As the sound of the pipa sounded, other instruments also joined in one after another, and the music suddenly became richer.

Life in the Forbidden Palace is depressed. Although the music is washed away, compared to appreciating the melody itself, Li Tong is more interested in the way of playing these different instruments and the coordination between them.

After the sound of the Jie drum was paused, the white beads on his body took the opportunity to adjust their state, but they did not stop playing it. The frequency of beating the Jie drum was significantly slowed down, but each time the drum sounded, it represented a new change in the melody of the music.

The unique and pure tone of the Jie drum allows it to be clearly perceived, controlled the rhythm, and set the tone of the palace, which can effectively control the performance of the entire music. No wonder it is called the General Leader Bayin.

It can be seen that if you want to master the Ke Gu skillfully, it is not just as simple as knocking and beating. You also need the performer to have superb musical attainments in order to lead the normal performance of the entire movement.

The sound of the pipa is dense and melodious, and it is the main sound of a movement. The performance of other instruments is obviously related to this instrument. Although Li Tong does not have very profound knowledge of music theory, after listening for a while, he can also feel that the level of the pipa player in a musician will directly affect whether the performance of the music is good or bad.

As a harmonious sound, there are two types of blowing instruments, 无生生 and 无生. These two are vertical wind music, and the tone and range overlap. Even 无生生生生生生生生生生生生生生生生生生生生生生生生生生生生生生生生生生生生生生生生生生生生生生生生生生生生生生生生生生生生生生生生生生生

The range of syllable syllable should be wider, with richer changes, and more clear sounds. Hulu is relatively slightly turbid, thick and low, and can be used to close the sounds in music, so that the syllables will not break away from the mess and lay a slightly sad and melancholy tone.

In addition, there are also musical instruments such as square sound and sandalwood board.

Square sound is hung with wooden racks of sixteen iron sheets of different sizes and thicknesses. The hammer sounds. It can be regarded as a simple bell and chime. It overlaps slightly with the Jie drum in terms of music theory, and has the effect of finding the palace and determining the accuracy. It is also an important instrument in the Qing Shang music. It is now incorporated into the common music. It can be seen that the music at present has undergone a great degree of integration, and the boundary between the elegant and the vulgarity is no longer clear.

Sandalwood boards are made of thin sandalwood sheets. When the player waves, they will crackle and crackle like a sudden rain, which looks like a plastic clapper for children toys that were seen in later generations. This is also the simplest musical instrument that Li Tong saw, but he doesn't know very well whether it is easy to learn and difficult to master.

The musical instruments were played for about ten minutes. Although it can be said that the tone is rich and the melodious tunes are gentle, Li Tong felt that it was basically the same, so it was fresh.

Perhaps it is because of the limited level of voice actors in this movie, and it is difficult to play the sound of nature. Of course, it is also because his literary and artistic aesthetic interests are still estranged than those of the real ancients. But when you look at others around you, you listen carefully and feel quite intoxicated, and probably because you lack such entertainment for a long time.

The tune of music in the field changed again, the sound of the pipa turned soothing, the fish were melodiously mixed, and the remaining sounds were all paused. The yellow skirt dancer came on stage in a row, rising and falling with his steps, and there were also small drums in harmony. The state seemed to be a singing, but the dancer's posture and movement were much more complicated than singing.

"Taiyao Niang? This is Tayao Niang!"

Li Shouli slapped the table and shouted loudly, which made Li Tong look curiously. It has been a few months since he came to this world. This was the first time he was surpassed by the native Li Shouli in terms of knowledge. When Concubine Fang and Zhang Liangyuan heard Li Shouli's shouting, they were also curious for a moment. Unexpectedly, this kid was still knowledgeable.

As if in response to Li Shouli's shouting, the dancer on the stage paused and had already opened his lyrics: "The bridal chamber is deep and the beautiful girl is wearing a silk shirt..."

As soon as the lyrics were spoken, Fang and Zhang Liangyuan's faces turned dark, but Li Shouli became even more excited. He swung his body with the dancer's body and slapped the table with a "hey, hey" sound, which was very supportive.

Li Tong was already very happy to see this and knew that this kid would definitely be in trouble. He was not easy to talk about Tang songs, and he happened to understand "Taiyao Niang". This is a perfect and common tune. It is basically a story of a beautiful wife matching a bad husband. Her husband is ugly and fierce, she is addicted to drinking and beating his wife. Her wife cries and tells her neighbors about her and has a couple fighting.

Such a down-to-earth story naturally does not belong to the category of the Qing Shang ceremony and the court Yanle. It is normal for the concubine and Liangyuan to have never heard of it. But Li Shouli has actually heard of it, which is a bit abnormal. Where did he hear it?

This song is a song about the erotic song of the boudoir and a erotic song, and a erotic song when the couple is entangled. It is a secret and obscene movement of the boudoir. It is a erotic song, and its style is not high. This shows that the Neijiaofang during this period has long since disappeared from the origins of the Qing Dynasty and Shang Dynasty in the early Tang Dynasty and is deeply infected by the common music.

However, after watching it, Li Tong found that this should be a refurbished song. The original vulgarity and eroticism have been deleted a lot, and it is basically within the standard. After all, it was performed in the Forbidden Palace, and the standard was not good enough to be too open. But it also shows that the level of this inner school musician is indeed not high. Fang asked them to choose their own songs and actually perform such a drama.

In fact, it is quite interesting to remove the erotic elements and listen to the songs carefully. The woman's singing style is graceful and sad, and her words are simple and easy to understand. She is nothing more than complaining about her husband's vulgarity and incompetence and the discord in family life, which can satisfy people's desire to see through selfishness.

Everyone has the gossip mentality. Even when the information in later generations is so developed, people have maintained a high interest in so-called celebrity scandals and wealthy palace fights. The same is true for the ancients. For example, the concubine Fang and others on the table were slightly disliked at the beginning, but as they listened, they were attracted by the dancer's crying family affairs.

As for Li Shouli, he even widened his eyes, his face flushed, and even raised his hand to rub his eyes, occasionally gritting his teeth, saying, "You are annoyed by the evil husband" and "Don't be sad, my wife", but he did not forget to pat the table and "Hey, hey"!

This kid is helpless!

Li Tong glanced at him and kicked him twice, indicating that he would calm down. The two elder women on the table were glaring at him frequently except for listening to the opera. Li Shouli turned around blankly to look at Li Tong, and then turned around and patted the table "Hey".

Li Tong was not very interested in those self-singing, so he simply picked up the book of the songs placed on the table by Li Shouli and read them. First, he saw them in the eyes, including "Sacred Shou Music" and "Shui Tune". In addition to the title of the song, the part of the sound people's case was marked later, such as the scattered preface, the song head, the breaking, etc.

The Tang Daqu music is very long, as short as dozens of minutes, as long as several hours. With such a long playing time, it is naturally impossible for fixed personnel to play from beginning to end, so multiple personnel need to participate and work together to complete it.

The big song is generally divided into three parts: scattered songs, songs, and broken. The scattered song is the musical instruments that create an atmosphere. There are many different types. The style of the music is matched with rich content. Song is the singing verse, composed of several songs. The first one is also called the song head. The scattered song ends, also known as the dance whole, mainly a dance performance. At the same time, the tune will become rapid and changeable, and the performance will continue to be pushed to **.

For example, the song "The Song of the Rainbow Skirts and Feather Clothes" that is familiar to later generations, the preface of the sings are six times, the songs are eighteen times, and the breaks are twelve times, which can be said to be grand and full.

Yes, the more famous lyrics in Song Dynasty lyrics, "Shuitu Getu", is the song title part of the Watertu Getu Getu.

Tang Yan Music reached its peak in the prosperous Tang Dynasty. After the Anshi Rebellion, the national strength gradually declined, and political turmoil was frequent, and it was even less than enough to maintain a huge scale of dance music. The songs that originally mainly feasted the palace gradually flowed into the folk.

However, in ancient times, without detailed inheritance standards and tools, it was difficult to pass on these huge songs intact. At most, ordinary scholars of the Jiaofang can pass on some of them and have their experiences taught them.

Therefore, in the late Tang and Five Dynasties, the Yanle Music gradually declined, and replaced it with some of the old tunes in the original songs, which were also popular among the people.

The possession and discourse power of the literati and officials in the Song Dynasty was unprecedentedly improved, and their literature and art were much more urinary than those of the predecessors. Therefore, the ci ci, which originated in the Sui and Tang Dynasties, was originally just a vulgar poem, but it was soon fully developed after the Five Dynasties, making Song ci an independent and a major cultural monument.

Among them, Li Yu, the late emperor of the Southern Tang Dynasty, was a pioneering figure who improved the ci-ci-ci-ci-ci-ci-ci-ci-ci-ci-ci-ci-ci-ci-ci-ci-ci-ci-ci-ci-ci-ci-ci-ci-ci-ci-tech-ci-ci-tech-ci-tech-ci-tech-ci-tech-ci-tech-ci-tech-ci-tech-ci-tech-ci-tech-ci-tech-ci-tech-ci-tech-ci-tech-ci-tech-ci-tech-ci-tech-ci-tech-ci-tech-ci-tech-ci-tech-ci-tech-ci-tech-ci-tech-ci-tech-ci-tech-ci-tech-ci-tech-ci-tech-ci-tech-ci-tech-ci-tech-ci-tech-ci-tech-ci-tech-ci-tech-ci-tech-ci-tech-ci-tech-ci-tech-ci-tech-ci-tech-ci-tech-ci-tech-ci-tech

Thinking of this, Li Tong realized that the scope of his copying could be greatly expanded, and he did not have to be limited to the field of Tang poetry. Although he had been tempted to copy writing, he had suffered from the lack of a group of praise and a way of dissemination.

Now seeing the performances of these vocalists in the Neijiaofang made him realize that combining with vocal music may not be a way out. The literature and art of the Tang Dynasty were developed, and renovating old music was an ordinary entertainment activity for literati and poets. Revising new words and recomposing voices all belong to the category of renovation.

Moreover, there are a large number of vocal poems that can coordinate the rhythm of the Tang poetry, and even the regular verses and quatrains in modern poetry, which are derived from the vocal music theory. Poetry is all about music, and singing and lamenting are the basic attributes of poetry. It is only when the tunes of later generations are difficult to pass on, and the old sounds are lost, so it is concentrated on the poem itself and devoted to the discussion of words.

Li Tong was still thinking about it. The song on the stage was over. In addition to playing the beads, the beads on stage also played the role of the husband of a resentful woman. He was dressed in red and pink on his face and was hit on the head by Li Shouli who was too deeply involved in the play. However, he did not dare to complain. He could only comfort himself in the performance and attracted the scene.

The actor on the field packed up his utensils. Li Tong had an unexpected idea in the table and called the Mi Baizhu, who had not had time to remove his makeup, and asked, "Can you play "Wu Meiniang"?"

He was also extremely bored and wanted to die. He suddenly remembered his grandmother's old name for being a scattered in the palace in Taizong in the past. It was originally taken from the folk song "Wu Meiniang" in the early Tang Dynasty, which was why this question came into question.

After hearing this, the white beads laughed dryly and said twice: "There are still some insults, but the sings are lost, and no one renovated them..."

It would be strange if someone renovates it.

Li Tong was not surprised after hearing this. "Wu Meiniang" is similar to "Taiyao Niang", a common tune and a mixed story of the folk songs, and it is impossible to ban it. However, if anyone in the palace wants to make new lyrics and sing them again, it is purely because life is too depressed and exciting.

Li Tong wanted to stimulate it, so he made up his mind to learn the skills of melody later, keep the records of the tune, and compile new words, and sing them every day when his grandmother collapsed. But this was just a little bit of evil in his heart, and it was still difficult to say it.
Chapter completed!