There are many versions of "Three Favors of Plum Blossoms". Throughout the versions of these scores, the similarities lie in the inheritance of the structure and tune of the original piece, which basically maintains the original appearance of the piece, while there are some differences in the specific playing techniques and the degree of zheng musicality due to the different aesthetics and playing habits of each player. Based on the score of the late zither player Mr. Qiu Dacheng, we will discuss the basic principles of the piece and the problems that need to be paid attention to in the performance of the piece, starting from the playing techniques, string touching skills, and timbre layout. The theme, the first time in the form of overtones, the second and third time is the coordination and cooperation of the left and right hands, the left and right hands play the musical notes intertwined, collision, so that the original purely linear flow of notes to add a sense of depth. The introductory part of the piece (bars 1-13) is a slightly free-rhythm section, with a low, solemn tone and a soothing, wide-ranging tempo, which should be played steadily and powerfully.
The part of the empty strings scattered mainly thick and full, the left hand low octave added to make the mood more open, the tune is more solemn, just a short introduction to the winter of the killing, cold performance. Playing can be a little free, deep breathing, strength and weakness to have a certain change, and can not be played with the same intensity, as if the near and far scenes of different scenes, to create a vague, hidden and hidden atmosphere. The section is smooth and soothing, and the appearance of the appoggiatura adds a sense of ups and downs, and the beauty of the contrast between static and dynamic harmonization emerges. Some of the single notes in this part should be played with special attention to the finger movement.
Overall, the hand shape should be naturally closed. When playing octave harmony, the best way is to lift the strings, the middle finger and the big finger touch the strings at the same time, and the hand drives the forearm to lift up from the strings, so that the sound is clean and the sound comes out evenly. Certain single tones should be played with the arm force and wrist force acting on the strings, using the method of touching the strings by playing to ensure that the sound is thick, strong and elastic. At the same time, with the angular slide of the left hand, the melody is more three-dimensional and layered. Another thing that needs special attention is the aftertone and its control. Because the section is concentrated in the bass, the aftertone is long, and if the coordination between the left and right hands is unfavorable or the left hand does not wait enough time to press the glissando, unstable aftertone effects such as sliding will easily occur, thus destroying the coherence of the whole section. The "One Fiddle" (bars 14-23) follows the introduction and is a well-structured overtone passage (****nine bars). The tune stands on its own and is often excerpted for overtone learning and consolidation.
When playing, the left hand little finger or name finger floating in the effective string length of the 1/2 of the overtone point, the right hand to play the touch of the string should be light and fast, but do not knock, the sound obtained is the higher octave of the string. The melody should be breathed through to ensure that it is coherent and natural, smooth and unobstructed. The right hand should play and the left hand should leave the strings in perfect harmony, and the left hand should leave the strings quickly after the right hand has finished playing. If the left hand leaves the string early, the right hand will play a solid sound (empty string), and if the left hand leaves the string late, the sound will be muffled. The whole melody should be clear and transparent.
The rhythm of the section is lively, dynamic, overtone tune is like a close-up of the plum blossom, some buds are waiting to bloom, and some of the wind dance feather flip silver, such as in front of us, vivid image.
In the use of fingering, the melody upward can be continuous use of the index finger to wipe the method of playing, but can not be used to pinch play (by playing) method of touching the strings, so as to avoid the melody is too consistent as well as the tone is too flat. The playing of the index finger is similar to the wiping of the double eclipse point, and before each playing, a gentle upward or ricochet movement of the wrist is needed to ensure that the sound has elasticity and dynamism. In the downward movement, the continuous finger rest (wrist drive, lifting method) is available. Part of the notes such as the scale upward progression, you can consider the use of ⌒\∟this method of finger sequence, such as the 16th, 20th, 21st bar at the upward scale. The six measures from the 24th to the 29th are transitional phrases, and the tone is reset to a thick, full sound. The "second melody" (bars 30-39) is played as a two-handed passage. The right hand plays the main melody, and it is required to produce a solid and powerful sound, but it is not manic or dull. The left hand accompanies in the high register with a fixed pattern. The following two points should be noted in the playing of the minor hand: firstly, the tone should be transparent and clear, and the intensity should be changed according to the melodic undulation and intensity of the right hand, and a certain degree of flexibility should be maintained. Secondly, when the strings are changed, the left hand should be changed in a coherent and natural way, and the wrist and arm parts should be driven and buffered by the strings, instead of jumping up and down, so as not to affect the coherence of the right hand's melody and the beauty of the tone.
The left hand accompaniment of the background of the small handful of pads, as if looking at the mountain plum trees flying flowers falling snow in the distance, quiet and far away, the movement of the static harmony, delicate and subtle. This is a passage that emphasizes the left hand's participation in the accompaniment, reflecting the expressive power of the guzheng itself and the flavor of the zheng.
The second theme of the piece (bars 40-57) follows immediately after the "two melodies". In this section, special attention should be paid to the "qin" flavor and performance. The left hand is particularly attentive to the speed, urgency and scale of the changes. The section mainly focuses on the low and middle registers, so the left hand's glissando needs to be pressed with greater force to ensure that the pitch is in place, and the other thing to consider is that many of the glissandos are rhythmic, and there are special requirements in terms of timing, which need to be taken into account in both aspects. In addition, the slide should be played with an angularity that is as loose and elastic as a rubber band, rather than being pressed to the end and too rigid. The two scrapes up and down the line at the section should be well articulated, not cut apart. The section is characterized by a strong focus on the left hand of the slide, the rhyme is rich and varied, deep flavor.
Overall, the playing of this section should pay attention to the flavor of the ancient style, and it can be said that the whole song is required to reflect the flavor of the zither the most intense paragraph.
Playing this section ensures that the rhythmic upward glissando effect is well timed. The effect of the notes sliding up and down followed by vibrato and vibrato is commonly used in guqin music. The rhythmic sound should be articulated naturally and smoothly. In order to play this section well, you need to understand the commonly used rhyming skills and techniques in guqin music, and you need to listen to it more to practice your ears, as well as to understand more about the theory of qin rhyme. In addition, the middle finger should be more subtle in playing the octave inverse hooks used in this section, and should not override the string articulation of the big finger. The "Third Melody" section (bars 58-70) is 13 bars longer than the first two, and the tune is expanded according to the needs of the music. The melodic notes appear in the middle register, and the left hand accompanies them in the bass register, with a strong and soft tone, and a strong and light tone. The right hand should be rounded and elastic, bright but not harsh. The left hand should be naturally closed, and the left hand should have good transportation ability with the collaboration of wrist, elbow and arm, and the fingers of the left hand should wander easily in the low and middle registers. The third get a little faster, but not too fast, and the strength should be moderate, in order to ensure that the sound and melodic elasticity as important.
The third melody is more lively and dynamic than the previous two, adding an optimistic and positive mood, which further portrays the image of the plum blossom that does not succumb to the snow and stands tall and proud. The coda (bars 71-74) echoes the introduction and is also a slightly free section. The key points of playing and the introduction have some **** the same place. Play with composure and calmness, and the piece returns to a calm, relaxed state. The piece ends with an overtone, which is ethereal, ethereal, and makes people think endlessly. It should be noted that the overtone is a one-handed overtone. The left hand presses the slide in the bass, and premature relaxation will produce aftertone, so the left hand keeps the pitch of the previous note stable while pressing the slide, and the right hand completes the overtone playing with one hand. The little finger is on the 1/2 overtone point, and the big finger of the right hand leaves the string quickly after playing. Although the first and last parts of the piece are loose, it is important to pay attention to the overall nature of the piece, the connection between the phrases and the tone and the overall unity of the sound. The first two parts of the piece are loose, but it is also important to pay attention to the connection between the phrases and the overall unity of the sound.