I. Cultural background
Variations on the theme of northern Shaanxi folk songs are adapted from the northern Shaanxi folk song Sanlipu. It is a folk song produced in northern Shaanxi and belongs to the typical "belief in heaven" in northern Shaanxi. Xintianyou was born and sang in the vast loess plateau, with criss-crossing gullies and continuous ups and downs. Loess and yellow wind have shaped the unique natural landscape in northern Shaanxi. The vastness hides the tragic desolation, and the depression and loneliness breeds fortitude and stability. The unique geographical environment here has produced the unique style characteristics of folk songs in northern Shaanxi. The miserable life of those who catch their feet and go west endows the folk songs in northern Shaanxi with unique roughness and desolation.
It is said that the folk song "San Li Pu" in northern Shaanxi is based on a true story. It is said that Fourth Sister and Third Brother are a pair of sweet lovers. Later, the third brother went to other places to be a soldier, and the fourth sister got married when she came back. As a result, this deep and sad love song came into being and spread.
Spectral example 1:
(Because the network can't display this spectrum, please refer to Song magazine Yellow River for details. )
The melody of this song was also recorded in the following form:
Spectral example 2:
(Because the network can't display this spectrum, please refer to Song magazine Yellow River for details. )
This song turned out to be a long narrative, with more than 30 paragraphs in the original words, and only a few of them were sung when singing. The double four-degree frame in the melody is a typical feature of northern Shaanxi's belief in Heaven. The interval of the big jump is rich and bold, and the fifth jump in the ninth bar gives people a very sad feeling. The downward melody of the last three bars is like a helpless sigh, expressing the helplessness of life and fate. All these are closely related to the gully-crisscross Loess Plateau and the miserable life of the local people. "Long Song When Crying", what we read from this song is the bitterness of life and the ups and downs of fate. The infinite pain in my heart is expressed by "singing", and there is a bitterness and desolation that I want to cry without tears.
Second, the musical form analysis
The expressive force of the theme variation of northern Shaanxi folk songs adapted by Zhou Guangren is very different from that of the original folk song Sanlipu, which has become a very piano and narrative variation. The whole song consists of a theme, eight variations and nine pieces of music. The theme and variations 1 and 2 constitute the first part, which shows the miserable life of the people in northern Shaanxi in the old society. Variations 3, 4 and 5 constitute the second part, which shows the struggle of the people in northern Shaanxi. Variations 6, 7 and 8 constitute the third part, representing brightness and victory. According to the author's conception, the work arranges a changing process from suffering to struggle and then to victory through variation, which shows the theme that justice will surely overcome evil, greatly improving the expressive force of the original folk song and making it a piano work of considerable scale.
Here, the theme of folk songs becomes 3/8 beats, and the "years of suffering" is expressed with a slightly slower medium speed and dim timbre. The first two phrases are on the G sign, and the last two phrases are moved to the C sign, which can also be regarded as the C sign (such as the second spectrum). In the fourth section, the falling tone in the accompaniment texture is like a gentle sob, and the repeated use of the bE sound constitutes the so-called "bitter tone" scale, which gives people a feeling of bitterness. The last three sections of the theme are imitations of the last five degrees (the last four degrees) of the first three sections. Spectral example 3:
(Because the network can't display this spectrum, please refer to Song magazine Yellow River for details. )
The main theme of the variation is still in the high-pitched area, and the music texture becomes slightly active, but it is still unified in the gloomy tone of the relatively dim "Suffering Years".
The main theme of Variation 2 is moved to the bass area, and the rhythm and sub-melody in the treble area are slightly embellished, further setting off the melody in the bass area.
The theme and variations I and II constitute the first part, with the same basic emotions and narrative nature, as if telling people about the tragic life in the past.
The variation of the three textures becomes a strong column chord, which is faster and has a firm rhythm. The theme of this variation does not completely appear, but is simplified to the appearance of backbone sound. The reverse movement of the left and right hands adds great strength and impact, showing an image of tenacious struggle and hard work.
Variation 4 adds a little rhythm on the basis of Variation 3, which makes the music more dynamic and impactful and looks more intense.
These three variations constitute the second part of the whole, showing the image of hard struggle.
In a transitional word, it is like a gust of wind that blows away the dark clouds all over the sky, symbolizing that the struggle is about to usher in the light.
Next, Variations 6, 7 and 8 constitute the third part of this song, Days in the Liberated Areas.
Variations 6 become G-shaped, high-pitched, bright and stretched, full of singing sense, showing the joy of winning through struggle. In fact, this variation is the prototype of folk songs, which was skillfully arranged by the author here as a variation.
Variation 7 is a cheerful sixteenth note in the high-pitched area, imitating the musical effect of bamboo flute, with bright timbre and cheerful rhythm. The sub-melody in the bass area corresponds to the main melody in the treble area, showing the lively scene of people singing and dancing and celebrating victory in the liberated areas.
Variation 8 is the climax of the whole song, and the column chords with octave repetition contain the main theme, like a grand chorus, forming a powerful torrent. Tonality returns to the C emblem. The upward deviation of 10, 1 1, 12, 13 and 14 pushed the whole song to a climax. Music chart:
(Because the network can't display this spectrum, please refer to Song magazine Yellow River for details. )
From the tonal layout, the theme variation of folk songs in northern Shaanxi is a three-part variation form. The theme and the first five variations all take C as the palace, Variations 6 and 7 take G as the palace, and Variations 8 return to C as the palace. Judging from the narrative plot and emotional changes, it also has three parts: A, A 1 and A2 form the first paragraph, and A3, A4 and A5 form the second paragraph.
Thirdly, the comparison between the singing and performance of the folk song Li Sanpu and Variations on the Theme of Northern Shaanxi Folk Songs.
The folk song Li Sanpu is an excellent folk song with strong feelings and simple style. When singing, we should first understand its humanistic background and cultural connotation, understand its basic emotions and grasp its basic emotional characteristics as a whole. Only by understanding the overall style characteristics of northern Shaanxi culture can we understand the style characteristics and cultural connotation of northern Shaanxi Xintianyou, and only by understanding the style characteristics and cultural connotation of northern Shaanxi Xintianyou can we sing this kind of folk songs well, including this song "Thirty Li Pu". Because every folk song is a deep accumulation of local national culture, it is closely related to its cultural matrix. It's not enough just to do this. We must carefully study the personality characteristics of this song and sing its unique personality, including pronunciation, rhythm and subtle treatment of each word. Now, taking the adapted folk song "Thirty Li Pu" as an example, I will briefly talk about the handling of singing.
Spectral example 4:
(Because the network can't display this spectrum, please refer to Song magazine Yellow River for details. )
The adapted folk songs are of Aba three-part structure, which increases the change and contrast of beat and rhythm and enriches artistic expression.
The first two sentences in paragraph A are narratives, so don't put too much emotion into singing. Just sing it in a plain narrative way. In the first sentence, the word "Lai" can slide from bottom to top, and the word "Ming" can be straight before trembling to increase the rich style of folk songs. The third sentence should be more emotional, but sincere, internal, implicit, not too much. The whole paragraph A should leave room for the direct confession of the true feelings in paragraph B, so that the singing is full of layers.
It takes three times as long for paragraph B, which is a direct expression of inner feelings. This passage should be prevented from being sung in dancing triple time, and should be sung with deep affection and strong feelings.
A' expresses the helplessness that people who love each other can't get together, and also expresses the infinite sadness in their hearts. "A" responds to the beginning in structure, making the work more complete.
2. The performance of theme variations of folk songs in northern Shaanxi:
To play the theme variation of folk songs in northern Shaanxi, we must first understand the content and background of the folk song Sanlipu, and it is best to sing the song Sanlipu. Because this song and its cultural background are the cultural background of the theme variation of northern Shaanxi folk songs, understanding Sanlipu is to understand the cultural background of the theme variation of northern Shaanxi folk songs. Secondly, it is necessary to know what is new after the adaptation. For example, Sanlidian expresses personal feelings, while Variations on the Theme of Folk Songs in Northern Shaanxi rises to the stage of expressing the struggle of the whole nation, and then sublimates to the ideological height of the struggle of all mankind from darkness to light. This is the basic idea of theme variation of folk songs in northern Shaanxi, and it is also an important breakthrough of folk songs Sanlipu. If we don't master this, every change in our work will be dealt with in detail in the future. The first speed of variation is the middle board, not too fast, the melody legato should be very singing, the left hand harmony should be deep, not too loud, and the last beat of the third and seventh bars exceeds the voice, and the melody sound is slightly prominent, but not too much. The third sentence is a turning sentence, so it should be light, highlight the bass of the left hand, and outline the descending sound of the "bitter tone" scale. (See Spectrum Example 3).
Variations 1, 2 Although the texture is somewhat fluid, the artistic conception must be consistent with the theme, and the timbre should be kept slightly dark.
Variations 3 and 4 show the image of "struggle" by staccato, from weak to strong, firm and powerful. The fifth variation should be full and powerful. When your hands are spread to the poles, your voice should be strong. This variation is always the rhythm of syncopation, and the sound pattern of two sounds should be trampled on the second sound.
The next connection sentence needs a very smooth and one-stop process.
Variation 6 is the prototype of folk songs, and it becomes cheerful here. To pop up a loud and bright singing melody, give people a feeling of intoxication.
Variation 7 is a scene where people celebrate and dance. Sixteenth notes should be smooth and even, and both hands should have a sense of polyphony. The volume of the two voices should be just right and the corresponding ones should be interesting.
After variation 7, there are four tone sandhi sentences, which should be smooth and natural, and the parallel progressive sounds of the left and right hands should be neat, and the climax of variation 8 should be gradually introduced.
Variations 8 is the climax of the whole song, not slow or strong, with a stronger ending and great momentum. Play firmly and confidently, with a little emphasis on the repeated bass in the first beat of each bar.
Variations on the Theme of Folk Songs in Northern Shaanxi shows the idea of overcoming darkness and moving towards light through struggle, and expresses the struggle process of pursuing victory. It is a microcosm and image portrayal of the Chinese nation moving from suffering to happiness and light. Music is narrative and plot, with strong feelings and strong artistic appeal.