How to play the guzheng song "Lin Chong Running at Night"

A brief analysis of the performance requirements of Lin Chong fun run Abstract: Lin Chong fun run was composed by Professor Xiang Zuhua, a famous dulcimer, according to the musical elements in the Kunqu opera Lin Chong fun run 1984. The theme and conception of the work is to explore the musical thinking mode with national charm from the perspective of China's traditional cultural aesthetics. While using the tune of Kunqu Opera, it also draws lessons from the western composition techniques, and makes the music full of drama and heroism through the application of innovative techniques such as two-tone piano, bamboo, sliding at mountain pass, sliding, chromatic variation and multi-tone texture. This song not only involves many difficult dulcimer playing skills, but also puts forward higher requirements for the cultural quality of the players. This paper mainly analyzes this work from two aspects: music performance and playing techniques. Keywords: dulcimer; Lin chong ran away at night; Musical expression; Foreword of technical skills: The story of Lin Chong's running at night comes from the tenth time of the novel Water Margin-"The Temple of Snow Mountain in the forest and the burning forage field in Lu". In China's traditional opera, "Running in the Woods at Night" tells that Lin Chong was wrongly imprisoned for offending powerful people, but the powerful people spared him and tried to kill him. So he set up a plot to send him to see the forage field of the defenders after he was sentenced to banishment, intending to set fire at night, even if he could not be burned to death, he could be killed with a heavier charge. This repeated persecution has reached the endurance limit of Lin Chong. He put aside his fantasy anger and fought back. After killing his enemy, he went to Liangshan overnight. The story is full of ups and downs, prominent characters and strong drama. It has always been a good material for scripts of various operas and rap performing arts. There are more than one kind of music works with this theme, and the dulcimer solo "Lin Chong Running at Night" is just one of them. The composer absorbed the tones and techniques of Kunqu opera and traditional opera music, and appropriately used various technical skills of dulcimer to write this dulcimer solo work accompanied by percussion instruments. The theme and music material of this piece are full of drama, with strong traditional China opera style. No matter the structure, rotation, sentence teasing and "breathing" of the music, the elements of traditional opera performance are integrated. The emotional expression of music is very detailed, which requires very high musical expression ability of players. Dulcimer involves many specific playing skills, especially the use of "two-tone piano bamboo" and "sliding finger sleeve" The application of "sliding" and "shaking" techniques, as well as the playing skills of the fast chromatic scale that expresses inner anxiety through the acoustic effects of whistling snow and wind. Because of many skills, it is particularly easy for us to indulge in technology and ignore the internal performance of music when practicing. In fact, all the playing skills involved in the song are designed for the expression of emotions. In addition, due to the special style of music, if the performer is not familiar with the music and expression of China traditional opera, it is easy to get confused when playing. Therefore, before playing this piece of music, you can get image association by listening to some Kunqu opera or Beijing opera music and watching the stylized performance of traditional Chinese opera. The music structure is basically arranged according to the story, which is divided into five parts: introduction, indignation, night rush, snowstorm and going up the mountain. According to the author's intention of beginning, multiplication, turn and combination, the introduction should be the beginning, indignation should be the inheritance, the snowstorm at night should be the turn, and going up the mountain should be the combination of the whole song. Described in order as follows: 1. The introduction at the beginning of the introduction music draws lessons from the strong rhythm change and strength change in Beijing opera percussion music to express inner feelings, which highlights a troubled hero image from the beginning. Decorative bass uses the rhythm of "drumming", which rises with a drum and has a lingering aftertaste, echoing the drum and rendering a specific atmosphere of music. The use of two-tone harp and bamboo makes the sound fuller and strongly triggers the theme of music. This kind of musical atmosphere can't be achieved just by changing the volume. When playing, imagine the stylized performance of Lin Chong's appearance in Chinese drama, and make the strength and elasticity of hitting the strings just right from the inner feelings. Every blow here should be profound and impressive. When the introduction is played, the key to expressing emotion is the great dynamic change. Technically, the strength changes rapidly, and the key is the difference of strength points. Here, we are required to combine the wrist, wrist and arm well, make full use of the strength control of the forearm, and quickly return to the loose speed after touching the string. When playing single and double notes, we should pay attention to changing different touch angles. The wheel sound should be "dense" and the left hand sound should be "slightly stronger" than the right hand sound, because the left hand sound is full of high notes and main melody sounds. The control and application of "breath" in performance is a very important link to express musical emotion, especially in the intense emotional transformation. For example, when playing the first and second beats of the introduction, there should be an emotion that is deeply suppressed, which is bound to burst out and be forcibly suppressed. The breath should sink as much as possible, and the breathing fulcrum should also sink accordingly. Hold your breath, pause between these two beats, and then gradually enter the climax. This passage is based on the rhythm of percussion music in the field of traditional Chinese opera and martial arts in China, so it is extremely rich and dramatic. It gives us the feeling that we are on the stage: Lin Chong stepped on the drum and walked out of the background step by step from slow to fast. He looked ahead, walked faster and faster, and circled quickly on the stage. This requires us to combine the use of breath with musical expression when playing this passage. In the sixth section, the first four beats are explosive. On the fourth beat, you suddenly stop and use your breath to change your mood. After the lingering sound disappears, you can play the following sound patterns slowly, quickly and gradually with very weak strength. This technical treatment can profoundly express the grief and indignation of Lin Chong's hero. There are many infinite repetitions in music, which are borrowed from China traditional opera music. Some "infinite repetitions" actually make a fuss about the change and modification of a tone (for example, 3 to 5 bars). In such a place, we should learn from the expression of Peking Opera, find the tension of music expression in speed and strength, and portray the artistic conception of Lin Chong's "knocking on heaven and asking the earth". At the end of the introduction, there is a "sighing" figure, which finally ends on the slowly disappearing chord, paving the way for the emotional tone of the first paragraph of the music, and the narrative paragraph is officially opened here. 2. Anger "Anger" Adagio is a lyric music, which is a musical description of Lin Chong's inner world. The difference between it and ordinary lyric passages is that the music narrates Lin Chong's sadness and helplessness after he fell into the family fortune, was beset with unjust imprisonment, and the hero was useless. The performance must have a classical charm. Although it is slow, it cannot be sloppy. The timbre of the wheel sound should be dignified and vigorous, maintaining a stable and deep breath. . The imitation of bamboo in the high-pitched area produces a timbre with the metallic sound of strings. The application of this technique not only adds a bleak color to music, but also expresses the sadness of Lin Chong's inner world. In Adagio, the decorative sound is to imitate the arpeggio sound of China traditional national musical instrument Guzheng, and to decorate the melody sound with the descending three-tone sequence, so that the music has the charm of traditional opera. The emotional tone of the whole adagio is depressed, from C to F, with the gradual development of the story, the same theme melody has more and more rich sound effects, stronger tension and emotional savings. At the end of Adagio, the composer used overtone playing technique, and its hazy and elegant acoustic effect not only vividly showed the tragedy of the hero, but also showed his patient character of compromise. The end of this paragraph is full of multiple emotions such as grief, indignation and patience, and the work naturally transitions to "running at night". Source: China Summer News