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Preface
"Torch Festival Night" is a work that is deeply loved by pianists and has a strong Chinese national art style.
It not only has a rich piano texture, but also contains a variety of national music characteristics.
And with its beautiful melody, vivid colors and strong rhythms, this piece succeeds in creating an exciting and unrestrained festive atmosphere.
And perfectly present the grand scene of the Yi people celebrating the torch festival.
But what kind of performance techniques and expressions does "Torch Festival Night" use to perfectly convey the artistic charm and national characteristics of the work?
The technical challenge of playing Torch Festival Night
The piano piece "Torch Festival Night" is a delicate work that is loved by most pianists and is very rich in the style of Chinese national art.
It contains a rich piano texture and a variety of ethnic music characteristics.
In fact, the technical skills of this piece are not very difficult, but it is not easy to achieve a high performance effect.
Since the tempo of the whole work changes quickly and the volume changes frequently, it is necessary to combine your own learning Xi and performance experience in the process of performance.
Coupled with the analysis and study of the performance skills of "Torch Festival Night", the whole piece can be kept clear, natural, standardized and complete, and the grand and traditional torch festival of the Yi nationality can be vividly presented in front of every audience.
However, the most common type of rhythm in this work is the syncopated rhythm, and since the tempo of the work changes very frequently, it is necessary to master the accompaniment part of the syncopated rhythm in the performance to achieve a natural and smooth performance.
However, in the first part of the work, in the accompaniment of the bass part, the volume of the performance should be moderate because the music at the beginning of the song and dance should not be too strong.
Immediately after measure 14, the theme of the carnival begins, and in order to maintain the sharpness of the rhythm and the brightness of the melody, the touch strength of the left hand accompaniment begins to weaken.
And the performance of its bass spectrum is mainly composed of two parts.
The first part is a smooth downward linear bass section, and the second part is a steady musical rhythm switching section.
Therefore, when playing with the left hand, it is necessary to convey the complete bass notes, and when playing with the right hand, it is necessary to grasp the lines of the music and the direction of the phrases.
Special attention should be paid to the fact that each phrase should not be abrupt.
In addition, the playing level of these two bass sections must be consistent with the melody of the right hand touch to depict a lively and cheerful atmosphere.
The dynamics of the octave melody and the steadiness of the rhythm
In fact, in the piano song "Torch Festival Night", the musical mood is mostly promoted and strengthened in the form of octaves.
For example, in the first part of the piece, the right hand of the B section becomes an octave legato, and then the melody becomes atmospheric, heroic, and the rhythm is steady and firm.
In addition, it is important to maintain a good hand shape when playing, so that you can use your wrist to move the keys to play, so as to ensure that the end note of each phrase is strong and powerful.
And the melody is more coherent and the sound is more penetrating, similar to the grandeur of wind music.
However, the accompaniment of the bass part is mainly to imitate the percussion sound of brass drums or large flat drums, so as to outline the scene of people around the bonfire, enthusiastic and unrestrained carnival, and can also bring the melody of the work to a climax.
This is followed by measures 40 and 41 for the climax.
However, in measure 41, the sound gradually decreases, the tempo slows down, and the volume of the last note of the left hand decreases to a minimum.
At the same time, everyone can feel the feeling of the end of the dance and the break in between.
In addition, melody flowering is one of the important techniques for melody development in piano works, and there are many fast-running melodic flowers in each section of "Torch Festival Night".
During playing, fingers should be in close proximity to the keyboard.
In addition, keep the whole arm relaxed, the palm fully open, and pay attention to the neatness of the touch sound, followed by the finger piercing and finger turning movements should be small, so as to ensure that the sound of playing is coherent and even.
For the fast running of sixteenth notes, it is necessary to slow down the speed of the Xi practice, and only after becoming proficient can you speed up.
The theme melody alternates on both hands, making the melody smoother and the music more fluid.
In addition, triplets are often used in the Night of the Torch Festival to imitate folk melodies, in which measure 9 is a fast-changing tripleo, six-link, and eighteen alternate.
However, the effect should be even and smooth when playing, all in one go, until the C note is extended.
This section mainly uses soft music to set off the tender and love between lovers.
The musical atmosphere of the phrases is a continuity of priorities, which makes people empathize with the atmosphere of the banquet after singing and dancing.
The first sentence consists of 2 short sentences, and the upper and lower 3 voices are distinctly layered.
And the right hand touch key should be deep and shallow to ensure that the melody line should be coherent and beautiful.
But don't have edges and corners in the middle, otherwise it will look like the melody is mixed with the echo of a flute from afar.
Then, in measure 60 of "The Night of the Torch Festival", the left hand starts at the volume of PP, and the sound is like a song and soft.
Later, at measure 61, the right hand began to touch the keys more frequently and orderly.
Since this section mainly depicts the soft scene of couples talking to each other and whispering love words, it is necessary to express the feeling of a dialogue of asking and answering when playing.
The left hand is the accompaniment part, and it is important to pay attention to the distinction between the two levels.
In particular, the bass melody should be slow and deep, and the sound should be transparent, while the triplet rhythm is very complex and difficult to control, showing a hazy and gradual feeling.
Therefore, the touch of each key must be precise, and the fingering of the playing must be coherent and clear.
However, the rhythmic triplet with more variations can be said to run through all voices, giving people a hazy ethereal feeling, as if lovers are whispering their love for each other.
However, it is important to note that when practicing Xi to the connection between the previous phrase and the last part, the next phrase should take advantage of the momentum, and at the same time carry on the melody subtly.
That is, the beginning of the next phrase happens to be the end of the previous phrase.
In this case, the end of the sentence should not be affected by the beginning of the sentence when playing, resulting in unnecessary stress.
Then, in measure 63, it is like a faint echo of the valley from afar.
Therefore, the playing should be very light and soft, especially the melody should be weaker than the other, and the last triplet should be slightly slower to end the whole phrase.
Chord tension and pedal technique
As we all know, chords are a common and important technique in music composition.
However, starting from the third phrase in the middle of "The Night of the Torch Festival", the right hand plays a tense chord note, and as the dynamics gradually become stronger, the piece is pushed to a second climax.
It can be seen that the melody is relatively clear, and the lyrical rhythm makes people feel immersed in the climax of the carnival.
Immediately following the first chord in measure 72 of the work, the sound control is weak, as it heralds the end of the second phrase.
However, from measure 75 onwards, with the emotional heightening, the melody of the left hand bass gradually becomes loud and transparent, and it is played in the form of a boom.
In addition, the music of the octave of the right hand is coherent and clean, so that I have a further understanding of the expression of artistic conception, the accurate performance of rhythm, and the design of the crescendo of large passages in the work.
It can be seen that the performer needs to focus on the technical difficulties in the piano piece "Torch Festival Night", so as to break up and practice Xi strengthen the melody line layering, the direction of the phrase and breathing.
For example, measure 81 begins with the strongest climax in the middle section, which proceeds in a relatively free rhythm.
Octave chords must be loud and powerful, and even during their playing, the palms of the hands must be more supportive than the fingertips.
And "Eagle Claw" refers to the state of the palm during the performance.
In addition, the player needs to use all the forces in the body to lean forward slightly, and concentrate all the forces on the fingers to play the emotions of the music with natural and coherent fingering.
But the sound must be transparent.
In addition, when playing the strongest chords, the strength should be concentrated on the fingertips, and the three joints of the fingers should be supported, especially during the performance, and all the strength should be concentrated in a short period of time.
This is followed by a weak to strong cadenza after the strongest note, and then slowly until it is converted to the lowest note, and at the same time the tempo slows down, it is converted into a reproduction part of the movement.
However, the melody of the right hand in the reproduction part is in the form of chords to express the mood of the music more fully, which has high requirements for the fingering of the performance.
Especially when playing, make sure that the melody is natural and smooth, tightly connected, and has a rich sound.
When the rhythm changes, it is necessary to relax the muscles on the shoulders and arms appropriately, push the hand inward, and the power is transmitted smoothly to the fingertips.
As we all know, the famous pianist Anton Rubinstein said that the pedal can be said to be the soul of the piano.
It is not without exaggeration that he can play three-quarters of a piece of music well by using pedals well.
The pentatonic mode is a common key in the creation of piano works in mainland China, but this is only a difference in the use of pedals compared with foreign piano works.
However, if you play a Chinese piano piece without mastering the pedal technique, the acoustics will become very muddy.
However, if the pedal is used less frequently in order to maintain the purity of the music in the performance, the sound effect of the performance will be too dry.
At the same time, the mood of the music is not expressed, and the coherence of the melody and the tightness of the phrases are reduced.
However, in order to play Chinese piano works without being affected by harmony and tonality, so that the role of the pedal can be effectively played, it is necessary to analyze the melodic characteristics of the work from multiple levels.
In addition, on the one hand, it is necessary to carefully observe the rhythmic rhythm of the phrases and the changes in the layered breathing, and not to change the coherence of the melody of the work because of the rhythm of the pedal.
On the other hand, if you want to be proficient in the pedal skills of mainland ethnic harmony, you should be clear about the use of pedals.
In fact, you can also try to use the half-pedal method or use other different pedal methods to switch and control the sustain pedal to maintain the purity of the harmony.
At the same time, when playing Chinese piano works, the piano pedal should be fully considered to imitate the national vocal music and national musical instruments, and should not be used arbitrarily.
In the performance of "Torch Festival Night", the purpose of using the piano pedal is to strengthen the melody and make the sound of the performance more beautiful.
However, it is necessary to have strong playing techniques, and properly control the playing strength of the left and right hands, the division of the section, the breathing of the phrases, the contrast between the strength of the vocal part and the strength of the force, and pay attention to the playing coordination between the hands.
In addition, most of the pedals of the piano work "Torch Festival Night" should be pressed smoothly and rhythmically, and the air should be ventilated at each beat point, so as to avoid the sound being muddy and unclean, and the pedals should not be pressed too deeply.
However, the pedal is not used much in the introductory part, and in general, the pedal needs to be replaced when the harmony changes and the bass changes, and the pedal needs to be consistent with the harmony of the bass during this period.
But in measures 2 and 6, no pedals are required for this connection.
The pedal of the first part needs to be changed once at each beat point to keep the harmony clean.
The melody in the section needs to use pedals to connect the sentences, so as to prolong the duration of the left-hand bass accompaniment and maintain the coherence of the piece.
In addition, in the question-and-answer format presented in the first B section, the last two bars of each phrase need to step on the muted pedal to clearly express the musical layers and the contrast between strength and weakness.
In addition, in order to fully express the mood of the music in the middle of "Torch Festival Night", it is necessary to coordinate the operation of the pedal with hands and feet during the performance, and control the frequency of the use of the weak pedal, so that the soft sound in the work can be perfectly expressed.
And in the middle part, the atmosphere of the banquet after the people sing and dance is mainly depicted in soft tunes.
Immediately following the change of the left-hand accompaniment part requires changing the pedal, and the muted pedal is required to enter the 60-bar connection and to measures 63 and 66.
The back pedal should be pressed according to the breath of the phrase, just like breathing, and the pedal should be changed twice in each measure.
In addition, the pedal usage of the rendition part is the same as that of the first part.
However, the pedal structure of the finale is all column chords and octaves, and the melody shows an upward trend, so it is necessary to change the pedal every time you step in and change chords to ensure a clean tone.
In addition, you should also be proficient in the pedaling technique of stepping and receiving, and reasonably control the pedal to prevent confusion of the mood of the music and affect the performance effect of the music.
In short, when using a piano pedal to polish a piano musical composition, it is necessary to be proficient in the use of the piano pedal.
After all, in this way, we can ensure the singing sound in the music and the timbre and harmonic level contrast changes produced during the performance, so that the overall performance of "Torch Festival Night" can be better played.
epilogue
As an artistic masterpiece that transcends culture and time, "Torch Festival Night" has successfully conveyed emotions and culture at a deep level.
Among them, the performer needs to fully understand the national characteristics and artistic conception of the work.
After all, it is only through precise technical mastery and deep emotional experience that the charm of this piece can be fully presented to the listener.