Why do some vocals in Beijing Opera take so long?
Huang Er is a soothing and deep tune, which is suitable for expressing melancholy and sadness. Mostly used in tragic plots. There are original board, adagio, guide board, Huilong, scattered board, rocking board, and allegro added since the 1970s. Huang Er dropped by four degrees (that is, Jinghu Lake was changed from "5? 2 "Tune to" 1? 5 "Tuning" is anti-Huang Er. Compared with Huang Er, it lowers the tone, broadens the range and makes the melody more ups and downs, which is more suitable for expressing tragic and sad feelings. The type of anti-yellow plate is the same as that of yellow plate. Another kind of four tones, also called "Huang Er Flat", evolved from blowing cavity. There are only two kinds of boards, the original board and the adagio, but the tunes are flexible, which can adapt to different sentence patterns and express various feelings. Whether euphemistic and lingering, relaxed and lively, or gloomy and desolate, you can use a blowpipe, with a melody similar to four tones and a flute. At first, it was a Qupai style, and later it gradually evolved into a board cavity. There is a door singing. There are not many plates that blow the cavity, which are basically one plate at a time, and there are also a few three-eye plates and running water plates. High beat, also known as "beat", is one of the main accents of Huiban. Originally accompanied by plucked instruments, it was later changed to Hu Qin. Plate types include guide plate, Huilong, original plate, scattered plate and rocking plate. The tune is high-spirited and exciting, which is suitable for expressing grief and indignation. The above-mentioned cavity is common to all kinds of roles, but the pronunciation, range and singing method are different. Other vocals belong to specific roles and occupations. For example, Nanbangzi evolved from Bangzi, and only Shoujiao and Xiao Sheng sang it, with euphemistic melody, which is suitable for expressing delicate and feminine feelings. The printing plate type has only one guide plate and one original plate. Doll tunes (both Xipi and Huanger) are mainly used by young students, and occasionally by Dan Jiao, Lao Sheng and Lao Dan. Nangong and other miscellaneous tunes, minor, for the clown, Hua Dan.
(1) True voice is also called loud voice. One of the pronunciation methods of Peking Opera actors. When singing, the breath comes out of the abdomen and makes sound directly through the throat cavity, which is called true voice. Call the real voice with the voice in the real voice. If Tian Danqi passes through the throat cavity, the actor narrows the throat cavity to make it emit a higher tone than the real voice, which is called falsetto. True voice and falsetto are naturally connected when they are in the cavity, with wide range, easy operation of high and low voices and no trace. The life of Peking Opera (old students, martial arts students and red students), clean lines, ugly lines, Lao Dan and other trades are all sung with real voices. Xiao Sheng sings in a falsetto, but when he speaks, his true and false voices are mixed.
(2) falsetto is also called small voice and double voice. One of the pronunciation methods of Peking Opera actors. It is relative to the true voice, loud voice and original sound. The sound made by falsetto is called falsetto. When vocalizing, compared with the real voice, the throat is narrower, the position is raised and the airflow is thinner. The pitch of falsetto is higher than that of real voice. Both Dan Jiao and Xiao Sheng in Beijing Opera are sung in falsetto, but their voices are different in rigidity and softness.
(3) Left voice, a vocal term of Peking Opera. Mainly refers to an abnormal voice in male voice, which can be high or low. In addition, the voice is just flat and round, and some old students or martial arts students who specialize in singing high notes all sing with this voice. Old students have pure left voice and their own left voice. In addition, the left sound is sometimes used as another explanation, which means that the sound is out of tune with the accompaniment instrument, which is generally called out of tune.
(4) Hanging the voice is also used to adjust the sound. The singing practice method of Beijing opera actors is also one of the steps for actors to practice their singing skills. Every day, in addition to shouting slogans, actors must also use the Hu Qin (or add drums, etc. ) Practice the aria in singing loudly. Some use the general tone first, and then raise it appropriately. Hang voice function: 1. By practicing singing loudly, the voice can meet the requirements of singing on the stage. As a result of constant exercise, the voice can become louder and rounder, full of power, clear and powerful, and remain persistent. 2。 Familiar with accompaniment, fully understand the relationship between aria and accompaniment, * * * grasp the size, understand the meaning of the song, and express the feelings of the song, so that the cooperation between singing and accompaniment can be harmonious, thus achieving artistic tacit understanding and coordinating the performance style of the whole aria.
(5) Shouting voice is a way for Beijing opera actors to practice their voice. By shouting, they can exercise each vocal part and pronounce the local sound of each vowel correctly. Generally speaking, in the open area in the morning, single vowels such as "hmm", "yi" and "ah" are shouted loudly, from low to high, from high to low, and repeatedly. After Xu Xiasheng dubs, he practices aria.
(6) Dan Tianyin, also known as Xiangtang, is a vocal term of Peking Opera. When an actor sings, his lungs are full of gas and his abdomen is hard. The gas seems to be a sound from the abdomen (about three inches below the navel). At present, the traditional singing practice method also thinks that Dantian sound is the best (that is, the sound is heard far away).
(7) Yun Zheyue, a noun of Peking Opera vocal music. This is a metaphor for the mellow and implicit voice of old students. This kind of voice sounds dry at first, but it becomes louder and more beautiful after singing, which makes people feel mellow and has unlimited potential. It is a beautiful sound quality formed by long-term exercise. Both Tan Xinpei and Yu Shuyan's voices belong to this type.
(8) Collapse, a vocal term of Peking Opera. In middle-aged and elderly people, because of physiological relations, the actor's voice is hoarse and he can't sing at all. This is called stumbling. Some actors cherish their own voices, and the vowels remain the same when they get old. Actors who sing in falsetto are more likely to collapse when they are older.
(9) Housheng, a kind of Peking Opera vocalization. Also known as echo. Generally speaking, qi comes out from the abdomen, passes through the throat cavity and comes out directly. Although the sound in the back of the head is the same as that in the abdomen, when pronouncing, the throat cavity is slightly compressed, the posterior pharyngeal wall is opened, the soft palate is improved, and the sound is sent to the head cavity, where it meets the nasal sound, making the sound detour behind the head, and making a sound through the head cavity, making a subtle and profound tone. The pronunciation on the back of the head is vigorous and powerful, which can be heard far away, but not sharp near. In the singing of old students and pure horns, this kind of singing method is often used whenever there is a closed tone (such as "one or seven tracks"). There are fewer people who use tongue curl in Dan Jiao's singing, but Cheng () school also uses it.
(10) Huang Qiang, also known as Huang Qiang, Huang Tiao or Liangdiao. Vocal nouns in Peking Opera. It refers to the inaccurate tone of an actor's singing, and it is customary to refer to the tone change slightly below the tone. Most of them are caused by the actor's innate physiological conditions, such as vocal cord variation and poor hearing. Sometimes it is also caused by poor vocal practice.
(1 1) Maodiao is a vocal term in Beijing Opera. Of an actor singing in a tone slightly higher than the prescribed tone. Most of them are caused by congenital physiological conditions. Some are due to temporary failure of physiological conditions (such as vocal cords); Sometimes it is also caused by poor vocal practice.
(12) Walking on the stage is a vocal term in Peking Opera. Refers to an actor singing a song that does not conform to the prescribed rhythm. There are various grooves in the singing of Beijing opera, such as one board with three eyes, one board with one eye, running water board and so on. If you deviate from the rules of the board eye and lose the rhythm, it is called walking board.
(13) is a vocal term in Beijing Opera. Refers to the singer's singing tone is high or low, which does not meet the prescribed tone. Habits are out of step.
(14) Opening the mouth is one of the singing methods of Peking Opera. Refers to the way an actor inhales when singing. All kinds of vocals in Beijing Opera have different lengths and rhythms. Only by mastering the accurate inhalation method can an actor sing calmly and beautifully. Air ports include air exchange and air theft. Breathing refers to inhaling in the interval of singing, and stealing gas refers to inhaling in intermittent phrases without making the listener aware.
(15) Breathing is one of the singing methods of Beijing Opera. When singing, whenever you encounter a long cavity or a high position, you should inhale first and be fully prepared. Breathing is not to stop singing or sing after a short pause, but to breathe and store gas at the moment when the lines are full of words for change. Where to breathe when singing varies from person to person, which is generally called the air port.
(16) Stealing gas is one of the singing methods of Beijing Opera. It means breathing without leaving a trace and being stolen when the audience is not aware of it. For example, in "Catch and Release Cao", Chen Gong sang "I can't get back to the horse when the horse is in the forest". After singing the first six words and the word "nei", he "stole" a breath with the interlude "I" to sing the following "It's difficult to get back to the horse", which is called stealing gas.
(17) Ga tune, commonly known as Ga tune, is used to sing a word in high notes in Beijing opera singing. For example, the word "Fan" in the sentence of "Calling at the Palace Gate" sung by Shiro Visiting Mother and the word "Tian" in the sentence of "Sweeping at 3 o'clock tomorrow afternoon" sung by Huang Zhong in Dingjun Mountain are all called Ga tunes.
(18) long silence, long (sound palm) is growth, silence is the common name of sound, here refers to the volume. A long speech seems to increase the volume.
(19) smashing and ramming is a derogatory metaphor for an actor singing as hard as ramming a foundation. Actors are not good at mastering singing methods, using too much force, or using brute force, and there are clumsy stresses (mostly at the end) in singing, which is called smashing.
(20) Gongchi, the term of China traditional opera music. Generally speaking, it refers to the scale symbol on the right side of the lyrics in the Chinese opera score. China traditional folk music takes the words "Harmony, Si, Shang, Chi, Gong, Fan and Liu" as scales, which is equivalent to "567 12345" of western music. Traditionally, these symbols are collectively referred to as "rulers". Some music scores only note the board eye (beat) next to the lyrics, not the ruler. There is a kind of music score with working scale, which is called working scale music score.
(2 1) banyan is a musical term of China traditional opera. Traditionally, when singing, the drum board often follows the beat, and the strong beat is hit on the board, so this beat is called the challenge. The second strong beat and weak beat are called middle eye and small eye respectively (in four beats, the former weak beat is called head eye or beginning eye, and the latter weak beat is called tail eye). Together, it's called a slap in the face.
(22) Passing the door is a musical term in Beijing Opera. Refers to the interlude music between sentences and aria. Small doors are often used between singing sentences, and big doors are often used between singing paragraphs. However, due to different plates, there are many exceptions, and there is no fixed model.
(23) Guaer is a musical term in Peking Opera. Guaer is the homonym of "Guo er", which refers to the gate between aria, and generally refers to the cadenza. The small door between singing sentences is not called hanging.
(24) Xitou, a musical term of Peking Opera. It refers to the melody that acts as a bridge between music communication and music communication, which is called cushion head or small cushion head, also called bridge. The melody of the cushion is short, generally only two or three beats, which plays a connecting role.
(25) Xing Xuan, the musical term of Peking Opera. Refers to the background music when an actor performs an action or dialogue or monologue. Twisting is mostly a repeated performance of qupai or simple melody, which mainly plays a role in setting off the atmosphere.
(26) Tone refers to the pitch when an actor sings. Any accompaniment with stringed instruments is freely tuned according to the voice of the actors. Generally, the mode and official tone of Beijing opera are moderate, with B-word singing the highest and Fan Zi the lowest, commonly known as Pazi tune. In the same play, the two main actors have different tones. Sometimes they give in to each other, and sometimes they temporarily raise (raise) or lower (lower) their tones.
(27) Tuning, the pitch of the actor singing is the same as that of the accompaniment instruments (huqin, flute, etc.). ), called tuning. It means that singing the surface tone according to the "tone" is aimed at the bottom tone. Under normal circumstances, actors all sing the tune.
(28) Tuning: The pitch of an actor's singing is eight degrees higher than that of an accompaniment instrument (such as the huqin and the flute), which is called tuning. Is to sing according to the bottom of the tone. Bottom adjustment is used for surface adjustment. Some vocals in Beijing opera, such as doll tune, are often turned up. For example, if the pitch is set high, the actor's voice is not so good. For example, if the tone is set low, the volume of the instrument is too low. Therefore, the singing method of adjusting the bottom is adopted, and the instrument is set at an octave high and the actor sings at an octave low.
(29) Tuning refers to the tuning level of stringed instruments (Hu Qin, Ruan, etc.). Generally speaking, the flute is used as a standard for tuning strings.
(30) B tune, a term of Beijing opera music. One of the keys used in the symbol of Miyachi. When tuning the strings, use the "B" sound of the flute (opening five holes and playing high notes) to tune the "I" sound of the Hu Qin (Xipi tuning the outer strings). B note is the highest note in Beijing opera.
(3 1) Gong Zheng tune, also known as Gong Zheng tune. Beijing opera sets the tone of the huqin according to the pitch of the flute, and the tone of the Xipi outer string is the same as the official tone of the flute, which is called the official tone. One degree higher than the official is called the B key, the other half is called the six-character key, the second half is called the six-character key, and the second half is commonly known as the horizontal key.
(32) One of the tunes of Beijing Opera. Slightly higher than the orthodox key and slightly lower than the b key. It is slightly higher than the flute when tuning the strings.
(33) Soft tune is a tune of Beijing Opera. Slightly lower than the orthodox tone, but slightly higher than the six-character tone. It is slightly lower than the flute when tuning the strings.
(34) Six-character tune, one of the Beijing Opera tunes. When tuning the strings, use the "six" sound of the flute (all six holes are closed, playing high notes) to tune the "I" sound of the Hu Qin (Xipi tunes the outer strings and opens the strings). The six-character tone is lower than the normal tone in Beijing opera, and the tone is moderate.
(35) Lying tone is also called picking tone. One of the main modes of Beijing Opera. Where the tone is lower than the six-character tone by more than one degree, it is collectively called the lying tone.