sound", and the other one is the main tone of the chaotic sound, which appears at the end of the prelude. The tonic is mostly used at the beginning of the section to emphasize its dominant function. The chaotic tone is used at the end of the section, it makes a variety of varied tunes into a **** the same tone with the role of marking the passage to unify the whole song.

The melody of Guangling Dissan is very impassioned and generous, and it is the only surviving Guqin piece with the atmosphere of killing and fighting with spears and spears, which directly expresses the spirit of struggle of the oppressed against the tyrant, with a very high degree of ideology and artistry. Perhaps Jikang also saw the "Guangling San" of this spirit of resistance and will to fight to be so loved "Guangling San" and produce such a deep feeling for it.

"Guangling San" had been extinct for a while in the Qing Dynasty. After the founding of the PRC, Mr. Guan Pinghu, a famous guqin artist in China, sorted out the tunes according to the "Magical Mystery Score" and played the score to make this wonderful guqin music come back to the earth.

Folding 3. Pingsha Falling Geese

Pingsha Falling Geese Ming Dynasty, this song is called "Falling Geese Pingsha". The melody is melodious and smooth, and through the occasional goose song, it describes the scene of the geese circling in the sky before landing. For the understanding of the song "Tianwenge zither score" wrote "cover the high and cool autumn winds and sand calm clouds miles flying in the sky. It is the vision of the swan that is used to write about the heart of the scholar. Write the heart and mind of a man of leisure." There are also from the wild geese "flying back to look forward to the feelings of up and down the fly down attitude Xiang and then set the image of shock and rise again God" "both fell on the sand flat water far from the intention of the heart idle friends without guessing the male and female narrative" issued by the world as dangerous as the geese nature of the sentiment. Most of the circulating is the seven sections of the main tone and the musical image is roughly the same melody rise and fall and continue to be beautiful and moving tone of quiet beauty but quiet in the movement.

The Zhucheng School's "Pingsha" added a section in the fixed tone pattern accompanied by simulation techniques to express the geese flying this call and response to the scene of a distinctive and vivid image of the "Pingsha Falling Geese" of the meaning of the song of the various music scores of the interpretation of the question is not the same. The Ancient Tone" says that this song "takes the high autumn winds and calm sands, the clouds fly across the sky. Borrowing the far-reaching aspirations of the partridges to write the heart of the escapist also. ...... rhythm of the body where three up and three down. The first play like wild geese to the guest extremely cloudy misty sequence of wild geese line to the harmony of the song abruptly hidden and abruptly apparent if to and if to come. Its desire to fall also look back to the circle of the sky hovering its will fall also. The rest of the sound oblique swept around the continent three turns of its both fall also this call and respond to three or five groups of flying and singing, accommodation and food to be suitable for the feelings of children and mothers with the male and female let also can be characterized." This explanation of the description of the nature of the geese is extremely profound and vivid. The whole song is euphemistic and fluent, timeless and fresh. .......

Folding 4.Ten Ambushes

Ten Ambushes Guqin "Ten Ambushes" music is 202 BC China's history of the Chu-Han conflict as the theme depicting Liu Bang and Xiang Yu in the Gaixia duel scene. The music mainly glorifies Liu Bang, the victor of Chu and Han, and tries its best to portray the mighty posture of the "victorious division". The whole piece has a magnificent atmosphere and is filled with the killing sound of iron and steel. Ambush on Ten Sides" can be said to have brought the ancient pipa performing art to its peak by creating a solo performance of a single instrument to show the magnificent epic scene, which often requires a big orchestra or symphony genre to be accomplished in modern times. Today, "Ambush on Ten Sides" is still the most representative traditional masterpiece in the field of pipa performance art.

Folding 5: The Fisherman and the Woodcutter

The Fisherman and the Woodcutter is one of the ten most important ancient compositions of China. There are more than 30 different versions of this piece in the genealogy of the past generations, some of which have lyrics attached. The existing score was first written in the Ming Dynasty.

Fishing and Woodcutter's Q & A" was first published in the "Xingzhuang Taiyin Renewal Spectrum", written by Xiao Luan in 1560, "The rise and fall of the ancient and modern worlds is like the palm of the hand, and the green mountains and green water are safe and sound. A thousand years of gains and losses, right and wrong, are paid to the fisherman and woodcutter in a single sentence. This song reflects a kind of hermit to the fishermen and woodcutters life aspirations hope to get rid of mundane things. The musical image is vivid and precise.

There are many kinds of music scores. Because of the accuracy and vividness of the musical image, it has been popular among zither players for hundreds of years.

Yang Biaozheng revised the score and formulated the lyrics. In the Qing Dynasty, the music was slightly reorganized to become a separate instrumental piece without the lyrics. This piece is a beautiful and elegant piece that depicts the conversation between a fisherman and a woodcutter in a repetitive melody.

The Fisherman and Woodcutter's Question and Answer The piece expresses the contempt for those who pursue fame and fortune through the fisherman's and woodcutter's enjoyment of themselves in the green mountains and waters. The music adopts the way of dialog between the fisherman and the woodcutter, with the rising tune expressing the question and the falling tune expressing the answer. The melody is elegant and graceful, showing the fisherman and woodcutter's relaxed and carefree demeanor. Just as in "The Beginning of Zither Learning", the meaning of the tune is deep and long, and the mountains are lofty and the water is oceanic, and the axe and the ding ding and the sculling song are hidden under the fingers. The question-and-answer section makes one think of the mountains and forests.

Folding 6. Sunset xiao drum

Sunset xiao drum is a lyrical piece of music around 1925 Shanghai Daitong music society according to the song adapted into a silk and bamboo music "Spring River, Moonlight and Night" This is a lyrical piece of music melodious and smooth. Through the euphemistic and simple melody and smooth and varied rhythm, the piece depicts the charming scenery of the Spring River on a moonlit night and praises the beautiful scenery of the Jiangnan water town. Sunset xiao drum" is a pipa text also known as "sunset xiao song" in addition to "Xunyang pipa", "Xunyang night moon", "Xunyang song" and other different versions have been passed down. Some people believe that the Sunset xiaogong's intention comes from Bai Juyi's Pipa Xing. Such as "Xunyang pipa" song title is taken from the "pipa line" in the first sentence "Xunyang River at night to send guests maple leaves and reed flowers in the fall. In fact, the mood of the Sunset Pipa Drums is quite different from that of Pipa Xing. It is believed that the musical content and the mood of "Xunyang xiaogu" came from Zhang Ruoxu's poem "The Night of the Spring River and the Moon".

Though Zhang Ruoxu was not famous, his poem "The Night of Spring Flowers and Moonlight," which has been described as "a unique piece of writing that crowns the entire Tang Dynasty," was enough to earn him a place in the early Tang Dynasty and the Sheng Tang Dynasty, a time when geniuses emerged in great numbers. The "Moonlit Night of Spring Flowers" was originally an old musical composition belonging to the Qing dynasty, which was said to have been created by Shubao, the later lord of Chen, and was more popular in the Sui and Tang dynasties. Zhang Ruoxu's "Moonlit Night of Spring River Flowers" is far above the court poems of the same title in terms of style and realm.　　"The tide of the Spring River is even with the sea, and the bright moon on the sea *** tides. Rippling with the waves for ten million miles where is the spring river without a bright moon." This poem begins with a lofty intention and majestic momentum. From the spring river to the tide of the sea from the river tree to the flower forest from the moonrise to the moonset from the reality to the dream Zhang Ruoxu to the world to draw a picture like a fantasy like a real picture of the pale vast and quiet and beautiful. "Life is endless from generation to generation, and the river and the moon are only similar year after year. I don't know who the river and the moon are waiting for, but I see the Yangtze River sends flowing water." These four lines have always been regarded as containing philosophical reflections on life and the universe. In the words of Wen Yiduo, "In front of the magical eternity, the author has no dismay, no longing, no sadness". At the end of the poem, there are emotions such as the wanderer's longing to return home and parting sorrows, etc. Although it is slightly sentimental, it is still not less atmospheric.　　Strangely enough, from the Tang and Song dynasties to the early Ming Dynasty, various poetry reviews seldom pay attention to this poem, and naturally, no one recognized it as a masterpiece of the world. It was only after the Ming Dynasty that the poem began to be included in the Tang poetry anthologies. Zhong Xing of the Ming Dynasty commented in his "Return to Tang Poetry" that "the poem's shallow description makes one feel sad and sentimental, and it is not possible to read it without getting tired of it, and the five words of 'Night of the Spring River and the Moon' have been refined into a piece of marvelous light that cannot be divided and combined into a real work of art." Wang Fuzhi of the Qing Dynasty, "Selection of Tang Poetry Volume 1" said that the poem, "the sentence renovation of a thousand strands to move the hearts and spleens of ancient and modern people, the spirit of stupidity * * * feeling. Its natural uniqueness is in the smooth accumulation of hand to go just like a chapter." At the end of the Qing Dynasty, Wang Loon-yun wrote in "Wang Zhi? On the origin and flow of the Tang poets, commented on this poem, "Zhang Ruoxu 'Spring River, Flower Moon and Night' in the style of the 'Western Chau', a lone piece of the cross-cutting and even for everyone."

Folding 7. Autumn Moon in the Han Palace

Autumn Moon in the Han Palace The music expresses the sadness of the ancient courtesans and a kind of hopeless, lonely and cold life mood. In the bleak silence of the autumn night, recalling the past and lamenting the fate. The whole piece is dominated by sorrow, depression and sadness. This piece is also known as "Autumn in the Han Palace", which is found in "Yangchuntang Zither Records" and "Xilutang Zither Records" and has been gradually lost in the modern times, and was composed by Wu Zhao in the 1980s. The piece is intended to express the sadness and weeping of the oppressed court ladies in ancient times and to arouse people's sympathy for their misfortune.

"Autumn Moon in the Palace of Han" was originally a pipa song of the Chongming School, and now there are many kinds of scores in circulation, which evolved from the scores of one instrument to different scores, and were re-created by using their own artistic means

This is a common situation for folk instrumental music to be circulated in circulation. 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 the ancient palace maid. It mainly expresses the ancient palace maiden's sorrowful and sad mood and a kind of inexorable, lonesome and cold life mood.

Folding 8. Plum Blossom Sanlang

Plum Blossom Sanlang The overtones in the song are repeated three times on different emblems, so it is called "Sanlang". According to legend, Heng Yi of the Jin Dynasty made the flute "Three Melodies of Plum Blossoms", which was later transformed into a zither piece. The music celebrates the tenacity of the plum blossom in defying the frost and the wind and the snow to praise people with noble sentiments. 1972 Wang Jianzhong adapted the theme of Mao Zedong's "Winged Plum Blossom" into a piano piece.

Folding 9. Yangchun Baixue

Yangchun Baixue is said to have been made by Shikuang of the State of Jin or Liu Juanzi of the State of Qi in the Spring and Autumn Period, and the "Baixue" is taken as the sound of another clean snow and bamboo. It is a fresh and smooth melody, lively and brisk rhythm vividly expresses the winter to spring to the earth recovery of all things to the glory of the vibrant early spring scene.

Folding 10. Hu Jia Eighteen Beats

Hu Jia Eighteen Beats was composed by Cai Wen Ji, who was captured by the Xiong Nu in her flight to the outer regions of China and married to the king of Xiong Nu, and gave birth to two sons and daughters. She spent twelve springs and autumns outside of the country, but she missed her hometown all the time. After Cao Cao pacified the Central Plains and made peace with Xiong Nu, Cao Cao admired Cai's fame and talent, so he sent his envoys to ransom Wen Ji with a large amount of money, so she wrote her famous poem "Eighteen Pieces of Hu Jia", which recounted her unfortunate experience in her life. There are versions of Qin music, such as "Big Hu Jia", "Small Hu Jia" and "Eighteen Beats of Hu Jia". Although the tunes are different, they all reflect Cai Wen Ji's extremely contradictory and painful feelings that she missed her hometown but couldn't bear the separation of her flesh and bones. The music is euphemistic and sad, tearing the liver and intestines.