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Preface
There is an outstanding musician in the history of Chinese music, and he is called Chu Wanghua.
As a genius who began his career as a musician at the age of 14.
And his talent is not only shown in the erhu solo "Village Song", but also praised by the "People's Daily" as "a composer wearing a red scarf".
With the continuous in-depth study of music theory, Chu Wanghua has also composed more and more solo piano works, which have won wide acclaim at home and abroad.
His works also show deep national feelings, but also integrate a variety of musical elements and creative techniques, showing the integration and development of Chinese and Western music.
But how did Chu Wanghua's music creation process unfold, and what are the technical and emotional uniqueness of his piano arrangement "Man Jianghong - Prelude"?
The background of the creation of "Man Jianghong - Prelude".
As we all know, although Chu Wanghua is a genius composer, he will continue to learn professional music theory.
Because of this, he is also more comfortable in the creation of solo piano works.
Among them, his piano adaptations such as "The Day of Turning Over", "The Sky in the Liberated Area", "Erquan Reflecting the Moon", "Xinjiang Caprice", and "Little Sentinel of the South China Sea" have been loved by the masses and have even had a wide influence at home and abroad.
The piano arrangement "Man Jianghong - Prelude" belongs to the last stage of Chu Wanghua's composition, because in 2002, his music was played with one hand with the left hand, so this work was also called the first work of Chinese piano works "for the left hand".
Although this work is based on the theme melody of the song "Man Jianghong" composed by Yue Fei, the hero of the Southern Song Dynasty's anti-Jin Dynasty, it is an adaptation of the song.
However, as an Australian composer, Chu Wanghua's identity as a "patriotic composer" is often questioned, but having said that, he has never changed his passion for creating Chinese music and his deep love for his homeland.
It is also this sense of mission that drove Chu Wanghua to choose the song "Man Jianghong" as the prototype for adaptation.
Because the prototype melody of this song is resolute and elegant, and the lyrics are full of strong patriotic feelings, which coincide with Chu Wanghua's patriotic spirit, the creation of the piano arrangement "Man Jianghong - Prelude" can be said to be the embodiment of Chu Wanghua's personal national feelings and sense of historical responsibility.
At the same time, Chu Wanghua also injected new vitality and vitality into the music, which shows that "Manjiang Hongyi - Prelude" adopts a variety of ethnic elements, adding a strong national charm to the tune, and also uses complex and diverse Western creative techniques to create three-dimensional and multi-dimensional sound effects, giving the music the characteristics and significance of the new era, and stirring the patriotism of hundreds of millions of compatriots of the Chinese nation with deep and strong appeal.
In his 2003 article "The Left Hand", Chu Wanghua wrote, "It is self-evident that the left and right hands are congenitally different in terms of physiology.
Just because the left hand needs to be trained to have the ability to control the timbre, speed and dynamics of the right hand...... In addition, when the left hand plays with one hand, it also needs to play the function and function of both hands, which sounds like two hands."
In addition, the level of piano playing skills with the left hand has always been one of the important criteria for measuring the level of piano performance.
Therefore, in "Man Jianghong - Prelude", the training of the left hand can be strengthened in the form of one-handed performance with the left hand, and the various brilliant performance skills played by the left hand can be fully utilized.
The artistic structure of "Man Jianghong - Prelude".
As we all know, the ontological structure of music refers to the sound components that make up the piano arrangement "Man Jianghong - Prelude" (composed for the left hand), that is, the various musical elements.
Among them, the musical elements can be melody, harmony, song form, rhythm, texture, etc., and these musical elements can appear in one or more combinations, resulting in a horizontal sequential combination and a vertical vertical combination, presenting a three-dimensional musical structure.
As an adaptation of the original melody of the song "Man Jianghong", "Man Jianghong - Prelude" cooperates with the processing and creation of song form, key, harmony and rhythm to build a three-dimensional and multi-dimensional sound effect and a tragic and dignified musical atmosphere.
Therefore, through the score, performance, and feeling of the work, the musical ontology structure of "Man Jianghong - Prelude" can be extracted, which shows that it presents the creative characteristics of "singular and complex".
But in fact, "Man Jianghong - Prelude" adopts a variational structure, which unfolds on the five-tone key of the bD palace, and is written in a strict variation technique.
And with the improvisational characteristics of Chinese music creation.
Therefore, the structure of the composition is one theme presentation and two variations on the theme, in which the theme melody is presented in its entirety, with different arrangements for tempo and tempo.
In addition, the two variations are developed with different textures, and in the first variation, the main theme is changed from the high part of the main section to the relatively long note above the flowing pattern in the first variation, with more complex harmonies and accompanying out-of-tunes.
In the second variation, however, the melodic texture is transformed into a treble part with a complete column chord structure, making the timbre sound richer and fuller.
Since Theme A (measures 1-15) unfolds on the F corner of House D, the section adopts a non-square four-sentence structure of 4+3+4+4, which can be divided into four phrases: a, b, c, and d.
Phrase A (measures 1-4) unfolds in the middle range in the form of a treble melody line and a column chord, and the melodic tone is dominated by a progressive upward line, with gentle ups and downs and a unified rhythm.
The lower harmony is supported by a column chord at quarter note time, supporting the slow progress of the melody in the upper voice, so that the phrase stays in the bE quotient.
However, at the beginning of phrase B (measures 5-7), a bass part of the fifth is added for bass rendering, so as to increase the thickness and resonance of the voice.
Therefore, the chords added at the end of the phrase complement the beat to make the sound richer and more continuous.
In addition, the downward direction of the phrase b is confined to the sign of A, and the ending note E of the phrase A forms the fourth-degree interval relationship of V-I, and the two phrases are asked and answered, echoing back and forth.
When phrase C (measures 8-11) spans three octaves, it means that a decorative octave bass part should be added at the beginning of measures 8 and 10 as a harmonic foreshadowing, strengthening the resonance to achieve the effect of increasing the volume and layering of the sound, and the intensity of the music also increases progressively with the undulation of the melody.
Therefore, when the phrase ends in the bD house and stays at the IV tone, it has a sense of instability in the subordinate tone.
However, when phrase D (measures 12-15) adds new phrase material, and then adds pentatonic ornamentation, the music becomes more varied and more dynamic.
Therefore, if the musical material of measure 7 is transferred in measure 15 to widen the rhythm of the melody, then the melody will descend and terminate at the perfect termination of the main note A of the key, which forms a fifth interval relationship with the ending note D of the phrase c.
Although the musical material is concise, the key of the theme section is uniform, expressing a solemn and sad mood.
It can be seen that there is a combination between the four phrases, which can use a declarative tone to substitute the audience into the historical background of the story, and express the heroic feelings contained in the song.
However, in terms of texture, there are AL, B1, and CL (measures 24-27) phrases that are mainly composed of chord textures, among which the long melodic line and the battle drum accompaniment are CL (measures 28-29) and DL phrases.
Since the vocal range of the phrases al and bl is raised by an octave compared to Theme A, the timbre will be warmer and brighter, and the melodic texture will also change from the column chords of the theme section to a monophonic flowing texture, while the accompaniment part dominated by six-tone accents is considered to be a star-like broken chord form that winds around the theme melody line.
In this way, the melody can be more free and broad, comfortable and open under the foil and division of the accompaniment, which contrasts with the tragic mood of theme A.
Because of the stretching of the rhythm, the player's mood is also easy to slow down, and the speed of finger beating is also slowed down, but it is still necessary to maintain an accurate melody rhythm and clear directionality when playing.
The expressions marked in measures 32-33 are pp to f, and their strong dynamic contrast not only widens and tightens the rhythm repeatedly, but also brings a steady stream of momentum to the phrase and brings the piece to a climax at the end of section A1.
If you want the partial C of measure 31 to reflect the characteristics of the D-house Qingle hexatonic scale, then the A sign mode should be tuned to the C mode.
Although in the national pentatonic music, the "seventh-tone descending phenomenon" often occurs, the seventh-grade tone mostly uses the descending step to the second-level or fifth-level tone, and then to the main tone.
Therefore, it is necessary to follow the general principle of national tonal harmony, so that the C change palace progresses to the second tone bE, and the post-progression descends to the main tone D.
However, the composer also innovatively changed the C note to a continuous six-beat value, and he tried to use the long-term partials to increase the instability of the out-of-tune, combined with the consonance of the fifth interval, to supplement the impact of the second interval in the voice, and present the three-dimensional and multi-dimensional harmonic colors in the sub-tone, bringing multiple auditory stimuli and emotional feelings.
Thus, as the climax of the whole work, Variation 2 A2 (measures 36-42), the overall tempo of the theme is restored to the solemn and magnificent opening of the theme for the second time, which means that the overall strength here is ff.
At the same time, the rhythmic pattern of the accompaniment voice will also change, for example, the rhythm is more compact and dense than that of Variation 1, the melody is more magnificent, and the emotional expression is more impassioned.
According to the accompaniment pattern, the second variation is divided into three parts: the first part is A2 and B2 phrases are flowing patterns, with empty octave melodic lines with pentatonic and seven-tone rhythm-based arpeggiation patterns as filling, with FF dynamics cues, so that the octave melodic line roars at the top, and the dense and fast accompaniment voices below are undulating and surging, like a whirlwind whistling by.
The accompaniment texture of the second part of the C2 phrase adopts a dense column-like perfect chord form, with each melodic note marked with an accent mark, and the dynamics are continuously increased, and the dynamic mark of the sudden SF is marked at the end of the phrase in measure 47.
At the same time, the pitch position is constantly rising, and the melody terminates in the D house.
After that, the supplementary ending of the cadenza ascending scale ends incompletely with the A sign and forms a fifth-degree relationship with the gong sound D, which increases the sense of passage and tendency of the piece.
Because the column chords are firm and powerful, majestic, and the accompaniment and melody parts contrast and cooperate with each other, they can create a glorious and majestic sound effect, showing Yue Fei's firm determination to resist gold by "driving a long car and stepping through Helan Mountain".
However, the treble column chord melody in the D2 phrase in the third part climbs with the sonorous propulsion of the bass octave accompaniment chords, and the dynamics increase in the four climbs, from FF to FFF and finally to SF.
The accompaniment part is also like a wave of sound, majestic and exciting, full of tension, and the mood of the music also reaches the climax of the piece at the end with the change of dynamics and tempo, and the melody of the piece ends with the bA sign, and the addition of the decorative ending ends with the D house note.
And Variation 2 not only expresses Yue Fei's helplessness and grief for his achievements, but also freezes the mood of being a hero whose ambition is difficult to pay and who has no way to serve the country.
It's like General Yue Fei looking up to the sky on a high platform and shouting, "Stay from the beginning, clean up the old rivers and mountains, and face the sky."
However, since it is difficult to control the accuracy of the left-hand chord's long-distance jumps, it is necessary to pay attention to the practice of key position and phrase breathing.
When playing a long melody, the range of movement is also larger, and it can be played with the natural falling force of the upper arm, while when playing the ascending octave accompaniment part, the dynamics are from weak to strong, and the sound is dense and coherent.
It can be seen that the variational structure adopted in Man Jianghong Prelude not only reflects the gradual change and coherence of the horizontal structure of Chinese music, but also the theme melody also recurs in the layer-by-layer development of variations, constantly changing and deriving, pushing the music to the climax at the end.
The two variations also show a variety of contrasts through different combinations of harmony, texture, and pitch, and also show the unity of theme and tonality.
epilogue
Chu Wanghua is not only a highly skilled musician, but also a pioneer in the perfect combination of traditional Chinese music and modern music composition.
His works, especially the piano arrangement "Man Jianghong - Prelude", also show the deep national feelings, and also show Chu Wanghua's deep understanding and innovative spirit of music art.
It can be seen that Chu Wanghua's music path is a vivid example of the inheritance and innovation of Chinese music culture.