1. Used for rhyme.
"Heavenly Girl Scattered Flowers" in the Heavenly Daughter singing [Xipi Flowing Water]
Avalokiteshvara full moon face beads open miao (siang), there are good people and dragon girls standing two compartments (siang); bodhi tree eaves creeping flowers thousand branches (yang), green parrots and fairy birds flying up and down the spirit rock god offering (siang... The rhyming foot of this passage is Jiang Yang Ru, and the "Ying" at the end of the third sentence should have been pronounced yin (upper accent), which belongs to the human subject rut, and in order to rhyme, it was changed to the upper accent Yang.
In "Life and Death Hate", Han Yuniang sings "Anti-Four Flat Tones" Husband and wife have been separated for several years (zai), like the return of a lonely goose (lai); poor me was sold by thieves and slaves (mai), and I suffered all the calamities (zai). The stick beat the Mandarin duck is not sad (huai), fortunately met the righteous mother she sincerely looks at (dai); today there is harmony (xiai), but I hope to get the old debt (zhai) of the year, even if you die in Huangquan, it is also good to arrange (pai). The rhyming foot of this passage is Huailairu, and the last word of the seventh sentence "harmonious" should have been pronounced xie, which belongs to the pinch oblique rut, and in order to rhyme, it is changed to Huailairu's xiai.
There is also "Overlord Farewell" "two six" "success or failure rise and fall in a flash" of "that" read nuo, why is this? The reason is that the rhyme of this lyric is a shuttle, and in order to join the rut, the pronunciation of "that" is changed from na of the flower rut to the nuo of the shuttle rut.
2, catchy words are used in sentences, some words can be catchy, but also can not be catchy.
For example, in "Xie Yaohuan", "Gao Qiaozi" and "Overheard a shout in the hall", Du Jinfang did not catch his mouth and sang han, while Li Weikang sang the upper accent xian. Another example is the "flying" of "goose flying" in "Noble Concubine Drunk", which can be catchy into fi, or it can not be catchy, singing fei tone, and Master Mei singing this word is generally not catchy. Another example is the "I" word "I am out of the tent here and scattered sorrows" in "Farewell to the Overlord", and the "fierce" word of "looking up to see the blue moon and clear", which are also catchy and unclikable.
3. When the catchy word and the adjacent word are pronounced awkwardly, it can not be picked.
For example, in "Xi Shi", "Every day in the Huansha goes and leans on Qingxi", in "Roselle", "today all the sisters play with Chuanbin", in "Hongyang Cave", "for this matter all day long worry about the disease", "Yesterday in the door of the chopper" "yesterday in the decapitation of the eight heads hung out of the tent", the word "day" in these lyrics is connected, if the word "day" is mouthed, you feel that the tongue can not be bent, it is better not to be more comfortable. Thus the word "day" can not be pronounced here.
4, catchy but not catchy.
The so-called warp is the meaning of running rut and not rhyme. For example, in "Hanging Golden Turtle", Kang's recitation "often has a day to think about no day, do not take the time as a time". "Day" and "time", "day" is catchy and does not rhyme (it should be said that it does not rhyme much), but rhymes without being catchy, so it is still not catchy.
5, some old catchy words can also not be picky.
For example, "face" reads jian, "shouts" read xian, "zhan" reads zhuan or zhian, "dragon" reads liong, etc., so that the listener and the audience are inexplicable, so it is better not to be catchy.
6. Do not identify catchy words by homophone analogy.
Some characters are homophones in Mandarin, but there are differences in Peking Opera chanting. For example, "zhi" and "zhi", "out" and "touch", "book" and "comb" are all homophones, but in Peking Opera, "zhi", "out", "book" are catchy characters, while "zhi", "touch", "comb" are not catchy words. For example, the "zhi" in "life does not know the face" ("The Phoenix Returns the Nest") is a catchy word, but the "zhi" in "the mouth reveals a discrete heart" ("Overlord Farewell") is not a catchy word; for example, the "out" of "out of the pool only feels delicate and difficult to win" is a catchy word, and the "touch" of "not violating your law" ("Yuanmen Chopper") is not a catchy word; for example, the "book" in "Not that I am willing to pass on the book" ("Red Lady") is a catchy word, and the "comb" in "That Day Dressing to Look in the Mirror" ("Yutang Spring") But it is not catchy. There are many examples of this kind that cannot be arbitrarily analogous, and it must be mastered by looking up information and listening to and memorizing frequently.
7, do not be harsh on the catchy words.
Some catchy words are rare or have disappeared in the language of life, and some catchy words are passed on by word of mouth between teachers and disciples, which are often specious and difficult to determine whether they are correct or not. For example, the word "war", some are catchy as zhuan, some are caught as zhian, and then such as the word "good", some people read it as shuan. There are also people who pronounce "semi" as bon and "talk" as tam. To tell the truth, some Famous Peking Opera masters are not accurate in their words, and do not spread their "slips of the tongue" or their own mistakes as classics. For example, the word "爇", many of which are sung into re tones, are likely to be "Xiu Cai does not know how to pronounce half a poop", and it is not a high accent; for example, the word "爇" is pronounced as jian, which is obviously caused by wrong analogies; and there are also "wanna" sung as a na, and "jiaoli" is sung as jiaoli, which is obviously not an upper accent pronunciation, but an obvious error. There is also the word "ten", some famous artists sing it as shei, and some people think that it is a pronunciation, but in fact, this is a slip of the tongue. From the above examples, we know that the catchy word itself has a problem of irregularity. With the development of the times, the characters used in Peking Opera will also change due to the language of life, and many famous artists have long begun to gradually change the original catchy words to unappetable. In this regard, Mei Lanfang, Ma Lianliang, Li Shaochun, and others took the lead in setting an example and taking the lead in reform, and achieved good results. Let's take a passage of Li Shaochun's singing in "Wild Boar Forest" as an example to talk about Li Shaochun's reform spirit on the catchy character issue. The lyrics of "The Way Home from Selling Wine" are as follows: "Heavy snow flutters in people's faces, and the wind gusts through the bones; the clouds are low and the mountains and rivers are dark, and the sparse forests are cold and withered." The past is haunting and difficult to dispel, and the deserted village sells wine to comfort and worry; looking forward to the hometown to go far away, don't marry a thousand miles of sound books. Guan Shan blocked the two hearts, talking about what ambitions wanted to save the galaxy; the empty blood blade did not remove the adultery, lamenting the danger of the hero's life and death. Filled with indignation, he asked the heavens: Ask the heavens and the heavens when the mountains will return? When will the heavens and the moon be reunited? Ask the heavens when to swing the three-foot sword again? The temple of the thief is wide, the grandeur is stretched, and the thief's head is sacrificed to the dragon spring. But why is it that Heavenly Face is full of hatred and resentment, and one day, can you also be afraid of power and adultery, and have a mouth that is difficult to say? The wind and snow broke the roof tiles and broke the sky and made dangers, why did you bear the majesty of the forest? It is difficult to bury the hero's grievances, and endure the lonely and angry mountain temple to temporarily shelter from the wind and cold. "The characters with dots are generally catchy in traditional Peking Opera. However, Mr. Li Shaochun here has several words sung in Jingyin, but they are not catchy, and these words are: "obstruction" of "Guanshan Barrier", "uneducated" of "undoing", "Day of Returning", "Curse of Exhausting traitors", "Non" of "Mo Fei", and so on. Therefore, we do not have to be too harsh on catchy characters, some are not sure to read Jingyin, and some are too far away from modern life to directly change to Jingyin.
8, how to look at the catchy word and the sharp group word. In view of the question of whether to continue to retain the catchy characters and the jiantuan characters in Peking Opera, there is a lot of debate in the peking opera theoretical circles. Mr. Sun Jiabin wrote: "The characteristics of any thing are destroyed, and the personality of the existence of the thing disappears." The pronunciation of Peking Opera is a distinctive part of Peking Opera chanting; the "catchy characters", "sharp group" and "four tones" of Peking Opera are the characteristic components of Peking Opera pronunciation. Even in the singing voice of modern Peking Opera, the characteristics of Peking Opera pronunciation have not disappeared. Sometimes, on the surface, the 'catchy characters', 'jiantuan characters', and 'rhyme white' of Peking Opera have been abolished, and the traditional features of Peking Opera pronunciation have disappeared, right? No! The most 'sensitive' tone of Peking Opera's voice will always be retained in the Peking Opera vocal cavity" (China Peking Opera, No. 3, 1993). Obviously, Mr. Sun's view is that the catchy characters of Peking Opera, "JianTuan Character", and "Four Tone Values" cannot be cancelled, will not be canceled, and even modern Peking Opera will retain the original four tone values of Peking Opera. Mr. Huang Weiqiu also holds a similar view, arguing that "Peking Opera pronounces white, why use Zhongzhou Huguang rhyme instead of Beijing pronunciation?" Because the promotion of Mandarin is a matter of recent years, and opera was born in ancient times, mandarin was not promoted at that time, if we want to completely change it now, the rhyme of Peking Opera is completely abolished by means of abolitionism, all of which are changed to Jingbai and abolished, it is equivalent to abolishing the classification of characters in history" (Peking Opera, China, No. 2, 1997). Mr. Zeng Huanian even said: "Catchy characters are beneficial and harmless, but they can't do without it in Peking Opera" (China Peking Opera, No. 5, 1998). However, Mr. Huang Haicheng believes that "after years of hard work, I have not been able to make my family step into the threshold of Peking Opera, and I love Peking Opera with me, and the barrier of the pronunciation used in Peking Opera chanting cannot but be said to be an important reason", so he advocated that "the chanting of Peking Opera should be refined and processed on the basis of Beijing pronunciation as the standard pronunciation of Mandarin, and gradually form a new standard" (China Peking Opera, No. 4, 1997). The expositions of these gentlemen are based on their profound knowledge of Peking Opera phonology, which makes the general opera fans feel that the arguments are profound and the reasoning is sufficient, which is simply irrefutable. I don't think their views should be tit-for-tat and irreconcilable. The characteristics of Peking Opera should be preserved, the peking opera pronunciation should also be improved, and the viewpoint of advocating the abolition of the traditional pronunciation of Peking Opera or the fact that Peking Opera pronunciation cannot be moved or changed is biased, and all well-known Peking Opera artists have the specialty of "taking into account" both, that is, on the one hand, they are loyal to the tradition of Peking Opera art, and on the other hand, they are constantly improving and developing this art, and there are countless examples. Mr. Li Shaochun is one of them, and the "main" of his "shopkeeper east" and the "street above the street" are all Beijing pronunciation methods. He has some changes in the singing of the "Zhu Chushu", "Street Shoes", "Yue Xue Yao", "Six Flesh Green" and other systems. He has published several articles in newspapers and periodicals, calling for the use of "Jingyin" in Peking Opera. But later, for various reasons, it did not persist. In "The White-Haired Girl" and "Lin Hai Xueyuan", in the plays he rehearsed in "The Legend of Xiangma", "Mu Guiying Hangs Commander", "The Battle of Chibi" and so on, he did not "change the Jingyin"
Catchy word list
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