In the period when Mei, Shang, Cheng, and Xun were formed, Yu Quanyan in Lao Sheng Xing. Gao Qingzheng and Ma Lianliang were also respected by the audience and were known as the "three famous students" and "three masters of old students". Among the three of them, Gao Qingkui's voice was the most rushed, and the play road was also the widest. He became famous for acting in the plays of the Liu (Hongsheng) faction; at the same time, he also performed some of the plays and was welcomed by the audience: "Dao Yaojin" of the Sun (Juxian) faction, "Dingjun Mountain", "Zhu Curtain Zhai" and "Zhuangyuan Spectrum" of the Tan (Xinpei) faction, "Huarong Dao" of the Wang (Guifen) faction, "Single Knife Society" of the Wang (Hongcun) faction, "Iron Lotus" of the Jia (Honglin) faction's gong nian white drama, Wusheng drama "Serial Set", "Cuiping Mountain", anti-string flower face drama "Side Judge", "Thorn King's Staff", anti-string Lao Dan drama "Digging the Ground to See Mother", "Playing Dragon Robe" wait. At that time, some conservative people criticized Gao Qingkui as a "high mix". However, he did not change his approach because of this. In the new plays he created, "Crying Qin Yan", "Yu Rang Bridge", "Xin Ling Jun", "Ma Ling Dao", "Gift of Silk Robes", "Shi Kefa", "Yang Jiaoshan", "Heavy Ear Walking the Country", "Su Qin Zhang Yi", "Wu Yue Chunqiu", these plays, he also used various genres of singing to express characters with different personalities. In this regard, he is very insistent on his own opinion. I remember that when he was teaching drama at the Chinese Opera College, he often came to my house to visit. One year during the Spring Festival, Mr. Gao came to visit my house again. My child handed him the candied mix on the table. I glanced at the child, and Mr. Gao smiled slightly and said, "You're afraid I'll hear the word 'mixed'!" In fact, people say I'm a 'high mix', and I admit it. Originally! I came from a singing two-way role. I have sung with me about the good guys of any school; I have also studied the plays of any school. My husband is also more. Jia Lichuan, Jia Honglin, Liu Chunxi, Wu Liankui, Wang Hongshou, Li Xinfu, all old gentlemen, have taught me to play. I have a dead-eyed problem, I have to learn to be real! You think, how can I not be complicated? But I think that the old drama is mainly singing, if the singing methods of each genre are touching the door and acting, it is as if there is a capital. You can sing in a variety of styles and perform a variety of different characters. For decades, I rehearsed a new play, and although this character was never seen on stage, as long as I understood the plot, I had a way to sing it. "Now that I think about it, the reason why Gao Qingkui can become a school of his own is that he is good at absorbing the strengths of each genre and combining it with his own voice conditions. Gao Qingkui not only sang well, but also read and did good work, and the martial arts were also good. However, gaopai impressed people the most was his singing work. His singing can be summed up in 16 words, that is, "high pitched and bright, unrestrained, full of joy, all in one go". His voice, not only open mouth is a high-profile door, but also has a wide range and a large volume; compared to His Patriarchal Liu Hongsheng, it is not as sweet as it is, and it has just been pulled out. Because of his good voice, he loves to use the singing method of "upstairs and upstairs" when singing high voice, and loves to use the "knotty cavity singing method" when singing low cavity. Another characteristic of his singing is that he is full of energy, loves to pull the board, loves to make a long cavity, and loves to sing the next sentence with one breath, so that people can't hear where his breath is. I asked him about that, too. He said: "This is to learn Liu Hongsheng's method of using qi. The biggest characteristics of Liu Pai are to slow down the breath with words, steal the breath with the cavity, raise the breath from the high place, and curb the gas from the low place. When he said this, he punctured my doubts. Sure enough, when you listen to him sing again, you can find out where he is breathing. At the same time, it was also found that his high voice was not scattered, and the bass was not floating, which was originally the reason for raising the air and giving the low breath.
Mr. Gao Qingkui (1890-1942)
The high-school singing is most suitable for expressing excited feelings. His representative works liu pai "three chops", "chop horse rumors", "chop", "chop yellow robe", Sun pai "Dao Yaojin", all have places to show passion, but also the most outstanding places for high school singers. His "Chop The Horse" record has two paragraphs, the first one is the lyrics of the Xipi guide plate "turning over and over to the roots", and then the allegro "Kneeling Little Wang Ping under the tent, before going to look at you again and again, camp near the mountains and waters." After losing the three cities, they did not tighten up, but were laughed at by Sima Xiaoshan. He laughed at how cautious I usually am, and how wrong people are used against each other!" The next paragraph is a tight and slow singing: "If it weren't for the tight drawing, the old man would have almost been captured." Beat Wang Ping with forty sticks, and quickly take the useless people with horses!" The "flip" word of the opening guide plate", which is difficult to hate, is high-pitched. The word "difficult" pulls a long cavity, and the transition to the word "hate" makes the cavity high. This high cavity is higher than the word "turn", which is the so-called "upstairs upstairs" singing method. In addition, the "stick" character of "beating Wang Ping with forty sticks" is also the singing method of "upstairs and upstairs". These two sentences show Zhuge Liang's extremely angry excitement. In ordinary plays, Zhuge Liang is often steady and dashing, and such excited anger is rare. In this play, Zhuge Liang regretted that he had misused people, and after the empty city plan of making dangers in danger, he resented Wang Ping and Ma Mo for not listening to his instructions, and the emotional excitement was understandable. Therefore, Gao Pai uses two "upstairs" high cavities here to strongly express Zhuge Liang's excitement and anger. Then, he made a speech on the "beating" word of "beating forty sticks", and even more interlaced the words "regret" and "hatred" in Zhuge Liang's passion, rendering each other to achieve a figurative artistic conception. However, there is a problem with these two songs. Tan Pai is under "If it is not a tight drawing", the lyrics are "Ding and Ma Mo all the way". In this way, the upper and lower levels are carried forward, and the text is smooth. Now, Gao Pai sings "The old man is almost picked up", and it is not very logical to listen to it in conjunction with the upper and lower sentences.
The same is to show the feelings of excitement, and the singing method in "The Gate Chopper" is different. In the play "Folding Zi"), Yang Yanzhao has carried emotions from the moment he came on. When Yang Zongbao was tied up, suddenly, his mother She Taijun came. She Taijun's coming was a pressure on Yang Yanzhao. Convincing She Taijun is a difficult article to do. Yang Yanzhao naturally expected that She Taijun's coming was related to the beheading. At this time, his feelings are in contradiction: if he wants to convince his mother, he cannot but temporarily suppress his excited feelings. In daily life, the more excited feelings want to press down, the more excited they are. To portray this feeling, in the singing method, it is necessary to not hide the softness, the softness does not hide the rigidity, so that the "appearance is very quiet, the heart is very fluctuating" Artistic conception can be expressed. This is how Liu Hongsheng created this singing, and created it quite well. Gao Pai basically learned from the Liu Sect, so he sang to the fullest. The lyrics of this singing are "Xipi guide plate" "I heard that the old mother came to the outside of the tent", and then the Xipi slow plate "Yang Yanzhao went down to greet the mother." Seeing the old lady Shi Yili bowing down to worship, why did the old lady come to this place?" The first word "listen" on this guide plate is also made with a high note. But after the rise, it is not straight development. Immediately afterward, a euphemism was made on the three words of "old mother-in-law", and on the word "account" of "coming to the outside of the account", a cavity of relocation was made. And the last "outer" word is still pulled up with a high note. The whole sentence has just softness, it sounds, just not to hide soft, soft not to hide rigidity, and the feelings expressed in the guide board of "Chopping Horses" are different. Zhuge Liang in "Cutting horses", the rebuke of Wang Ping, does not need to be considered much, it is straightforward. Therefore, the guide plate is high and high, and the word "difficult" pulls the cavity without making the cavity, showing the anger of the diarrhea. Yang Yanzhao's particular environment was different from Zhuge Liang's. He was surprised by the arrival of the old woman. It is necessary to express all aspects of thinking, considering, coping, and distinguishing in the excitement of feelings. Therefore, on the three words of "old mother-in-law" and the word "account" of "coming to the outside of the tent", it is expressed in a cavity. The slow plate under the guide plate, the first two sentences use a doll tune, which is also chosen to express this feeling. Doll tones are accents that express young children. This kind of tone, both high-pitched and gentle, is sometimes used in Xiaosheng dramas, sometimes used in Hongsheng dramas like "Huarong Dao" and "Jiangdong Bridge", and sometimes used to express crazy characters, like Li Zi in "Too White Drunk Writing". To show Yang Zhao's very excited and helpless emotions in "Chopper", it is still appropriate to use a doll tune. Like the cavity of the word "come" of "greeting the mother", and the cavity of the two words of "bow down to worship" and "bow down to worship", it is really a hundred turns, not only good to hear, but also to show Yang Yanzhao's strong passion, caution, and hope to deal with the old woman's past mood to the fullest. In the phrase "bow down and worship", the word "down" and the word "worship" use the knotty cavity of the high school.
Gao Qingkui and Hao Shouchen co-starred in "Gifting The Silk Robe"
The last sentence of "Why did you come" the word "He", sung in a low bass accent, not only has a strong purpose, but also shows Yang Yanzhao's cautious and low-pitched inquiry tone in front of his mother.
The so-called excitement of feelings is not just anger. In ordinary life, there is passion for joy and sorrow. The "Lone King Drunken Peach Blossom Palace" in "Three Chops" is not a passion of anger, but a passion that shows Zhao Kuangyin's arrogance and debauchery and self-intoxication. The lyrics of this passage are: "The Lone King is drunk in the Peach Blossom Palace, and Han Sumei was born with a good appearance." When the widow saw the dragon's heart, his brother fengguo and his sister were sealed in the Peach Blossom Palace. The inner waiter swung on the nine weights. Gao Yu was angry with you for which case?" The first four sentences are two or six, and the "upper nine" sings scattered, "for which one sentence is a scattered board." This singing is also created by Liu Hongsheng. The play "Cut the Yellow Robe", before Liu Hongsheng, Sun Juxian had acted in the Sixi class, or Tan Xinpei gave him Gao Huaide. After Liu Hongsheng's processing and creation, the singing voice of this play has always been the patriarchal Liu School. Gao Qingkui is a descendant of Liu Pai and sings very really.
Stills of Gao Qingkui's "Yu Rang Swallowing Charcoal"
The most wonderful thing in the whole paragraph is the sixth sentence. "Gao Yu is angry at you for which zong", the first five words are sung directly, using the word "you" to pad; the word "for" makes a small cavity; the word "which" highlights the "portamento", pulls up the high note, develops in a straight line, and turns the debauched passion into a surprised passion. Gao Qingkui uses sufficient volume to portray the emotional changes of the characters, which can be called exuberant and painful.
In this singing, in addition to the first sentence "Lone King Drunken Peach Blossom Officer" is a clear breath mouth, the next five sentences, as if they are all sung in one breath, are actually slowed down with a dark breath mouth. This brings us to the issue of stealing and slowing down. Gao Qingkui learned Liu Pai's methods of "using cavity pleasure" and "slowing down with words", which was used very naturally. Like the "come" character of "Han Sumei was born", it is "stealing gas with cavity". The "shedding cavity" of the word "come" falls off downwards, as if it is even really broken, and the dark air port is there, and the gas is changed. Like the "he" character of "brother sealed the uncle of the country and his sister sealed in the Peach Blossom Palace", that is, the word "ease the breath with the word" and the word "he" is placed after the "male" character of the "uncle of the country", and then put the word "sister". The use of changes in the pronunciation of the mouth shape is very consistent with the law of breathing. So as soon as you breathe in, the breath slows down.
Talking about stealing qi and slowing down, by the way, let's talk about Gao Pai's qi lifting and qi. In terms of the pronunciation of high-school singers, all those who close their accents and pick up upwards use lifting; those who open their accents are released outwards, and they use qi instead. Here, I will illustrate this with just one example. Like the two words of "Lone King" at the beginning of the previous paragraph, the word "Lonely" is a closed accent, and it is raised, and when the qi is mentioned, not only is the sound of the word heavy, but the sound of the word is not scattered; the word "King" is an accent, and it is straight, and when it is released, the qi must be returned to a lewer, so that the word sound does not flutter and is sung transparently. If you don't hold the qi back, the words will drift and the timbre will not be transparent.
The high-school "three chops" mentioned above are all Sippi. Now, let's introduce another passage of Gao Pai Er Huang's "Dao Yaojin". The lyrics of this guide board are "Father and son wept sadly in the palace", followed by the dragon cavity "Remembering the affairs of the DPRK is not sad", and then the original board "Cao Mengde and Fu Hou's wrongdoers are against each other, causing her soul to not be able to follow." The Second Emperor was a young child, and he could not make three glasses of wine in front of the spirit. I hate the traitor who crushes the root of his lonely tooth and "turns three eyes" to bully the king and oppress the subjects. The deceivers do not dare to reply to the golden temple, and the deceivers are like cats and mice. Originally, there were still a dozen sentences below to "deceive the widows", and finally used a loose board to "hear the noise outside the palace gate like thunder" to tie the east. When I poured records, due to layout limitations, I did not fill them all. Therefore, the cavity of "cat and mouse following" has also changed temporarily. "Dao Yaojin" is a representative work of the Sun (JuXian) school. Gao Qingkui once gave Sun Juxian MuShun in this play and received sun Juxian's guidance, so he was quite familiar with Sun Pai's singing method, and he changed slightly according to his own voice conditions, making the play "Xiaoyaojin" a representative of Gao Pai.
Stills of Gao Qingkui's "Visiting Mother's Return Order"
This singing in "Dao Yaojin" also shows excitement and emotion. After Cao Cao was hanged and ambushed, Emperor Xian of Han, on the one hand, resented Cao Cao's brutality and his own weakness and incompetence; on the other hand, he lamented that his two young sons were not only unable to avenge their mother, but also had the possibility of being killed by Cao Cao at any time. Grief and indignation reached its extreme.
In order to express sadness and indignation, there are outstanding creations in the plate head and the singing voice. The arrangement of the general board head is to be slow and then fast, always singing a board of three eyes of the slow board, and then singing a board of one eye of the original board. This singing is abnormal, after returning to the dragon cavity, the first five and a half sentences first sing the original board, from the words "tooth root" of "crushing the lonely tooth root" to three eyes. This arrangement shows the han xiandi's sorrow with anger, anger with sorrow, anger and then sorrow, sorrow and anger, great fluctuations, and uneven agitation from the change of rhythm. According to this arrangement, the plate head, in the tone, or use the long cavity of the pull plate, or use the rush plate to strangle the word; at the same time, all kinds of crying sounds are used to express their sorrow, and all kinds of hate tones are used to express their anger, and the passion of the intersection of sorrow and anger is very clearly rendered.
Like the word "father" in the first sentence of the guide plate, "Father and son are in the palace", the cavity is very long. The word "son" is picked up with a portamento, and the word "we" is kneaded upwards with a flat tone. Through the line cavity of these three words, first give people an impression of a mixture of sorrow and indignation, and then the word "in" pulls down the cavity and sings a crying sound; the word "official" rubs the cavity upwards and also sings a crying sound; The word "yuan" is used in vibrato and sung again. These three cries, sung in three different pronunciation methods, are really tearful. Finally, the word "falling" develops into a high note, and the word "tear" uses the word "ya" as a suffix to pick up, and then changes from crying to hate, which sounds not only sad, but also sad and angry. The word "hurt" in the dragon cavity of "good is not sad", the pull board is sung and scattered, and the word "sad" is used as a powerful bundle. The sorrow of excitement was once again vented. Just from the first two sentences sung by Gao Qingkui, it can be heard that his singing voice is indeed excellent in expressing the emotions of the characters' sad intersection.
High-school art, not only excellent singing, but also outstanding achievements in other aspects. As far as singing is concerned, it is not something that can be summarized by these "three chops" and "XiaoYaojin". The above is just a brief introduction to the emotional singing voice in the high-school singers.
(Excerpted from "Famous Songs Video" by Weng Yihong, edited by Zhang Jingshan.) With the exclusive publication of the headline number of the listening play, if you want to reprint, please contact the listening play. ）