Since the formation of Peking Opera, Jinghu has been the main instrument for the accompaniment of Peking Opera singing. During the lifetime of the Qianlong and Jiaqing emperors of the Qing Dynasty, they were abolished because of the taboo between the two strings of the Taishang Emperor and the Emperor Jinghu, namely the old string and the sub-string, and replaced it with a flute accompaniment. Later, musicians such as Shen Xingpei of the Sanqing class and Wang Lanshan of Sixi successively switched to Jinghu so far. It has always been displayed on the Peking Opera stage. With the formation of various genres, Jinghu also had famous masters, and in the late Qing Dynasty, there were records of Mr. Li Si and Fan Sanlao, and then at the end of the nineteenth century and the beginning of the twentieth century, there were four famous masters, these four famous masters were Mei Yutian, Sun Zuochen, Chen Yanheng, and Lu Yanting. Mei Yutian is Mei Lanfang's uncle, who accompanies Tan Xinpei and regards him as his right and left hands. His huqin tone is pure, the rhythm is clear, the cavity cushion words are unpretentious, the use is free, the timbre is crisp and loud, not only the huqin is skilled and superb, but also has extensive musical knowledge and Fengding listening experience, so he is crowned as the first of the four famous artists.
Sun Zuochen, famous Daotong, nicknamed Lao Yuan, studied xiaosheng in his childhood, and later changed to Jinghu, and once played the piano for Tan Xinpei and Wang Guifen. His finger specialty, two yellow high 1, high 2, can be reached without the upside down handle, the tone is mellow, the sound is like a hong bell, the pulled out of the flower characters from no noise, the kung fu of both hands on the plum rain field, the support cavity is smooth and generous, the bag cavity is tight and round, so that the actor has a comfortable and comfortable feeling. The doors he played were unpredictable, and some of them are still used after the change.
Another Chen Yanheng has studied the music of Peking Opera and is creative, and his accompaniment has also formed different characteristics.
After the four famous masters, xu Lanyuan, Wang Shaoqing, Yang Baozhong and Li Muliang appeared successively. In the 1940s and 1950s, due to the display of the four major Susheng and the four famous Dan in the Peking Opera circle, the different singing styles of each genre opened up a broad way for the different accompaniment styles of Jinghu, especially the Ma Pai and Yang Pai in the old students, the Mei Pai, Cheng Pai and Zhang Pai in Danjiao. It can be said that jinghu famous families have emerged from generation to generation, and each has led the way. Wang Benzhen, He Shunxin, Shen Yucai, Wang Ruizhi, and Zhong Shizhang appeared successively. In this article, it is impossible to introduce these people clearly, and only li Muliang and Yang Baozhong are selected to make a comment.
First of all, let's introduce Mr. Li Muliang, Li Muliang, zi Meng'e, a native of Changsha, Hunan, born in 1918, whose father Li Chaisan is a clown actor in Peking Opera. Li Muliang began to study at the age of seven, studied Lajinghu at the age of nine, performed on stage at the age of twelve, and played for Ma Lianliang in Changsha at the age of fourteen. In 1935, he accompanied Ma Lianliang to Beijing to continue his studies. In the meantime, he also raised his voice for Yan Jupeng. In 1937, he was introduced by Ma Lianliang to worship under the famous pianist Xu Lanyuan. Xu Lanyuan is a famous artist of six transparent performances, Wenwuchang and Kunqu, omnipotent and omnipotent, he accompanied Fu Liancheng Keban and Tan Xinpei in his early years, and later accompanied Mei Lanfang for 28 years. His proficiency in jinghu's accompaniment skills, music theory and the design of Peking opera singing voices have a deep understanding, which have a great influence on Li Muliang and also lay a solid foundation for Li Muliang's performance. Because he worshiped under the name of Ma Lianliang, he was deeply impressed by the singing charm of Ma Pai, and the natural accompaniment was easy to master, and he was beneficial to each other. Therefore, Ma Lianliang mobilized him to play the piano for him at that time, and from 1940 he had been working full-time for Ma For a long time. In 1950, Li Muliang joined the Beijing Peking Opera Troupe with Ma Lianliang. Because he has a profound study of Peking opera music, he is quite accomplished and courageous to reform. Therefore, his life not only assisted the Mapai, but also made the singing accompaniment and the singing cavity blend in, thus forming a unique Mapai accompaniment style. At the same time, he has also made great achievements in the design of the singing voice, accompaniment and song cards of Ma Pai and other repertoire. For example, he has his designs in "The Battle of Chibi", "Hai Rui Dismissal", "Zhao's Orphan", "The Legend of the White Snake", and the modern drama "Sha Jiabang" and "Wise Tiger Mountain". During his lifetime, he newly edited and adapted a large number of Jinghu qu tablets, such as the transposed Wannian Celebration, the New Eight Forks, the Hillside Sheep, the Gong Makeup Table, etc., especially in the design of the singing voice, and achieved outstanding achievements. For example, he designed "The Orphan of Zhao", this play makes overall arrangements for the plot of the script and the personality of the characters in the play. Three key singing voices were designed for ma lianliang, Zhang Junqiu and Qiu Shengrong, three different genre styles. These three singing voices have proved to be one of the representative works of three different genres after years of practice. The idea in this play is to describe the struggle story of loyalty, adultery, good and evil, the first robbery, Kusawa doctor Cheng Bao broke into the palace to express his willingness to rescue the orphans to Princess Zhuang Ji, at the moment when the mother and son were about to separate, Princess Zhuang Ji was devastated, and the emotional fluctuations of the characters provided a prerequisite for singing. Li Muliang designed a two-yellow bumper for Zhang Junqiu: Poor my family will lose their lives. It is an appropriate expression of Zhuang Ji's thoughts and feelings that are both liver and intestines and are painful and unbearable. Coupled with Zhang Junqiu's wide and high-pitched voice singing of Jiang Yangru, although this singing voice is only four sentences, it has significant Zhang Pai characteristics. The other paragraph is designed for the person in the play, Wei Chen, who is proud and righteous, when he heard that the traitor Tu Anjia killed More than three hundred mouths of Zhao Dunmanmen, he was already angry, and he mistakenly believed that Cheng Infant had betrayed the baby, and he was even more angry, so he added up the whip and beat Cheng Bao, when Cheng Bao explained that he was exchanging orphans with his own son, he suddenly realized and regretted it. The ups and downs of this plot also provide room for maneuver in the design of the singing voice, but the traditional flower-faced singing voice is difficult to express Wei Chen's mood at this time. On the basis of digging deep into the tradition, the material was found in the "Seven Catches", which is the original board of Han tuning. Based on this, in order to render the intense and generous tension at that time, a passage of door was designed in front of the singing cavity, plus the crisp head of the percussion to pave the singing cushion, and some cushions were added to the row cavity to make it integrate with the singing cavity, music, and air outlet, highlighting Wei Chen's undulating thoughts and feelings. This is the famous song of Qiu Pai: I Wei Dai heard this and woke up like a dream.
Viewing the painting is the focus of the whole play, and Cheng Baby evokes a painful memory when drawing a blood case map, and thousands of thoughts rush in her heart. According to this specific environment, to improve thoughts and feelings, after joint research with Ma Lianliang, a period of anti-two yellow loose board was designed. Before the singing, a new eight-forked song card adapted by him was installed, which created a solemn and deep atmosphere due to the tone of the tone of the vigorous and euphemistic, deep and strong, and then cleverly turned into the anti-erhuang scattered board. It paved the way for singing, which seemed very harmonious and natural. And the later transfer of the traitor to the anti-two yellow plains board is also a natural transition. The whole singing style is fresh, the breath runs through the rainbow, the character psychology is carved out of simplicity and innocence, the line is dashing and cheerful, which can be described as a mixture of voice and emotion. Li Muliang's music design, that is, to maintain the style of Peking Opera, conforms to the law of the plate style, and makes the melody tight, natural, novel and unique.
Li Muliang's accompaniment is inseparable from his rich on-the-spot experience, his deep understanding of Ma Pai's singing style, and his solid foundation skills. He can skillfully support the tone, add color to it, and create a stage atmosphere for the singing voice, so that it can cooperate with tacit understanding. The tone of the piano he plays is beautiful, the volume is full, round and bright and flexible, the technique is stable, the size is strict, the rigidity in the roundness, the cleverness in the stability, the slowness but not the plague, the fastness without the fire, so that the accompaniment and singing are seamless. The style of Ma Pai's singing is ingenious, pretty, handsome and beautiful, which can be fully reflected in his huqin. Listening to his performance is like a mountain flowing water, gorgeous and smooth, heart-pounding, and it is as if entering a colorful labyrinth, making people confused and intoxicated.
Li Muliang always thinks big and starts small when dealing with every piece of singing. For example, the singing voice of The Three Eyes of Xi pi in "The Empty City Plan" is seen as a whole to show Zhuge Liang's grace and generosity and fearless courage in the face of danger. The passage of this singing cavity is not fancy, and most of the single bow words with eighth notes are kneaded in the large 4/4 rhythm, making the rhythm smooth and generous, but it is smooth and smooth. The first sentence I was originally a loose person in Wollongong "I was" played in the Kun cavity, so that not monotonous, the flower door of the fall of 2 characters after the end is Li Muliang's meticulous work, he through the bow, such as and the dense contrast of the notes, the contrast of the sound area, in the stable Wu is beautiful and colorful. Small places can often use small and exquisite cushion words to paint the dragon point for the singing cavity. Another example is "Ganlu Temple" to persuade chitose behind the 216123 to take the exit, the back will be counted after the 3, the next, only a word 4 tone knot pass stop pad Concise and capable, playing the effect of baking the clouds and the moon.
Li Muliang's accompaniment can generally design a more imposing passage for the singing cavity before the key singing segment, create a stage atmosphere, and use the contrast of the dynamic sound area to pave the way for singing, which is also a major feature of him.
Li Muliang has a unique artistic insight into Jinghu's performance and has created many different playing techniques. For example, his vibrato, that is, the sound, unlike anyone in his predecessors and peers, his vibrato, the speed of playing is faster and crisp and full, that is, the sound played is more magnetic, as the saying goes, drums. For example, the altar of "Borrowing the East Wind" borrows the East Wind to help Zhou Lang, and from then on, the support cavity of the three-point DingHongtu outlook, every time it is played, it is used this vibrato, and it is also very distinctive to hit the empty string of the second yellow string.
The overtones created by Li Muliang transferred the overtones of the violin to Jinghu, but compared to the overtones of the Jinghu and the smaller violins, the overtones of the violin are only in the octave of the empty strings, and the strength is weaker, although the sound is delicate, but it is not full. The overtones created by Li Muliang can be used in almost 3.5.6 of the outer string of erhuang and 0.7.1 of the outer strings of Xipi, and the fingering of this overtone is to first gently press the index finger and ring finger fingers on the phonemic position, and then the right hand uses the wrist force to form an arc of the outer bow, from light to heavy, first virtual and then played. This kind of overtones has been widely used in the accompaniment of Peking Opera, especially in the Zhang Pai accompaniment, where he is used to adjust the color.
In his later years, Li Muliang's performance was more perfect, reaching the point of pure fire. In the ma Pai's representative plays "Borrowing the East Wind", "Ganlu Temple", "Su Wu Muyang", "Zhao Orphan" and other accompaniments have been sublimated. For example, the accompaniment of "Borrowing the East Wind" is gorgeous, beautiful and wonderful, and it is tacitly coordinated with Ma Lianliang's singing. For example, the door of the guide plate is played low by 5, from slow to fast, and a short setback is hurriedly played on the 2 tones, and the treble area 5 stops abruptly, and then turns to 6, and the overtones are used on the 6 tones, which strengthens the strength (playing), and the sound of the kites is sounded, vibrating the heart and lungs, such as volcanic eruptions, thrilling, and making an excellent preparation for the later singing.
Li Muliang died in Beijing on February 28, 2010, at the age of 93. His playing skills are exquisite, here can only be briefly introduced, want to know more, you can go to listen to it yourself. In addition, his son Li Zuming is also an outstanding Jinghu player and one of the representative inheritors of Peking Opera, one of the first batch of national intangible cultural heritage projects.
Next, let's talk about Yang Baozhong, and Xu Lanyuan's contemporary Jinghu players often led by Yang Baozhong, Yang Baozhong Xinchen, born in Beijing in 1900, originally from Hefei, Anhui Province, his father Yang Shouting stage name Yang Xiaoduo, is a famous Hua Dan actor, and he has a good huqin. Yang Baozhong initially learned from Zhang Chunshan, and then worshiped Yu Shuyan, who should be said to be Yu Shuyan's proud protégé. At the end of the Qing Dynasty and the beginning of the Republic of China, he performed in the Beijing and Tianjin areas under the stage name of Xiao Duoduo. Among them, dramas such as "Yuanmen Chopper", "Catch and Release Cao", "Beat the Stick Out of the Box", "Search for Orphans and Save Orphans" and other dramas are the most popular, and later stopped performing due to illness. Painstakingly study Jinghu at home. Often accompanied by people at the beijing box office, he was popular with singers because of his deep study of Tan Pai's singing voice, and later after he played for his cousin Yang Baosen for a long time, because of his exquisite piano skills, coupled with the drums of the famous drummer Hang Zihe, he was known as Sanjie at that time. After liberation, he has been teaching at the Tianjin Opera School.
Yang Baozhong's huqin is said to be like a short bow, a fast bow is known, describing it as urgent as a storm, and in the tone of the support cavity and the small cushion head can be interspersed between the singing cavity. But Yang Baozhong is not only good at fast bows but also good at long bows, and his style characteristics can be better reflected in slow bow playing. It should be said that his performance tone is timeless, the sound quality is pure, hongche, thick, crisp and bright, and the rhyme is strong. His playing skills are rich and varied, but they are inseparable from his outstanding achievements in singing. Yang Baosen, one of the four major students, is so self-contained, his style is heavy and vigorous, mellow and elegant, and imposing, and Yang Baozhong's assistance is inseparable. Yang Baozhong's huqin also reflects this style characteristic. Because he has exquisite playing skills for the violin, he has a history of playing the violin for decades, and has been guided by foreign violinists, coupled with his research on other pieces of folk music, such as Nanhu, etc., and prompted him to have a set of scientific playing methods for Jinghu from the principle of making sounds to playing. His fast bow was unique in the Peking Opera industry at that time, and his agility was unparalleled. For example, the fast three eyes in the "Great Protectorate" he played can be said to be the fastest in size, not only through the door, the interplay is like a rolling Yellow River for thousands of miles, and even the support cavity and wrapping tune are also skillfully used. His double bow alone does not rush and scream, making the listener hold his breath and lift his breath, and the singer is difficult to reach if he is slightly less cultivated. However, because he played for his cousin Yang Baosen, and his singing voice was indeed taught to him by Yang Baozhong, naturally Yang Hu cooperated with tacit understanding, coupled with Yang Baosen's profound attainments, so that the singing was calm, there was more than enough, and the piano and cavity were blended. However, Yang Baozhong's longbow and slow bow are more distinctive, which is reflected in the slow plate and loose plate he plays. He uses a tight bow, while in a row bow, it is not easy to control the volume when the tight bow meets the slow longbow. However, he can make the performance full and thick, vigorous and powerful, and the delicate and delicate places are delicate and beautiful. He played in a slow vocal voice, often accompanied by extremely concise notes. The cards he accompanied were in slow motion, and the slower the play, the fewer the notes. However, there is indeed a kind of vigorous strength in the melody, so that each note can be plump and magnetic, condensed and heavy, and the power of this longbow and slow bow method is consistent with the vigorous and somber style sung by Yang Baosen, but because his fast bow surpasses ordinary people, it is just drowned. This is also like Xun Huisheng is known for acting in comedy and has been forgotten that he is also good at acting in tragedy. It is precisely because Yang Baozhong knows Yang Pai's singing style very well, and has thoroughly studied nature for vocalization, voicing, strength, air outlet, retracting, phonological rhyme, sudden frustration resonance, etc., so that his accompaniment can know the other and achieve the point of pearls.
Yang Baozhong summed up the artistic characteristics of the previous performers, especially the playing skills of Mei Yutian, and drew on the playing skills of the violin and other pingle music combined with his own skills in playing Jinghu over the years, summed up as a single word duel. For example: the color of the eight characters is rigid, soft, thick, beautiful, crisp, fast, slippery, pure. The fingering is: pinching, hitting, sticking, kneading, twisting, bouncing, culling, collapsing, pushing, and sliding. The bow method is: walking, leisurely, trembling, stretching, belting, twisting, lifting, wrong, slippery, and yang. The hierarchical mouth decisions are: up, down, single, double, single, double. The phonological estrangement is the joint, the reciprocal sentence, the word head, the end of the sound, the starting bow, and the falling bow. Drum springs require flashing, mating, wrapping, and chiming. The requirement for the left and right hands is three points left hand and seven points right hand, he said that the fingering method is more difficult, and the right hand is the power. It can be said that the bundle encompasses all aspects of Jinghu's playing skills, pushing Jinghu's expressiveness to a new realm.
Yang Baozhong's playing skills are profound and profound, but all this is not to flow into the form of performance or show off skills, but to serve the characters and genre style in the play. The following is a brief discussion about the accompaniment of the Yang School, the accompaniment of any genre, for the players the first thing is Shen Yun, whether it is Ma, Tan, Yang, Xi, or Mei, Cheng, Xun, Zhang, their consistent requirement is to fully reflect the style of the genre in singing. Therefore, the demands on the performer are by no means simply asking for the strictness of the pull. More importantly, how to integrate accompaniment and singing, the style of the genre can also be reflected in the accompaniment process. It is absolutely impossible to imagine that a Cheng Pai accompaniment method can pull out the style of Zhang Pai, and use a beautiful and dashing Horse Pai accompaniment method to pull out a deep, subtle, majestic and simple Yang Pai style. For the Yang Pai accompaniment, it is even more so, first of all, the performers are required to have an in-depth study of the Yang Pai's singing style, not only can sing but also have a good idea of the Yang Pai's vocalization, spitting, strength, air port, retraction, rhyme, frustration, and the four voices of the word, catchy, sharp group, to the board, out of tune and other aspects, so that the accompaniment can be mastered and fully reflect the charm of the Yang Pai. The general feature of Yang Pai's drama is that the rhythm is stable, but it is fast in stability, he does not require the performer to be high and superb, and the melody requirements for accompanying spring are exactly the same, but the change in the key rhythm, not procrastination, especially the change of rhythm, the change of the singing cavity to fully display the rich emotional connotation of the characters.
Yang Baozhong said: "The support chamber should not only be tight and strict, but also understand the plot and the thoughts and feelings of the characters, not only singing with great emotion and accompanying the accompaniment is also full of feelings, which is an important point." The task of the accompanist should be to accompany the feelings of singing, that is to say, it should be consistent with the actor's experience of the character. He said: If you want to support the cavity well, you must be familiar with the size of the singer, the mouth, and some habits of singing in order to accompany the accompaniment just right. As long as the size is right, the charm will naturally come out, so the good huqin can play the role of belt and collar, and the reason is this. In short, the accompaniment must be pulled out: or, yang, dun, frustrated, to flatter the feelings of the characters. These artistic insights are also the dominant ideas of his overall fullness and now his accompaniment. For example, Yang Baosen's often staged "Wen Zhaoguan", "Catching and Releasing Cao" and "Qing Guan's Book", three of the three plays of the same two yellow slow plates, three rounds of bright moon, showing the different identities and situations of three different characters, their common points are anxiety, worry, doubt, speculation, due to different events, different character identities, the thoughts and feelings expressed are also different. Wu Zixu's whole family in "Wen Zhaoguan" was beheaded at the door, thinking of Wu Guo borrowing soldiers to take revenge, zhaoguan was yin in the middle of the way, fortunately hidden in the back garden by Donggao Gong, for seven consecutive days without information, in the face of a round of bright moon remembering his father's revenge, personal safety is unpredictable, anxious and bored, doubts arise spontaneously, and overnight he must turn white.
Chen Gong of "Catching and Releasing Cao", originally Zhongmu County Ling, abandoned his official to accompany Cao Cao because he mistakenly believed that Cao Cao was a loyal and filial piety and a national pillar who understood great righteousness, and when Cao Cao killed Lü's entire family because he suspected that he had eight worshippers with his father, Lü Bohao, and exposed Cao Cao's Ning called me a negative person in the world, not to let the people of the world bear my nature, so that Chen Gong regretted it and regretted it. This period of bright moon shows the unusually fierce contradiction in his heart.
Kou Zhun of the "Qing Official's Book" is a foreign seven-pin sesame official, who was suddenly transferred to Beijing, and was on the side of this emperor, like a sheep and a tiger, the success or failure was unpredictable, and the auspiciousness was uncertain. This round of bright moon shows his anxiety and trepidation. Although the three rounds of bright moon are all quoted from the bright moonlight in front of Li Bai's window, it is suspected that it is the poetry of the frost on the ground, but the artistic treatment of feelings and rhythms is different. "Wen Zhaoguan" has a slower rhythm, the singing is low, showing the pessimistic and disappointed mood of the wu members, a few of me seem to fully express this feeling, and the original rhythm of singing the five more has become faster, showing the doubts and uneasiness of the wu and the determination to swear to kill the king of Ping to avenge the family. The rhythm of "Catching and Releasing Cao" is faster than that of "Wen Zhaoguan", showing Chen Gong's remorse and remorse, and after a fierce ideological struggle, he is separated from Cao Cao's thoughts and feelings of finding another way out. The slow board of the "Qing Official Book" is faster than that of "Catching and Releasing Cao", showing Kou Zhun's trepidation about the uncertain future and the state of mind of loyalty and filial piety in the distant High Hall.
The different rhythmic treatment shows the three different situations of the three different characters, and better completes the inner emotions of the three characters. If the artistic treatment of Kou Zhun is used on Wu Zixu, before the singing, a faster rhythm of the three eyes is pulled, which breaks the next stage atmosphere, and on the contrary, if the slightly slower rhythm of The processing before Wu Zixu starts singing is used in Kou Zhun's three eyes, it will appear to be overwhelmed and cannot conform to the mood of the characters at that time.
Yang Baozhong asked the accompaniment to mention the charm of the gods, the second to pay attention to the change of rhythm, and the third to pay attention to the relationship between the accompaniment and the singing voice. Under the premise of fully displaying the charm, we should pay attention to the strength, weakness, large and small of the rhythm of fast, slow, urging, plate and volume, and the inhibition, yang, containment, and dew of feelings are synchronized with the transposition of the accompaniment. For the accompaniment, the first thing is to have a "companion" word, can not declare the master, for the design of each melody, the strong, weak, tight, slow, soft, hard, long and short of the bow must serve the characters. For example, in "Drumming and Scolding Cao", Xi pi has three eyes, and the second sentence looks like a dragon trapped in shallow water, and after singing, it turns from fast three eyes to the original board through the door, which is in line with the character's emotions. The fifth sentence will one day spring thunder, the rhythm will speed up, to express You Heng's arrogance, height, conceit, this singing as if the size of the fast three eyes to the end will appear to be slow, mediocre, dull and lifeless.
Another example is the Xipi slow plate of "Empty City Plan", from the third sentence of the emperor to Nanyang, the rhythm is accelerated after unloading the three pleases, simplifying the accompaniment notes to reflect that one sentence is faster than the other, which is the characteristics and style of the Yang School.
Because each change in Yang Baosen's singing voice is developed with the change of the plot and the characters' thoughts and feelings, even if you hear that there are more than a dozen paragraphs of flowing water and allegro in less than one hour of "Drumming and Scolding Cao", there is no repetition and similarity, but I feel that it has its unique style, giving people a chic and fresh feeling. The reason is that Yang Baosen's rhythm of the vocal cavity and Yang Baozhong's delicate and unique meticulous treatment of the accompaniment. For example, the second section is carried out at the same time as the drum beat of the doraemon, and a long gate is added before the third section of the singing, all of which fully demonstrates the inner activities of the characters in the play and the rhythm and emotions of the drama. Yang Pai's Jinghu sleeve small pad head is not conventional. The general requirement is to reflect the coherence and integrity of Yang Pai's singing voice. For example, the small pad in the two yellow plains board of "Search for Orphans and Rescue Orphans" makes the transition of the piano cavity natural and coherent, and reflects the rules and generosity in simplicity.
Another example is the Yang Pai famous drama "Wen Zhaoguan" I am like a few small pads, some of which use flash boards, some copy the tail sound, some word pads on the outer strings, and some pads on the inner strings. The third I swallowed the hook line like a fish, and then the fourth I was like, winning in a strange tone in a stable, novel and unique, even if the piano cavity is harmonious and unified, and it gives the students full air. These all form a unique style of Yang Pai accompaniment. In his later years, Yang Baozhong's piano art reached the point of pure fire and magic, which fully reflected the profound artistic conception of Yang Pai's accompaniment in simplicity. Although it is not like the dragon flying phoenix dance in the early years, it seems to be unremarkable, but from the aspect of artistic accomplishment and technique, singing is already seamless. A voice of Yang Baosen's floating clouds covering the moon, the voice is pleasant and lush. One is to bake the clouds and support the moon, the sound and color are good, one is the yellow taste of the person, and the other is the sentence ironing, which can be described as brilliant.
There are many students of Yang Baozhong, and the more effective ones should be Jin Lu, Ma Fengkun, and Yan Shouping. From the recording of "Wen Zhaoguan" accompanied by Jin Lu, it can be heard that although his accompaniment is not as bold and clever as Yang Baozhong,but it is also stable, thick, and sweet in tone, like a stream flowing alone, crisp and pleasant, and the tone of the cavity is also meticulous, there is no sense of delicacy and pretense. During that decade, Yang Baozhong was framed by four people and forced H into a cowshed, and died of starvation on December 28, 1968, at the age of 68.
Li Muliang
Yang Baozhong