What are the characteristics of Peking Opera, the characteristics and role of Peking Opera singing voice

Peking Opera singing mainly consists of the famous "Erhuang" and "Xipi" vocal cadences, the so-called "Pihuang Cavity". On the origin, formation and development of these two major soundtracks, we will not test and discuss here, but only on the characteristics of the traditional Peking Opera singing voice and role to do an introduction.

Many people know that "Xipi" and "Erhuang" have their own specific singing structure, melodic patterns and tonal characteristics. So, what are their main features and functions? Here, we take the Lao Sheng singing as an example, the main features of "Xipi" and "Erhuang" will be briefly described and compared.

In the melodic development, due to the "Xipi" jump into the intervals more, the overall pitch area is high, its modulation is mostly "Gong" modulation, therefore, its melodic tone is bright, sharp, gorgeous, with a gentle rhythm to deal with, more expressive, lyrical The melody is bright, sharp and ornate.

When handled in a brisk or strong rhythm, the melody mostly expresses warm, intense theater scenes and lively, excited characters. In contrast, "Erhuang" is mainly graded intervals, the overall sound area is low, and its mode is mainly "Shang" mode, its melodic tone is dark, heavy, calm, and slow rhythm, mostly used to express depressing tragedy plot and melancholy characters; rhythm When the rhythm is slow, it is mostly used to express depressing tragic plots and melancholic characters; when the rhythm is strong, it is mostly used to express depressing and tragic dramatic scenes and miserable and sorrowful characters. In addition, there is a clear difference between "Xipi" and "Erhuang" in the position of entering (or starting). The entry position of "Xipi" is on the weak beat (e.g., on the weak beat when it is in 2/4 meter; on the second strong beat when it is in 4/4 meter). The "Erhuang" is sung on the strong beat (on any beat). The former because it is a weak beat into the singing, and the relationship between strength and weakness is sometimes fuzzy and sometimes clear, to enhance the sense of rhythmic instability and melodic flow, therefore, the Xipi singing always gives a person a sense of gentle and smooth as flowing clouds and water; the latter due to the strong beat into the singing, strength and weakness of the relationship between the more clear, solid, stable rhythm, to enhance the sense of gravity and the strength of the melody, therefore, the Erhuang singing is always a person of silence, a sense of sadness. Of course, these are only their most basic and typical features, as for special cases of various special treatment also exists.

<a href=

Commonly Used Accompaniment Instruments in Peking Opera

In the long development of Peking Opera singing, its vocal cadences have not only given rise to the countertenor "Xipi" and countertenor "Erhuang", but also absorbed the cadences of other local opera styles, such as "Xipi" and "Erhuang", as well as the cadences of other local opera styles. Other local opera cadences, such as [South bang bang], [Siping tune], [high plectrum], [doll tune], [Han tune] and so on. As these foreign tunes maintain their original structure and tonal characteristics, their melodic styles are similar to or integrated with "Xipi" and "Erhuang" to varying degrees, especially the strings of the huqin and the handle are the same as "Pihuang", so it is customary to refer to them as "Pihuang".

Talking about the role of the voice, can not help but talk about the use of rhythm. Peking Opera singing rhythm has its own unique way of expression, that is, by the "plate style" to determine. Typical plate style: [original plate] (2/4 beat), [slow plate], [three eyes] (4/4 beat), [running water], [fast plate] (1/4 beat), [loose plate], [rocking plate] (free beat), etc. [Original plate] (2/4 beat), [slow plate], [three eyes] (4/4 beat), [running water], [fast plate] (1/4 beat), [loose plate], [rocking plate] (free beat) and so on. The [original plate] is the basic (original form) plate, the other plates are evolved on the basis of the [original plate], such as the [slow plate], [three-eyed] is the [original plate] of the melody and rhythm of the doubled expansion, and then according to the lyrics, mood and speed of the need to enrich the melody and rhythm, so that the melody of the cantata is more rich, gorgeous; and the [water], [fast plate] is the [original plate] of the melody and rhythm of the contraction, then according to the lyrics, mood and speed of the need for Lyrics, mood and speed of the need to simplify the melody and rhythm, so that the melody and rhythm of the singing is more concise and simple, and enhance the strength; and [loose board], [rocking board] is the [original] melody and rhythm according to the lyrics, the mood and speed of the need to stretch or tighten the free, enhance the expressive power of the singing and the dramatic effect. Like other types of music, the slower the rhythm, the more the mood tends to be smooth and elegant, and vice versa, the more lively and exciting. Different plate style and different voice organically with, then produce different dramatic effects.

The Peking Opera has formed a complete singing system by combining the vocal cadences with the plate styles in various organic ways. Analyzing the performance function of Peking Opera singing, it is roughly categorized into three kinds, one is lyrical, the second is narrative, and the third is conflict. Cavity more words are used for lyrical singing, such as "Wenzhaoguan" in the Wu member of the singing [two yellow slow] "a round of the bright moon in front of the window" and "Drunkenness of the Concubine" in the Yang Guifei singing [two yellow and four flat tone slow] "the island ice wheel began to transcend". While the cavity less words are used for narrative singing, such as "Phoenix Returns the Nest" in Cheng Xue'e singing [Xipi original plate] "should have followed my mother to take refuge in Haojing". The third type of "conflict" singing is categorized separately because of its unique form of expression in the Beijing Opera has a special status, that is, the characters have a dramatic conflict between the intense duet or joint singing. For example, in "Four Lang Visiting Mother", Yang Yanhui sang with Princess Tiejing [xipi xuanban], "It's not that I've been so worried these past few days".