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

Life in the forbidden palace is boring, although the music is ear-washing, but rather than appreciating the melody itself, Li Tong is more interested in the way these different instruments are played and the cooperation between each other.

After a pause in the sound of the drum, Mi Baizhu took the opportunity to adjust his state, but he did not stop playing, but the frequency of hitting the drum slowed down significantly, but each drum sounded represented a new change in the melody of the music.

The unique and pure timbre of the drum allows it to be clearly perceived in the sound of a group of instruments, control the rhythm, find the palace and set the tone, and can effectively control the performance of the whole piece.

It can be seen that in order to master the drum, it is not just as simple as beating and beating, but also requires the performer himself to have superb music theory attainments in order to lead the normal performance of the whole movement.

The lute is the main note of a movement, and it is evident that the other instruments are playing around this instrument. Although Li Tong does not have too advanced knowledge of music theory, after listening for a while, he can also feel that the level of pipa players in a musician will directly affect whether the performance of the music is good or bad.

As a harmony, there are two wind instruments, the bamboo and the hu. Both of these are vertical wind music, and there are many overlaps in timbre and range, and even the pipes are also called pipes, but there are subtle differences.

The vocal range of the bamboo is wider, the changes are richer, and there are many clear sounds. The Hu Ji is relatively slightly dull, thick and low, and it is used in music to gather notes, so that the syllables will not jump out of clutter, and set a slightly melancholy and poignant tone.

In addition, there are also musical instruments such as square rings and sandalboards.

Fang Xiang is a wooden frame hung with sixteen pieces of iron pieces of different sizes and thicknesses, and the mallet strikes to make a sound, which can be regarded as a simple bell chime, which slightly overlaps with the drum in terms of music theory application, and has the function of finding the palace and setting the standard, and is an important musical instrument in Qing Shang music, and now it is also compiled into popular songs, which shows that the current music has been blended to a great extent, and the boundary between elegance and vulgarity is no longer clear.

The sandalwood board is made of stacked sandalwood sheets, and the player swings it with a crackling sound like a shower, which is like a plastic clapper for children's toys that is common in later generations. This is also the simplest instrument that Li Tong has seen, but he doesn't know much about whether it is easy to learn and difficult to master.

The clear sound performance of the instrument lasted for about ten minutes, although it can also be said that the timbre is rich and the melody is tactful, but Li Tong thinks that it is generally like that, and it is fresh.

Perhaps it is because of the limited level of this sound, it is difficult to play the sound of nature, of course, it is also because there is still a gap between his literary and artistic aesthetic interest and that of the real ancients. But looking at the other people around me, they all listened carefully, and they were quite intoxicated, probably because of the long-term lack of such entertainment.

The tone of the music changes again, the sound of the pipa becomes soothing, the sound of the pipa is melodious, and the rest of the sound is all stopped. The dancers in the yellow dress take the stage, rising and falling with their steps, and the small drums are in harmony, which seems to be a song, but the dancers' posture and movements are much more complicated than the song.

"Shake the mother? This is a stepping mother! ”

During the banquet, Li Shouli shouted loudly, causing Li Tong to look at him curiously. It has been a few months since he came to this world, and it is the first time that he has been surpassed by Li Shouli, a native, in terms of knowledge. And when the concubine Fang and Zhang Liangyuan heard Li Shouli's shouting, they were also curious for a while, but they didn't expect this kid to be well-informed.

As if in response to Li Shouli's shouting, the dancers on the stage shook their bodies and opened their mouths to sing: "The cave room is deep, and the lady is empty and ...... Luo's shirt"

As soon as the lyrics came out, the faces of Fang and Zhang Liangyuan on the table suddenly darkened, but Li Shouli's emotions became even more excited, accompanied by the dancer's body suddenly turning, and the case was made a "hey, hey" sound, which was very popular.

Li Tong was already very happy when he saw this, and knew that this kid must be unlucky. He has a comprehensive understanding of Tang tunes, and this "Shaking Niang" happens to understand, this is an out-and-out vulgar tune, basically a story of a delicate wife and a bad husband, the husband is ugly and sexual, drunk and beats his wife, and the wife cries and complains to her neighbors and has husband and wife fighting.

Such a down-to-earth story naturally does not belong to the category of Qing Shang Dali and court Yanle, and it is normal for the concubine and Liangyuan not to hear it. But Li Shouli, this kid has actually heard it, this is a bit abnormal, where did he hear it?

This song, the lyrics are the song of resentment, the dance is the head scratching, especially when the couple is entangled, there is no lack of secret and obscene movements, it is a fragrant and vulgar song, and the style is really not high. It can be seen that the inner teaching workshop of this period has long ceased to have lost the origin of the Qing dynasty and merchants in the early Tang Dynasty, and was deeply infected by vulgar music.

But after looking at it again, Li Tong found that this should be a refurbished song, and the original slang and fragrance have been deleted a lot, and it is generally still within the scale. After all, it is a performance in the Forbidden Palace, and the scale is not good to be too open. But it also shows that the level of musicians in this part is indeed not high, and Fang's let them choose their own repertoire, and they actually performed this kind of drama.

In fact, it is not interesting to remove those fragrant ingredients and listen carefully to those songs. The woman's singing is tactful and complaining, and the singing is simple and easy to understand, which is nothing more than complaining about her husband's vulgarity and incompetence and the disharmony of family life, which can satisfy people's voyeuristic desires.

Everyone has the psychology of gossip, even if the information is so developed in later generations, people maintain a very high interest in the so-called celebrity scandals and wealthy palace fights, and the same is true for the ancients. For example, the concubine Fang and the others on the banquet were slightly disliked at first, but when they listened to it, they were also attracted by the dancer's crying about family affairs.

As for Li Shouli, his eyes widened when he heard it, his face flushed, and he even raised his hand and rubbed his eyes, occasionally gritting his teeth "The wicked husband is annoying" and "The lady is not sad", but he didn't forget to shoot the case and pat "Hey, hey"!

This kid is hopeless!

Li Tong glanced at him, kicked him twice by the way, and signaled him to restrain a little, and the two elder women on the table glared at him frequently in addition to listening to the play. Li Shouli turned his head to look at Li Tong blankly, and then turned back sharply to shoot the case, "Hey".

Li Tong was not very interested in those private singing, so he simply picked up the repertoire scroll that Li Shouli put on the case and looked at it. The first thing you see is the big songs, "Shengshou Music", "Water Tune", etc., in addition to the name of the track, the back is marked with the part of the sound of the person's case, such as the loose order, the song head, into the break, and so on.

The movement of Tang Daqu is very long, as short as tens of minutes, and as long as several hours. With such a long performance time, it is naturally impossible to have a fixed number of people to play from beginning to end, so it is necessary for multiple personnel to participate and work together to complete it.

The big song is generally divided into three parts: loose order, song, and break, and the loose order is a clean play of musical instruments to create an atmosphere, and there are many different types and music styles to match, and the content is very rich. A song is a song, which is composed of a number of songs, and the first part of the song is also called the song head. Breaking is the end of the big song, also known as dancing through, mainly dance performances, and at the same time, the tune will become rapid and changeable, pushing the performance to a climax.

For example, the "Neon Dress and Feather Song", which is known to later generations, has six times in the loose order, eighteen times in the song, and twelve times in the broken part, which can be described as grand and full.

Yes, the more famous word brand name in the Song Dynasty is "Water Tune Song Head", which is the first part of the Water Tune Song.

Tang Yanle Daqu reached its peak in the Tang Dynasty, after the Anshi Rebellion, the national strength gradually declined, the political turmoil was frequent, and even it was no longer enough to maintain a huge scale of dance music, and the original main court banquet Daqu gradually flowed into the people.

However, in ancient times when there were no detailed records of inheritance scales and tools, it was very difficult to pass on these huge songs completely.

Therefore, in the late Tang Dynasty and the fifth dynasty, Yanle Daqu gradually declined, and was replaced by some remnants of the old tunes in the original Daqu, which were also appreciated by the people along with the broadcast.

The possession of social resources and the right to speak of the Song Dynasty scholars have been unprecedentedly improved, and the literary and artistic aspects are much more urinary than those of their predecessors, so the song lyrics that originated in the Sui and Tang dynasties were originally just slang poems, and they were soon fully developed after the five dynasties, making the Song Dynasty become a major cultural monument independently.

Among them, Li Yu, the queen of the Southern Tang Dynasty, can be said to be a pioneering figure who has raised the lyrics from slang and wild culture to the entertainment standards of scholars, and a brilliant pioneer of lyricists.

Thinking of these is nothing more than to make Li Tong realize that the scope of his literary copying can be greatly expanded, and it does not have to be limited to the field of Tang poetry. Previously, although he wanted to engage in copying, he was suffering from the lack of a touted group and a way to disseminate.

Now seeing the performances of these voices in the inner teaching workshop, he realizes that combining with vocal music may not be a way out. In the Tang Dynasty, literature and art were developed, and the renovation of old songs was a common pastime of literati and artists, and the redrafting of new words and re-arranging sounds belonged to the category of renovation.

Moreover, there are a large number of sound poems that can harmonize rhythm in Tang poetry, and even the rhythmic poems and quatrain rhyme in close poetry are themselves derived from the theory of sound and music. Poetry is indispensable, and singing and sighing are the basic attributes of poetry. It was only in later generations that the melody was difficult to pass on and the old sound was lost, so it focused on the poem itself and focused on the discussion of words.

Li Tong was still thinking about it here, the song on the field had ended, and in addition to playing, the head Mi Baizhu also took the stage to play the husband of a resentful woman, his face was painted red and pretended to be drunk, and he was smashed on the skull by Li Shouli's missile who was too deep in the play, but he didn't dare to complain, he could only comfort himself that his performance was superb and fascinating.

The servants on the field cleaned up the utensils, and Li Tong had a whimsical idea during the banquet, and called the head 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, and suddenly remembered his grandmother's old name for messing around in Taizong's palace in the old years, which was originally taken from the early Tang Dynasty folk song "Wu Meiniang", which is why he asked.

Mi Baizhu laughed dryly after hearing this, and said twice: "There is still a residual tune, but the lyrics are missing, and no one renovates ......"

It's weird that someone renovates it.

Li Tong was not surprised when he heard this, "Wu Meiniang" is similar to "Shaking Niang", vulgar tunes, miscellaneous legends, and the ban cannot be banned, but whoever wants to sing new lyrics in the palace is purely because life is too boring and exciting.

Li Tong wanted to stimulate it, and made up his mind to learn the skills of notation and harmony later, keep the melody record, make up new lyrics, and sing it every day when his grandmother collapsed. But this is just a little bad taste in my heart, and it is still difficult to say.