(Textual notes from when I was learning Guqin a few years ago)

I was studying "Jiu Kuang" a few days ago. I listened to many versions of the recordings and checked some information. I found it very interesting. , record it as a memo.

There are not many biographies of "Jiu Kuang". According to the "Cunjian Guqin Music Score Collection", there are five types:

1. "Magical Secret Music Score" (1425), four sections;

2. "Fengxuan Xuanpin" (1539), five sections;

3. "Revisiting True Biography" (1585) , six paragraphs, with lyrics and subtitles in each paragraph;

4. "Yang Lun's Taikoo Yiyin" (1609), seven paragraphs, with lyrics and problem solving;

5. "Rational Yuanya" (1618), seven paragraphs, with lyrics, each paragraph has a subtitle and a preface.

Also found in "Xilu Tang Qin Tong" (1549), the title of the song "Liu Shang" has eight sections. The first five sections are consistent with "Jiu Kuang", so it can also be regarded as one of the biographies.

Therefore, it can be said that there are currently six genealogies of "Drunken Mania".

(See Mr. Yao Bingyan's "The Process of Notation of Lyre Music "Jiu Kuang"")

In 1960, Shanghai qin player Mr. Yao Bingyan used "Magical Secret Music Score" as the blueprint and referred to "Xilu Tangqin" "Liu Shang" from "Unification", this eight-six beat piano piece was played. It is also the only Guqin piece in three beats so far.

According to Mr. Li Xiangting's "Practical Guqin Tutorial", after Mr. Yao Bingyan's music score was transmitted to Beijing, Mr. Wu Jinglue and Mr. Pu Xuezhai played the last part of the second section of each sentence. One note has changed from three beats to two beats, and each phrase has a combination of eighty-six and eighty-five, making the phrase smoother and more in line with the playing rules of the guqin. Most of the current versions circulated based on Yao Ben's work.

It is recorded in "Qinqi Mipu" edited by Zhu Quan of the Ming Dynasty: "Jiu Kuang" "is composed by Ruan Ji." Because "Qinqi Mipu" is the earliest Qin book containing this music, other The score books basically continue this statement, so this song is generally believed to be composed by Ruan Ji, expressing the depression and resistance of drinking to escape from the world.

But there are also people who hold different views. For example, the following view is that "Drunken Mania" is actually a false trust by later generations, and it is actually an appendix of "Liu Shang", which tells the story of Lanting's cultivation of wine:

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Mr. Yao Bingyan referred to several versions for his notation. The ones he could find at hand were "Liu Shang" in "Magical Secret Music Score" and "Xilutang Qin Tong".

Reduced character score of "Jiu Kuang" in "Magical Secret Music":

Reduced character score of "Liu Shang" in "Xilu Tang Qin Tong":

So I compared the two versions of the music scores and found that there are still many interesting things:

The main fingering method used in the magic secret music score is to pick, and the corresponding fingering method in Liushang becomes hook. Tick, the fingering used at the end of each sentence is "銆" in the magical secret score, and "锧" is used in the "Liu Shang". The fingering before "銊" or "zuo" in the magical secret notation is "Mo", and in "Liu Sang Zhong" it is "Tiao". Therefore, the last three sounds of each sentence are "Da Mo Ning" according to the fingering in the "Miraculous Secret Notation", and "Gou Tiao" according to the fingering in Liu "Zhong". Pinch.

Regarding "銊" ("銊", written as "foot" in the subtracted notation), it seems to be a now-lost fingering method. It should be a combination of hitting and picking. Mr. Yao Bingyan wrote in "Lyre" There is hesitation in handling this fingering when it is mentioned in "The Process of Notation of "Jiu Kuang"":

Judging from the current teaching music scores and the performances of some performers, the currently more common fingering should be It is "Da Mo Cuo" or "Go Pick Cuo", and there is also a mixed playing method of "Da Mo Cuo". Different teachers or piano schools may have different playing methods. For example, the fingering method taught by my current teacher is to use "Da Mo Cuo" when going up. Use "wipe pinch" and "beat pick pinch" when going down.

Another big difference in the fingering between Liu Shang and Jiu Kuang in the magical secret score is that after the melody of the first phrase of the second paragraph is completed, the left thumb of the next phrase uses " "Down" to retreat to the next phoneme, rather than the "claw up" in the magical secret score.

The score typed by Mr. Yao Bingyan is as follows:

The notation in "Qinqu Gou Shen":

Xu Jian's notation (the rhythm and some pitches are different Different):

It can be seen that the score typed by Mr. Yao Bingyan is still very faithful to the magical secret score, with only small changes in a few phonetic positions, most of the notes will not sound quite right. It conforms to current listening habits and still retains the pitch of the original score. These are some of the characteristics of the Yao version discussed below.

I have listened to the performances of some famous guqin masters these days. Each has its own merits, but there are still certain rules to follow in terms of versions. I have roughly sorted them out based on the versions that are easy to find, and only involve the similarities and differences in versions (all Taking Xu Jian's notation as a comparison), the performance style is not included in this list.

Yao Bingyan’s version:

The version of Mr. Yao Bingyan that can be heard at present should be the recording included in the "Chinese Music Encyclopedia Guqin Volume" (also commonly known as Laoba Zhang). (The recording material attached to the book "Qinqu Shen" also contains the song "Drunken Madness", but it seems that it cannot be completely confirmed that it is Mr. Yao Bingyan's own version?) It is completely in standard three beats, even the last sentence and the fairy vomit. The wine is also accurately stuck in the rhythm of the whole song, which made me feel a little uncomfortable when I first heard it.

One difference between this version and most other versions is that the second sentence after the first ascending phrase of the fourth paragraph, that is, the sentence "611332355" is not strictly It corresponds to the melody of the previous sentence with low emblem position. According to the version notated by Xu Jian and the current version of most subtracted notation, in order to make the two sentences have the same melody, in the latter sentence, the middle finger goes up from the sixty-fourth of the first string to the fifth and sixth, and the first finger, which is a few notes apart, is the kneeling finger. From the six-fourth of the three-stringed string to the fifth-nine, the Yao version should have retained the phonemes in the magical secret score. The middle finger goes from the seventh string of the first string to the fifth and sixth, and the kneeling finger goes from the third-string seventh to the fifth and ninth, and the melody is The corresponding value becomes "511331355". At the same time, the penultimate note of this sentence (including the corresponding low emblem phrase) is guessed to slide directly to the fifth emblem (nine emblem) on the third string, replacing the scattered tone of the sixth string. I saw someone say before that they always felt that they couldn't play it exactly the same as Mr. Yao's version. I thought it might be because of the different fingerings mentioned above.

In addition, whether comparing the notation in "Qinqu Gou Shen" or Xu Jian's notation, Mr. Yao's version of the recording is missing two lines of "66321111" located in the upper and lower emblem positions respectively. The phrase at the high position is not included in many famous performance versions. It may be that it was omitted by convention during the development process, but the sentence at the low position was also omitted in the recording, due to the lack of other performances by Mr. Yao Bingyan. There are no playing materials, so it is unknown whether his usual playing habits have always been like this.

Yao Gongbai and Yao Gongjing Version:

As the sons of the Yao family, these two gentlemen basically inherited the style of Mr. Yao Bingyan, but the sentence mentioned above probably did not follow the magical secret book. As far as the version I heard, the rhythm of Mr. Yao Gongbai's immortal spitting wine is more free. In the second descending phrase, the hand sound is used instead of claws, which is the fingering in the score of "Liu Shang" mentioned above.

Zhang Ziqian's version:

It is also in 6/8 time, only in the final part where the immortal spits out wine it changes to a loose board, and there is a fussy decoration before the third string is pulled out at the end of the sentence. Sound, the immortal spit out the wine and repeated the last half of the sentence with overtones.

Dai Xiaolian and Cheng Gongliang’s version:

Basically the same as Zhang Ziqian’s version, but Zhang’s version lacks a high-level “66321111” at the end. Dai’s and Cheng’s versions both have this sentence. Dai Xiaolian's version inherits the last overtone of Zhang Ziqian, while Cheng Gongliang's version is closer to the pitch of Yao's version of the magical secret score.

Liu Shaochun's version:

Like Yao Bingyan's recording version, there are two missing sentences of "66321111" located in the high and low emblem positions respectively. The second half of the sentence of the immortal spitting wine is repeated, but it is not an overtone. It's played by notes.

Lin Youren version:

Missing the high-status "66321111", but there is no final repetition. The similarity with Mr. Liu Shaochun is that the last part of each sentence "66321111" appears relatively late.

In fact, Dai Xiaolian and others also have similar treatment, but Liu Shaochun's style is the most obvious. The pinch at the end of almost every sentence is dragged behind and becomes a very urgent sound, giving people a very simple impression.

Mei Yueqiang version:

The beat has changed to a mixture of 6/8 and 5/8. Except for the fact that it has one less high-level "66321111" than Yao Pu, this sentence The previous "611332355" was only played once. The rest is the same as Liu Shaochun's version, with hand sounds in the descending phrases. In addition, the rhythm processing of each sentence "66321111" is quite special.

Most of the above versions continue the 6/8 rhythm composed by Mr. Yao Bingyan. Later, many northern pianists made some changes to it, except that the rhythm changed from 6/8 to 6/8 and In addition to the 5/8 mixed rhythm, there are also some additions and deletions to the phrases. Some main representatives are as follows:

Wu Jinglue version:

This is the appendix to the book "Guqin" by Lin Xili The version on the CD should be an ensemble with flute, erhu and other instruments, and it sounds very happy. The first line is played only once instead of twice like most pianists do. After playing the last "66321111" in Yao's score, I played the two long up and down sentences at the beginning again before entering the concluding sentence. The concluding sentence was only played once, without the fairy spitting wine at the end.

Pu Xuezhai version:

The authenticity of the Pu Xuezhai version circulating on the Internet is unknown. Except for the first sentence being repeated twice, the rest are the same as Wu Jinglue's version.

Chen Xijuan’s version:

Compared with Wu Jinglue’s version, it has the sound of the immortal spitting out wine, but is otherwise identical.

Wu Wenguang's version:

Compared with Wu Jinglue and Pu Xuezhai's versions, the difference is that the last "66321111" is missing. In addition, the second sound of each "66321111" is in When picking, I will pick two strings in a row, which sounds very powerful.

Li Xiangting’s version:

He said in the teaching video that repeating the first sentence twice would make people think it was a mistake, so he would basically only play the first sentence once. There is no last "66321111".

The five versions above are similar in that they use a mix of 6/8 and 5/8 beats. The ending sentence is in free rhythm and is only played once. Except for Chen Xijuan, there is no immortal spitting wine section.

In addition, the rhythm of Xu Junyue's version is also the same, basically loyal to Yao Pu, only ending with a stab at the end of the immortal spitting out wine, which has the effect of stopping suddenly, but the speed is too fast...

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Mr. Gong Yi's version is quite special:

He has recorded several versions of "Drunken Madness", and the phrases are the same as Xu Jian's notation, so they should strictly follow the magical secret score. Fingering, the melody of the second sentence of the fourth paragraph is the same as Yao Bingyan's performance version, which is "511331355". However, because the rhythm of the song is very loose and free, it sounds very different from Yao's version. It has a very drunken connotation and is also praised by many people.

In addition, there are also overseas versions by Liang Mingyue and Tang Shizhang. The rhythm is completely different from the above versions, and is more similar to "Liu Shang" scored by Ding Chengyun. The Tang version also includes Chinese and English versions of Qin songs, which sounds very interesting.

I compiled a table of the characteristics of these versions, which seems more intuitive, but after all, I have no music theory foundation and mostly rely on feeling, so there will inevitably be mistakes.

In addition to the guqin, there are also many adaptations of drunkenness in other national musical instruments and even popular music. Some of the more impressive ones are as follows:

National musical instruments:

In fact, the main part is still the guqin, but the element of xun is added, singing in harmony with the guqin, and drums are added, which is very lively.

Wang Zhongshan Guzheng version:

Transplanting the music to the guzheng, the sound is slightly crisp but not inconsistent.

Liu Xing Zhongruan version:

The tone is somewhere between the guqin and the guitar, and has a unique flavor, with a hint of blues.

Wu Lin's version of the harp:

I made an arrangement that suited the instrument's own conditions, but I always felt that the harp was too feminine an instrument and did not fit in well with the original music.

Huang Su version:

I feel that the collision between cello and guzheng is not very harmonious, and I can hear an inexplicable irritability, but it is still impressive in this regard... …

Huang Anyuan version:

Erhu and Big Band, I personally think it is a good work, with another kind of vigorous temperament, but when it comes to "drunken mania", it seems to start from Ruan Ji Pretending to be crazy while drinking wine turned into Xiao Feng's tragic song of generosity.

Popular music:

Tang Dynasty band "Drunken Mania":

The intro is a drunken melody played on an electric guitar, and the first line of the chorus is perfect for beginners It was the most difficult melody to play, so this song helped me a lot. When I first started practicing, I could never catch the rhythm of that line, so I relied on this song to help me.

But there is also a side effect. Until now, every time I play this sentence, I still hum in my heart, "Forget all the sadness"...

Wonderful Drugstore "Drunken Mania":

Bass instead The guqin, with the addition of accordion and celesta, is still very good. The vocal experiment is their usual style, but I still feel that it is not better...

Xu Wei's "Xanadu":

The melody of the prelude is that of a drunkard played on guitar. It is quite emotional to think that these rock singers have returned to this kind of lifestyle.

Sweet Child "Wine·Crazy":

A lot of folk instruments are used. Should the pipa, guzheng and zhongruan be included?

Liang Yiyuan's "Etude for Drunk Life and Dreams of Death":

It is completely an experimental work, and it can only be understood if it is connected with the entire album and the copywriting.

Therefore, this form of writing based on classical works is actually more about playing with concepts. The current result is either that the lyrics are weak or there are no lyrics at all...

The above information is basically All come from the Internet and personal understanding. If anyone sees it, please correct me.

At first, it was just the habit of textual research and organization that came up, but I didn’t expect that I dug a big hole for myself. Later, I thought it would be quite fun to study it. For example, I was gearing up to think that I could also write the music score... Well, actually, it was because the piece was short and I only read the music score after I could play it well... But I still found it quite interesting.

(2014.05)