Hong Siyan completely brought her emotions into it, and also deeply attracted most of the men present with her gorgeous dance and gorgeous dance clothes and superb dancing postures. Even the Fifth Prince Xuanyuan Yulin and the Prince Xuanyuan Yuling couldn't help but focus their eyes on Hong Siyan, no matter what emotions, just as far as this dance is concerned, Hong Siyan's performance is indeed very outstanding.

At the end of the song, after the dance, Hong Siyan's dance was gorgeous, but it finally came to an end, and everyone present focused their attention on the woman in the gorgeous dance dress in the field, most of them showed their admiring eyes.

And Hong Siyan's heart at this time couldn't help but feel a little proud, the corners of her mouth rose slightly, she got up step by step, and saluted the people present in a pretended gesture. This is also 'just right' to remind the men who are still immersed in Hong Siyan's exquisite dance. I don't know who started it, and many people gave Hong Siyan applause one after another. Emperor Xuanyuan squinted and didn't speak, but there were countless thoughts hidden in his eyes, and then he looked at Shangguan Lihua, and then swept over the third prince Xuanyuan Yuchen, and then skipped over Hong Peishan Taifu. Shangguan Lihua didn't care about everyone's opinions, and went on the field firmly, not caring about everyone's speculation, some people's worries and some people's schadenfreude. For Hong Siyan's dancing so well, Li Shangqing and Princess Qing and even Dugu Su, a person who didn't know much about the dance of the Xuanyuan Dynasty, could be taken away for a moment, so they showed a slight worry about Shangguan Lihua's departure. It's just that Shangguan Lihua didn't explain anything, and the whole process of the whole process was very calm, as if she had a plan in her heart.

And Shangguan Lihua was not in a hurry to go on the stage immediately, but first calmly walked to the side of the stage, and after communicating with the musicians in charge of accompaniment on the side of the stage, he was ready to dance.

Compared with Hong Siyan's gorgeousness, Shangguan Lihua's dance clothes are simply 'simple'.

As soon as the tune started, when everyone was still in the clouds, there was no shortage of generals and military attaches from the frontier who were present, and Shangguan Lihua danced "Ambush on All Sides".

Ambush on All Sides adopts the traditional structure of a large-scale suite, with thirteen small sections, each of which is titled with a highly generalized title. These headings are: 1. Columns; 2. Blowing; Three, the point general; Fourth, the formation; 5. Walking in line; 6. Ambush; Seventh, the small battle of Jiming Mountain; 8. The Battle of Jiuli Mountain; 9. King Xiang was defeated; 10. Wujiang self-slaughter; 11. All the armies played Kai; 12. Generals strive for merit; XIII. Return to camp in victory.

The whole song can be divided into three parts.

The first part writes about the Han army's pre-war exercises, point generals, formations, and preparations before the war. Focus on the performance of the mighty and majestic Han army lineup. The music is high-spirited and powerful, accompanied by the sound of drums and horns, and the drums gradually increase in speed, creating the tense atmosphere that preceded the war. The first part consists of the first five subparagraphs

"Column" is actually the introduction to the whole song. The rhythm is free and varied. From the beginning, the "wheel whisk" technique was used to take the lead and exaggerate a strong atmosphere of war. The sonorous and powerful rhythm is like a gripping war drum, and the high-pitched long sound is like a trumpet sound that shakes the valley, vividly depicting the unique drum horn sound of the battlefield. Since then, various expressive techniques have been used to express spectacular scenes such as the boiling of human voices, the beating of drums, the sound of military artillery, and the galloping of iron horses, which aptly summarize the typical environment of the tense and fierce battlefield in ancient times.

Not to mention, compared to Hong Siyan's gorgeous dance and the peaceful and easy Shengshi, Shangguan Lihua's song "Ambush on All Sides" completely aroused the bitterness of all the fighters' bloody battles, so that almost all the emotions and memories of the soldiers in the audience were sunk by Shangguan Lihua's dance steps.

Soon, Shangguan Lihua danced to the 'blowing' part of "Ambush on All Sides". "Blowing" is the only melody and lyrical passage in the whole piece. The long notes played by the pipa with the wheel fingers mimic the marching tunes played by ancient wind instruments. This period of music is like the magnificent scene of the sheng pipes on the march in ancient times, depicting the image of the disciplined Han army marching mightily, from far to near, striding forward. This piece of music has a commanding spirit in shaping the artistic image of the music.

The three passages of "Point General", "Formation" and "Walking in Line" have changed and made trade-offs in the actual performance. Their common characteristics are that the rhythm is neat and compact, and the tonal jumps are flexible, showing the high morale of Liu Banghan's army before the battle, the rapid change of formation in the drill squadron and the vigorous pace of the soldiers. The orderly structure of the music makes the emotional development step by step, which fully paves the way for the transition to the fierce battle scene.

The second part writes about the battle scenes of Chu and Han hand-to-hand battles, swords and swords. It is the main part of the music, the music is changeable, the rhythm is rapid, and the performance is continuously used to play, sweep, wheel, twist, roll, brake and other techniques to describe the fierce tearing and fighting, earth-shattering, moving,

The second part consists of three small paragraphs: six, seven, and eight.

The music of "Ambush" and the artistic conception it depicts are very distinctive, and it uses a relaxed rhythmic pattern to modulate and develop the melody, creating a tense and terrifying atmosphere. It gives people the eerie feeling of ambushing soldiers under the cover of night, approaching the Chu army out of nowhere.

In the "Small Battle of Jiming Mountain", the pipa uses the unique "brake string" technique, which vividly shows the scene of a skirmish between the two sides. "The sound of the brake strings is not pure music, but an effect with a metallic sound, like a sword and a halberd striking each other. The gradual acceleration of the speed and the upward and downward modulation of the melody make the mood more tense.

"The Battle of Nine Mile Mountain" is the climax of the whole music. The musician uses a variety of pipa techniques to depict the hoarse shouts of thousands of horses and the earth-shattering fierce battle of swords and swords. The pipa is excellent at simulating the sound of noisy and fierce battles, making people feel as if they are in the scene, and it has a strong appeal. The whole piece depicts the conflict between the Chu and Han armies, which has developed to this point, the victory or defeat has been decided, and the contradiction has been resolved.

The third part consists of the last five short stanzas, the first two of which describe Xiang Yu's suicide by the Wujiang River after his failure, and the low musical atmosphere contrasts sharply with the climax of the previous one. Among them, the melody of "Wujiang Self-slaughter" is poignant and tragic, creating the artistic image of Xiang Yu's generous and tragic songs. The last three short paragraphs describe the various scenes in which the Han army emerged as victors. However, at present, the performances are generally abridged, some omit the entire third part, and some abridged the last three sections of "The Armies Play Kai", in order to make the music emotionally concentrated and avoid verbosity.

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