What are the modeling characteristics of Jingyun drum?

Luo School Jingyun Dagu is a new school gradually formed to meet the needs of the audience in the new era.

1. Luo Party’s choice of the Beijing Rhyme Adagio style. After several generations of creation, the Beijing Rhyme Dagu has basically taken shape by the generation of Liu Baoquan, Bai Yunpeng and Zhang Xiaoxuan.

The overall structure of the singing, as well as the phrases and passages, have become relatively stable.

They have formed their own genre characteristics in terms of spin, singing, and tune.

The slow singing style of Jingyun Dagu is the main singing style of this song, and its function can be used to express lyrical narratives.

As far as the sentence pattern of combining Adagio and words is concerned, there are three different structural types.

That is, three-section cavity, two-section cavity and single-section cavity.

These three types of singing have different positions in the arias and their respective specialties.

For example, it is a single tone, with no interludes in the sentence. It is not melodious and is close to colloquialism. It is suitable for explaining the plot of the story and is mostly used in the unfolding part of the story plot.

Sanjieqiang is a singing tune that is divided into three stanzas with small transitions. The first two phrases highlight the rhythm. The whole singing tune is characterized by short tunes, heavy words, and crisp sounds, which is close to colloquialism.

The two-section tune is a singing tune that is divided into two tune sections using a small transition. The first tune section is rich in melody. The whole tune is characterized by long tune, slow words, soft voice, and singing nature.

Comparing the singing styles of Luo School and Liu School, there are obvious differences in the choice of singing style, style and speed.

Liu Zhen often uses Sanjie tune, and each singing tune must start with Sanjie tune.

It is also often used in arias.

Coupled with the concise style and fast singing speed, Liu style singing has the characteristics of "singing with speaking, combining rap", "singing with speaking", simplicity, handsomeness and crispness.

The Luo School mostly uses two-part tunes, and even does not use three-part tunes in lyrical arias.

And increase the space of singing and slow down the speed appropriately to make the singing more singing and lyrical.

In "Red Plum Pavilion", she combined the choice of tone with the character's personality.

The lyrics that express Jia Sidao usually use three parts of the tune, and highlight the tone components, vividly revealing Jia Sidao's cruel and hateful nature.

In expressing Li Huiniang's singing, two parts of the tune are often used.

The tactful and plaintive singing expresses the singer's great sympathy.

In general, the two-section method is an important feature of Luo School's Adagio singing style.

The use of this tune forms the basis of the lyrical and singing nature of Luo tune.

2. New development of Luo School’s singing style. Jingyun Dagu singing style has a banqiang structure.

The singing tunes of the upper and lower sentences are based on the palace mode.

The modes of traditional adagio, tempo 26 and allegro are basically the same.

The relatively complete Liu School aria "Da Xixiang" is - Gongzhizhi.

The same is basically true for actresses who learned from Liu (including Luo Yusheng who learned Liu's singing).

In Lu Yusheng's self-composed arias, she has broken through the shackles of a single mode.

From the aspect of mode, Beijing singing style was developed.

1. Tonggong system modulation: Luo School has obvious modulation in the Allegro part, and has formed a relatively fixed modulation layout.

Allegro is usually used in the paragraphs near the end of the story to express tense plots or exciting emotions.

Create a board-breaking trend in terms of rhythm, speed, etc., to prepare for the end of the whole section in a climax.

Traditional allegro singing usually has a low Gong tone, the last word of the next sentence is a flat tone, and the melody sound shape is mostly (6); (76) This kind of melody in the low range suppresses the actor's volume and limits the expression of emotions.

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The Allegro of Luo Qiang starts with the low Gong tone mode, then raises it by five degrees to the Zheng mode, then raises it by four degrees and returns to the Gong mode and ends with the high Gong mode.

This modulation layout brings into full play the actors' singing skills and is conducive to the expression of emotions.

For example, there are 12 quick tunes in "Jiange Hearing the Bell", and the tonal layout is in an ascending state.

The next sentence of lines 1-4 falls in Gong mode (1), the next sentence of lines 5-10 falls in Hui mode (5), and the next sentence of lines 11-14 (together with the ending adagio) falls in Gong mode (1).

In particular, the way the entire paragraph ends with the high tone creates an artistic effect of continuously extending emotions, leaving people with a sense of endless aftertaste.

2. Experiment with transposition of different palaces. In the aria "He Shi Bi" she composed in her later years, the concluding sentence ends in the upper fifth palace mode.

This experiment of changing the key at the end is the first of its kind in Jingyun's singing creation, and it provides a new style for the closing sentence of Jingyun Dagu.

3. The new development of Luo School’s singing style. The traditional singing style of Jingyun Dagu has only three styles: Adagio, Duoban (errand six ban) and Allegro.

In Luo style singing, Sanban is also used to make up for the lack of full-board singing to express emotions.

Luo Qiang uses Sanban and mostly uses prose sentences with strong emotional color.

Or used to describe scenes or to express emotions.

The longer form of loose panels is in "Sleeping on Firewood and Tasting Guts", which uses loose panels to describe the desolate scene after the defeat of the Yue Kingdom through the vision of the King of Yue.

It seems to have amplified the visual image and deepened the emotional color of the lyrics, paving the way for the subsequent scene in which the country of Vietnam finally prospered after twenty years of hard work.

If you sing these lines in full form, it will look flat and you will never get such a good artistic effect.

Another example is that in "He's Bi", Bian He presented a beautiful jade to King Chu Li, but instead of being appreciated, he was poisoned and had his left foot chopped off.

Among them, the singing voice is amplified by the use of loose boards at the point of "redressing the injustice", which embodies the singer's great sympathy and anger and deepens the meaning of the words.

The prose sentences in "Red Flag of Mount Everest" use the word "suddenly" to express the sudden change of bad weather, which plays a turning role.