● How to practice Beijing Opera vocalization? (Tsing Yi Laosheng) ●

(1) True voice is also called loud voice. One of the pronunciation methods of Peking Opera actors. When singing, the breath comes out of the abdomen and makes sound directly through the throat cavity, which is called true voice. Call the real voice with the voice in the real voice. If Tian Danqi passes through the throat cavity, the actor narrows the throat cavity to make it emit a higher tone than the real voice, which is called falsetto. True voice and falsetto are naturally connected when they are in the cavity, with wide range, easy operation of high and low voices and no trace. The life of Peking Opera (old students, martial arts students and red students), clean lines, ugly lines, Lao Dan and other trades are all sung with real voices. Xiao Sheng sings in a falsetto, but when he speaks, his true and false voices are mixed.

(2) The original sound is the same as the "falsetto".

In phonology, pentasyllabic means that ancient scholars divided initials into five categories, namely, lip sound, tongue sound, tooth sound, tooth sound and throat sound. This traditional formulation is still an important concept in studying and studying Peking Opera.

People often regard "clear pronunciation and mellow voice" as an important criterion for evaluating Beijing opera singing. However, some Beijing opera lovers, especially beginners, often focus on singing, that is, various plates and cavities, while ignoring the articulation and articulation in the lyrics. At the same time, people who are not exposed to Beijing opera often say, "Beijing opera sounds good, but it is difficult to understand." The words "nice" mostly refer to singing skills, and there are many reasons for "difficult to understand", one of which is not understanding the lyrics. Therefore, this is not only a problem that beginners and Beijing opera lovers should pay attention to, but also an important topic to popularize Beijing opera and strengthen the theoretical construction of Beijing opera.

In fact, singing and lyrics are originally closely combined, and they are both used to express the thoughts and feelings of the characters in the play. Lyrics are the language of the characters' thoughts and feelings; Singing is the musicalization of characters' thoughts and feelings. This musicalization serves the lyrics in a certain sense. Without the lyrics, singing itself will lose its support. On the other hand, the joys and sorrows in lyrics can be expressed and embodied by various types of different vocals. Therefore, the lines in the aria and the articulation in the lyrics are two aspects that cannot be neglected. The beauty of singing in Beijing opera is inseparable from the beauty of phonology of lyrics (expressed by enunciation and articulation). Only by combining the two closely can we fully express the thoughts and feelings of the characters in the play, so as to further achieve the situation of "the tune follows the word, the word leads the tune, the word is clear and round, and the sound and emotion are both rich".

Articulation and articulation in Beijing Opera lyrics are all carried out in the aria (there are also problems of articulation and articulation in rhyme, which are ignored here for the time being). In particular, the lines of some lyrics are very long, that is to say, the pinyin of the initials and finals of a word in a lyric is often not carried out in one beat, but in several or even many beats, which determines a characteristic of Beijing opera pronunciation, that is, the phonological composition of the language in a lyric is clearly divided into three parts: prefix, ventral sound and ending sound. Generally speaking, prefix refers to the pronunciation of initials, and belly and tail refer to the pronunciation of finals. For example, the prefix of "Dad goes out early in the morning" in Fishermen's Family is sh, the belly is O and the end is U, the word "Bao" in Li Lingbei laments Yang's loyalty to Dasong, the prefix is B, the prefix is A and the end is O, and the word "Teng" in "The Island Ice Wheel Begins to Turn" in "Your Lady is Drunk" is T and the prefix is. Of course, in singing, prefix, ventral sound and suffix are inseparable, but it is an ingenious art to spell each other in the online cavity, coordinate the transition and form a syllable completely, so as to convey the lyrics clearly and emotionally to the audience through singing. When teaching singing, many old gentlemen often say: "The words should be clear first, the rhyme should be correct, and the ending should be at home", which refers to this comprehensive requirement for articulation. Five tones, as the five classifications of initial pronunciation, are the primary task of finding out the prefix.

The proposal of five tones was first seen in Liang Daigu's On Five Tones of Jade. At the end of the Tang Dynasty, 30 letters were sorted according to the five-tone classification. In the Song Dynasty, 36 letters were added to 30 letters, and two kinds of semi-tongue sounds and semi-tooth sounds were added to the five tones of lips, tongue, teeth and throat, which were collectively called "seven tones". All these represent the great historical contributions of ancient phonologists. The five-tone theory is still used by Beijing Opera and Quyi, which shows its far-reaching historical influence.

However, with the development of society, language and pronunciation are constantly evolving. There are 2 1 initials in modern Chinese, which can be divided into seven categories according to the pronunciation position: bilabial sound, tooth lip sound, sharp front sound, sharp middle sound, sharp back sound, tongue surface sound and tongue root sound. Comparing this classification with the ancient pentatonic scale or heptatonic scale, we can get the following understanding:

1. The classification of initials in modern Chinese is the inheritance and development of ancient phonology. It inherits, sublates and supplements the content of five tones.

2. Some references to the old content of five tones are unscientific, such as: What is "tooth sound"? What is "teething"? What is "guttural sound"? How to distinguish them? And so on, especially the concept of "tooth" and "tooth" is not easy to distinguish clearly. If we still use the old theory to guide the current singing method, it is not only puzzling, but also a kind of conceptual confusion. The classification of initials in modern Chinese is more accurate and applicable. Of course, traditional ideas are always limited by historical and cultural development, which we can't demand from the ancients.

3. Should the classification of initials in modern Chinese be used instead of the formulation of five tones? This involves both academic knowledge and traditional habits. The old saying "four tones are clear, five tones are distinguished and four tones are correct" also says: "When reading characters, five tones are classics, four tones are latitudes, the longitude and latitude are distinct, and the characters are halal." "Although the genre is different, the industry is different, but don't call four tones, judge five tones, positive four tones, pronounce words, return to rhyme, close your voice, and pay attention to breath. It's all the same." It can be seen that the five tones have become a long-established formulation and should not be forcibly changed by administrative means.

4. Although there are seven kinds of initials in modern Chinese, which are summed up as "five tones" composed of double lip sounds, tooth lip sounds, tongue tip sounds, tongue surface sounds and tongue root sounds, the tongue tip sounds are divided into three details: before, in and after the tip of the tongue. The "five tones" in modern Chinese are not coincidental with the traditional five tones. Through the comparison between the two, we can discuss the change of prosperity and waste, as well as the adjustment and change, just as "leveling, going up, going forward" was four tones in the past, and "leveling, rising and falling" was four tones in modern times, which has its own regularity. Therefore, the name of pentatonic can remain unchanged, but its content should be redefined.

This paper only summarizes the five tones, mainly to solve the problem of clear prefix in singing, aiming at following the traditional concept of five tones and defining its connotation in a new way for the benefit of the artists and readers. As for the rhyme and ending of pronunciation, it involves many aspects of four tones and rhyme, which is beyond the scope of this paper.

Attached:

Opera actors, especially Beijing opera actors, including opera lovers, are prone to make mistakes in singing. They wish they couldn't shout a loud and bright voice soon, and rushing to shout high notes, fierceness and even wildness often backfired. When we study vocal music practice, it is beneficial to practice the breath first, and we need to make clear a gradual law and persevere. In this third stage, we suggest that we should not rush to climb scales and shout high notes, but practice from the combination of qi, sound and words. The relationship between them should be arranged in this order: qi is sound, sound is cavity, cavity is word, word is word, and word is emotion. As can be seen from this order, the position of the word is in the middle, the sound and cavity are in front, and the word and emotion are in the back. If it crashes, the whole game will be lost. The truthfulness of pronunciation determines the roundness of sound, and it is this principle that "words speak for themselves". The relationship between words, sounds and qi in shouting practice should be that "qi" is fully supported, "sound" is accurately recognized, and "word" is truly bitten. The specific methods are as follows: enlarge and slow down the prefix, abdomen and suffix with Chinese pinyin, practice pronunciation with Chinese characters, and then speed up, while practicing the flexibility of mouth, lips, teeth, tongue and throat.

(1) lip sound practice: (first slow down, enlarge and read it again, and gradually speed up reading tongue twisters)

Eight, one, one, one, one, one, one, one, one, one, one, one, one, one, one, one, one, one.

② Dental pronunciation exercise (method as above)

Four-four, ten-ten, fourteen-fourteen, forty-forty, not fourteen-forty, not forty-four.

③ Tongue pronunciation practice (the method is the same as above)

Sixty-six-year-old Liu Laoliu is pushing sixty-six big oil baskets, sixty-six weeping willows and tied with sixty-six big horse monkeys.

④ Laryngolaryngeal exercises (method as above)

There are tigers in front of the mountain and monkeys at the bottom. Tigers drive away monkeys, and monkeys beat tigers. Tigers can't drive out monkeys, and monkeys can't fight tigers.

⑤ Practice of tongue pronunciation and tooth pronunciation (the method is the same as above).

There came a lame man in the south of the street, with a plate in his right hand and an eggplant in his left. Someone pouted in the street. The nail tripped the lame man, and his right hand dropped the plate and his left hand threw the eggplant.

⑥ Thirteen-channel pronunciation practice

Wind (Middle East) urges (ash heap) summer (Zhou Su) to go (17), a lotus (Sobo), a flower (in full bloom), and a thank you (embarrassed).

Autumn (from seeking), cool (Jiangyang), clouds (people), heights (far away), geese (as mentioned earlier), self (thinking) and coming (Huailai).

Joe (Yaotiao), Yi Jia (Fahua), (Ren Chen), (Yuqiao), Yi Chu (Gusu), (Jiangyang) and Yi Lai (Huailai).

East (Middle East), West (No.17), South (Preface), North (Ashes) and Sitting (Sobo)

The third stage: poetry singing practice.

The purpose of putting poetry singing in the fourth stage is to practice and tap the sound quality of "generous bass, mellow midrange and tough treble", instead of blindly raising and climbing, consolidating the midrange and bass, making their timbre gorgeous and pure, maintaining a pleasant and easy-to-use voice, and exercising the toughness and elasticity of the treble. At this time, chanting and singing are unaccompanied, and singing is more difficult and demanding. In the third stage, you have the spirit, sound and words at the bottom, and you climb up step by step. Your voice is not tired, and your practice is effective and you have a great grasp.

(1) Poetry is usually composed of fixed field poems from all walks of life. Because the role has just come to power, it is necessary to make a first impression on the audience, so that they will not talk and be quiet. Therefore, it is necessary to be high-pitched and calm, and it is a self-analysis of the role's own interests and ambitions. It has a strong sense of rhythm and must be practiced well, suitable for shouting, practicing and practicing. For example, in Mi Fei's poem "Drumming Cao", "The mouth is like a river and the flow is like a stream. All rely on the tip of the tongue to suppress the princes. How can a man be a giant? He should look for a seal with a smile "; Another example is Yue Fei's pastoral poem, "Bright Ming Jia shoots the bullfighting palace, ethereal banners cover the sun, the tiger is towering in the same column as the generals of the Ming government, and the male corrects his horse like a dragon." In the morning when everything wakes up and everything is renewed, you can practice your voice to the fullest.

(2) Singing method: it has the characteristics of white singing, half singing and half singing coordinating with each other. It is more difficult than reciting poems, its emotions are more suitable for expression, its melody is more suitable for stretching, and it is only used for shouting and vocalization. Half-singing is like an introduction. For example, in the first half of "Cosmic Front", Zhao sang "The cuckoo cries branches, and blood and tears are dark and sad." Another example is Yang's "Cao Cao (semi-chanting)", "Alone (chanting) alone in the sky, Miao Rong was built early, (semi-chanting) helped Hanzuo exist in name only, (chanting) Wei moved the times." Sing directly, such as "Qin Qiong sells horses", "The hero of the Han Dynasty is trapped in heaven, I don't know when he will return to his hometown", or "Old, old and childless" in "Qingfengge", "Listening to his mother's whining, he must have lost his love for Joule".

③ Reciting poems in Beijing and Bai (Putonghua): practice reciting words for modern drama performances, such as using the melody of the poem "Poems of Chairman Mao", "You are not a hero if you don't reach the Great Wall". For example, reading some classic quotations of modern drama, such as "Rice seedlings meet the rain after a long drought, never forget" and "Chiba is bitter", are all good materials for shouting and practicing. Traditional large-scale chanting and some penetrating exercises can also exercise breath and sound at this stage.

The fourth stage: arc aviation acoustics practice.

This is a very unique vocal technique in Beijing opera. It's like jumping in dance, jumping up, squatting down and bouncing up, and also like shot put in sports, turning it up, taking it back and throwing it out. Breath and sound are pushed out to form a parabola, pulled back and thrown out.

Ru Wusheng: Ah/Cough/Lao Sheng: Ma/Lai/Hua Lian: Wine/Oh/Lai/Ugly: Ah/Ha/Tsing Yi: Bitter/Wow/Glory/Treasure/

If the double-arc tone is not practiced well, it is very easy to produce "bifurcation", "turn" or "flower". The general points are: good luck-supporting words (decomposing pronunciation like "Chinese Pinyin")-throwing it out-putting it away-throwing it out again, controlling the breath and volume, and choosing the best timbre to complement each other. In particular, the "capacity-nature" chanted by Cheng School seems to be broken and delicate, and it stays at home. Yin Gui Guiyun needs hard practice and mastery.

The fifth stage: climbing scales and practicing difficult notes.

Ga tune, Van Gogh and Gao Qiang are indispensable in singing, which we call difficult tune. Practice this sound in the practice of shouting. Be careful not to practice more. The key is to find a way to find a position. If you shout hard, all the previous exercises will be useless and your voice will be hurt. When practicing this sound, it is forbidden to squeeze, jam, pinch, press, force or hit hard. The old gentleman said, "If you want to sing a high word, you don't have to shout it back (which makes it difficult for me to shout), but if you make the word narrow, sharp and deep, your voice will be high ... When you meet a high word, you will breathe out ... then the listener will be clear and bright, and the singer will not have any troubles." There are tips and methods here, which should be explored and explored according to your actual situation.

(3) Loud voice is the same as "true voice".

(4) True sound is the same as "true sound".

(5) falsetto is also called small voice and double voice. One of the pronunciation methods of Peking Opera actors. It is relative to the true voice, loud voice and original sound. The sound made by falsetto is called falsetto. When vocalizing, compared with the real voice, the throat is narrower, the position is higher and the airflow is thinner. The pitch of falsetto is higher than that of real voice. Both Dan Jiao and Xiao Sheng in Beijing Opera are sung in falsetto, but their voices are different in rigidity and softness.

(6) Small voice is the same as "false voice".

(7) Both sounds are "false sounds".

(8) falsetto is the same as falsetto.

(9) Left voiced Peking Opera vocal nouns. Mainly refers to an abnormal voice in male voice, which can be high or low. In addition, the voice is just flat and round, and some old students or martial arts students who specialize in singing high notes all sing with this voice. Old students have pure left voice and their own left voice. In addition, the left sound is sometimes used as another explanation, which means that the sound is out of tune with the accompaniment instrument, which is generally called out of tune.

(10) Hanging sound is also used to adjust the sound. The singing practice method of Beijing opera actors is also one of the steps for actors to practice their singing skills. Every day, in addition to shouting slogans, actors must also use the Hu Qin (or add drums, etc. ) Practice the aria in singing loudly. Some use the general tone first, and then raise it appropriately. Hang voice function: 1. By practicing singing loudly, the voice can meet the requirements of singing on the stage. As a result of constant exercise, the voice can become louder and rounder, full of power, clear and powerful, and remain persistent. 2。 Familiar with accompaniment, fully understand the relationship between aria and accompaniment, * * * grasp the size, understand the meaning of the song, and express the feelings of the song, so that the cooperation between singing and accompaniment can be harmonious, thus achieving artistic tacit understanding and coordinating the performance style of the whole aria.

(1 1) Adjusting the sound is the same as "hanging sound".

(12) The vocal training method for Peking Opera actors can exercise each vocal part and correctly pronounce the local sound of each vowel. Generally speaking, in the open area in the morning, single vowels such as "hmm", "yi" and "ah" are shouted loudly, from low to high, from high to low, and repeatedly. After Xu Xiasheng dubs, he practices aria.

(13) The vocal nouns of Dan Tianyin Peking Opera. When an actor sings, his lungs are full of gas and his abdomen is hard. The gas seems to be a sound from the abdomen (about three inches below the navel). At present, the traditional singing practice method also thinks that Dantian sound is the best (that is, the sound is heard far away).

(14) xiang tang is the same as "abdomen yin".

(15) Vocal nouns of Yun Zheyue Peking Opera. This is a metaphor for the mellow and implicit voice of old students. This kind of voice sounds dry at first, but it becomes louder and more beautiful after singing, which makes people feel mellow and has unlimited potential. It is a beautiful sound quality formed by long-term exercise. Both Tan Xinpei and Yu Shuyan's voices belong to this type.

(16) Vocal Nouns of Beijing Opera in Collapse. In middle-aged and elderly people, because of physiological relations, the actor's voice is hoarse and he can't sing at all. This is called stumbling. Some actors cherish their own voices, and the vowels remain the same when they get old. Actors who sing in falsetto are more likely to collapse when they are older.

(17) is a kind of Beijing opera with back voice. Also known as echo. Generally speaking, qi comes out from the abdomen, passes through the throat cavity and comes out directly. Although the sound in the back of the head is the same as that in the abdomen, when pronouncing, the throat cavity is slightly compressed, the posterior pharyngeal wall is opened, the soft palate is improved, and the sound is sent to the head cavity, where it meets the nasal sound, making the sound detour behind the head, and making a sound through the head cavity, making a subtle and profound tone. The pronunciation on the back of the head is vigorous and powerful, which can be heard far away, but not sharp near. In the singing of old students and pure horns, this kind of singing method is often used whenever there is a closed tone (such as "one or seven tracks"). There are fewer people who use tongue curl in Dan Jiao's singing, but Cheng () school also uses it.

(18) ringback tones are the same as ringback tones.

(19) Huang Qiang is also called Huang Qiang, Huang Tiao or Liangdiao. Vocal nouns in Peking Opera. It refers to the inaccurate tone of an actor's singing, and it is customary to refer to the tone change slightly below the tone. Most of them are caused by the actor's innate physiological conditions, such as vocal cord variation and poor hearing. Sometimes it is also caused by poor vocal practice.

(20) Huang Tiao with "barren cavity".

(2 1) Yellow cavity is the same as "bald cavity".

(22) Cool tone is the same as "barren cavity".

(23) Vocal nouns in Peking Opera. Refers to the actor singing tone slightly higher than the prescribed tone. Most of them are caused by congenital physiological conditions. Some are due to temporary failure of physiological conditions (such as vocal cords); Sometimes it is also caused by poor vocal practice.

(24) Vocal nouns of Peking Opera. Refers to an actor singing a song that does not conform to the prescribed rhythm. There are various grooves in the singing of Beijing opera, such as one board with three eyes, one board with one eye, running water board and so on. If you deviate from the rules of the board eye and lose the rhythm, it is called walking board.

(25) Vocal nouns that do not conform to Peking Opera. Refers to the singer's singing tone is high or low, which does not meet the prescribed tone. Habits are out of step.

(26) Out of tune is the same as "out of tune".

(27) One of the singing methods of Qikou Peking Opera. Refers to the way an actor inhales when singing. All kinds of vocals in Beijing Opera have different lengths and rhythms. Only by mastering the accurate inhalation method can an actor sing calmly and beautifully. Air ports include air exchange and air theft. Breathing refers to inhaling in the interval of singing, and stealing gas refers to inhaling in intermittent phrases without making the listener aware.

(28) One of the singing methods of Breathing Beijing Opera. When singing, whenever you encounter a long cavity or a high position, you should inhale first and be fully prepared. Breathing is not to stop singing or sing after a short pause, but to breathe and store gas at the moment when the lines are full of words for change. Where to breathe when singing varies from person to person, which is generally called the air port.

(29) stealing one of the singing methods of Peking Opera. It means breathing without leaving a trace and being stolen when the audience is not aware of it. For example, in "Catch and Release Cao", Chen Gong sang "I can't get back to the horse when the horse is in the forest". After singing the first six words and the word "nei", he "stole" a breath with the interlude "I" to sing the following "It's difficult to get back to the horse", which is called stealing gas.

(30) Ga tune in the singing of Beijing Opera is called Ga tune whenever a word is sung with a prominent voice. For example, the word "Fan" in the sentence of "Calling at the Palace Gate" sung by Shiro Visiting Mother and the word "Tian" in the sentence of "Sweeping at 3 o'clock tomorrow afternoon" sung by Huang Zhong in Dingjun Mountain are all called Ga tunes.

(3 1) Long sound length (sound palm) is growth, and sound length is the common name of voice, which refers to volume here. A long speech seems to increase the volume.

(32) smashing a ram is a derogatory metaphor for an actor singing as hard as tamping a foundation. Actors are not good at mastering singing methods, using too much force, or using brute force, and there are clumsy stresses (mostly at the end) in singing, which is called smashing.

(33) China opera music terminology. Generally speaking, it refers to the scale symbol on the right side of the lyrics in the Chinese opera score. China traditional folk music takes the words "Harmony, Si, Shang, Chi, Gong, Fan and Liu" as scales, which is equivalent to "567 12345" of western music. Traditionally, these symbols are collectively referred to as "rulers". Some music scores only note the board eye (beat) next to the lyrics, not the ruler. There is a kind of music score with working scale, which is called working scale music score.

(34) Music terminology of Rongju Opera. Traditionally, when singing, the drum board often follows the beat, and the strong beat is hit on the board, so this beat is called the challenge. The second strong beat and weak beat are called middle eye and small eye respectively (in four beats, the former weak beat is called head eye or beginning eye, and the latter weak beat is called tail eye). Together, it's called a slap in the face.

(35) Musical terms of Guanmener Peking Opera. Refers to the interlude music between sentences and aria. Small doors are often used between singing sentences, and big doors are often used between singing paragraphs. However, due to different plates, there are many exceptions, and there is no fixed model.

(36) Guaer Peking Opera Music Noun. Guaer is the homonym of "Guo er", which refers to the gate between aria, and generally refers to the cadenza. The small door between singing sentences is not called hanging.

(37) Musical terms of Matou Peking Opera. It refers to the melody that acts as a bridge between music communication and music communication, which is called cushion head or small cushion head, also called bridge. The melody of the cushion is short, generally only two or three beats, which plays a connecting role.

(38) Terms of Peking Opera Music. Refers to the background music when an actor performs an action or dialogue or monologue. Twisting is mostly a repeated performance of qupai or simple melody, which mainly plays a role in setting off the atmosphere.

(39) Tone refers to the pitch when an actor sings. Any accompaniment with stringed instruments is freely tuned according to the voice of the actors. Generally, the mode and official tone of Beijing opera are moderate, with B-word singing the highest and Fan Zi the lowest, commonly known as Pazi tune. In the same play, the two main actors have different tones. Sometimes they give in to each other, and sometimes they temporarily raise (raise) or lower (lower) their tones.

(40) Andhadhun sings at the same pitch as the accompaniment instruments (huqin, flute, etc.). ), this is called tuning. It means that singing the surface tone according to the "tone" is aimed at the bottom tone. Under normal circumstances, actors all sing the tune.

(4 1) The pitch of the bottom-tone actor is eight degrees higher than that of the accompaniment instruments (huqin, flute, etc.). ), this is called bottom adjustment. Is to sing according to the bottom of the tone. Bottom adjustment is used for surface adjustment. Some vocals in Beijing opera, such as doll tune, are often turned up. For example, if the pitch is set high, the actor's voice is not so good. For example, if the tone is set low, the volume of the instrument is too low. Therefore, the singing method of adjusting the bottom is adopted, and the instrument is set at an octave high and the actor sings at an octave low.

(42) Tuning refers to the tuning of stringed instruments (huqin, erhu, etc.). Generally speaking, the flute is used as a standard for tuning strings.

(43) Beijing Opera Music Nouns in B key. One of the keys used in the symbol of Miyachi. When tuning the strings, use the "B" sound of the flute (opening five holes and playing high notes) to tune the "I" sound of the Hu Qin (Xipi tuning the outer strings). B note is the highest note in Beijing opera.

(44) Gong Zheng tune is also called Gong Zheng tune. Beijing opera sets the tone of the huqin according to the pitch of the flute, and the tone of the Xipi outer string is the same as the official tone of the flute, which is called the official tone. One degree higher than the official is called the B key, the other half is called the six-character key, the second half is called the six-character key, and the second half is commonly known as the horizontal key.

(45) One of the tunes of Beijing Opera. Slightly higher than the orthodox key and slightly lower than the b key. It is slightly higher than the flute when tuning the strings.

(46) Soft worker tune is one of the tunes of Beijing Opera. Slightly lower than the orthodox tone, but slightly higher than the six-character tone. It is slightly lower than the flute when tuning the strings.

(47) One of the tunes of six-character Peking Opera. When tuning the strings, use the "six" sound of the flute (all six holes are closed, playing high notes) to tune the "I" sound of the Hu Qin (Xipi tunes the outer strings and opens the strings). The six-character tone is lower than the normal tone in Beijing opera, and the tone is moderate.

(48) The word-lying tone is also called the word-picking tone. One of the main modes of Beijing Opera. Where the tone is lower than the six-character tone by more than one degree, it is collectively called the lying tone.

(49) Gong Zheng tune is the same as "Gong Zheng tune".

(50) Paizi tune is the same as "Pazi tune".

In phonology, pentasyllabic means that ancient scholars divided initials into five categories, namely, lip sound, tongue sound, tooth sound, tooth sound and throat sound. This traditional formulation is still an important concept in studying and studying Peking Opera.

People often regard "clear pronunciation and mellow voice" as an important criterion for evaluating Beijing opera singing. However, some Beijing opera lovers, especially beginners, often focus on singing, that is, various plates and cavities, while ignoring the articulation and articulation in the lyrics. At the same time, people who are not exposed to Beijing opera often say, "Beijing opera sounds good, but it is difficult to understand." The words "nice" mostly refer to singing skills, and there are many reasons for "difficult to understand", one of which is not understanding the lyrics. Therefore, this is not only a problem that beginners and Beijing opera lovers should pay attention to, but also an important topic to popularize Beijing opera and strengthen the theoretical construction of Beijing opera.

In fact, singing and lyrics are originally closely combined, and they are both used to express the thoughts and feelings of the characters in the play. Lyrics are the language of the characters' thoughts and feelings; Singing is the musicalization of characters' thoughts and feelings. This musicalization serves the lyrics in a certain sense. Without the lyrics, singing itself will lose its support. On the other hand, the joys and sorrows in lyrics can be expressed and embodied by various types of different vocals. Therefore, the lines in the aria and the articulation in the lyrics are two aspects that cannot be neglected. The beauty of singing in Beijing opera is inseparable from the beauty of phonology of lyrics (expressed by enunciation and articulation). Only by combining the two closely can we fully express the thoughts and feelings of the characters in the play, so as to further achieve the situation of "the tune follows the word, the word leads the tune, the word is clear and round, and the sound and emotion are both rich".

Articulation and articulation in Beijing Opera lyrics are all carried out in the aria (there are also problems of articulation and articulation in rhyme, which are ignored here for the time being). In particular, the lines of some lyrics are very long, that is to say, the pinyin of the initials and finals of a word in a lyric is often not carried out in one beat, but in several or even many beats, which determines a characteristic of Beijing opera pronunciation, that is, the phonological composition of the language in a lyric is clearly divided into three parts: prefix, ventral sound and ending sound. Generally speaking, prefix refers to the pronunciation of initials, and belly and tail refer to the pronunciation of finals. For example, the prefix of "Dad goes out early in the morning" in Fishermen's Family is sh, the belly is O and the end is U, the word "Bao" in Li Lingbei laments Yang's loyalty to Dasong, the prefix is B, the prefix is A and the end is O, and the word "Teng" in "The Island Ice Wheel Begins to Turn" in "Your Lady is Drunk" is T and the prefix is. Of course, in singing, prefix, ventral sound and suffix are inseparable, but it is an ingenious art to spell each other in the online cavity, coordinate the transition and form a syllable completely, so as to convey the lyrics clearly and emotionally to the audience through singing. When teaching singing, many old gentlemen often say: "The words should be clear first, the rhyme should be correct, and the ending should be at home", which refers to this comprehensive requirement for articulation. Five tones, as the five classifications of initial pronunciation, are the primary task of finding out the prefix.

The proposal of five tones was first seen in Liang Daigu's On Five Tones of Jade. At the end of the Tang Dynasty, 30 letters were sorted according to the five-tone classification. In the Song Dynasty, 36 letters were added to 30 letters, and two kinds of semi-tongue sounds and semi-tooth sounds were added to the five tones of lips, tongue, teeth and throat, which were collectively called "seven tones". All these represent the great historical contributions of ancient phonologists. The five-tone theory is still used by Beijing Opera and Quyi, which shows its far-reaching historical influence.

However, with the development of society, language and pronunciation are constantly evolving. There are 2 1 initials in modern Chinese, which can be divided into seven categories according to the pronunciation position: bilabial sound, tooth lip sound, sharp front sound, sharp middle sound, sharp back sound, tongue surface sound and tongue root sound. Comparing this classification with the ancient pentatonic scale or heptatonic scale, we can get the following understanding:

1. The classification of initials in modern Chinese is the inheritance and development of ancient phonology. It inherits, sublates and supplements the content of five tones.

2. Some references to the old content of five tones are unscientific, such as: What is "tooth sound"? What is "teething"? What is "guttural sound"? How to distinguish them? And so on, especially the concept of "tooth" and "tooth" is not easy to distinguish clearly. If we still use the old theory to guide the current singing method, it is not only puzzling, but also a kind of conceptual confusion. The classification of initials in modern Chinese is more accurate and applicable. Of course, traditional ideas are always limited by historical and cultural development, which we can't demand from the ancients.

3. Should the classification of initials in modern Chinese be used instead of the formulation of five tones? This involves both academic knowledge and traditional habits. The old saying "four tones are clear, five tones are distinguished and four tones are correct" also says: "When reading characters, five tones are classics, four tones are latitudes, the longitude and latitude are distinct, and the characters are halal." "Although the genre is different, the industry is different, but don't call four tones, judge five tones, positive four tones, pronounce words, return to rhyme, close your voice, and pay attention to breath. It's all the same." It can be seen that the five tones have become a long-established formulation and should not be forcibly changed by administrative means.

4. Although there are seven kinds of initials in modern Chinese, which are summed up as "five tones" composed of double lip sounds, tooth lip sounds, tongue tip sounds, tongue surface sounds and tongue root sounds, the tongue tip sounds are divided into three details: before, in and after the tip of the tongue. The "five tones" in modern Chinese are not coincidental with the traditional five tones. Through the comparison between the two, we can discuss the change of prosperity and waste, as well as the adjustment and change, just as "leveling, going up, going forward" was four tones in the past, and "leveling, rising and falling" was four tones in modern times, which has its own regularity. Therefore, the name of pentatonic can remain unchanged, but its content should be redefined.

This paper only summarizes the five tones, mainly to solve the problem of clear prefix in singing, aiming at following the traditional concept of five tones and defining its connotation in a new way for the benefit of the artists and readers. As for the rhyme and ending of pronunciation, it involves many aspects of four tones and rhyme, which is beyond the scope of this paper.

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Opera actors, especially Beijing opera actors, including opera lovers, are prone to make mistakes when practicing their voices. They hope they can't shout out a loud and bright voice soon. They are in a hurry.