2, suona and its fingering briefly:
Sawona is a double-reed gas sounding instrument, widely spread in Asia, Africa, Europe, many countries. Suona is the transliteration of the Arabic word "suona", also known as "trumpet". It was introduced to China during the Jin and Yuan dynasties, and was mainly used in military music, drumming, opera, songs and dances, and was an indispensable instrument in folk music bands.
The fingering and tuning of suona are usually referred to as the fingering of the full press (i.e., the cylinder tone). For example, the full press for sao and the full press for re are called the fingering of sao and re. What is the same thing as what is the third hole, but it is just a difference in the way you say it. No matter what fingering is used, the fingering of the higher and lower octaves is the same, and the middle notes of the cylinder and the first hole are usually played in the upper handle (seventh and eighth holes), but occasionally, due to the requirements of the piece and the convenience of fingering, the lower handle (cylinder and first hole) can also be used. The lower handle is difficult to control in pitch, so beginners usually use the upper handle first. When the fingers are in use, no matter which tone is sounded, there are usually at least three or more fingers (in the upper and lower grips of the right and left hands) attached to the wall of the bar, so that the suona will be in a stable state of balance, which is conducive to the maneuverability of the fingers. This is actually the use of the reserved fingers (the use of the forked fingers).
3, Hundred Birds Chaofeng Introduction:
"Hundred Birds Chaofeng" is an excellent folk music popular in Shandong, Anhui, Henan, Hebei and other places. It is enthusiastic and cheerful melody and the sound of birds and chirping, showing the vibrant natural scenery, fascinating. The piece was originally played in the folk customary life, due to the mass and mobility of the performance occasions, the players according to the objective needs and my technical expertise to do improvisation, music can be long or short, no strict rules, but warm and cheerful melody and the sound of birds accompanied by a fixed tune cyclic between is its structural principle.
4, specific appreciation:
The People's Music Publishing House published in 1998 "suona score" (two) in the suona collated by Chen Jiaqi's "Hundred Birds Towards the Phoenix" as an example, Chen's collation of the "Hundred Birds Towards the Phoenix" using three voices, soprano part is the first suona (the main player), the mid-range voices is the second suona (accompaniment), the bass part is a bass violin. Analyze the technique on each section in turn.
(1) The tits are crowing. This section is an introductory part consisting of an independent phrase expressing the sound of a variety of birdsong in a loose plate structure. The music is entered by a chromatic etude, which is followed by the upward entry of the five sonorous tones of Zheng, Feather, Gong, Shang, and Horn, and then prolonged by a Shang tone as a decoration, which is followed by a short decorative wah-wah. The call of the cuckoo is imitated to perfection, and the fresh, melodious melody paints a picture of vitality.
(2) Spring Returns to the Earth. The tune of this section is developed from the musical material of "Carrying a Sedan Chair", a piece of music from Shandong. The phrase of this section has a 4-bar square structure, which is one of the common melodic techniques in Chinese folk music. In the melodic form, after the chromatic introduction, the melody mainly skips in and out, especially in the upper fourth, which is the characteristic of this melody, which is tuned in the seven-tone elegant musical mode. The music is bright, beautiful and energetic, full of rustic and rich vernacular flavor, giving people a sense of relaxation and joy, showing the ardent hope of the working people for spring in pursuit of a better life, as well as the joyful mood that spring brings to people.
(3) The Dance of the Swallows. This section quotes the singing tone from "Spring Returns to the Earth" as the background, but adds changes in the melody (#2, #6), and the mode is still the seven-tone elegant musical mode. At the same time, the two lower voices form a non-strict imitation of each other, giving the piece a harmonic effect not found in traditional Chinese music. The upper voices are depicting the yellow warbler singing in the branches and the spring swallow flying in the blue sky through the sixteenth-century rhythm with backward consonants.
(4) Forest Frolic. This piece of music is based on two short up and down phrases formed by the E microtones, which are repeated through many variations, and then lead to an active tuneful echo by way of tonal tightening and expansion. The key remains the seven-tone Jarrett mode. The rhythm of the whole piece of music is exceptionally lively and cheerful, and the melodic phrases echoing up and down change in many ways, making the music lively and joyful, just like a group of birds chasing each other in the green jungle, playing to their hearts' content.
(5) Hundreds of Birds. This piece of music is an imitation of various bird calls, mainly through the soprano voice, and it is the more difficult part of the piece to play, with more improvisation. Variations (#2, #4) and a number of glissandos are added to the melodic composition in order to better express the scene of "a hundred birds flocking to the phoenix". The key is still the seven-tone elegant musical mode. The middle voice is accompanied by a beautiful melody, while the bass voice jumps in intervals of fourths and fifths.
(6) Joyful Song and Dance. The melody of this musical theme consists of two phrases in the first 1-4 bars, and then the two phrases are combined and expanded to form a long phrase by tightening the technique, which is an asymmetrical musical theme consisting of two short phrases and one long phrase, which is uncommon in traditional ethnic instrumental music. The bass part of this section consists of the unfolding and decorative phrases with the levitation as the center tone, contrasting with the melody. The tonality of this section changes from the seven-tone Yale levistic mode to the Shang mode.
(7) Phoenix Spreading Wings. This section consists of two parts: the Allegro and the Wah-Chi section. The Allegro is formed on the basis of microtones as the center tone, repeated through a number of variations, and rhythmically consists of two forms, one is X?X X0 XXXX X0; the other is XXX XXX, these two rhythmic patterns to bring out the warm, active musical atmosphere. The intervals in the middle voice of this section are also superimposed in thirds, which is relatively rare in Chinese folk music. The scale composition of the huachai phrase is a six-tone commercial modulation (with a change of palace), combining freedom and improvisation, and finally leading to the part of the parallel wings in the air.
(8) Wings Together in the Sky. This is a fast tempo that is triggered by the ending tone of the phoenix spreading its wings section. The rhythm is syncopated, with the melody emphasizing the shang at the beginning, then the gong, then the genitive, and finally ending on the zheng mode. The alto voice enters one measure later than the soprano, forming a contrasting polyphony, and the bass is dominated by quarter notes, similar to bass playing. Various techniques to push the music to the climax of the whole song, the formation of hot, joyful mood, depicting the "hundred birds" should be the call of the phoenix, together with the spreading of wings in the air, and the warmth and joy of the scene.