⑶ For a long aria with strong drama and complicated emotional changes of characters, we provide a reference for the writing of banqiang in traditional Chinese opera music. That is, based on a certain tune, a series of plates have evolved through the expansion or contraction of speed, rhythm and melody. For example, in the sixth scene (in the interrogation room), Jiang "I am willing to contribute my youth to capitalism", and its structure is: Adagio-Tight Board-Adagio-Clear Board-Running Water-Allegro-Original Board. In the third scene (Huaying Mountain), the old woman with two guns sang "There are successors to the dry revolution", which is: guide plate-Huilong-Allegro-scattered board. On the basis of banqiang, it also adopts the form of approximate couplets, such as a passage sung by Jie Jiang before he died in the last scene.

From practice, we realize that the writing method of plate cavity or approximate plate cavity has the following advantages:

(a) to adapt to the appreciation habits of the audience, easy to accept;

(2) The music of the characters can be concentrated or varied;

(c) The lyrics of dozens of heads are also difficult for composers;

(d) No matter how intense the drama conflict is, no matter how complicated and changeable the thoughts and feelings of the characters are, they can basically be summarized in this series of plates.

In addition, we also adopted some ballad-like short songs, such as Yang Er's sister-in-law's singing, the second performance of Jiang Jie and Hua Wei, and the first performance of Chuanjiang Haozi and Hongmeizan. On the one hand, this is due to the emotional needs of the characters, on the other hand, it is also for the indispensable contrast in an opera music. With it, the concert is more colorful. 5. "Singing on a white background", "Singing on a white background" and some "singing" similar to "white" are also common in China operas. Especially in folk rap music. The music of "Jiang Jie" draws lessons from this technique, such as the traitor singing "Envy ……" in the first scene, the public security bureau chief and spy Tang Guishan singing in the fourth scene, and the duet between Jiang and the spy chief Shenyang Zhai in the sixth scene. This attempt, for us composers, not only solved the problem of poor techniques, but also found a practical way to reveal dramatic conflicts and portray characters. We think this technique can solve the problem of "recitation" in China's new songs to some extent.