I was learning "drunkard" the other day. I listened to many versions of the recording and looked up some information. I think it's very interesting. Write it down as a memo.

There are not many biographies of "A Drunken Man's Drinks". According to the collection of guqin music, there are five kinds of * * *:

A, the magic secret spectrum (1425), there are four plates;

Second, Feng Xuan Xuanpin (1539), five paragraphs;

Third, reconstruct the true story (1585), with six lyrics, each with a subtitle;

IV. The Legacy of Yang Lun (1609), seven paragraphs, with lyrics and problem solving;

5. Rationality and Elegance (16 18) has seven paragraphs, each with a subtitle and a preface.

See also Lutong (1549), with eight paragraphs. The first five paragraphs are the same as those in Drunk, so they are also considered as one of the biographies.

So at present, it can be said that there are six biographies of drunkards.

(See Mr. Yao Bingyan's lyre afterplay ")

1960, Yao Bingyan, a Shanghai pianist, composed this piano piece in 86 beats according to the Magic Handbook and referring to Liu Yi in the piano boy of Xilutang. It is also the only guqin song in triple time so far.

According to Mr. Li Xiangting's Practical Course of Guqin, after Mr. Yao Bingyan's music score spread to Beijing, in the performance of Mr. Wu Jinglue and Mr. Park Xuezhai, the final sound of the second paragraph of each sentence was changed from three beats to two beats, and it became a combination of 86 and 85 per sentence, which made the phrase more fluent and more in line with the playing rules of Guqin. Most of the current versions are evolved from Yao Ben.

It is recorded in the Magic Cheats compiled by Zhu Quan in the Ming Dynasty that "intoxicating" was composed by Ruan Ji. Because "Magic Secret Song" is the earliest piano book to include this song, other Le Shu basically continued this statement, so it is generally believed that this song was written by Ruan Ji to drown his sorrows by drinking and resisting to escape from the world.

However, some people hold different views. For example, the following view holds that "Drunk" is actually a false trust of later generations, but it is actually a song about Lantingxiu attached to "Liu Xiang":

Mr. Yao Bingyan referred to several versions of music scores, and what he could find at hand were the Magic Secret Score and the Running Script in the Piano Boy at Xilutang.

Subtraction spectrum of "drunken man" in The Magic Secret Spectrum:

The Subtitle Spectrum of Liu Xiang in Xi Lu Tang Qin Tong;

So I compared the two versions of piano music and found that there are still many interesting places:

The main fingering used in the Magic Secret Spectrum is plucking, and the corresponding fingering has become a tick in the flowing water. The last fingering of every sentence is dirty and becomes a pinch in the flowing stream. Before "dirty" or "pinch", the magic secret spectrum of a fingering is a rubbing sound, and in the flowing sound, it is a picking sound, so the last three sounds of each sentence are rubbed according to the fingering in the magic secret spectrum and hooked and pinched according to the fingering in the flowing sound.

About "dirty" ("dirty", subtraction to write "foot"), it seems to be a lost fingering, which should be a combination of plucking and plucking. Mr. Yao Bingyan wrote in the lyre "Drunkard" that when it comes to the handling of this fingering, it is hesitant:

Judging from the current teaching scores and the performances of some musicians, the common fingering methods at present should be "rubbing" or "hooking", and there are also mixed fingering methods. Different teachers or piano schools may be different. For example, the fingering taught by my current teacher is to use "rubbing" when going up and "picking" when going down.

Another big fingering difference between Liu Yi and drunkard in The Secret Music is that after the melody of the first phrase in the second paragraph goes up, the left thumb of the next phrase goes down to the next phoneme, instead of the claw in The Secret Music.

Mr. Yao Bingyan played the following music:

Notes in Qin Qu Gou Shen;

Xu Jian's notation (rhythm and some pitches are different);

As you can see, Mr. Yao Bingyan's music score is still very faithful to the magical secret music score, with only a few phonemes slightly changed. Most of the notes still retain the pitch of the original music, even though they may sound inconsistent with the current listening habits, which is the following feature of Yao's version.

I have listened to some famous guqin players these days, each with his own merits, but there are still some rules to follow in terms of versions. I roughly sorted out the versions that are easy to find, only involving the similarities and differences of the versions (all of which are compared with Xu Jian's notation), and the playing style is not included.

Yao Bingyan version:

The version of Mr. Yao Bingyan that can be heard at present should be the recording included in the Guqin Volume (also called Old Eight Pieces) of China Music Collection. (There is also an "Drunken Drunk" in the recording materials attached to the book "Qin Qu Gou Shen", but it seems that it is not completely confirmed that it is Mr. Yao Bingyan's own version? ) is a standard triple beat, and even the last ending sentence and the fairy vomiting wine are accurately stuck in the rhythm of the whole song. When I first heard it, I was a little unaccustomed.

One difference between this version and most other versions is that the second sentence after the completion of the first rising phrase in the fourth paragraph, that is, the sentence "6 1 1332355", does not strictly correspond to the melody of the previous sentence. According to the version of Xu Jian's notation and most of the existing subtractive versions, in order to make the melody of these two sentences consistent, the latter sentence refers to the middle finger of a string from June 4 to May 6, and the name refers to the kneeling of a three-stringed string from June 4 to May 9, but the Yao version should retain the phonemes in the magical secret spectrum, and use the middle finger from July 7 to May 6 of a string and kneel from July 7 to May 9 of a three-stringed string, with corresponding melody. At the same time, the penultimate sound of this sentence (including the corresponding low-emblem phrase) should be the five-emblem (nine-emblem) that slides directly on the three-string instead of the scattered sound of the six-string. I saw someone say, I always feel that I can't type the same version as Teacher Yao. I think it may be because of the different fingering.

In addition, whether comparing the notation of Qin Qu Gou Shen or Xu Jian's notation, the recording of Mr. Yao's version is less than the score, and the two sentences located in Gao Hui are "6632111",among which the sentences located in Gao Hui can't be found in many famous musicians' playing versions. Perhaps it is often ignored in the rheological process.

Yao Gongbai and Yao Gongjing Edition:

As sons of Yao men, the two gentlemen basically inherited the style of Mr. Wang, but the above sentence should not follow the magical secret spectrum. As far as the version I heard is concerned, Mr. Yao Gongbai has a freer rhythm in spitting wine. In the second paragraph, hand sounds are used instead of claw sounds, which is the fingering in the above-mentioned "flow" spectrum.

Zhang Ziqian Edition:

It is also a 6/8 beat, only when the last part of the immortal vomiting wine becomes a pine board, there are decorative sounds before the three strings of the final sentence are pulled out, and the second half of the sentence is repeated with overtones after the immortal vomiting wine.

Dai Xiaolian and Cheng Gongliang Version:

It is basically the same as Zhang Ziqian's version, but at the end of Zhang's version, there is a remarkable sentence "663211",which is found in both Dai Hecheng's versions. Zhang Ziqian's version inherited the last overtone, and Cheng Gongliang's version was closer to the pitch of Yao's magical secret spectrum.

Liu version:

Just like Yao Bingyan's recorded version, there are two sentences "6632111"in the high and low positions respectively. The second half of Ren Xian's Vomiting Wine is repetitive, but it is not overtone, but played in tones.

Lin Youren Version:

A high emblem of "6632111"is missing, but there is no final repetition. Similar to Mr. Liu, the last sentence of "6632111"appeared late.

In fact, others have similar treatment, but Liu's style is the most obvious. The pinch sound at the end of almost every sentence will be dragged to the back and become a very urgent sound, giving people a very simple impression.

Mei yueqiang edition:

The beat becomes a mixture of 6/8 and 5/8 beats. Except Yao Pu's sentence "6632111",the "6 1 1332355" before this sentence is only played once, and the others are the same as Yao Pu's. In addition, the rhythm of each sentence of "6632111"is quite special.

Most of the above versions continue the 6/8 beat rhythm of Mr. Yao Bingyan's score. Later, many northern composers made some changes to it, but the rhythm changed from 6/8 beat to 6/8 and 5/8 mixed rhythm, adding or deleting some phrases. Some main representatives are as follows:

Wu Jinglue version:

What I'm talking about here is the version on the CD attached to Lin Xili Guqin. It should be an ensemble with Xiao, erhu and other musical instruments, which sounds very happy. The first sentence is only played once, not repeated twice as most musicians do. According to Yao Pu's last "6632111",play the first two long sentences again before entering the last sentence. The last sentence is only played once, and there is no fairy at the end.

Park Xuezhai Edition:

The online version of Park Xuezhai is unknown, except that the first sentence is repeated twice, the rest is the same as the Wu Jinglue version.

Chen version:

Compared with Wu Jinglue's version, there are more fairies vomiting wine, and the others are exactly the same.

Wu version:

Comparing the versions of Wu Jinglue and Park Xuezhai, the last "6632 1 1" is missing, and the second sound of each "663211"is removed.

Li Xiangting Edition:

In the teaching video, he said that repeating the first sentence twice would make people feel wrong, so basically the first sentence is only played once, and there is no final "6632111".

The similarity of the above five versions is a mix of 6/8 and 5/8 beats, and the ending sentence is free rhythm, which is played only once. Except Chen, no fairy vomited wine.

In addition, Xu Junyue's version has the same rhythm and is basically loyal to Yao Pu. It only ends with a knife at the end of the fairy's vomiting wine, which has an abrupt ending effect, but the speed is too fast ...

Mr. Gong Yi's version is quite special:

He has recorded several versions of Alcoholic, and the musical phrases, like Xu Jian's notation, should strictly follow the fingering of the magical secret score. The melody of the second sentence in the fourth paragraph is "5 1 133 1355" as in Yao Bingyan's performance version. But because the rhythm of the song is very loose and free, it sounds strong and drunk compared with Yao's version, and it is also well received by many people.

In addition, there are overseas versions of Liang and Tang, whose rhythm is completely different from the above version and more similar to Liu. The Tang version also includes the Chinese and English versions of Qin Ge, which sounds very interesting.

It seems intuitive to organize the characteristics of these versions into a table, but after all, I have no foundation in music theory, and most of them rely on feelings, which will inevitably lead to mistakes.

In addition to guqin, there are many adaptations of drunkards in other national musical instruments and even pop music, some of which are impressive as follows:

National musical instruments:

Zhao Jiazhen and Du Cong Edition:

In fact, the main part is guqin, but with the addition of elements, guqin and drums echo each other, which is very lively.

Wang Zhongshan Guzheng Edition:

Transplanting piano music to guzheng, the sound is slightly crisp but there is no sense of disobedience.

Liu xingzhong soft version:

The timbre is between guqin and guitar, which has a unique flavor and a little blues flavor.

Wu Lin elegant edition:

I made an adaptation that meets the conditions of the instrument itself, but I always feel that the piano is too feminine and doesn't fit the original song so well.

Su Huang Edition:

The collision between cello and guzheng, I feel disharmony, and I hear a sense of irritability, but I am impressed, and that's all. ...

Huang Anyuan Edition:

Erhu and big bands, personally, are good works, with another kind of vigorous temperament. However, if we talk about "drunkenness", it seems that Ruan Ji's pretending to be crazy by drinking has become Xiao Feng's generous elegy.

Pop music:

The Tang Dynasty band Drunk:

The prelude is that the electric guitar plays the melody of Drunk, and the first sentence of the chorus is just the melody of the most difficult sentence when I was a beginner, so this song helps me a lot. When I first started practicing, I always couldn't grasp the rhythm of that sentence, so I relied on this song to help. But another side effect is that every time I play this sentence, I still hum "forget all my sadness" ...

Good pharmacy "drunk":

Bass has replaced guqin and added accordion and piano, which is still very good. Vocal music experiment is their consistent style, but I still think there is nothing better. ...

Xu Wei's Xanadu;

The melody of the prelude is the drunkenness of guitar playing. It is also full of emotion to think that these rock singers have returned to such a lifestyle.

Sweet son "drunken madness":

Many national musical instruments are used, such as pipa and guzheng, zhongruan?

Liang Yiyuan's "Etudes of Drunkenness and Dream of Death";

It is completely experimental work, and it is understandable to link the whole album with the copywriting.

Therefore, this writing form based on classic works is actually a lot of concepts. The current result is either weak lyrics or no lyrics at all. ...

The above information basically comes from the network and personal understanding. Please correct me if you have the same interest.

At first, I was just addicted to textual research, but I didn't expect to dig a big hole for myself. Later, I thought it was fun to study it. For example, I think I can play music ... well, in fact, I didn't read the music until the piece was short and I could play it ... but I still found it interesting.

(20 14.05)