China Naming Network - Almanac query - Basic knowledge of Kun Opera

Basic knowledge of Kun Opera

The art of Kunqu Opera has hundreds of years of history. It is one of the oldest operas in my country with national influence. There is a vast amount of research, information and discussion about it, May 18, 2001 UNESCO awarded the first batch of 19 cultural expressions from different regions of the world the title of "Masterpiece of the Oral and Intangible Heritage of Humanity". Chinese Kun Opera topped the list unanimously, thus confirming the unique cultural characteristics of my country's Kun Opera and its role in humankind. The special value of cultural diversity in development.

Kun Opera, formerly known as "Kunshan Opera" or simply "Kun Opera", has been called "Kun Opera" since the Qing Dynasty and is now known as "Kun Opera". "Kunshan accent" originated in the Kunshan area of Jiangsu Province at the end of the Yuan Dynasty and the beginning of the Ming Dynasty (the middle of the fourteenth century). It has a history of more than 600 years. "Kunshan tune" started out as folk Qingqi and small singing. During the Jiajing and Jiaqing years of the Ming Dynasty (1522-1572), Wei Liangfu, an outstanding opera musician, reformed Kunshan tune, making it more euphemistic, delicate, fluent and far-reaching, and was known as "Shuimo tune".

After that, musician and dramatist Liang Chenyu created the first Kunshan opera legend "Huansha Ji" according to the characteristics of Kunshan opera. Therefore, the influence of Kunqiang has also been expanded. Some literary figures competed to use the new voice of Kunqu Opera to write legends. Kunshan Opera became famous for a while. By the Wanli Period of the Ming Dynasty, Kun Opera had expanded from "Wuzhong" to all parts of Jiangsu and Zhejiang and then to the whole country, forming a national opera type. At that time, it was called "Guanqiang" ".

In the more than 100 years from the Ming Dynasty to the end of the Qing Dynasty (1621-1722), Kun Opera reached its heyday and became a popular song at that time. The sentence "every house [puts things in order], every household [does not take precautions]" is a true portrayal of how Kun Opera was deeply loved by the masses at that time. That is to say, every household at that time loved to listen to and sing Kun Opera. The so-called "packing up" is the first line of "Pour a Cup of Jade Hibiscus" sung by the fleeing Emperor Jianwen in the Kunqu Opera "Thousand Bells Kill·Begbling", "Pack up the mountains and rivers of the earth with a load of clothes." The "not careful" in "Every household [don't be careful]" is the first line of the song "Yizhihua" in "Tanci" sung by the legendary musician Li Guinian of "The Palace of Eternal Life", "Don't be careful about the remaining years of your life." ", which tells the story of the "Anshi Rebellion" during the Tianbao period of Tang Dynasty.

Kunshan tune combines Beiqu, Yiyang tune, Haiyan tune and other tunes into one, and refines and processes them. Its musical artistic achievements are unprecedented. Its music was later absorbed and digested by Peking Opera and many local operas, such as Sichuan Opera, Hunan Opera, Guangdong Cantonese Opera, Gui Opera, Han Opera, Wu Opera, etc. Some operas even performed Kun Opera repertoire intact. Of course, their languages all have a strong local accent, which is the biggest feature of local operas. Because Kun Opera plays an extremely important role in the development of Chinese opera, it is known as the "mother of all operas".

Appreciation of Kunqu Opera Tune·Qupai Style and Banqiang Style

In terms of form, Chinese opera music can be roughly divided into two categories: "Qupai Style" and "Banqiang Style". Peking Opera is an outstanding representative of "Banqiang style" music, and Kunqu Opera is an excellent model of "Qupai style" music. "Qupai", also known as "paizi", is a collective name for tunes with relatively fixed melodies that have been gradually preserved through the ages. Each tune has a nice name, such as "Dian Jiang Lip, Duan Zhao, Xinshui Ling, Zuihua Yin, Pink Butterfly, Yizhihua" and so on. The "Jiugong Dacheng Nanbei Gongpu", written in the eighth year of Qianlong's reign in the Qing Dynasty, collected 1,513 southern songs and 581 northern songs. So many qupai have left a rich cultural heritage for our country's opera music.

The opera singing music always serves the lyrics and is closely integrated with the lyrics. The differences in structure between the lyrics of "Qupai style" and the lyrics of "Banqiang style" also determine the difference in musical structure. Take the "banqiang style" Chinese opera and Peking opera as an example. Its libretto is mainly based on seven-character sentences of two, two, and three and cross sentences of three, three, and four. Occasionally, there are also "five-clause sentences of two and three". It appears in the form of symmetry between the upper and lower sentences. For example: seven-character sentence (Su San left Hongdong County and came to the street. He felt so miserable before he spoke openly. Gentlemen who passed by listened to slave words...), cross-word sentence (Looking at the king sleeping peacefully in his tent with his clothes on, I This is where the accounts are released and sorrows are dispersed...), five-part sentence (angry Yang Yanzhao, the fool listened to the root seedlings, ordered his son to patrol the sentry, and secretly recruited his wife...).

In this way, the singing tune that matches the lyrics of Peking Opera also has a structure of upper and lower sentences. It is true that in order to overcome the rigid structure of the upper and lower sentences, in some Huilong tunes and a certain lower sentence, the libretto is often added with repeated sentences or lining words in order to make a breakthrough in the melody of the singing. But generally speaking, Peking Opera lyrics have an even number of sentences, that is, if there is a previous sentence, there must be a next sentence. If there is a plot that does not require the next sentence, use percussion to "sweep the head" to sweep it away. This is a special case. The so-called "four, six, and eight lines" indicate that the libretto of Peking Opera has an even number of lines. As a "qupai style", the lyrics structure of Kun Opera is long and short sentences inherited from Song Dynasty lyrics. The Kunqu Opera "Ye Ben" has five lines in the odd number "Dian Jiang Lip". "If you count them all, you will raise more. If you listen to the leaks of broken jade, if you are running away from your relatives and bandits, if the country is in trouble, you should ask for help." The number of words in these five sentences is arranged as 4, 4, 3, 4, 5.

What needs to be explained is that the difference between Kun Opera lyrics and real lyrics (such as Song lyrics) is that Song lyrics do not have lining characters, while Kun Opera lyrics can add lining characters. The "point to the lip" I admired earlier includes In the fourth sentence, "It's difficult to surrender to a country", five lining words "Hey, good, so call me" are added before the fifth sentence. In the fifth sentence, a dummy word "er" is also added. In many Peking Opera plays, when generals appear, they sing "Guan Zhong"'s "Lip of the General": "Generals are heroes, sons, men, tigers and leopards, the order is given, the earth is shaking, and the mountains are shaking, we must sweep away the smoke." Its structure is standard 4, 4, 3, 4, 5. Another example is "Sheep on the Hillside" in Kunqu Opera "The Peony Pavilion - Dreams" consists of 14 sentences, and the order of the number of words in each sentence is 7, 7, 7, 8, 3, 5, 4, 4, 4, 5, 2, 6, 2 ,6.

Appreciation of Kunqu Opera Sound·Southern Opera and Northern Opera (Part 1)

Kunqu operas that are also long and short sentences can be divided into two categories in nature, namely Northern Opera and Southern Opera. . They each have their own characteristics. How to tell the difference? It is mainly distinguished by the following points.

First: Beiqu has more characters and less accents, dense characters and less drawl, and the tune is high-pitched, generous and simple. The book "Qu Zao" written by Wang Shizhen of the Ming Dynasty said that "Bei dominates the Qing Dynasty and is majestic and majestic", "Bei has many characters but the tone is quick, and the pronunciation can see the tendons", "...Bei has more emotional words but less vocal emotion" and so on. Nanqu, on the other hand, has fewer words and more accents, sparse characters, fluent melodies, soft and lyrical tunes, and is good at expressing deep and subtle inner emotions.

Second: The scales are different. Beiqu has a seven-tone scale, that is, 1, 2, 3, 4, 5, 6, and 7. All seven tones are present in the tune. In "The Palace of Eternal Life" [Shangxiaolou "Farewell" was sung by Emperor Ming of the Tang Dynasty in front of the wooden statue of his late beloved concubine Yang Yuhuan. The direction of tunes 1, 7, 6 and 5, 4 and 3 is very obvious, and it also forms One of the characteristics of Beiqu. The basic scale of Nanqu is 1, 2, 3, 5, 6, which is the pentatonic scale. There are no 4 and 7. Don't think that the pentatonic scale is simple, it is the basic modal scale of our country's national music. The Chinese pentatonic scale is based on folk songs and music from southern my country, such as "Jasmine" and "Taihu Beauty"; the instrumental music "Spring River Flower Moonlight Night", "Er Spring Reflects the Moon", "Purple Bamboo Tune", etc. are all pentatonic. representative of music. These songs embody the harmonious and simple national spirit of our people. However, the ancient song "Man Jiang Hong" and the modern song "Into the New Era", which are also in pentatonic scale, express the resolute side of our nation.

The third difference between the northern opera Qupai and the southern opera Qupai in Kun Opera is: the northern opera does not have the character "ru", while the southern opera has the character "ru". The so-called Rusheng character originated from the Suzhou dialect, and its singing method is to break as soon as it is spoken. Shen Chongsui, a former qushuist, said: "...whenever the Rusheng character is encountered, without a continuous tune, it needs to be sung and broken as soon as it is spoken." In "The Peony Pavilion · Volume 1" "Painting" [Yan Zile] In the song "Seeing the wind and moon passing away in darkness", the characters "ze", "moon", "zhu", "luo", "ke", and the character "eng" are all It is the word "entering the tone".

Appreciation of Kun Opera’s vocal tune·Southern Opera and Northern Opera (Part 2)

The southern tune of Kun Opera pays attention to the entrance of the tone, which can be said to be "break every time it enters". In fact, the Cheng School of Peking Opera also has the singing method of entering the tone characters. Mr. Zhao Rongchen, the famous Cheng School artist, said, "The entering tone characters of Kunqu Opera are called 'short tone characters' in Peking Opera." In "Two Six" in the popular Cheng-pai drama "Suo Lin Nang - Spring and Autumn Pavilion", the sentence "only a sedan chair can be seen across the curtain" contains three short sounds of "ge", "zhi" and "yi", which are not from Cheng-pai. The short-syllable characters are slightly longer than the Kunqu opera characters. Beiqu Qupai in Kun Opera does not have the characters for entering the tone. These characters are assigned to the three tones of Ping, Shang and Qu respectively, and the pronunciation of the characters also changes greatly.

For example, the word "Luo" in the above aria is pronounced "lao" in the northern song. People in the north usually say, "Why did this bird end up here?" The word "ge" is pronounced as "亍(chu)". Northerners often pronounce "the next door" as "亍bi(er)". The word "zhi" in the northern part of the song is pronounced as "purple"; the color "色" in the northern part of the song is pronounced as "" "Shai"; Xiudeba's "De" in the Northern Song is pronounced "Catch" or "De A (cut)", and our "Zan" in the Northern Song is pronounced "Miscellaneous". Please pay attention to a paragraph in "Xu Pavilion" in "The Palace of Eternal Life" The pronunciation of the words "de", "za" and "zhi" in the lyrics of Beiqu [Xi Qianying Ying].

The formation of Beiqu inherited many elements of northern rap art, such as palace tunes, market cries, small singing, etc. Therefore, the metrical requirements of a single tune of Beiqu are relatively broad, and the number of pieces is uncertain. , can be added or subtracted, and the number of lining characters is optional. The form of Nanqu mainly inherits Song lyrics and folk songs. Because the structure of Song lyrics and folk songs is much more rigorous than that of rap music, Nanqu maintains the basic number of bars (that is, the banquet), with fewer lining words, and If it does not occupy the board space, there is a saying that "there are no more than three linings". Since the words of Nanqu are relatively fixed, the number of bars (i.e. bars) of the tune is also relatively fixed, for example, [Shanshan Sheep] has 14 lines and 54 bars; [Wind into the Pine] has 6 lines and 20 bars; [Guizhixiang] has 11 lines and 45 bars; [Lazy Thrush] has 5 sentences and 27 boards; [Yijiang Feng] has 8 sentences and 37 boards; [Bu Bu Jiao] has 6 sentences and 26 boards; [Good Sister] has 6 sentences and 21 boards.

The above is the slow tune of Kun Opera Southern Opera, which is in 4/4 time. The Kun Opera tune in 4/2 rhythm is called rapid tune, which is a strict tune. They also have formulas. For example: [Thrush Preface] 6 sentences and 21 boards; [Diliu Zi] 7 sentences and 22 boards; [Didi Jin] 6 sentences and 21 boards; [Bao Laoji] 7 sentences and 23 boards; [Double Tone Son] 6 sentences and 21 boards, etc. To name a few.

In "The Story of the Hosta·Qin Tiao", the four southern songs [Lazy Thrush] sung by the young boy Pan Bizheng and the Taoist nun Chen Miaochang, each has 5 lines, and the number of words is 7, 7, 7, 5. , 7. The first three sentences are rhymed with flat tones, the fourth sentence is restricted to oblique rhymes, and the fifth sentence is rhymed with flat tones. The first tune is marked [Lazy Thrush], the second, third, and fourth tune are marked [Qianqiang], which means the same as the previous tune. This part of singing has three [front notes]. In the same situation, the northern song is marked [Mopian], which also has the same meaning as the previous song.

There are a large number of "Jiqu" in Nanqu. "Jiqu" is to intercept certain sentences from certain tunes and combine them into new songs with new names. For example, [Twelve Reds] is a collection of certain single sentences from twelve different tunes; [One Name of Gold] is a collection of certain sentences from sixteen different tunes (one pound on the old scale is sixteen Two); [Liangzhou Bridegroom] is composed of [Liangzhou Preface] and [He Bridegroom]; [Yan Zile] is composed of three tunes: [Crying Yan Hui], [Brush Preface], and [Putian Le], each with one character. Become.

Appreciation of Kun Opera’s Tune·Southern Opera and Northern Opera (Part 2)

CCTV International June 2, 2004, 17:24

The Southern Opera Singing Tune of Kun Opera is exquisite The word Ru Ting can be said to mean "it must break when it enters". In fact, the Cheng School of Peking Opera also has the singing method of entering the tone characters. Mr. Zhao Rongchen, the famous Cheng School artist, said, "The entering tone characters of Kunqu Opera are called 'short tone characters' in Peking Opera." In "Two Six" in the popular Cheng-pai drama "Suo Lin Nang - Spring and Autumn Pavilion", the sentence "only a sedan chair can be seen across the curtain" contains three short sounds of "ge", "zhi" and "yi", which are not from Cheng-pai. The short-syllable characters are slightly longer than the Kunqu opera characters. Beiqu Qupai in Kun Opera does not have the characters for entering the tone. These characters are assigned to the three tones of Ping, Shang and Qu respectively, and the pronunciation of the characters also changes greatly. For example, the word "Luo" in the above aria is pronounced "lao" in the northern song. People in the north usually say, "Why did this bird end up here?" The word "apart" is pronounced as "亍(chu)". Northerners often pronounce "卍bi(er)" as "卍bi(er)". Only "zhi" is pronounced as "purple" in Bei Qu; "色" in color is pronounced as "" in Bei Qu. "Shai"; Xiudeba's "De" in the Northern Song is pronounced "Catch" or "De A (cut)", and our "Zan" in the Northern Song is pronounced "Miscellaneous". Please pay attention to a paragraph in "Xu Pavilion" in "The Palace of Eternal Life" The pronunciation of the words "de", "za" and "zhi" in the lyrics of Beiqu [Xi Qianying Ying].

The form of Nanqu mainly inherits Song lyrics and folk songs. Because the structure of Song lyrics and folk songs is much more rigorous than that of rap music, Nanqu maintains the basic number of bars (that is, the banquet), with fewer lining words, and If it does not occupy the board space, there is a saying that "there are no more than three linings". Since the words of Nanqu are relatively fixed, the number of bars (i.e. bars) of the tune is also relatively fixed, for example, [Shanshan Sheep] has 14 lines and 54 bars; [Wind into the Pine] has 6 lines and 20 bars; [Guizhixiang] has 11 lines and 45 bars; [Lazy Thrush] has 5 sentences and 27 boards; [Yijiang Feng] has 8 sentences and 37 boards; [Bu Bu Jiao] has 6 sentences and 26 boards; [Good Sister] has 6 sentences and 21 boards.

Kun Opera Sound Appreciation·Kun Opera Music Score

As an oral and intangible heritage of mankind, Kun Opera has a profound cultural heritage. For hundreds of years, its music carrier has appeared in the form of Gongchipu. Gongchipu is a unique form of notation for Chinese music. As early as the Ming and Qing dynasties, there were books such as "Taikou Chuanzong" and "Jiugong Dacheng North and South Ci Gongpu"; later there were "Kun Opera Cui Cun" and "Liyunge Music Pu". ", "Liuye Music Score", "Integrated Music Score", "Yu Zhong Music Score", "Su Lu Music Score", "Su Lu Music Score", etc. have come out one after another. These are the precious and rich heritage of our country's opera music.

The pitch symbols of Gongchipu are Shang, Chi, Gong, Fan, Liu, Wu and Yi, which represent the 1, 2, 3, 4, 5, 6 and 7 of today’s simplified musical notation; use The hooked four characters Shang, Chi, Gong and Fan plus the seven characters He, Si and Yi*** represent the seven tones of 1, 2, 3, 4, 5, 6, 7 and the lower octave of the simplified musical notation; Use the seven characters Shang, Chi, Gong, Fan, Liu, Wu and Yi on the radical side of the band to represent the seven tones of 1, 2, 3, 4, 5, 6, 7 and the upper octave of the simplified musical notation. Vocal music can never have a range of three octaves, so it is enough. Mark the music and words on the work ruler, then click on the board and eyes, and a music card is completed.

However, there are still some imperfections in Gongchipu. For example, if there are three notes in one beat, such as 6, 5, and 3, it is impossible to tell whether the first two notes are sixteenths in Gongchipu. The note or the last two notes are sixteenth notes, this is one of them; in addition, Gongchipu can express 4 but not #4, and it can express 7 but not b7. In this way, there is a close relationship among many Beiqu Qupai. Modulation, that is, music with alternating modes, will be more difficult to sing and play. If a reversion 4 and a sharp 4 appear at the same time and a reversion 7 or a flat 7 appears at the same time when singing or playing in unison, it will be extremely harsh and unpleasant to listen to.

In addition, the popularity of Gongchi musical notation is far less than that of today’s simplified musical notation. Therefore, most of the scores used by Kunqu opera troupes today are simplified notation or line notation. Due to the above reasons, the work of translating Gongchipu into simplified musical notation began very early.

For example, "New Director of Kunqu Opera" published in 1926, "Yizhilou Music Score" published in 1936, "Zhenfei Music Score" published in 1982 after liberation, "Hou Yushan Music Score" published in 1987, and "Music Score of Hou Yushan" published around 1990 "Ma Xianglin Music Score", "Zhaoqi Music Score" and "Zhenfei Music Score Volume 2" published in 2002, etc. These simplified music score translations have made indelible contributions to the inheritance and popularization of Kunqu Opera and the research of music workers.

The following is a brief introduction to the Kunqu Opera style. Kunqu opera banquet is not complicated. It mainly consists of Sanqu, slow song, medium song and rapid song. Slow tunes and medium tunes are the most common and important banquets in Kun Opera. They are in four-quarter time and three-eyes. It is also a tune in eight-quarters time and is called "gift banquet", but it has no practical meaning. Still beat it at four-quarters. The sharp song is a formal two-quarter beat and a formal quarter beat. (Quarter-beat Peking Opera is called "Liu Shui La" or "Allegro") Sanqu is Sanqu, with free rhythm and no restrictions on banyan.

The main accompaniment instrument of Kun Opera is the qudi. Opposite of the qudi is the bangdi. The qudi has a thicker and longer shape and a lower range. It is suitable for playing Kunqu opera, so it is named "qudi". Bangdi has a shorter and thinner shape and a higher pitch range, making it suitable for playing in Bangzi tune, hence the name "Bangdi". The material of the qudi is a bamboo tube, which consists of a blowing hole, a membrane hole (for attaching the flute membrane) and six sounding holes. The most commonly used qudi is the D tune, which is a bamboo flute with all six sounding holes closed and the sound emitted is the standard sound A, and the third hole opened is D.

The tune of Kun Opera is based on this kind of flute. There are hundreds or even thousands of tunes using only seven tunes. We call the six sound holes of the Qudi fully closed as "tube tone". The tube tone is "5", which is Kun Opera's "Xiao Gong Tune", now called D tune. The tube tone is "4", which is Kun Opera's "Fan Zi Tune". It is called the E tune. The tube tone is "3", which is the six-character tune of Kun Opera, and is now called F tune. The tube tone is "2", which is the Zhenggong tune of Kun Opera, and is now called G tune. The tube tone is "1", which is the "B-character tune" of Kun Opera. Today it is called the A key, the tube sound is "7", which is the upper-character key of Kun Opera, and is now called the B-flat key. The tube sound is "6", which is the ruler key of Kun Opera, and is now called the C key. The key of Peking Opera is the same as that of Kun Opera, except that Peking Opera has an additional semitone key. For example, the key of Pa Zi is E flat, the key of Pa Half is E, and the key of Six Half is F sharp.

In fact, the tunes of both Kun Opera and Peking Opera should be unified in the current music standards, so that it will be clearer and more convenient, that is, directly use C, D, E, F, G, A , B and other key symbols speak. Nowadays, many professional actors have used English letters to express the key. For example, the Siping key of the Peking Opera "Wangjiang Pavilion" is rarely spoken as "chiban key". Everyone sings the key of C sharp. .

Appreciation of Kun Opera Tune·Modality of Kun Opera

A Kun Opera tune is like an ancient song, and songs all have a certain mode. The so-called mode refers to the certain arrangement of its scales. There is one note that is the most stable. This note appears many times in the tune, and the main phrases all fall on this note in the end, especially at the end.

There are five traditional modes of Chinese music, namely "Gong, Shang, Jiao, Zheng and Yu", which are today's "1, 2, 3, 5, 6". Why are there no "7" and "4"? Because these two sounds are very unstable, the "7" sound was called "Bian Gong" in ancient times. That is to say, the sound of "Gong" has been changed and lowered by a semitone. The "4" sound was called "Bian Zheng" in ancient times, that is, the "Zheng" sound was changed and lowered by one sound. Modern scholars believe that the name "Bian Zheng" is unscientific; "Bian Gong" is lowered by a semitone, while "Bian Zheng" is lowered by one tone. It should be renamed "Odd Corner" to be more appropriate. Because the "4" sound is closest to "3", which is the "corner" sound, and is related by a semitone. If the "corner" sound is raised by a semitone, that is the position of the "change sign". "Bian" means a semitone change downwards, and "yi" means a semitone movement upwards. It makes sense to call it this way. Just because "changing palaces" and "different angles", that is, "7" and "4" themselves are very unstable, there is no place for them in the traditional mode.

In Kun Opera, any mode with 1 as the main tone is called "Gong Mode". For example, in "The Palace of Eternal Life·Tanci" Li Guinian sings [三舀人儿], the tune with 2 as the main tone is called "Shang Mode". "Mode", the tune with "3" as the main tone is "Jiao Mode", the tune with "5" as the main tone is "Zheng Mode", and the tune with 6 as the main tone is "Feather Mode". Feather tune tunes are the most common among Kunqu opera tunes, and this is true for both northern and southern tunes. For example, "Iron Crown Picture: Thorny Tiger" has "righteousness", "rolling embroidery ball", "taking off cloth shirt with nagging order", "taking off clothes". Bushan], [Xiaoliangzhou], [Chaotianzi], etc., there are six Beiqu tunes. Five of their ending notes fall on the tonic 6th note of the feather mode. Only [Chaotianzi] has a slight change. The tail tone falls on the tail tone of the feather mode.

The Southern Song "The Peony Pavilion School" contains *** [One River Wind], [Traveling around the Earth], [Off the Corner], two [Qianqiang] and [Ending] There are six tunes in total, and the tail notes of these six tunes all fall on the tonic 6th note of the feather mode.

Appreciation of Kun Opera tunes·The main tune of Qupai and the modulations of Kunqu Opera

The main tune is the representative of the characteristics of Qupai. Regardless of the composition of each tune of Northern and Southern Opera, it has its own unique melody. This melody is called the main tune.

The main tune of Runanqu [Lazy Thrush] is:

35 5611 665 3 |1233 231 65 1 |2 1 6 5 |6 - - - |12 1211 6 - |

The main tune of Beiqu [Zhe Guiling] is:

05 65 3 36 |54 32 3 32 |1 2321 615 67 |656 123 212 |1 0 0 0 ||

The main tune of Nanqu [Yijiang Feng] is:

232 1 211 36 |56 11 6 5 |3 5 653 23 1|3 5 6 1 5 5 3|2 - - - |

The main tune of Beiqu [Pomegranate Flower] is:

2 3 23 27 |62 76 5 65 |35 2 3 54 323 |2 – 67 65 |65 323 5 - |

35 2 3 54 323 |2 0 0 0 |

The main tune of Beiqu [Xi Qianying Ying] is:

1 2 1 - |12 176 5 6 176 |55 35 231 |1 – 0 0 |

The main tune of Nanqu [Chuan Bo Chu] is:

6 1 23 16 |6 5 - 56 |51 6 5 3 - |3 – 0 0 |

Let’s talk about the modulation of Kun Opera. Modulation is a technique to enrich the melody of the tune, and it is also an effective way to eliminate listening fatigue. Means, the phenomenon of mode alternation often occurs in Chinese opera singing. The most common one should be the alternate use of "Erhuang Tune" and "Fan Erhuang Tune" in Peking Opera. In Kun Opera, most of the southern music with pentatonic scale does not change the key, while the northern music with heptatonic scale provides convenience for changing the key. As long as the "7" sound in the music is lowered a semitone to "b7", then the "1" in the original score will be It has become the "5" sound of the new key, and "b7" has become the 4th sound of the new key, forming a closely related modulation. In "The Palace of Eternal Life·Tanci", [Liu Zhuan Huo Lang'er] is a 2/4 urgent instrument. song. It was sung by musician Li Guinian to describe the turmoil in the country and the devastation of life during the "Anshi Rebellion".

In Kun Opera Northern Opera, if the 4th note in the music is raised to #4, the 5th note in the original score will become the "1" note in the new key, and #4 will become the "1" note in the new key. 7" sound, there is a twist in Kunqu Opera, "The Purple Hairpin: Broken Willow" Northern Song [Parasite Grass]. Judging from the score, the song is in the key of D. There are 14 "4" notes and 23 "7" notes. It is definitely a northern piece. However, when all the "4"s are raised a semitone to #4, the same A "parasitic grass" immediately changed to the key of A, with only two "4" notes and 14 "7" notes. The melody is similar to southern music, smoother and more pleasant to listen to.

Appreciation of Kun Opera’s tone·The relationship between the four tones of Kun Opera and the melody trend

Everyone knows that Chinese characters in my country are divided into four tones, one, two, three and four. Dictionaries use symbols to mark the pronunciations of words. Most of the dialogues in opera, especially in Peking Opera and Kunqu Opera, are in upper rhyme, which is called "Yun Bai". The reason for adding rhymes is simply to artistically process Mandarin, which is already musical, to enhance its musicality and melody. A high-quality rhyme is like a song whose notes cannot be recorded. It is high and low, well-proportioned, and intoxicating. The so-called "a thousand pieces of gold can be sung in vain" is an emphasis on the rhyme, although this sentence is biased. The ancients left behind four mantras: "Don't hold your voice low when you speak flatly. The upper voice is loud and powerful. The going sound is clear and straight, and the entering sound is short and sharp." The book "Central Plains Phonology" written by Zhou Deqing in the Yuan Dynasty divided the flat tone into two. There are two types of yinping and yangping, so add the rising and falling sounds. This forms the four sounds of yin, yang, up and down.

The so-called tone value refers to the pitch position and direction of the word. In Peking Opera, the first tone character of Mandarin is called Yinping character in Yunbai, and its tone value is the highest. The second tone character of Mandarin is in Yunbai. It is called the character Yangping, and its tone value is lower than that of the character Yinping, but both Yinping and Yangping require "flat road", not "low" and "high". The third tone in Mandarin is called the upper tone, which requires rushing from the lower to the higher. Chant or sing. This is what the so-called "violent and strong" means. The fourth tone in Mandarin is the falling tone of Yunbai, which requires reading or singing from high to low, with the tail sound tilting upward again. Chanting Bai is singing without notes, singing is reciting with notes. The two merge into one, complement each other, and are dialectically unified.

How are the four tones of Kun Opera reflected in the melody of Qupai? The character "Yinping" in Kun Opera is higher than the character "Yangping", which is the same as in Peking Opera. For example, in the first sentence of "The Peony Pavilion· Garden Tour" [Bu Bujiao], "The fine silk blows to the leisurely courtyard", the four characters "Qingsi blows to the courtyard", Because the characters "Qing" and "Lai" have two tones of Yangping, and the characters "Si" and "Chui" have one tone of Yinping, so the character "Qing" has a lower tone than the character "Si", and the character "Chui" has a lower tone than "Si". The character "来" is high.

Let’s talk about the upper tone characters. The melody direction of Kun Opera’s upper tone characters is completely opposite to that of Peking Opera’s upper tone characters. Peking opera sings from low to high, while Kun opera sings from high to low. This type of Kunqu opera It is called "Hanqiang", which is specially used for the three tones of Chinese characters in Kunqu opera, that is, the upper tone. For example, in "The Peony Pavilion·Youyuan" [Bu Bu Jiao], Chunxiang sings "The crystal flower hairpin is filled with eight treasures" and the word "bao" It is sung like this, almost falling down an octave. In the tune "The Peony Pavilion·Looking for Dreams" [Jiang Er Shui], the word "grass" in "flowers and grass" and the word "death" in "life, life, death and death" are two. The characters are all in the upper tone. Therefore, it can be said that most of the notes of Kun Opera's ascending tone move from high to low, which can be generally called "rare tune", but the speed of the downward process is different.

The position of Kun Opera's tone-depleting characters is relatively high in the melody. It is higher than the upper tone of Kun Opera's Yinping and Yangping, and it slides to the upper tone after it is spoken. The tune type is called "Huo Qiang". In "The Story of Jing Chai·Meeting the Mother", Wang Shipeng sings a piece of [Gu Gu Ling]. The position of the tone-free characters in the lyrics is relatively high in the melody. .

Appreciation of Kunqu Opera Tune·Difficult to Sing Kun Opera

"According to the words" is one of the biggest features of Chinese opera singing. In addition to the previously mentioned "rare tunes" and "unexpected tunes", Kun Opera "In addition, there are many detailed ways of moistening the cavity, such as "bringing the cavity", "pumping the cavity", "cushioning the cavity", "overlapping the cavity", "rubbing the cavity", "flashing the cavity", "dumbing the cavity", "olive" "Qiang" and so on, some people can't help but sigh, "This Kunqu opera is really difficult to sing." Yes, it is common knowledge among people in the industry and outsiders that Kun Opera is difficult to sing, for many reasons. First of all, Kun Opera has no limit and must be sung to the end, so it has very strict requirements on the actor's breathing (the so-called "breath"); secondly, Kun Opera repertoire is all about singing and dancing, which has very strict requirements on the body. Everyone knows that singing and dancing at the same time is very strenuous. Things require very high basic skills from actors.

In addition, the lyrics of Kun Opera are very elegant, and some are even difficult and obscure, so the requirements for actors to have a basic foundation in classical literature are also very high. Many Kun Opera tunes have a very wide range, with tunes reaching two octaves or even wider.

For example, in "Eternal Life Palace·Tanci" Lao Sheng Li Guinian sang [Shuolang'er Erzhuan], its vocal range is from the bass 1 to the treble 2 of C, two octaves and one note. "Twelve Reds" sung by the matchmaker in "The Romance of the West Chamber" is from the bass 3 to the high 5 in the key of E, two octaves and two notes.

上篇: I'm warehouse 026 of the special forces. What is this for? Why do many people want to go there? 下篇: Our family is going to travel to Xinjiang. What should I pay attention to?