In the expression of the ballad, the pipa solo "Peacock Flying Southeast" is very distinctive. The performer uses a variety of techniques of left and right hands, and depicts the pure love story of Jiao Zhongqing and Liu Lanzhi, as well as their rebellion and resistance against feudal ethics, in a more detailed way through the expression means of movement, stillness, point and drawing.

Poetic regret sigh

Mood: At the very beginning of the piece (bars 1-16), it highlights the poetic meaning of "the peacock flies southeast, wandering five miles and one" in the poem, the changeable rhythm and the intertwined dots and lines of long wheels, plus the unique large and small The syncopation and the 5- to 6-bar long finish, with a heavy regret and exclamation.

From the 17th bar, the first theme tone appears, highlighting the beautiful and capable image of Liu Lanzhi. The musical expression does not need to be too concrete, the tune is euphemistic, the left hand has a little more "taste", and individual syllables are appropriately emphasized on the left (hand) and light on the right (hand), especially in the alternate use of various techniques and fingerings, accompanied by lines and dots, long and harmonious The changes of short, strong and weak and the exaggerated "yin kneading" techniques and ideas are intended to emphasize the softness, fluency, and the expression of tone and language in the song.

affectionate, delicate, tender

"Seventeen is a king's wife, and it is rare to see each other every day." From the 55th bar, the brisk and lively second-degree overlapping octaves have a clear rhythm, vividly showing the festive scene of the welcoming team. At this time, the right-hand performance requires shallow input strings (that is, short touch strings), and the left hand is matched with the corresponding chorus to raise the fingers, so that the pronunciation is more brisk, dexterous and flexible. From the 115th bar, with the various changes of rhythm and fingering and the highlighting of the main tone, the tune is progressively advanced in the process of positive and upward progress, constantly rendering the atmosphere to a climax, in order to meet Jiao Zhongqing! and Liu Lanzhi's "Whispers" "It's been well laid out.

From bar 171 onwards, the character "Qing" is highlighted in the performance, reflecting a kind of deep affection like a song. The musical thoughts and musical space in this section are the continuation of the spiritual connotation of the theme. Individual syllables are very static, and the music is delicate and charming. In particular, we must pay attention to the in place of the tone of voice and the rationality of "breathing". With rich vocabulary and multi-directional perspectives, In order to show the deep side of musical character and human brilliance.

Anxiety Impatient Defiance

From the 200th bar, the anxious and domineering image of Jiao Mu makes the music more conflicted, with sharp timbre and complex contradictions. In the performance of this section, techniques such as double tones, chords, and large and small sweeps are continuously integrated into the dramatic impatience, which makes the music highlight the core of the music's "resistance" and "rebellion" in terms of its hierarchical structure.

Epilogue: It reflects and matches the mood of the introduction. The long and free speech rate reflects the meaning of farewell, but the fluctuating and fluctuating tone and intonation are very small, and the performance state strives to be contemplative and straightforward. "The two families asked for a joint burial, and they were buried next to Huashan. There were two birds in flight, and they called themselves Mandarin ducks." The music starts with "arpeggio" and ends with "overtone" effect on the top of the grade tone.