Understanding of opera accompaniment

The main singing styles are Xipi and Erhuang of Banqiang style. Xipi is a relatively bright and lively tune, good at lyricism, narrative, reasoning and describing things. The formats include original plan, adagio, fast three-eye, guide plate, back to the dragon, loose plan, rocking plan, 26, flowing water, and allegro. Hebei Bangzi Xipi is a singing style that appeared relatively late in the traditional singing style of Peking Opera (it is said to have been created by Tan Xinpei).

Erhuang is a more soothing and deep tune, suitable for expressing melancholy and sad emotions. Mostly used in tragic plots. The board types include original board, adagio, guide board, backboard, loose board, rocking board, as well as 26, flowing water, allegro, etc. that have been added since the 1970s. Erhuang is lowered by four degrees (that is, Jinghu is tuned from "5?2" to "1?5"), which is the reverse of Erhuang. Compared with Erhuang, the tune is lowered, the range is expanded, the tune is more ups and downs, the melody is stronger, and it is more suitable for expressing tragic and sad emotions. The plate pattern of Anti-Erhuang is the same as that of Erhuang. There is also Siping tune, also called "Erhuang flat tune", which evolved from blowing tune. There are only two types of banbo: original banbo and adagio, but the tunes are flexible and can adapt to different sentence patterns and express a variety of emotions. Regardless of whether it is euphemistic and lingering, light and bright, or melancholy and desolate, you can use the blowing tune. The melody is similar to the Siping tune, and the accompaniment is the flute. It was originally a Qupai style, but gradually evolved into a Banqiang style. The singing is accompanied by transitions. There are not many types of blowing instruments, basically one-piece, one-piece, there are also a small number of one-piece, three-hole and flowing boards. Gao Bo Zi, also known as "Bo Zi", is one of the main accents of Hui Ban. It was originally accompanied by plucked instruments, but later switched to the huqin. The plate types include guide plate, back dragon, original plate, loose plate and rocking plate. The tune is high-spirited and exciting, suitable for expressing sadness and anger. The above tunes are common to all roles, and they only differ in the pronunciation, range and singing method. There are also some singing styles that are common to specific roles. For example, Nan Bangzi evolved from Bangzi. It can only be sung by dan actors and young students. The tunes are euphemistic and beautiful, suitable for expressing delicate and soft emotions. The style of the music only has the guide board and the original board. Watiao (both Xipi and Erhuang) is mainly used by Xiaosheng, and occasionally by Danjiao, Laosheng and Laodan. Nanluo and other miscellaneous tunes and minor tunes are reserved for clowns and Hua Dan.

Accompaniment form

This is one of the accompaniment forms with a long history. For example, Kun Opera uses the flute to support the singing. There is no introduction, transition, or ending. It is required to enter and exit at the same time as the melody of the singing, the same height and the same low, the same lightness and the same weight, the same sparseness and the same density. There have been new developments since the emergence of various Pihuangqiang dramas. This traditional accompaniment habit is called "support, guarantee, lining, padding and supplementing". The so-called "support" is to use the same melody as the singing tune at the same degree or 8 degrees higher. The so-called "guarantee" means that with the help of accompaniment, the actor's rhythm, pitch, speed, and emotion can be relied upon to prevent the actor's accent from being out of tune, out of tune, or out of tune. The so-called "lining" is to add some small floral sounds to the melody of the singing voice to make the melody smoother and richer. The so-called "pad" is to fill in the gaps between the arias and sentences and between sentences with a few connected short-duration notes to make the whole phrase more coherent. It is commonly known as "head pad". The so-called "supplement" means to make up for the sounds that are not sung by the singing style, so as to make the melody more complete. For example, the singer can omit the notes that are too high or too low, or the end of the phrase that is too long, and the accompaniment can make up for it. Another meaning of "supplement" is to make up for the lack of emotion in the singing, or the thought process between the lyrics, which is supplemented by the accompaniment of instruments during the passages and strings. This form of accompaniment that follows the melody of the singing voice has had a great influence on some emerging opera genres in the past century.

The accompaniment form of branch polyphony

It is a form of improvisation by players according to the performance of their respective instruments and according to traditional procedures, so that the relationship between singing and accompaniment and between various accompaniment instruments time, producing similar effects. When the melody skeleton is similar, the changes and contrasts of each instrument in terms of complexity, cessation, high and low, short and long, positive and negative, separation and combination, etc., form a richer polyphonic effect. Sometimes thick and sometimes light, sometimes hidden and sometimes exposed, sometimes highlighting the beauty of rhythm, sometimes showing the strangeness of lines, ever-changing, flexible and free. Folk musicians have the following general description of the performance of various musical instruments: "The huqin has a line, the pipa is on the sieve, the flute and Xiao come in and out, the dulcimer holds a handful of smoke, the drum board presses the feet, and the strings are played with flowers. Everything. Changing is inseparable from singing, and the beauty lies in the connection of emotions. "The tanhuang operas in the Jiangnan area and the folk rap operas with changing board structures in various places mostly adopt this form.

Accompaniment forms of fixed-note patterns

In some types of operas, some special-purpose singing styles often use accompaniment patterns with strong rhythm for continuous repetition or melody changes, so as to make the music more harmonious and harmonious. The melodies of the singing form contrast to describe special situations and emotions (such as walking, carrying burdens, going down mountains, grinding, etc.). No matter how the singing melody flows, the accompaniment melody is always included in the fixed rhythm pattern. Such as Xi Opera, Shanghai Opera's "Traveling Board", Yue Opera's "Southern Diao", etc. Basically, only one or two measures of fixed sound patterns are used to repeat it. In the fast-paced and slow-singing banquets of many operas, there are also factors such as the repetition of fixed tone patterns. For example, in the "Shaking Ban" in Peking Opera, the singing is a free-speed melody in loose time, but the accompaniment is a continuous repetition of the same tone with distinct strengths and weaknesses. , mixed with funny passages between sentences; the fast and slow singing of other operas are often sung in a loose time, and the accompaniment is a continuous repetition of short-note patterns with a beat of 4/8 or 4/16, and is performed in a progressive and circuitous way. Features. The melody changes as the end of the phrase changes, but the rhythm remains unchanged.

The repetitious accompaniment form

is to sing a fragment or a short phrase acapella, and then follow it with accompaniment. It has the characteristics of alternating singing and accompaniment, echoing back and forth, reflecting each other, and repeated statements. , and has the function of emphasizing the tone and deepening the impression. This kind of accompaniment form of fill-in material has several situations: ① Repeat the singing melody, and can add flowers and subtract sounds (Example 1). ②Contrasts with the singing melody, but the rhythm is basically the same (Example 2). ③Imitate the singing melody on another palace tune (Example 3). This type of form is widely used in Bangzi tune system, Tanhuang opera, Pingju opera, Liuqin opera and other operas.

Form

This is a kind of folk natural polyphony, which means that the singing tune and accompaniment are different in melody lines and rhythmic shapes, and are independent of each other but coordinated with each other, forming a contrasting complex. Tonal factors (because at the last note of each phrase, there are overlapping homophones between the singing and the accompaniment, which are generally only of short duration and have not yet fully formed polyphony, so they are called factors). Such as Zhejiang's Wu Opera, Shao Opera, Ou Opera, Taizhou Luantan, Jiangxi Gan Opera's "Blowing" tunes and "Sanwuqi" tunes all use this kind of accompaniment technique. Many types of operas use fast and slow singing tunes, and also bring There are elements of contrasting polyphony

Other forms

In folk proverbs, there is the saying of "one point, two lines, and three flowers" (that is, the final sound of the sentence falls on the same sound, and the singing tune There are two different melodies with the accompaniment. If other instruments are added, they can be related to the main instrument in the accompaniment.) There are also proverbs such as "When the board comes together, when the eye separates, snakes and eels find their own paths," and "The rising tones go their separate ways, and the falling tones return to the same road. If the separation lasts for a long time, it will merge, and if it lasts together for a long time, it will separate." These proverbs all refer to this type of polyphony. In terms of the accompaniment form of the factors.