Sister-in-law Lin, who is like Yue Opera, asked Heaven what kind of singing Fang Yafen used.

Sister-in-law Lin, who is like a Cantonese opera, asks Heaven and Fang Yafen to sing in a (chord-down) voice.

It is said that the downward adjustment of strings was started by Mr. Fan Ruijuan at the end of his life, which is also called chordal cavity.

Generally, the vocal chords have more turns per syllable, and the bytes are longer, which is more sad and meaningful. It is mostly used to express sad feelings, but it is also used for cheerful aria! For example, The Last Day of Shan Bo, Sister Xianglin Asking Heaven, Sister Xianglin Dragging the Lonely, Feeling Exploration, Zijian Crying, Unrequited Love, Remembrance and so on.

Introduction to chord lowering:

One of the main tunes of Yue Opera

In p>1944, Fan Ruijuan absorbed the "anti-two-spring" of Peking Opera on the basis of the old tunes of Yue Opera, such as "falling the character tune", "six-character tune" and "ruler tune tune", and cooperated with the pianist Zhou Baocai to create and develop a graceful, deep and meaningful "chord lower tune".

the "sub-chord cavity" belongs to the D key, and the huqin tunes 1-5. "Subchord tune" is the antithesis of "tune tune with a ruler", which is suitable for performing grief and indignation. The characters in the play often use "Subchord tune" when they are most sad. Such as: "Butterfly Lovers" and "The Last Day of the Mountain Man"; Xianglinsao is full of wind and snow; "A Dream of Red Mansions" and "Baoyu Crys"; Unrequited love and farewell to Huo Jiang's wife; The lotus lantern and homesickness for the moon

Yu Pei's bloody tears in Cao Zhi and Zhen Luo, and the first few words of Baoyu Bielin in A Dream of Red Mansions all belong to this category.

The plate type of "sub-string cavity" is as complete as that of "ruler tuning cavity", and its performance ability is very strong.

Mrs. Lin, who looks like a Cantonese opera, asks Fang Yafen to sing in a (Yuan Pai) accent.

Yuan Pai (founded by Yuan Xuefen)

Since October p>1942, under the influence of progressive drama, the reform of Yue Opera has been started in Dalai Theater, and most of its own money has been paid, and full-time screenwriters, directors, choreographers and stage supervisors have been hired to set up a drama department to host performances, thus establishing a formal system of editing and rehearsing for the first time in Yue Opera. Abolish the screen system and use a complete script; Abolish the suitcase system, refer to ancient paintings, and design clothes according to the identity of characters; Break the traditional stage form, adopt three-dimensional scenery, oil paint makeup, lighting and sound, and gradually form a comprehensive artistic mechanism. In performance, we learn from others' strong points, absorb the realistic performance characteristics of drama and film, and the advantages of singing and dancing in Kunqu opera and beautifying body movements into Yue opera, and melt and innovate it. In November, 1943, when he performed "Xiang Fei", he cooperated with the pianist Zhou Baocai to create a new tune, which was absorbed and enriched by other Yue opera actors, developed into the main tune of Yue opera, and evolved into different genres on this basis. Its melody is simple, its rhythm is changeable, its feelings are sincere and deep, its charm is mellow, it is euphemistic and lingering, and it is called "Yuan Pai".