Lute Style Practice Pieces 158

Author: Wang Guotong, edited by Zhao Huanyang
Publisher:
Publication Date: 2001-03-03
Features: China is a vast country with a large population. Due to the differences in natural geographical environments across various regions, there are significant variations in people's lifestyles, accents, customs, and aesthetic awareness. As a result, different musical styles have historically emerged. Especially in the music of local operas, influenced by diverse folk music and vocal tones, each style has its own unique characteristics. As a erhu player and learner, in addition to mastering pitch, rhythm, articulation, and various techniques, as well as musical expression, it is also necessary to grasp different musical styles, including specific glissandos, ornamentation, vibrato, and different bowing techniques. The application of these directly relates to the expressiveness and artistic charm of erhu performance. Therefore, practicing different stylistic techniques is an indispensable and important part of erhu performance art and teaching. This book compiles 158 pieces of operatic tunes and composed exercises in 30 different musical styles, including Peking Opera, Ping Opera, Hebei Bangzi, Hebei Hahahaha Opera, Sichuan Opera, Yingdi Opera, Wuyin Opera, Liuzi Opera, Lü Opera, Jiangnan Sizhu, Kunqu Opera, Xizhou Opera, Yang Opera, Huai Opera, Lü Opera, Yue Opera, Guangdong Music, Cantonese Opera, Jinzhong Yangge, Shanxi Bangzi, Yu Opera, Henan Qu Opera, Qin Opera, Fuhou Opera, Hunan Huaguxi, Inner Mongolia Ertai, Caidiao Opera, Yunnan Huadeng Opera, Xiang Opera, etc. To help readers better grasp the stylistic characteristics of the pieces in this book, each exercise is marked with detailed bowing, finger, and glissando/ornamentation symbols. By practicing according to the specified symbols in the pieces, players will gain a deeper understanding of the stylistic features and inherent charm of the music. Due to space constraints, this book only includes a portion of the various musical styles of Chinese opera music, and its content is not comprehensive or systematic. To help establish a scientific and systematic erhu teaching system as soon as possible, it is hoped that the publication of this book can serve as a stepping stone, gradually improving and expanding the content of erhu style exercises. Let us work together to advance the development of erhu art.