Characteristics of Guangdong Xiaoqu

Its traditional scale is seven tones, and the intervals of seven adjacent tones are basically the same, and there is no difference between whole tones and semitones.

Most people mistakenly think that the French and the four tones in the seven-tone system are between Miso and Latitude (neutral scale), and even most people think that the phenomenon that this method is not French and the four are not four is caused by the rough and inaccurate making of musical instruments.

The research results of modern ethnomusicologists show that this is a legal system completely different from the traditional three-point profit and loss method in the West and even in China, and it has its own system. As a result, there are some modes that cannot be replaced by western scales, such as the two-tone opposition of Cantonese opera, the six-tone emphasis of Chaozhou opera, the lively five-tone, the soft line of Hakka Chinese music, the crying tone of Qin opera, and many such modes of the Qiang nationality in northwest China.

There is no semitone in this system. The intervals are as follows:

Doremus Fasola Sido

Yiyi

One three five six eight zero two

8629730

0 05 0 0 50

Points, points, points, points.

\/\/\/\/\/\/\/

1 1 1 1 1 1 1 1

8866866

0 0 55 0 55

Points, points, points.

As can be seen from the above table, except for Fa, the seven-tone scale is lower than the western scale, not only Fa is high, but also Si is low, as simple as that.

The best tune of Cantonese opera has the most important relationship with the seven rhythms. The most famous example of music is Zhao Jun's complaint.

[Zhao complained] The first sentence of the original song is:

| 2 2 |4 245| 5 - |

- ====

It is exactly the same as the six sounds of Chaozhou's top ten string poems. Please refer to the following table:

| 2 12 |4 2 1 | 56 1 |

- - .-

People nearby translated Si into bSi, and regarded B as the notation of tone sandhi, which was recorded as

| 3 3|5 3 56| 6 - |

- ==== .

In fact, a few B-turns do have the intention of tone sandhi, but most B-turns are indeed a scale conversion, such as the scale conversion in the West.

In the west, from C major to C minor, we should drop Si, Mi and La, and borrow key signature from bE major. But the title of the first song in c minor is different from that in bE major. In modern times, it is wrong to translate western C minor into la mode and tonic =la. )

In China's pentatonic scale system, the keys #Mi and #La are turned down to the second degree. It's exactly the same as B's, not Mi and La, but Fa, (#Mi) and Si(#La=bSi), but it can't be considered that it must be turned up, just like borrowing western modes. There is a B-line [chain buckle] in Cantonese opera, which can be clearly shown.

Line b

(7 17 1 2 2 2 04 24 24 5)

==== - - -

Line b

(6 16 1 2 2 2 03 13 23 5),

==== - - -

This switch playing method of different scales with the same tone is especially common in Nanyin rap.

If you use the traditional seven-instrument, there is not much difference between the two kinds of music, but if you change it to the western twelve-instrument, you will not be able to play the original flavor opposite to the B sound. When playing the B sound, your left index finger should be pressed on the four methods, which is called empty finger.

In addition to the above-mentioned rules and tones, the characteristics of Guangdong Xiaoqu originated from Cantonese opera oratorios. During the Daoguang period of the Qing Dynasty, there was an eight-tone class engaged in singing Cantonese opera. They use the scripts and tunes of Cantonese opera, and sing different colors in Cantonese opera's "Studio Mandarin". Later, blind female artists who sang in the streets and lanes appeared. They were called "You Ji" and "Shi Niang". Each of them should master the singing with different foot colors, and one person can sing with multiple foot colors, which has made a new development in singing skills than the "eight-tone class". This kind of singing has been popular for more than 60 years, and it is called "Jenny period" in the history of Cantonese opera. Their main songs are "Eight Famous Songs" such as Priscilla's Meeting Wife, Daiyu's Burying Flowers and Abandoning Chu to Han. After the Republic of China, discerning women gradually appeared on the teahouse stage to sing Cantonese songs, and people called them "female actors". They changed "Opera Studio Mandarin" into Guangzhou dialect, and changed falsetto into real voice, and divided it into three singing methods: loud voice, flat voice (this is male voice) and split voice (this is female voice). Cantonese opera entered its heyday, which is called "female singer period" in history.

Modern Guangdong has the least historical burden, so its free development has the greatest plasticity. Located in a foreign trade port, I was the first to contact foreign culture and was influenced and inspired by western culture.

Dulcimer, a foreign musical instrument, was first introduced from Guangdong and successfully used in Guangdong music. Guangdong music first adopted the dulcimer bamboo method and recorded it.

The difference between 32 tones and syncopation, and between pre-consonants and post-consonants was later changed to simple notation, and the first collection of songs was published, with the composer's first name and surname, musical instruments and playing methods, introducing western music theory. The steel wire string was first used, and the handle position was high, so the handle was changed by sliding the finger. He was the first person who successfully used tone sandhi and tone sandhi to compose music. From the comparison of the scores published by Zao Ji, it can be found that in just ten years, the same scores are very different, which is unique to Cantonese music. Cantonese opera is also the only traditional music with continuous creation. The modernization and socialization of the theme of the track also fully shows the prosperity of this kind of music. Although modern scholars disapprove of this direction, they cannot deny the existence of this fact after all.

Among many traditional folk music, Cantonese opera is the only one that can find out the author's first name and surname and spread throughout the country. In the early years of the Republic of China, in just 20 years, about 500 tracks were produced. The hard bow system was quickly changed into a soft bow system. Plus twelve musical instruments, even western musical instruments and so on. Compared with Kunqu Opera and Nanguan, the musical instruments, arrangement, notation and repertoire have been in a state of stagnation for a long time, which is really refreshing.

These evolutionary factors are the reasons for its successful spread.

Secondly, being influenced by the west and westernization is also an obvious feature of Cantonese opera. Cantonese opera quoted western musical instruments such as violin, saxophone, amplified guitar, xylophone, bugle, jazz drum and piano, as mentioned above. Cantonese music also uses western three-time and dance music rhythm, mode progression, melody, tone progression, arpeggio progression and other composition techniques. The notation also completely absorbs the terms and symbols of western music. It can be said that it is the music most influenced by the west.

The earliest and most suitable commercialization of Cantonese opera has continued here and now:

Cantonese music records were originally used to dub silent films. Therefore, it stimulated record publishing and the establishment of professional bands. It led to the creation of music and the emergence of professional composers and performers. Dance floor can also use it as accompaniment music. Today, in Taiwan Province Province, Chinese wind bands in dance halls, restaurants and teahouses are still dominated by dulcimers and Cantonese ditties.

Guangdong Xiaoqu has a wide range (big jump), fast speed, dense melody (flowery) and diverse styles (composition), and the sliding performance of Adagio is delicate and flexible. Strong plasticity and wide adaptability can be used to play folk songs, pop songs and dance music. It is hard for us to imagine playing popular and entertaining music with Nanguan and Pingju Band. Gorgeous and fluent Guangdong ditty is familiar with this. The general public is also familiar with it.

In a word, Cantonese opera is a radical, westernized and commercialized music.

Technically speaking, Cantonese opera's slipperiness can be spoken by everyone, or it can be spoken very well.

In Gao Hu, when Lv Wencheng first changed the steel string and set it at a height of five degrees to match the voice of human voice, he used the piano clamping method to play the high handle and changed the handle. In addition to other kinds of music, such as note, chuo, etc., when jumping in, we often use the sliding sound, even the big sliding sound. Homophonic repetition pays attention to rotation and sliding. The third degree and two tones often adopt the sliding sound method (different from the sliding sound method of Jiangnan silk and bamboo only in high notes or only in low notes), which is called the rubbing sound method.

Jiangnan silk and bamboo add flowers, and the tunes add oil and vinegar, especially good at the development of tunes. Such as "five generations under one roof" and other musical examples of "eight boards" system.

However, if we deeply study the history of Cantonese opera, it is easy to collect the origins and spread spectrum of some famous songs in different periods, so as to know the development process of their coloratura and melody. Especially after analyzing the creation process of four famous songs by Yan Laolie, such as Lian Kou, Chun Lai, Inverted Curtain and Drought Thunder, we have to admit that its flower-adding development method is quite impressive, no matter in the revision or development of tunes, it is no less than that of Jiangnan Sizhu.

1, Cantonese opera usually starts with three boards. Before departure, bangzi beat two boards to set the speed. This is called Zhong Ding, which is not the same as the first stroke. The protagonist can take the second beat in the second half and add flowers to lead the play. This is called stirring.

The head can be raised from one tone to four tones, usually two tones. These two tones are carried out in the same scale as the initials, and after adding consonants, they become four tones, so there are often two homophones in the four tones. For example:

|0 0 32 12 32|=|0 03532 12 32|

- == - - ==== -

2. Change the long beat and flower to homophone repetition or octave insertion. Less long wheels, more pulleys (single bamboo wheels), weak beat and short sound.

| 5 3 3 3 6 1|=| 5555 3 3333 3 6 1 |

- - ==== - ==== -

3, two jump into the sound room, you can add intermediary sound, increase the sense of fluency. On the contrary, an external sound can be added between two adjacent sounds to increase the sense of jumping.

. . . ..

| 1-3 1 | 7 = | 1 7 6 5 3 56 12|7

- - - == -

4, a sparse melody, you can add a weak beat tonic, become a dense melody, called the seat sound.

6535|5 55 27 27 6 |5

-

= 6535|5555 5525 7525 7565|5

======== ==== ==== ====

If one of the two beats is the same, or in a scale, the strong beat can appear again in the weak beat, which is called double beat. Reproduce the previous sound, and the local sound that appears has a delayed beat, which is called solo sound.

Disyllabic | 00321235 | = | 00321235 |

- == - - == - ====

Tone | 00321235 | = | 003212335 |

- == - - == - == - ==

6. Double the double-tone beat and repeat it twice, which is called double-tone.

| 00 32 1 23 5 |= |0 0 32 12 123 5 |

- == - - == ==== -

7. For the rising (falling) sound, the adjacent sound is inserted in the opposite direction first, and then the original sound is played to increase the forward sound potential, which is called a consonant. This is the music grammar of China, which is popular all over the country.

| 00 32 1 63 5 |= | 00 32 12 16 3235 |

- == - - == ==== ====

8. Replacing homophone repetition with scales is a bolder way to add flowers.

| 67654 350 |= |6765 4 356 150 |

==== - ==== - ====

9, long-range shooting to join the door.

| 2 16 2 12 3|

|6 1|2 - - -|5= |2 - 3-|=|2. 1 2 3| | 2. 123 16 2 123 |

10, after the short beat, you can use the one-handed pulley to add the next note.

|0 0 32 1 6 3 5 |= |00 32 1 6.23 5|

- == - - - == - ==== -

1 1, the back beat, which can be played by holding down the sound of the previous beat, constitutes the diphthong of this beat, which is the idiom of Cantonese music.

three

|0 352 20 35 |= |0 3522232 35 |

- == - - == - == - =

12, more than one tone, more changes, and so on:

6 5=6 1 56=656 1 5356 6 1=65 6 1=6 156 176 1

5 6=5 1 65=56 17 6765 2 3=2 1 23=23 13 2 123

Finally, talk about the repertoire of Cantonese opera. Gao divided Guangdong music into narrative category and narrative category in Introduction to National Instrumental Music. In fact, all local music tracks,

If we divide the songs by their titles, we can distinguish narrative works from narrated works. This is not GAI, just like saying "thin, small and elegant" is the characteristic of Jiangnan silk and bamboo.

Among the music of silk and bamboo, Guangdong ditty is the most popular music. The reason is that the melody is beautiful, the skill is exquisite, and the variety and novelty of the tracks are indispensable. Coupled with the commercialization in the early years of the Republic of China, professional bands and musicians were produced; It encourages the creation and improvement of musical instruments and the atmosphere of publication, which is more conducive to the spread of Cantonese opera.

The above summary sentence can be expressed by the word "evolution". It is said that Cantonese opera is more evolved. For example:

The period of Cantonese opera formation is closest to modern times.

Guangdong Xiaoqu has a wide range (big jump), fast speed and dense melody (flowers), which is more in line with modern people's preferences.

The modernization and socialization of the theme of the track also fully shows the prosperity of this kind of music, and its entertainment and commercialization ability is also the strongest.

The source of music, the process of variation and even the writing style can still be analyzed and compared.

Guangdong had the earliest contact with the West, and its music was greatly influenced by the West. For example, when the dulcimer was introduced to Gao Hu, the violin used strings, tuning strings and vibrato, and even added complex and traditional beats such as guitar and saxophone, such as syncopation and triple beat, and the western notation was first adopted. Western composition methods such as mode, mode progression, mode progression and arpeggio progression are adopted.

Created the creation of modern traditional music. At that time, publications were popular, and musicians were covered with stains and spots, which were not found in all traditional music.