Qin Fangge wanted to restore the "Ni Dress Feather Clothes Song", which is said to be Tang Xuanzong Li Longji Dengluoyang Sanxiang Station, Wangnu Mountain for Taoism composed music, used in the Taiqing Palace to sacrifice Lao Tzu when playing. The content of the dance music shows the life of Xianzhen in the upper realm, and there are Taoist mythological scenes such as "Shangyuan dots ring the calyx green, and the queen mother waves the trick to don't fly to Qiong". Tang Gaozong, Xuanzong and others personally wrote green words, commended them, and used them for Taoist priests to offer and pray, and some ministers and literati also competed to follow suit, thus further improving the level of Taoist literature.

"Dance of Neon Clothes and Feathers" can be described as a masterpiece of French music in the great songs of the Tang Dynasty, and a masterpiece of Tang song and dance. Until now, it is still worthy of a shining pearl in the history of music and dance.

"Neon Clothes and Feather Song" was popular for a while in the Kaiyuan and Tianbao years. In the twenty-eighth year of Kaiyuan, when Yang Yuhuan met for the first time in Huaqing Pond, Xuanzong played "Neon Clothes and Feather Clothes Song" to guide. At that time, Minister Zhang said that "Huaqing Palace" clouds: "The sky is sinking and the night is not young, and the blue clouds and fairy songs are dancing." A jade flute went into the air, and the moon was full and the Lishan Palace was leaking. ”

After the Anshi Rebellion, the court did not perform this work again.

However, due to the beautiful tune and exquisite conception of the "Ni Clothes and Feather Clothes Song", various feudal towns also rehearsed this song in the future, so the literati of the Tang Dynasty all sang or recorded it.

In the Southern Tang Dynasty, Li Yu, the queen of the Southern Tang Dynasty, got the residual score, and Zhou Ehuang and the musician Cao Sheng searched for the sound according to the score, supplemented and made a song, and once arranged the rehearsal, but it was no longer the original flavor. When Jinling City was broken, the music score was burned by Li Yu's order.

In the Southern Song Dynasty, Jiang Kui discovered the eighteen sections of the score of the Shang tune. These fragments are still preserved in his "Songs of the White Stone Daoren", and the "First Preface in the Neon Dress" written by him is divided into two parts, and the lyrics are long and short sentences, and the structure has obviously been influenced by the lyrics.

However, the tone is simple, and a descended seventh note (b7) often appears in the song, reflecting the typical style of the Tang Dynasty's Yanle side quotient tone. The mood of the song is leisurely and elegant, especially the two (b7) notes match the lyrics of "Where are the people" and "Drifting for a long time", which deepens the emotional color.

If Qin Fangge wants to restore this excellent Tang Dynasty opera, he will seek answers more from the articles of Bai Juyi and Yuan Zhen.

"The Song of Ni Clothes and Feathers" was very popular in the Tang court and occupied an important position in the music and dance of the Tang Dynasty. Xuanzong personally taught the disciples of Liyuan to play, and the palace maids sang, with 30 female artists, 10 each time. Regarding the performance scene of this song, Bai Juyi and Yuan Zhen have wonderful descriptions in the poem.

Bai Juyi has created a poem "Ni Dress Feather Dance Song Run (and Weizhi)", which records the situation of "Ni Dress and Feather Song" in detail, which is rich in content and has high artistic value. Yuan Zhen gave back to Bai Juyi with "Ni Clothes and Feather Clothes", and Qin Fangge read all these materials in detail, and then he also had a deeper understanding of this music.

The structure and dance posture of this piece are described in detail: the whole piece consists of 36 sections, with three parts: scattered sequence (6 sections), middle sequence (18 sections) and Qu Po (12 sections), integrating song, dance and instrumental performance. The 36 sections of the song show the fairy story of Chinese Taoism.

The prose sequence is a prelude, which is all free-rhythmic loose boards, played solo or in turns by chime, flute, zheng, flute and other musical instruments, without dancing or singing;

The middle sequence, also known as the beat sequence or song head, is a slow lyrical section, with several changes from slow to fast in the middle, singing and dancing according to the beat of the music;

Qu Po, also known as dancing all over, is the whole song**, mainly dance, complex and urgent, sonorous music, the speed from the loose board to the slow board and then gradually accelerate to the rapid beat, at the end of the slow, dance but not singing.

Bai Juyi praised the exquisiteness of this dance and said: "There are thousands of songs and dances, and I love the neon dress dance the most." ”

And for more detailed things, Qin Fangge also studied and excavated them one by one, for him, such a journey of discovery is a very interesting and interesting process, and it also makes him tired of it.

Bai Juyi wrote in "Early Departure to Dongting Boat": "I have traveled fifteen miles out of Guo, and I can only eliminate a slow song. "We are talking about the situation of the Ni Shang Yu Yi Song in the folk performance, and we can speculate about the vastness of its structure when it was performed in the palace.

In "The Song of Ni Clothes and Feathers (and Weizhi)", the performance of this song in the time of Xianzong is described in more detail, with 6 times in the loose order, 18 times in the middle order, and 12 sections in the middle order. The New Tang Dynasty Book 21, cited above, states that its length is "twelve times".

In addition, "Three Kinds of Sayings" contains Tang Que's famous "Orchestra Notes": ""The Song of Ni Clothes and Feathers" has thirteen stacks, the first six stacks have no beats, and the seventh stack is said to be repeated. Shen Kuo adopted this statement in "Dream Creek Writings".

It may be that the counting methods are different, or the structure of the performances may change in different historical periods, which is difficult to determine. It is generally accepted that this piece has a loose order and a middle order, the loose order has no beat, it is very soothing, the middle sequence rhythm is distinct, and the dance is added.

One of Wang Jian's "Ten Songs of Dance Music and Lyrics": "Leave a color in the disciple's department, listen to the wind and listen to the water to make a neon dress." The sound was not enough to be taught again until he saw the emperor in front of the bed. It narrates the scene of the disciples of Liyuan playing the "Song of Ni Clothes and Feathers" under the guidance of Tang Xuanzong. Its "scattered sound" refers to the scattered order of "Neon Clothes and Feather Song".

Bai Juyi's "Song of Neon Clothes and Feather Clothes" can also be reflected: "The six pieces of loose prelude have not moved their clothes, and the balcony is lazy and does not fly." His self-note: "There is no shooting for six times in the loose order, so I don't dance." ”

Regarding the situation during the performance of the Ni Clothes and Feather Clothes Song, we can also learn from Bai Juyi's "Song of the Ni Clothes and Feather Clothes": "The middle sequence is first filmed, and the autumn bamboo pole is cracked and the spring ice is dismantled. Its self-note: "There is a shot at the beginning of the middle order, also known as the beat sequence." Again: "Twelve times in a hurry." Self-note: ""The Song of Neon Clothes" ended twelve times. Again: "Xiangluan danced but closed its wings, and the crane song ended with a long voice." Self-note: "All the songs are about to end, and they all beat to speed up, but at the end of "Ni Dress", there is a long lead. ”

And the equipment is rich and diverse, which is also very valuable for Qin Fangge.

The instrumental music used in the French song is mainly the traditional silk and bamboo music, and the "Ni Clothes and Feather Clothes Song" as the French song should be based on traditional musical instruments, and the specific musical instruments involved in the poem are chime, flute, zheng, flute, gonghou, millet, sheng, pipa, qin, etc. Moreover, the piece can be played as an ensemble with multiple instruments or as a solo instrument.

Bai Juyi's "Song of Ni Clothes and Feathers (Heweizhi)" (volume 444_9): "The chime and the zheng, the flute are handed to each other, and the sound of hitting and blowing is resounding. "Linglong Gong Hou Xie Hao Zheng, Chen Pet Li Shen Pingsheng. There is a self-note cloud: "At the beginning of the Fa song, everyone was not happy, only the golden stone silk and bamboo made a sound, and at the beginning of the preface of "Ni Shang", it was the same. ”

Bai Juyi's "Lying and Listening to the Faqu Ni Dress" (volume 449_58): "The golden chime and jade sheng have been tuned for a long time, and the corner pillow of the gum is often late. ”

Bai Juyi's "Pipa Introduction and Preface" (volume 435_25): "At the beginning, it was six years after the neon dress", which was played with the pipa.

Bai Juyi's "Dream of New Poems" (volume 462_25): "The wind and moon are cool tonight on the pond, and the idle teaching is less musical. When the new words in the fairy hall arrive, they will broadcast sheng songs as movements. "It is mentioned that this piece is played with sheng.

Bai Juyi's "Prince Jin Temple" (volume 451_15): "The moon is bright on the mountain in front of the Zijin Temple, and people often blow the sheng at night. Luan Yinfeng sings without beating, more like a neon dress scattered prelude. "It's also a sheng.

Yuan Zhen's "Pipa Song (Ji Guan Er, and Teaching Iron Mountain, and then New Title Yuefu)" (volume 421_5): "The title of the song is infinitely knowledgeable, and the neon clothes and feathers are biased. "Write Li Guan'er to play this piece on the pipa.

Liu Yuxi's "Autumn Night Anguo Guan Wensheng" (volume 365_93): "The moon dew is full of people in the court, and the neon clothes are in the high-rise building. "The mention is also played with sheng.

The second of Zhang Hu's "Four Songs of Huaqing Palace" (volume 511_93): "The sky is sinking and the night is not young, and the blue clouds and fairy songs are dancing. A jade flute went into the air, and the moon was full and the Lishan Palace was leaking. "It's played on the flute.

In addition, Yuan Zhen's "The Legend of the Yingying" also mentions playing this song with the piano.

Such a variety of musical instruments, even if they are placed in the current Huaxia Conservatory of Music, they are basically impossible to find. As far as Qin Fangge is concerned, he doesn't expect to be able to get all these instruments together, the main thing is to get the score out first. This requires the help of his own rich artistic imagination, and he also tries his best to substitute himself into the original creator, Tang Xuanzong Li Longji.

In addition to the score, if Qin Fangge wants to perfect this "Song and Dance of Ni Clothes and Feathers", dance is also indispensable.

Vocal music, instrumental music, and dance are also the essence of the whole song.

The dance is a classic masterpiece of Chinese court dance.

Some scholars believe that the "loose order" of large-scale music and dance is the instrumental performance part, the "middle order" is the singing part, and the "break" (also known as "dancing through") is the dance part. Or only "scatter and not dance", or do not join the dance until the "broken" part, or sing and dance. This dance can be roughly divided into solo dance, duet dance, and team dance.

Yang Guifei and her maid Zhang Yunrong are both good at this dance, which is a solo dance.

Bai Juyi's "Song of Ni Clothes and Feathers (Heweizhi)" (volume 444_9): "Yuan Dian's mustache beckons the calyx and the green flower, and the queen mother waves her coat and says goodbye to Feiqiong." His self-note: "Xu Feiqiong, Calyx Luhua, are all fairies." "It is speculated that it was accompanied by a prostitute of the second palace as a fairy dance.

Wang Jian's "Ten Poems of Neon Clothes" (volume 22_18) No. 7: "The people of the palace take a bath and return to the palace, and watch the door of the beauty courtyard open from afar. A mountain of stars and moon is moving, and good words come from the palace first. "It's supposed to be a team dance.

Zheng's "Jinyangmen Poems" self-note: "He also ordered the palace prostitutes to comb nine fairy buns, wear peacock and green clothes, wear seven treasures and Yingluo, and wear neon clothes and feather clothes." At the end of the song, the pearl can be swept. "It can be seen that the number of dancers who participated.

Bai Juyi's "Song of Ni Clothes and Feathers (and Weizhi)": "The snow is light and the snow is light, and the dragon is frightened." The willow is weak after the small hanging hand, and the clouds are about to be born when the slanted skirt is swaying. His self-note: "The four sentences are the initial state of the neon dance." ”

"Tang Yulin": "Its song has neon clothes, and the rate is all holding the flag festival, being subdued by feathers, and there is the trend of flying clouds and cranes." ”

None of this can be done overnight. Not only is the requirement for musical talent relatively high, but also a test of his literary skills, even if there is an almighty search engine to help, but if you want to consult so much information, and then carefully research, it is not an easy thing.

But Qin Fang was happy in it, and he felt that his life was not wasted. Moreover, he always believed that he would eventually finish it. When the time comes, I want to show these splendid music cultures to people who love music all over the world.

Of course, the top priority is to first make the pipa solo piece of "Pipa Xing", and then create a fragment of "Ni Dress and Feather Song" according to the materials he has consulted, and it is not a problem to use it in this "Pipa Xing".

Among them, Bai Juyi really loved this "Neon Clothes and Feather Song", when he was demoted to Hangzhou, he coached the courtesans to rehearse this big song, and it was also because in the court, he was too impressed by the effect of appreciating this big song and dance. It's a pity that after he left Hangzhou, the courtesans flew into the forest and scattered, leaving regrets.

And Bai Juyi also never forgot the reappearance of "Neon Clothes and Feather Song", when he was in Suzhou, he heard that many of his friends Yuan Zhen's subordinates were good at singing and dancing, so he asked him with a book. Yuan Zhi replied with "Ni Clothes and Feather Clothes". He was like a treasure, and his joy was expressed by words such as "the shape seemed to be seen in front of him" and "suspicion was summoned from the soul dream".

The vivid images written by Yuan Pu made him seem to see the live performances of the palace beauties in various forms, as if in a dream. In the end, he decided to use the score as a basis to re-coach the courtesans in Suzhou. "But I am afraid that this dance will be abolished" expresses the concern that the beautiful dance music will be lost.

These are all things that happened later, Pipa Xing was written in 816, when Bai Juyi was Sima of Jiangzhou, he heard that the Pipa girl played the song of neon clothes and feathers, and the impact on him was also quite great, and it was also the feeling of the fallen people at the end of the world, and it was also very touching.

For Qin Fangge, these are the treasures of ancient culture, which need to be rediscovered and recognized by future generations. This is not enough, it is also necessary to carry it forward and keep pace with the times.

On January 4th, Qin Fangge didn't have any exams, and there was no talk of going to class, so he stayed in the music studio. I talked to Lin Baoqing on the phone, saying that he was doing his own thing and wouldn't go to school.

Lin Baoqing naturally wouldn't force him, and Qin Fangge's retreat was also a very normal thing, she just reminded him that he would have an exam the next day, and if he could, it was better to participate as much as possible, so as not to make it difficult for the teacher.

Qin Fangge is still quite empathetic, and he is also kind as a stream. Lin Baoqing didn't ask him what he was doing, and she didn't want to ask too clearly about everything, that would only make him feel unfree, which was not the result she wanted.

And Qin Fangge concentrates his energy to a high degree, and the efficiency of completing a thing is still very high. The restoration of "The Song of Ni Clothes and Feathers" is arduous and long, but "Pipa Xing" is relatively not so difficult, after all, Bai Juyi's poetry is the foundation, and it is good for him to create on such a tone.

In the early morning of the 5th, Qin Fangge completed the pipa solo piece, "Pipa Xing", and he himself played it twice with the pipa, each time lasting about twenty minutes. In the solo pipa, it is already considered to be particularly long. This piece is not easy for him to play himself, let alone others. (To be continued.) Fupin Chinese