Hulusi, Paohu Examination Pieces Collection

Author: Yang Jiansheng, Li Guizhong, Li Chunhua
Publisher:
Publish Date: 2005-04-01
Features: Based on our experience in teaching (Hulusi) and Bāō (Bawu) and years of grading work, we have compiled this grading textbook. It serves as a grading repertoire, as well as an auxiliary teaching material for learning and Bāō playing skills. Most of the selected pieces are newly composed. In the arrangement of levels, there may be some improper handling, and it still needs to be improved. Further, each level represents a range of proficiency rather than a specific point or line, and within the same level, there will inevitably be differences in difficulty and pitch. Between adjacent levels, a more challenging piece in one level may be very close in difficulty to a less advanced piece in the previous level. As a musical instrument performance art, this phenomenon is normal. Why are and Bāō grading systems only set with eight levels instead of ten? Those familiar with and Bāō know that these two instruments have a narrow range and lack super-blowing capabilities. Compared to other conventional Chinese wind instruments, mastering them is relatively easier, and the learning period required is significantly shorter. Therefore, in the arrangement of levels, we have set eight as the highest. However, this does not mean that and Bāō can be mastered without effort. To play these instruments well and perform moving music with refined techniques requires substantial hard work. In this sense, level eight does not represent the peak of and Bāō performance art. Sincere Advice: When using this grading textbook, pay due attention to the written parts, such as the Candidate’s Guide and the text at the beginning of each level. Carefully reading the relevant text will help you better understand the performance requirements and tips, enabling you to play the pieces as perfectly as possible.