Recently, someone backstage has been asking how to play "Pipa". As a masterpiece of music master Lin Hai, and as the theme song of Xu Jinglei and Jiang Wen's movie "Letter from a Strange Woman", this piece has become It is as well-known as "Fishing Boats Sing Evening", "Mountains and Flowing Waters" and "House of Flying Daggers".

Stills of "Letter from a Strange Woman"

It comes from the 2003 album "Pipa Phase", with lyrics written by Mr. Fang Wenshan and music composed by Mr. Lin Hai, but the one we hear most is The pure music version was originally played with the pipa and the piano, but in recent years this piece has been performed more often by the guzheng. The poignant and sentimental melody itself is immersed in the guzheng's heart-melting string performance. A song "Pipa Language" expresses all the separation. People shed tears and miss each other bitterly.

Music master Lin Hai

Today we will explain the guzheng version of "Pipa" from two aspects: performance skills and emotional expression.

First of all, let’s take a look at the segments of this piece of music, and then explain the key points that need to be paid attention to in each section. Part One: Measures 1-8

First Measure: Pay attention to the last beat, which is beat 4. There is a connection between the upward glide of 6 and the downward glide of 6. The pitch must be maintained here, 6 The upward portamento of the sound does not reach 1, but reaches 7;

In the second measure: there is a front flower, don’t scratch it too much, and then there is an upward portamento in the second bar, and the front flower and The upward portamento must be connected in place, and at the same time, please note that since this piece of music is relatively beautiful and soft, when we press the upper portamento, we press it a little slower.

The third section: There is a 717 glide on beat 4. First press the string to the 7 position, then play the right hand, and then the left hand forms a downward and then upward form. The sound produced by the glide back is 717;

The fourth section: There is a 6 in the double bass range and a 5 in the bass range, and 5 has an upward glide, forming a big group. After playing, the left hand Press down slowly, don't take it off, until the 3 in the last beat comes out, then take it off with your left hand;

Eighth Section: The last two beats of this section have a right hand and a The upward scraping of the left hand is played on the 3rd beat, and the upward scraping of the left hand is played on the 4th beat. It must be in accordance with the beat. At the same time, please note that the upward portamento produced on the first beat of the left hand can be released as soon as the scratching comes out, and it can be held before.

This is the key point of the playing technique in the first part. Let’s take a look at the emotional changes in this part: Since the music is overall soft, we choose the volume with a soft tone, and then move on to the first measure. From the end of the second measure to the beginning of the second measure, a strong fade-out is formed. Similarly, from the second measure to the third measure, a strong fade-out is also formed, making the last beat of the third measure very soft, and the fifth measure Go to the seventh section and deal with the same as before.

Until the eighth measure, the emotion is heightened through the continuous scraping of the left and right hands, so these two scrapings progress from weak to strong. Part 2: Sections 9-17

First of all, the volume of the second part is enhanced compared to the previous part, and there are several special places where obvious contrast between strength and weakness pops up.

Measure 13: The 1st and 2nd beats form a strong contrast with the 3rd and 4th beats. Beats 1 and 2 are stronger, while beats 3 and 4 are weaker. .

Measure 14: It forms a 4561 that gradually becomes stronger and weaker, starting from 76 and then gradually weakening again. It needs to be played clearly.

Measure 15: Same as section 13.

Measure 16: Crescendo from weak to strong through dense sixteenth notes.

The above are the special parts. Others can be played according to the marks on the music score. Part Three: Measures 18-21

The third part actually repeats the melody of the second part in the alto and bass areas.

Measure 18: The first 1 and 2 beats are weak, and the 3 and 4 beats are strong. The contrast with the previous one is the opposite, first weak and then strong.

Measure 19: A trend from strong to weak is formed. One thing to pay special attention to is that because this part is the end, it tends to end, and the volume decreases when playing.

Okay, here are all the key points to pay attention to. The rest should be played according to the music score. Steady!