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Joy and Prosper Overture - 序曲《龙腾虎跃》交响二人转

Joy and Prosper Overture, Northeast ChinaErRenZhuan 

By Austin Huang, Translate by Lucy Meng 

 

The main theme and second theme are traditional Chinese melody, but the development of this piece involves contemporary music element. The chord passage also constitutes both the western and Chinese traditions as well as western contemporary music factor. The western chord element is used during the lines that contain western music, and the same applies to traditional Chinese music and contemporary chord. 

 

There are normally two reciprocal melodies. With one is the main theme and the other is the second theme. If one moves fast, the other one goes slow, and if one sounds deep, the other would be delightful, etc. Main theme arises first. It develops, expends and leads to the emergence of second theme. And the second theme usually blooms on a different key than the main theme.  

 

However in this music, I went for the unusual way- second theme follows the main theme on the same key. Next, second theme elaborate first which lead to the development of main theme. In the whole music, the second theme becomes the primary development which corresponding with the main theme. Similarly, the contemporary music passage corresponds with the traditional passage. The contemporary music here refers to the modified, formulated element extracted from the traditional sing-and-dance.  

 

The traditional Chinese music is pentatonic, which limited the expressiveness of music. In this music, I strived to add more musical colors. This music contains not only the pentatonicmfrom traditional Chinese music, heptatonic from conventional western music, but also includes hexatonic, octatonic, and whole tone scale. Besides that, the chord passage also includes consecutive unstable diminished seven chord, which is a taboo in classical music, exhibited a strong interest in returning to the main key. 

 

Special Chinese music instrument like Suona, Jing Hu can only excel in particular forms of music, and Chinese traditional Sing-and-dance is one of them. In this music, Suona sounds extra appealing.  

 

In the process of hybriding contemporary and classical music, I borrowed the concept of building an approach ramp for helping the vehicle to get on and off bridge in consistent speed from engineering. I also adopted the method of providing a brief blank time in between different scenes for audience to adjust in film making. 

 

Joy and Prosper is my attempt to get sing-and-dance out in the world. I come from Ji Lin, where sing-and-dance originated. I had a moment of impulse to weave our local music into western symphony in 2011. Now I have the main theme, what about the second theme? I thought about the children song I used to sang back in the good old days. I changed the lyric into the traditional sing-and-dance passageicles like “yi huh an er”.  

 

People from the north have long maintained impression of unconstrained and straightforward. But this music displays the exquisite aspect of the northerners. The duet between male and female singers presents a beautiful melody that can compare to the southern songs. This kind of loveliness in sing-and-dance is rare to the northerners, and many audiences said they could never have enough of this song. KrissySweurn from Vodka Community College told her music teacher Carol Reed-Jones that she was extremely impressed and touched by this song and she believe this melody will accompany her for the whole life.  

 

On another hand, the straightforward and unconstrained side of northern song is reflected through the choir. The choir in the end reached an unstoppable exploding climax, demonstrated the masculinity of worriers on the horse back gallop across the battle field. I felt eminently pumped after hearing this song. It reminds me of how the few northerners from 300 years ago conquered the middle earth.  

 

 

序曲《龙腾虎跃》交响二人转 

曲主题和 副题都采用了传统旋律,但是在乐曲发展过程中则加入了很多用现代手法产生的现代音乐。在和声关系处理上,采用了西方传统,中国传统,和西方现代音乐结合的 和声体系。如对偏向西方的音乐段落,或者说想要表达西方的,则采用西方古典和声,如是中国传统的段落,则用中国特点明显的和声,对现代音乐片段,则采用现 代和声。 
 
    通常,交响乐里有两个主要的旋律,一个是主题,另一个是副题。主题和副题是相互对应的。比如,一快、一慢;低沉、欢快,等等。主题首先出现,并发展,扩张,而后引出副题。而副题通常是出现在与主题不同的调上,并展开、发展的。 
 
    但 是在这部作品中,我采用了非常规的方式,副题紧跟着主题,并且是在同调上出现的。而后,副题先开始扩张、发展,而后在新的调上引出主题再现,发展,扩张。 而后很多时候是副题在发展、扩张。也有很多时候是主副题呈胶着状况,交替行进。类似的,在曲中现代音乐段落与传统音乐旋律起伏交错。这里现代音乐是指应用 了相似的概念,从主题传统二人转曲调中抽象出几个具有代表性的特色音,而后经过一些现代作曲手段,将其进行格式化,形成音符矩阵。再对音符矩阵进行如转 置、变换等处理而成的一段音乐。 
     
    中国传统音乐是五声音阶,表现力非常有限。但是,在乐曲中我尝试使用了多种音阶,以扩充乐曲的表现力及丰富乐曲的内涵。这里除了中国传统音乐的五声音阶和西方传统的七声音阶外,还应用了八声、六声、和整音阶。此外,在和声进行中也采用了连串的不稳定的减七和弦,这可能几乎是古典音乐的禁区,以增加乐曲的张力,产生一种对回归主调的强烈期盼。 
 
    唢呐、京胡这种特殊类型的乐器,只有在某种非常特定格式下的音乐旋律,其演奏才悦耳动听。而二人转就是这非常少数的几种特定格式之一。在本曲中唢呐更是展现出了最优美的歌喉。 
 
    在把现代和传统音乐有机串联起来的过程中,我的做法一是借鉴工程上的概念,架设足够长的引桥,汽车就可以在保持等速状态下平稳上、下桥。二是借鉴电影里常用的剪辑概念。从一个镜头,突然转向另一个完全不相干的画面。在这两个画面之间要有一个简短空白,使得人的眼睛可以调节,适应。 
 
    《龙腾虎跃》是我把二人转推向世界的一个尝试。我来自吉林,对二人转情有独钟。2011年,有一种创作冲动,想把家乡土的掉渣的二人转写进交响乐。主旋律想好了。副题呢?嗯、、、何不就把儿时小伙伴们一起淘气的儿歌编进来?只是歌词太那个了。不过问题不大。正好改成一呼汗儿,呀呼汗儿,呀一呼汗儿 

 

    东北,及东北人给外界的印象一直是粗旷的豪爽。但是这首乐曲展示了东北、东北人、及东北民间音乐难得一见的细腻的另一面。美丽动听的男女对唱,表现了与南方小调不同的美!这段唱腔即使是生活在东北的人也很少听得到。岂止是一个美字可以概括的?这是美的令人动心的那种。很多、很多观众听后都说意犹未尽,没听够,还想再听,还有没有更多的?瓦特卡社区学院的学生KrissySweum告诉她的音乐老师Carol Reed-Jones:她对这段对唱印象非常深刻,令她非常感动,她想这段旋律会陪伴她今后的一生。 

 

    而另一方面,表现东北自然少不了粗旷的豪爽。这则是通过合唱来体现的。最后的合唱发展达到了爆炸式高潮,其气势如宏。把那种马背上的铁血男儿,高举战刀,驰骋疆场、万马奔腾的气势给淋漓尽致的表现了出来。听过后,我的感受是浑身通畅,热血沸腾,让人顿悟300多年前,来自东北的少数民族何以能以其可怜的少数而横扫千军,一统中原。原来我中华也有这种充满阳刚、铁血气概的歌喉。 

 


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