Jingyun drums are an important part of the northern drum art. In the early days, there were three representative figures Liu Baoquan, Bai Yunpeng and Zhang Xiaoxuan, who were called Liu Pai, Bai Pai and Zhang Pai because of their distinctive singing characteristics. At the end of the twenties of the last century, Bai Fengming's master Liu Baoquan's singing method, under the guidance and cultivation of his brother Bai Fengyan, the famous string master, combined his own characteristics of wide and low voice, and absorbed and borrowed Bai Yunpeng's singing art, to create a desolate, tragic, known for the "fan" character of the Beijing Yun big drum Shaobai school.
Since the end of the 20s of the last century, its self-composed repertoire and singing style have been widely loved by the masses and have become popular all over the country. At the same time, it had a great influence on the singing and innovation of Jingyun drums in the future. Such as Luo Yusheng, Sun Shujun, Liang Xiaolou and other Jingyun big drum masters. They are all based on the Liu school, and they also learn from the Shaobai school, which are eclectic and integrated. Inherit the Shaobai school and create his own unique singing style.
After the founding of New China, Mr. Bai Fenglin, the second generation inheritor of the Shaobai School of Jingyun Drum, fully inherited the singing style and repertoire of Bai Fengming of the Shaobai School, inherited the three-string accompaniment skills of Bai Fengyan, known as the three-string holy hand and famous string master, and carried out theoretical research and summary of the artistic achievements of the Shaobai School. He has published treatises such as "The Four Major Schools of Drum Music".
Nowadays, Mr. Bai Fenglin's son, Mr. Bai Huiqian, established the Jingyun Drums Shaobai School Studio to inherit and carry forward the Shaobai Drums.
At the inaugural meeting of the Jingyun Big Drum Shaobai School, Jiang Kun, chairman of the China Opera Artists Association and honorary president of the Chinese Opera Art Society, delivered a speech, telling the story of his interaction with Mr. Bai Huiqian, the third generation inheritor of the Shaobai School, and also telling his impression of Bai Fengyan and Bai Fengming, the two old-timers.
The formation of the Jingyun drums "Shaobai School" is very unique, it is planned and created with the joint efforts of the Bai family dominated by luthier Bai Fengyan. The professor has opened up a process of artistic growth that is first designed, then formed, and practiced by theory.
To be honest, the atmosphere of appreciating music art is much stronger now than it was in the early nineties, and the so-called traditional culture and that time were indeed much more revived. Aiquyi is also a circle, and it is a circle that will never be despised and alienated; Just like loving Peking Opera and loving Kunqu Opera, even if the people next to him do not love it, they will respect it, it will not be like the late eighties, at a large-scale party on TV, it seems to be performing a sketch, openly saying that the legs of Peking Opera actors are raised for half a day, and a word "Yiyi Aaa" for half a day is to ridicule Jingkun for not keeping up with the times, too slow, and so on.
Looking at the fashion of the eighties with the current aesthetic, if it is not influenced by nostalgia, how many are still fashionable? In another thirty years, looking at the current fashion with the aesthetics of that time, how much will be fashionable? On the contrary, traditional arts such as Beijing and Kunming are still following the times and walking unhurriedly.
When I was a child, in the mid-to-late eighties, performing in amusement parks and temple fairs, two children said that crosstalk had a large number of people listening, but the drum kit singing the big drum at the top end of the drum rack, the people below dispersed with a bang - everyone was the audience listening to "you are like that fire", all took the art of music as the lowest local art, not fashionable, lest they avoid it.
Among our generation of friends who love Quyi, I am older, and I fell in love with these arts relatively early, and by chance, I met many "old swordsmen" very early - this is also my luck, and I can also tell people who are younger than me and come later than me about ancient times - even I say ancient, and now Quyi's situation does not seem to be much better.
In traditional commentaries, there are strong soldiers, righteous soldiers, chivalrous, swordsmen, etc., and in the general new school of martial arts novels, there are masters, big masters, and absolute masters. For example, the "Five Absolute Heavens and Earth" in Jin Yong's "Condor", Eastern Evil, Western Poison, Southern Emperor, Northern Beggar, and Zhong Shentong are already masters of martial arts, but Guo Jing finally used a trick to descend the dragon eighteen palms, giving birth to a supreme yin power in the supreme yang, which was already a divine skill that Hong Qigong could not comprehend back then... This has entered the realm of philosophy. In "Dragon Babu". North Qiao Feng and South Murong are already absolute masters. Above them, there is also Xiao Yuanshan and Murong Bo. Not only did he practice the family martial arts to the top, but he also secretly learned the seventy-two unique skills in the Shaolin Temple Hidden Scripture Pavilion for decades, and such cultivation has already reached the top of the sky in the practice of martial arts. These two masters fight, from the arrangement of the novel itself, it is no longer easy to carry on the plot. So, Jin Yong wrote another sweeping monk, and he didn't know how many generations higher than these two. But when did he practice martial arts? How to play against others? Who is his teacher? How can it be hidden for decades in the Shaolin Temple where experts gather? How to cultivate such a high martial art, etc., this is not easy to explain.
Therefore, martial arts novels are easy to be attacked as absurd.
Fortunately, the sweeping monk said this Buddhist principle, that is, every time the temple practices a martial art, there must be a certain amount of Buddhist cultivation to dissolve the anger and so on, which is very in line with the path of Chinese Buddhism, and everyone does not care whether the plot is reasonable. In fact, everyone regards him as a symbol of the Dharma, and as for whether he himself is a peerless master or a fairy Buddha Nether, readers will not delve into it.
It can be seen that in the hearts of ordinary people, it is possible and willing to agree that there is such a character in the world, that is, a character whose level is far above the earthly world, and who appears in the earthly world, giving people fantasy and hope.
Bai Wuye, among the big masters in the drum music world that I came into contact with, is a figure such as a sweeping monk.
In the mouths of the younger generation, Mr. Bai Fenglin is officially called Bai Wuye. This "master" in Beijing dialect should be read lightly, not repeatedly. The fifth master, in fact, has a meaning similar to the fifth "Mr. Five".
There can be many of his head streets: famous string masters, famous musicians, famous music educators, famous music theorists, famous experts in music research and creation, and so on. His technique of playing the three strings is several grades higher than that of ordinary masters, although he himself said that he is "far worse than my eldest brother Bai Fengyan". In the category of drum music, his mind can be said to be all-encompassing, and he has personally experienced almost all key historical events. He is both a treasure trove of quyi skills and a treasure trove of quyi history.
What's even more amazing is that he actually appeared in my life, and actually treated me with green eyes, taught me by word and deed, lived in the fighting room together, talked on his knees, spat pearls and jade in his mouth, and waved five strings in his hand, which taught me for six or seven years. These are all adventures in my life, things that I dare not imagine.
I first learned the name "Bai Fenglin" in the early 90s, when I was 112 years old when I studied art with Mr. Ma Zengkuan.
At that time, I learned crosstalk, but I was very fascinated by the jingyun drums, and I listened to the recordings of those popular characters on the radio, and once I actually saw it on TV - you know how difficult it was to broadcast a drum song on TV at that time! Every time I listened, I ran to talk to Teacher Ma excitedly, but almost every time I was poured down by him as a scoop of cold water. I said: It's good that the radio broadcasts something and who sings it! Uncle Ma – officially known as Uncle Ma – had to give a long "hi", which contained endless disdain and regret for my aesthetic level.
He always said, who is who? That's far from it, and I have to listen to Liu Baoquan and Bai Yunpeng.
The problem was that there was no place to listen to these two at that time. At that time, I had a passage of Liu Baoquan's "Huarong Dao", and the "squeaking" could not be heard clearly. It was an old turntable from the Republic of China period, with a total of six minutes on both sides, which was broadcast on the "big stage in the sky" of the Central People's Radio, and I quickly recorded it with a tape recorder when it was broadcast. Bai Yunpeng has never heard of it. Now think about it, the sound quality of those old turntables does not meet the broadcast standards at all, and there is no repair technology, and there is no network, where to listen? Afterward. Tianjin Audio and Video produced a tape of Liu Baoquan, all of which were recordings of old records, and after I heard about it, I ran to several bookstores and video stores on my bicycle, and after buying it, I almost lost my listening to the tape if I got the treasure.
Uncle Ma also said, except for these two, you have to listen to your third grandfather, Bai Fengming, that's great!
Uncle Ma admired his godfather Bai Fengyan from the heart, every time he mentioned Bai Fengyan he would say "your white grandfather", from him I knew that Grandpa Bai was the boss, there was a third brother named Bai Fengming, singing the Jingyun drum of "Shaobai School", but the problem was that I had no place to listen to Bai Fengming. Very few of his recordings have been handed down, and even fewer have been broadcast on the radio. Later, when I was in my senior year, I went to the Capital Library to check the materials, and I also transcribed a precious tape of Bai Fengming in the database, which cost about three yuan to make this complete "Bowangpo" circulate in the hands of enthusiasts... This is an afterword. But from Uncle Ma, I knew that I was close to the Shaobai faction. Of course, what makes me fascinated by the art of the Shaobai school is the amazing few sentences of Mr. Hou Baolin's "Learning Drums" to learn Bai Fengming's "Horse Lost Its Front Hoof".
One day Uncle Ma brought me a tape and said to me: You rip this tape for me, there are all very precious materials here, you can also record a tape, listen to it well. That's your white grandfather's "Wind and Rain Iron Horse", as well as "Liu Qingniang" and "Wan Nian Huan". Especially in "Wind and Rain Iron Horse", the three strings want to pop the lute sound and guqin sound, which is too advanced!
"Wind and Rain Iron Horse" is Mr. Bai Fengyan's original three-string solo song, and playing this one does require very good technique.
That was also the first time I knew what "iron horse" meant? It is the ringer hanging in front of the eaves, iron, made in the shape of a horse, and when the wind and rain blow, it should be used as a ringing bell. When the wind and rain come, the iron horse Ding Dang can cause people to worry the most.
I went home and recorded it with a dual SIM recorder. The tape was string music on one side, too small to understand. But on that side was an old and majestic voice, singing a piece of Jingyun drums "Chopping Huaxiong". Again storytelling, telling the story; Again singing, passionate and generous. A large section of "white mouth" in the middle is even more fascinating, with a positive and majestic atmosphere. That's nice!
However, the sound quality of this recording is not very good, a little messy, the communication is loud, and as soon as it comes to the "upper board" later, the sound of the strings is too loud, and the content of the singing is a little inaudible. I listened excitedly for several days, pressed the pause button, and copied all the words. Of course, there are many mishearings, especially after the board, there are many spaces on the manuscript.
After copying it, I went to Uncle Ma and asked him: Who is the other side of the tape, why is it so good?
Uncle Ma's personality is never convincing, and for playing the three strings, he only obeys the deceased Uncle Bai and Han Defu. He once gave me a history of famous string masters in Tianjin and Beijing. Beijing, who is who. Can't compare with me! Who can't! Who can't! Who in Tianjin is too soft-handed! Whoever will be too little, can't do it! Who can't... Of course, this is him and me, an eleven-twelve-year-old junior high school student, who said what he said in his heart, and he probably said this in front of others.
The last thing he said that time was "Bai Lao Wu", which I remember very clearly. He is "slippery" past:
"Bai Lao Wu is also that..."
This is the first time I've heard him talk about Bai Wuye.
Later, I asked him: Who sang that "Chopping Huaxiong"? He said: Bai Lao Fifth.
To say more, Uncle Ma and Bai Wuye are "eldest and eldest children", and he must be called Fifth Uncle in person, but he and Bai Wuye are only eight years old, and Bai Wuye's official title back then was Bai Lao Wu, just like Uncle Ma commented on the book that Bai Yutang was Bai Lao Wu, there was no disrespect.
I said, "That's great! He didn't directly "hi", which is already very "huge" for him. He thought about it, which meant to find fault and said, "Old man, it's not good in his mouth." He couldn't hear it clearly as soon as he got on the board. ”
I think deeply about this evaluation, because for a junior high school child, after picking up words for several days, many sentences in the end are a little worse, either one word or half a sentence, and it is also quite "belly". Who knows that there is another reason for this unclear hearing, which will have to be discussed below.
Anyway, from then on I fell in love with the white pie.
Not long after, Uncle Ma found me another piece of "Tanuki Cat for Prince" sung by Third Master Bai, and the singing voice was really listening. Uncle Ma will have some "points" of the white pie, that is, a specific melody, which is also good to pop up. I didn't have anything to whisper to him, he played those melodies too much, sang completely wrong, and maybe not played perfectly, that is, I was addicted, he was also addicted.
Because I was too young, I didn't think of asking Uncle Ma to meet Fifth Master Bai at all. One, he didn't necessarily support me to learn from others. Both, I don't think much of the famous. Although Bai Wu is not a big celebrity, his family is really famous in the music industry. Not only him, once Li Guosheng went to the concierge of the Donghua City Cultural Station to make a public call, and Teacher Ma looked at the phone and chatted for a long time. At that time, Xiaolin Li Guosheng was the Spring Festival Gala every year, the hottest time, when there were many legends in the cultural station.
Teacher Zhao Liang, one of the instructors of the Little Flower Group, said, hey, he is our junior brother, he is Luo Rongshou's apprentice, and they are all their own people. Teacher Ma does not look at it as a name, but only as a peer. Many people think, oh, it's a pity that I didn't meet Li Guosheng. But I never wanted to meet such a celebrity. Growing up, I was such a person.
I love Jingyun, and I also wrote a passage of the Jingyun drum of "Walking Horses and Recommending Zhuge Ge". After reading it, Uncle Ma was very happy, and even came to our house in the evening with the strings, right in front of my writing desk, using my tape recorder, playing and singing a passage to the words. His singing style is quite desolate and quaint, but it is not very listened to. There are a lot of white pie in it, but his voice playing the strings is rigid and powerful, and the beauty is slightly worse. So I didn't pay much attention to learning Jingyun with him, I only learned a small section of "Eight Loves" and figured out the problem of one board and three eyes. So much for.
At that time. I never thought that I could one day be in the same room with the fifth master and devote myself to studying.
As soon as I heard the name Bai Fenglin, I thought of the word Fenglin. Although I was not old at the time, I was familiar with traditional culture, because his eldest brother was called Bai Fengyan, and his third brother was called Bai Fengming, which was obviously an allusion to Fengming Qishan. The five brothers should all rank phoenix characters, so he must be these two characters, and he should also have a fourth brother named Feng Qi, which later proved that my intuition was completely correct.
Later, I saw that some books had the words Fenglin on them, and it was strange, and later I also understood that it was due to the times.
Brother Lu Ning (also considered Uncle Ma's godson) is six years older than me, lives on Baiqiao Street, close to me, and I often went to play with him at that time. Uncle Ma did not work after leaving the Donghua City Cultural Station, and went to work as a concierge in the restaurant of the Luning family for several months. In those months, it should be 1994, Lu Ning was introduced by the third uncle Ma Qi and studied under Mr. Li Zhipeng, a mononymous artist in Tianjin. At home, the restaurant sets the table and holds a worship meeting. Because he told me, you are too young, we will not accept you without an invitation. I didn't go. On that day, most of the famous seniors in the Beijing music industry went. Later, when I went to Lu Ning's house to play, he showed me a group photo of that day.
It seems that Uncle Ma is standing on the side, although he has taken a photo, but he feels that he does not want to take the same picture.
Lu Ning said to me: The uncle flashed and said, "Why did you find me a town?" "Say that Bai Wuye sat there, but he did not enter the front.
Even Uncle Ma recognized the fifth master as his "town property", which shows that the fifth master is his own person.
I looked at that photo, and it was the first time I saw Bai Wuye, a thinner, sharp-faced, and 70-year-old man. Very spiritual, not at all the temperament of the old artist of Quyi - in fact, that is inevitable, just after liberation to join the army, the division treatment retirement, and the temperament of the old artist is definitely different. How to describe it? Somehow, the words "heroic and forceful" appeared in my head.
After so many years, now I write this article, and after careful consideration, I still want to write these four words to accurately describe the Bai Wuye of that year.
I couldn't imagine that Bai Wuye was such an old man, I couldn't imagine that such a beautiful, rigid and soft string sound was played out of such an old man's hand, and such a desolate and thick singing was sung from such an old man's mouth.
I have a relationship with the Young White School.