The piece "Sword" is a classic technical piece of liuqin repertoire and one of the training repertoires for liuqin players to enter the advanced stage. The perfect combination of timbres, interpretation and creation of a color picture with rich emotional changes, ups and downs, full of sense of space and layering, also presents us with a novel and unique style of poetry and language characteristics. This piece of music deepens the inner temperament of liuqin performance and broadens the artistic expression of liuqin performance; in terms of creation and performance style, it is indeed a rare artistic masterpiece. To play this piece, it is far from enough to rely on pure skills. The performer must not only have solid basic skills as a backing, but also a certain cultural level, a certain literary and artistic accomplishment, and a deep understanding of the essence of the work. The artistic conception and emotion expressed by the works are vividly and fascinatingly displayed to the audience.

In order to more accurately and profoundly grasp and express the style and connotation of the piece "Sword" in the performance, the author here discusses some years of understanding, research, teaching, performance and processing of this piece. views and feelings. Willing to discuss with colleagues.

The Liuqin solo "Swords" was composed by the famous composer Mr. Xu Changjun using the seven-character ancient poem "Watching the Disciples of Gongsun Dancing Swords" as the material. During the Dali period of the Tang Dynasty, Du Fu watched the sword dance performed by Li Twelve, a disciple of Aunt Gongsun in Kuizhou. The kind of scene that shakes the heavens and the earth and weeps ghosts and gods: I saw Mrs. Gongsun leaping with strides, flying legs, and sword light piercing the sky, just like Hou Yi shot down nine suns, just like emperors and gods flying dragons and flying horses in the clouds. ; The world changes color with the ups and downs of the sword dance, the silver light of the sword is shining, and the sword shadow is elegant and soft. When it is fast and violent, the thunder is overwhelming, when it is closed, the world is silent, and after dancing, the sword is closed, and the blade is like a calm river, lake and sea, condensing a clear light. The poet Du Fu expresses his emotions of the great changes in history in the past fifty years through this poem that recalls the present and the past? He chanted the Li family while thinking of Gongsun; chanting Gongsun and thinking of the late emperor, he entrusted him with never forgetting the prosperous times of the late emperor and lamenting the current decline."

In terms of musical structure, this piece of music has absorbed the creative technique of the recurring complex trilogy structure adopted by Western music, and its layout is compact and the structure is rigorous. In the entire complex trilogy-style exposition, consisting of the principle of three parts, with variations in the middle, a theme consists of four phrases. In the middle of the whole complex trilogy, it is unfolding, and the music is developed by means of variation. The recapitulation in the entire trilogy is constricted, with only one passage, consisting of three phrases.

Music 1---7 measures (the score example is omitted): This section is the introductory part of the music. It first adopts the left finger plucking technique rarely used in liuqin performance, and plays a fixed tone pattern, chords and plucks. Alternately, it expresses a kind of artistic conception that is soft in the middle and flashes from time to time, bringing people's thinking into a distant memory. When playing this introduction, pay attention: when picking the strings, the sound of the left hand should not be too loud or too hard, but not too small or too hastily. Control the time and strength of the plucking so that it produces an open and soft feeling with every sound. A steely chord contrasts.

Music 8---15 measures (the score example is omitted): This section is the theme music of the music, which is mainly controlled by the fingers of the wheel. The density of the fingers should be uniform and there should be an inherent, indistinct undulation. The player must calm down his mood, breathe loose and relaxed, and the speed is slightly slower, and the long wheel is like a line fluttering. It produces a kind of calm and slightly sad and emotional mood. The plucked strings are performed simultaneously with the main melody, and the timbre and rhythm of both should be controlled smoothly and uniformly.

Bars 16-27 of the piece (the score is omitted): This section is mainly performed by turning the theme music up an octave in the form of variations, and the sound gradually brightens from the dimness of the original theme, in order to express Du Fu's The image of Mrs. Gongsun in memory gradually became clear. When playing this paragraph, don't be too loud and excited, control the ring fingers well, and gradually weaken at the end of each sentence, especially when playing the three bars of 24, 25, and 26, be full of tenderness, be careful, Treat each note carefully, and add some chant and kneading techniques to some notes, and also perform scribing techniques for the last note of bars 24 and 26. These are all to express a kind of ups and downs of inner thoughts and a helpless sigh.

Music 28---35 bars (the score is omitted): This section is mainly in the form of reproduction variation, which is used to express the protagonist's inner impulse, pain and uncontrollable emotion. When playing, you must pay attention to the strength and emotion. You must rely on the internal force and breath of the wheel fingers to push the emotions layer by layer, giving people a feeling of pushing upward. The plucked sound should also increase with the fluctuation of the melody and the strength of the fingers.

The 35th bar of the music (the score example is omitted): This bar is a connecting part. The author uses the form of loose plates, and adopts the gradual transition of the notes from slow to fast, from loose to tight, and from low to high, and gradually pushes the work to a higher level. Another world. When playing this section, in terms of mood, style, and intensity, we must be prepared to form a clear contrast with the style of the presentation department, and we must show that Du Fu's inner emotional world begins to agitate and change.

Bars 36-43 of the piece (the example of the score is omitted): The theme music of this section is entered in the form of slow onset and gradual increase. When playing, it is necessary to maintain a tense and flexible technique, especially the repeated performance of falling 6 and falling 7. When the tone is 1, there should be an obvious crescendo change in intensity until the melody is pushed to the climax. It is necessary to show the image of Mrs. Gongsun dancing the sword in Du Fu's mind clearly.

Bars 44-49 of the piece (the score example is omitted): This is a connection. When playing, use the technique of octave jumping and sweeping. The speed and intensity should be consistent with the previous ones. Don't slack off. Pause for a moment in the sound and enter the theme variation part. Bars 50---58 of the music (the score is omitted): This theme variation uses the technique of double-playing without picking most of the right hand and the sonorous, short and penetrating timbre, and performs a passionate, fast and smooth passage. From the 56th bar, it is necessary to form an aggressive momentum, and suddenly stop at the last tone, to express a debut action of Mrs. Gongsun's superb sword dancing skills.

Bars 59-70 of the piece (the score is omitted): This is also a connection. After the breath, use the right hand to strum all the strings to keep the force point consistent. Under the accompaniment of the low and rhythmic sound pattern, the tension and order are As it progresses, a more difficult action and a more exciting picture are about to appear.

Bar 71---81 (notation omitted): In this section, the author continues to use the technique of variation and connection, and adopts the technique of continuous octave jumping to make an upward impact. These tones should be strong, short, and elastic. Bar 82---120 of the piece (the score is omitted): This section develops the theme of the music, forming a sharp contrast with the previous ones in terms of tonality, rhythm, speed, mood, etc. It is also the climax of the piece. . The author inserted a new piece of material in the first half, using two consecutive octaves in the performance, the technique of jumping the position and the echo of the changing sound, which produced a kind of effect of ups and downs, ups and downs, which made people feel more When it came to Aunt Gongsun's sword, light, sword, shadow, sassy and heroic demeanor. At the same time, in the second half, accompanied by a fixed set of tense tone patterns and rhythms, the continuous repetition of sliding strings and step-by-step drawing techniques are used to further express the heroic and spirit of Aunt Gongsun who is not afraid of bulls, ghosts, snakes and gods. When playing slides, the right-hand strum should be even, dense, and undulating to push the music upwards. Then, through the change of rhythm, the reduction of sound pattern, and the strengthening of dynamic elasticity, the previous part has been taken to a new level, and the music has been gradually pushed to a grand realm. When playing this section, the rhythm should be fast but not chaotic, with edges and corners, the sound quality should be strong and somewhat wired, each note in the high-pitched area should be played clearly and with strong granularity, and the intensity should be consistent. Don't slack off in the middle, the pronunciation point should be flexible and strong, with a sense of motivation, which is used to symbolize the tenacious character of Mrs. Gongsun. During this period of practice, the wrist must be relaxed, especially the jumping of the two octaves. It must be accurate, without showing traces. It must be practiced slowly first, and then gradually practice at the original speed, and must not be blindly fast. Music 121 --- 126 measures (notation example): This part has only one passage, which consists of 3 phrases. The author adopts the method of contraction, and returns to the G sign to reproduce the theme of a. After a fierce scene of swords, lights and swords, the protagonist returned to reality. He stroked the sword and thought deeply, and his emotions were suppressed, especially the few notes in the two bars 125 and 126, to be played delicately, euphemistically, and affectionately, just like a mournful chant and the narration of the soul. When playing this paragraph, you must grasp the style and mood; when you play the last chord of the 126th bar, you must play the chord in an empty space, creating a sighing effect full of distress and doubts, hanging under the extension symbol, Leave a space for people to imagine and think infinitely.

Bars 127-134 of the music (notation omitted): The material in this section is derived from the rhythm of the 82 bars in the middle. The composer uses this octave-flipping fixed tone pattern to set off the character contrast in the protagonist's inner emotional world and the indomitable spiritual realm he pursues. When playing this paragraph, the octave jump of each measure should be accurate, crescendo layer by layer, and in one go, push down the last note of the 132 bar and stop, and after a pause, suddenly pop out the rest of the music with an unstoppable and explosive emotion. tune and push to the climax of the song, then end abruptly. It leaves a lot of room for the audience to imagine.

In a word: The Liuqin piece "Sword" has a certain depth and difficulty in terms of performance skills and musical performance. To play this piece of music, technically, we must pay attention to the fine chiseling of the melody lines, and also control the changes in the strength of the sound, so as to be strong but not impetuous, weak but not weak. That is, it is necessary to reflect the charm of the music through the contrast of strength, and to describe the changes in the mood of the music through the exaggeration of the performance. At the same time, it is necessary to deeply understand the historical background and deep emotional world of this poem, so as to achieve high-level requirements and express the rich ideological connotation of the music with more artistic appeal.