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Preface
As a work with a unique texture and rich playing technique, Gidonno means that it presents a certain performance challenge.
So what kind of playing skills do you need to play such a piece?
How does Gidono's music begin?
In Gidono, each section is made up of different textures, which makes it difficult to play this piece.
The introduction of the song adopts the main melody of the Yao folk song "Gidono", but it has also been modified to make the overall tempo of the brisk theme part of Leggiero.
And at the beginning of the introduction, the whole song is opened with a muted quarter note A, followed by a three-note line, a small phrase, a decoration, and a two-note line with skips, which seems to open the story.
Therefore, when playing, the force should be put down first so that the connection between the phrase and the phrase is compact, and when playing the minor line plus skipping, the first note should fall, and the second skip should be touched instantaneously, and the key should be quickly removed when the key is touched.
However, in the middle part of the introduction, a lot of ornaments and legato are added to polish the melody, among which the legato is a small phrase, and the main function of the leaning tone is to add flowers to the melody, and the ornamentation is a major feature of the piano work "Gitono".
Just because the middle part of the introduction seems to describe the joyful scene of the Yao people's favorite singing Yao girl Mei Cong who has been singing with Ji Dongnuo in the beautiful scenery of the Yao people.
And at the end of the introduction, it doesn't end on the main note, as if it was a formal prelude to the story.
Therefore, the sound pattern at the end is a triplet finger running progression, using a modulated way to reach the highest point of the SI note, from weak to medium strong atmosphere and connecting the two phrases with a line, so that the atmosphere reaches the highest point and paves the way for the later plot.
This also means that in this part, the finger touches need to be concentrated and there should be no gap between the notes in the process of exchanging notes, so as not to break the melodic lines of the phrase, and at the same time, the lateral movement of the wrist should be used more to drive the fingers to connect the sentences smoothly.
In addition, the whole introductory part is carried out with the same melody in both hands in the upper octave, and the small phrase is added to the melody to make the music more fluid in hearing, which makes this section of the phrase more lively.
Therefore, when playing, it is necessary to pay attention to the combination of ornamental and melodic tones, and play the rhythm of each small phrase, but the long notes of the leaning part do not need to be too extended.
But the jump should be played short and powerful, but even if it is a jump, each note must be played clearly, and the accent must highlight the melody to play this melody with a very lively and powerful sound, just like Mei Cong is singing happily.
A Movement Exploration
In the A section, the tempo is marked 112, which is a small allegro that unfolds the A section with an accented fifth interval and a rapid fifth and fifth interval jumps, in fact, the accent is to highlight a certain harmonic melody, and the fifth interval should highlight the high voice when playing, which means that the fingertips should not be soft, and the big arm should drive the little arm to relax and fall down.
When playing a pentatto, the metacarpal joint should be in a state of propping, so that the fingers should actively and quickly touch the keys, and control their timbre when the note is played clearly, so that when the fifth interval is jumping, it is like imitating Gittono's call, and the short and prominent part of the voice should fall down forcefully.
Measures 31-35 of the A section are the more characteristic of this section, because in addition to the rapid running of the fingertips, it is more about the rapid running of the alternating intervals of the two hands.
And the two-tone running of such a large passage gives people a feeling of rushing to catch up, as if describing the nervous and anxious mood of the Yao girl Mei Cong when she learned that her father was going to marry her.
In measures 31-35, the left and right hands repeat the same note in two measures, so that the sound is controlled from strong to weak, but from measure 33 the harmony of the left hand changes, but after two measures of the same harmony continues, both hands change again at measure 35.
Therefore, the crescendo should be in place when playing the 35th bar, after all, the interval of this bar has been significantly expanded, and this expansion is to enhance the tension of the melody and highlight the direction of the melody.
However, from measure 22 onwards, the interval begins to appear in the A section with alternating left and right hand running rapidly, until the end of the A section, and there is also a two-tone running with ornamentation when the second note runs later, and this form of adding flowers makes the melody sound more flexible.
However, towards the end of the year, there is a two-note and a change in rhythm, at which point it is necessary to change from the left and right hands of the thirty-second note to the two-note triplet with the flower, plus there is a strong emoji at the bottom, so that the sound should be lowered as a whole so that the triplet should be played evenly.
In the second measure, there is a homophonic connection, which enhances the diversity of the melody, which makes the melody sound richer in content, because the sudden change from accent to abrupt will give the audience an unstable auditory effect.
At the end of the A section, the same ending method is used as the introduction, that is, the hands are used to play in unison with two octaves and two voices, which echoes the introduction and paves the way for the introduction of the B section.
B Movement Technique
The B section still begins with the right and left hands crossing to play the same fifth interval, after all, the intervals are marked not only with accents at the top, but also with strong emojis at the bottom, so at the beginning of the B section, the whole body should be put down to play.
Although the technique of this section is basically a running of the left and right hands alternating between fast intervals, new techniques have also emerged.
The picture above shows the broken intervals of the alternating fast running of the left and right hands, the pattern of 2/8 time, the thirty-second note pattern, the left hand is the fifth interval, and the right hand is the triplet interval plus the fingertip running fast of the monotone.
It can be seen that the first thing to pay attention to in this texture change is the finger running of the right hand with 32nd note interval plus triplet, because in the fast 2/8 time, the finger movement is very demanding, and the fingertips must be extremely independent, so as to play a clear and light tone.
The second is the left-hand interval, in fact, the left-hand interval is marked with accent marks below the interval to point out the right-hand interval, after all, the rhythm of the two hands should be stable, when the left hand puts the sound down, the right hand should run lightly and quickly, giving people a sense of contrast in the auditory effect.
And the end of the B section is still a parody of the introductory ending, giving the feeling that the story is still developing, and setting the stage for the beginning of the C section.
C Loop Features:
In fact, the beginning of the C section is the same as the B section, which is to play the same fifth interval with the left and right hands crossing, and the playing technique of the C section also includes the alternating interval of the left and right hands to run quickly, but the C section is more of a single tone running, so in the C section, more of a performance technique is a six-tone alternating fast running of the left and right hands.
The picture below shows where the second half of the C section is near the end, which is also the climax of the C section, as shown in the picture, from measure 89 onwards, the tempo changes from 112 to 104, and the whole tempo slows down a bit.
The rapid running of the pentadon to the six-tone can make the rhythm more tight, as if describing the psychological changes of people.
Therefore, when the left and right hands alternately run quickly in this six-tone section, first of all, the two-hand connection should not be interrupted by the connection of the arms and fingers, so that the performance technique of rapid running of the fingers of the 32nd note six-note can be used in 2/8 time.
At the same time, when playing this technique, you must first ensure that the rhythm of your mind is stable, only in this way will the flow of the melody not be so rapid in rhythm.
This means that the fingertip touch the key surface should be small, the lower key speed should be fast, and the fingers and wrist should work together to run this section of the finger quickly to play.
D Loop Analysis
At the beginning of the D section, a string of five-tone tones in the right hand and a vibrato in the left hand enter a new section, and the voice of the right hand moves an octave higher, as if to describe Gidonno's cheerful cry.
The vibrato of the left hand is very important when playing this section, so the wrist should be kept relaxed when the vibrato is played, and the fingertips should stand up and run quickly.
In fact, the D section is played in the same way as the A section, in which the left and right hands are always running alternately, in contrast to the single-note fingertip running of the B section.
When an approximate diatonic scale is used as the end of the D section, and the ending section is the same as the introduction, the A section, and the B section, although the two hands are two octaves apart and the same melody progression, the tone pattern is a triplet of fingers, and finally does not end on the main note of the section, so that this open ending leads to the last main section.
Discussion of the E session
It is reported that the beginning of the E section is actually a two-handed alternation of fifths, but new material has appeared.
In the E section below, there are three consecutive accents and skips, and skips and accents are actually the most common playing techniques in our repertoire, and the same is true in the E section, because skips and accents basically emphasize a certain note.
Therefore, in this example, the beat is a combination of 2/8 time and 3/8 time, and the 16-minute time value is played to the 32-minute time value, which makes the fast skipping run and the accent can bring the audience a playful and agile auditory effect.
Therefore, when we play skip notes, we should stick our fingers to the piano, and at the same time, the palm joints should be supported so that the wrists are relaxed.
At this time, the fingertip quickly touches the key and exerts force upward, and the main force of departure comes from the wrist, and the key is immediately relaxed at the same time, so that the jump is very powerful and short.
However, when playing with accents, you should increase the force between your fingers and play each note evenly.
Therefore, in this piece of music, we can see that the right hand moves two octaves higher, and the left hand moves one octave lower to play, so that it brings a different sense of sound contrast to the audience.
The picture below shows the end of the E section, which is played in stark contrast to the rapid running of the six-note after the beginning of the preceding accent and skip format.
Because the melody of this section is relatively fluid, it seems to describe the scene where the Yao girl Mei Cong finally succeeds in the confrontation and can finally sing loudly, and the last triplet alternating left and right hands are like Gidono's joyful singing.
epilogue
"Gidonno" is a work with rich performance techniques and a profound understanding of the close connection between music and culture.
It can be seen what kind of status it has in the history of Chinese music.
Therefore, I believe that when you hear this piece, you will definitely feel what is called the technical challenge and emotional expression in the music.