How many kinds of tunes are there in the Yangzhou Playing Words? The representative works are those

It is generally believed that the Ming Dynasty lyrics tunes and singing forms are no longer available. After the middle of the Ming Dynasty, the words gradually evolved into the south of the play lyrics and the northern drums of the situation. Playing words in Jiangsu, Zhejiang area popular, and then long-term development in the southern region, the art of maturity. In the early days, it was mostly sung by male and female blind artists in teahouses and halls, and then there were fewer and fewer blind artists. And Yangzhou and Suzhou, is always the southern town of the play lyrics.

Yangzhou elocution is a kind of rap art, in which music naturally has an important position. Qing Lin Sumen's "Ganjiang Three Hundred Minstrelsy" has a passage that can serve as a good illustration:

Saying the Department of the bookshop, the gangs in the restaurant carry on. This kind of string words, or play or sing, the rise and fall, has been enough to move people. And play and sing a break, can be this part of the book of personnel, said many real model, the listener is not tired of it.

Not to borrow Fengfeng said the mountain, but to teach the hands and mouth always have no leisure.

This is the first time that I have ever heard of a man who has been in the world for a long time, and who has never been in the world for more than a year!

From this, we can see that, firstly, playing and singing has always been one of the important means of expression of Yangzhou play lyrics; secondly, music is also the reason why Yangzhou play lyrics have won the audience's favorite charm.

The importance of the music of Yangzhou pop lyrics is not mainly reflected in the arrangement of the lyrics of the number of cantatas, but in the cantatas are often arranged in the right place, often able to express the emotions that can not be expressed in the speech. According to some statistics, the playing and singing of the Suzhou Playing Words accounted for about 30% of the whole book. Then, according to our estimation, the playing and singing of Yangzhou elocution may only account for one or two percent in a book. As Mr. Chen Ruheng said in "History of Storytelling", "According to the string words ...... I have heard, the rate of insertion of the words is mostly white, and the number of string singing is very small." This is one of the important differences between Yangzhou pop lyrics and Suzhou pop lyrics, as well as one of the evidence that Yangzhou pop lyrics and Yangzhou commentary have a kinship.

The amount of playing and singing of Yangzhou pop lyrics seems to be small in general, but the specifics in each book vary greatly. For example, there is more singing in the section Pearl Pagoda - Fang Qing Shy Nun, which is played and sung nearly ten times in just two hours of performance. One section of Diao Liu's is sung even more, and the artist even describes it this way, "Just dropping the lute and three strings, and then picking up the three-stringed lute again." And in the book "Double Pearl Phoenix", there is even a situation where there is not even a single sung verse for two days. This unevenness of speaking, playing, and singing is not ideal from the listener's point of view; but in terms of the art itself, it may be indicative of one of the underlying rules of Yangzhou's elocution: that music is created, exists, and is utilized solely for the purpose of expressing the content of the words of the book; therefore, when the speaking of the book is competent, there is no need to sing- -The Book of Rites and Records of Music says, "When words are not enough, they are sung in contempt".

Yangzhou music is a wealth that has not been fully recognized. People often because of its tunes are not many, less use, and produce Yangzhou play lyrics music is not what the view. In fact, Yangzhou music has its own uniqueness. Mr. Chen Ruheng wrote in his "History of Storytelling" that:

Yangzhou stringed words in the singing, neither like the Suzhou school of lyrics of the horse tone, Yu tone, and not like the drums as high-pitched lyrics. It has become a kind of poignant sound of twists and turns, and it is extremely high and low to be able to do so.

This statement is in line with the actual situation of Yangzhou play lyrics.

The tunes of Yangzhou elocution cannot be said to be very rich. In the History of Yangzhou Opera, it is said that "the music of stringed words is a brand song. According to statistics, there are about ten kinds of commonly used string word tunes, namely [Sanqi Pear Blossom], [Locking South Branch], [Playing Children], [Chen Sui Tune], [Hai Qu], [Yin Nuosi], [Nan Tune], [Cutting and Scissoring Flowers], [Mountain Songs], and [Feng Nodding]." There is nothing new in the Yangzhou Song and Art Journal, except that it does not mention [Fengdodou].

The commonly used tunes of Yangzhou pop lyrics are [Sanqi Pear Blossom], [Locked South Branch], [Chen Sui Tune], etc., mostly in the tone of feather and the tone of Shang. The tunes are simple, elegant and ancient, with few changes over the years. The lyrics are divided into speech and narrative, generally seven-word sentences, but may also be appropriate to increase or decrease the word, mostly rhyming with the even sentence.

Yangzhou pop lyrics music is the tune. Now will be used as follows:

[Sanqi Pear Blossom] Yangzhou libretto commonly used tunes. The tune can be high and low, can be fast and slow, as long as the rhythm of the change, can show or exciting, or sad, or cheerful, or humor of the different emotions. It is most suitable for narrative singing. Its basic syntax is four lines, each line is usually seven words, can be added to the liner notes. It is used in almost every play lyric.

[Haiqu] Yangzhou play lyrics tune. The style is majestic and square, suitable for the expression of lofty, high-pitched, serious mood. The basic sentence pattern for the pair of sentences, each sentence seven words, each sentence structure to three, four is common, can also be added or deleted. It is used in "Double Gold Ingots" and "Falling Gold Fans".

[Song] Yangzhou pop song tunes. Evolved from the folk song. The tune is stretching, smooth, relaxed, cheerful, suitable for lyricism, aria. Sentence style for four sentences, each sentence seven words. It is used in "Falling Gold Fan" and "Jade Dragonfly".

[Nanshi] Yangzhou play lyrics tune. This is a Yangzhou Qingqu tune, occasionally borrowed for Yangzhou lyrics, such as "Diao Liu's" and so on.

[lock south branch] Yangzhou lyrics tune. The tune of the Xu Shu free and easy, the rise and fall are ready, can be lyrical, can also be narrative. Its basic sentence is two sentences, each sentence word number are three, three, seven. The tune is slow, euphemistic, elegant and graceful. It is used in the Pearl Tower and so on.

[Juggling children] Yangzhou ballad tune. The tune sung with the Taoist love [play children] tune is more or less the same, so it is also known as the [Taoist love]. But the line cavity extends a few beats, thus appearing more gentle, melodious. Generally used on special occasions, such as the Pearl Tower, Fang Qing used.

[Chen Sui tune] Yangzhou lyrics tune. A [sinking water], [sinking pendant]. The song is low and euphemistic, suitable for the expression of sadness, heavy emotions. The syntax is the same as [Sanqi Pear Blossom]. It is used in Pearl Tower.

[Silver Nuance] Yangzhou play lyrics tune. Sentence, singing rich in change, the whole song eight to ten sentences, more than five seven words, the last sentence is often repeated. The tune is smooth, one breath. It is used in "Double Pearl Phoenix" and so on.

[cut indigo flower] Yangzhou play lyrics song. Also known as [cut flowers]. From the Yangzhou Qingqu, but has changed. Commonly used in general lyric and narrative. Lyrics for more than five, five, seven, seven, four lines. The tune is concise and bright. Diao Liu's" and other used.

[phoenix nodding] Yangzhou play lyrics tune. Is the only Yangzhou lyrics tunes in a single sentence, often connected to other tunes such as [Sanqi Pear Blossom] behind the overlap of singing, in order to set the mood, strengthen the infectious force. It is used in many books of lyrics.

Yangzhou pop lyrics tunes, by the Ming and Qing dynasty popular music influence is deeper, which is quite similar to the Suzhou pop lyrics. Suzhou play lyrics of the tune, some from the Kunqu, some from the Su Tan, some from the folk ditty, generally rich in the local color of Jiangnan. 其中有[山歌]、[海曲]、[令令调]、[耍孩儿]、[银绞丝]、[金绞丝]、[点绛唇]、[乱鸡啼]、[赏宫花]、[剪剪花]、[南无调]、[文书调]、[海沦调]、[费家调]、[离魂调]、[滚绣球]、[湘江浪]、[锁南枝]、[大九连环]、[九转三回调]等。 Its number is more than Yangzhou pop lyrics, but basically belongs to the same Ming and Qing dynasty popular music system.

Among the tunes of Yangzhou elocution, some of them are popular popular tunes as early as in the Ming Dynasty. Ming Shen Defu in the "Gu Qu Miscellaneous Words" said that the popular "fashion small orders", mentioned [lock south branch], [play children], [silver wire] the name of the song. There are also some tunes that evolved from other music or were created by the artists themselves. Regardless of the origin of these tunes, they have become an integral part of Yangzhou pop lyrics.

The accompaniment of Yangzhou elocution is either a sanxian or a pipa if it is in single file, or a sanxian and a pipa if it is in double file. The double-string performance of Yangzhou elocution is divided into the upper and lower hands. The upper hand is on the right and plays the sanxian; the lower hand is on the left and plays the pipa. Accompanied by the upper hand and the lower hand must be coordinated and tacit understanding, the three-string playing skeleton sound, sparse and elegant simple, pipa is run and dense and varied, tumbling and beautiful, so-called "three-string bone pipa meat". The singing of Yangzhou elocution is very delicate, and the general requirement is that the words are clear, the cavity is pure, the sound is beautiful, and the flavor is strong. Yangzhou play word artists should be both playing and singing at the same time.

The general characteristics of Yangzhou music can be summed up by "ancient colors, elegant and handsome". It is undoubtedly appropriate to use it to express traditional programs, but it is not enough to use it to express modern bibliography. Therefore, the Yangzhou playword music must be reformed and developed, it has become a Yangzhou playword community of an imminent matter.

Yangzhou musician Mr. Gohong believes that the music of Yangzhou marbles has its own strengths and limitations. Take [Sanqi Pear Blossom] for example, as the most basic tune of Yangzhou elocution, it is a tune with beautiful melody, colorful form, wide range of expression and large emotional capacity, which has always been quite popular. But despite this, because it is good to listen to but not good to sing, and thus "singing" hinders its dissemination and popularization. Suzhou commentary listeners can sing a couple of commentary cantatas on the fly, but Yangzhou lyrics listeners can sing [Sanqi Pear Blossom] is almost none. Because for the layman, [Sanqi Lihua] is really difficult to grasp. Gohong pointed out that, for Yangzhou elocution, its melody in Shangtong style is more than euphemistic and lingering, and less than bright and strong, which limits the field of emotional expression. The weaker link is the "playing", i.e. the accompaniment. The accompaniment of Yangzhou and Suzhou Playing Words are pipa and sanxian strings, which are sung and played by the singers themselves. However, in the long-term practice of Suzhou elocution, a relatively free and independent accompaniment system has gradually been formed, which is not completely subordinate to the singing. The accompaniment of Suzhou elocution can sometimes be interspersed with jumps in the singing, with ups and downs, full of vitality. Yangzhou pop lyrics are mostly accompanied by the cavity, because the difficulty of the singing cavity, the accompaniment is naturally not easy, so it is often not as satisfactory as it should be. Coupled with the reasons caused by the singing, pipa strings than the normal strings to be lower than a big two degrees, more caused by the accompaniment of the color of the low and dull. These comments, has caused the industry's knowledgeable **** knowledge.

Mr. Gohong in the "Yangzhou play lyrics to make up" play "wrote:

Mr. Zhang Huinong had repeatedly emphasized the music of Yangzhou play lyrics to carry out the "necessary reforms". And Zhang's play lyrics later Li Renzhen, Li Laimiao, etc. in their own artistic practice, they also have a lot of research, they update the old cavity at the same time, but also create a lot of new cavity, Yangzhou play lyrics in a difficult situation, but still exploring the way forward. Nowadays, Mr. Zhang Huinong has already passed away, and a group of students taught by the brothers back then have already reached their old age, and even Mr. Zhang's later "closed disciples" are all over the age of puzzlement. While the condition of Yangzhou's cast is worrisome, the prospect of musical reform is even more difficult to see. As a traditional art in need of support, what is most needed is "revitalization and inheritance". I think that the revitalization and inheritance of Yangzhou elocution, first of all, we should work on the "complementary bullet": First, in the Zhang's elocution cavity of the excellent tradition of inheritance and development at the same time, the necessary reforms to adapt to the contemporary audience's aesthetic needs; Second, to the rich resources of Yangzhou folk music to draw more beautiful and simple tone material, for the The second is to draw more beautiful and simple tone materials from the rich resources of Yangzhou folk music, so as to explore more musical sources for the creation of new lyrics; and the third is to draw expression techniques from the brotherhood of music such as Suzhou pian-bomb, Jingyun drum, and other emerging arts such as modern rock rap, so as to expand the performance space of Yangzhou's lyrics. Where these three ends, if you can put into practice, repeated studies and properly handled, perhaps in the near future, when people lament Zhang's lyrics, "nothing can be done about the flowers fall away" at the same time, but can be pleased to see "déjà vu Yan return" of the new Yangzhou lyrics.

As Gohong said, among the contemporary Yangzhou play lyrics performers, artists such as Li Renzhen and Li Laimiao have made useful attempts to innovate the music of Yangzhou play lyrics.

Li Renzhen not only inherited the traditional expression, but also incorporated Kunqu and folk songs into her music. She started from the opening of the libretto and made exploratory innovations. For example, she designed the opening of the lyrics, "The West Wing - Yingying Goes to an Appointment", in which she introduced the Mandarin cutting method while maintaining the strong local accent, making the singing more clear, pleasant and charming. Another example is in "Pearl Tower", "Chen Cui'e is seriously ill and entrusted with three things", a section of the original only sang [Sanqi Pear Blossom] tune, four lines a flip, repeated rounds of singing, seems flat. After trying to understand Chen Cui'e's physical condition and her breath when she was in danger, Li Renzhen changed her singing to a slender throaty voice, highlighting Chen Cui'e's complex emotions of turning over in her deathbed and finding it difficult to give up her life in terms of tonal changes, the speed of her cadence, and the weight of her breath. Li Renzhen's new style is known as "Li's Tune" among connoisseurs.

Li Lai Miao's Yangzhou pop lyrics are sweet and sticky, delicate and emotional, with a distinctive flavor. Li Laimiao's father was an opera enthusiast, with deep knowledge of Peking Opera and other opera singing. Since his childhood, Li Laimiao has been nurtured by his family and is familiar with the music of Peking Opera, Xiqu Opera, Yangzhou Opera and other operas, and is able to imitate them realistically and with a rich flavor of the opera. After she started her career as a Yangzhou Playing Words singer, because of her good voice condition and her familiarity with operas, folk songs and even pop songs, she integrated opera lines into the tunes of her playing words, making the original straight and single singing voice of her playing words turn into a new one rich in decorative colors. For example, she sang a song [Juggling Children] in Pearl Pagoda, adding a lot of varied small cadences in the line, which made it more beautiful and melodious than the original way of singing. Experts have described Li Laimiao's new style as "Miao Cavity".

Whether it is "Li tune", or "Miao cavity", means that Yangzhou music still has a wide space for the development of personal style. The times call for more reformers and innovators in the Yangzhou libretto world.