The shepherd boy piccolo has a simple structure and is a typical three-part musical form. Presentation part: (1-24 bar), G mode, C palace system, 4/4 beat, * * * includes 6 phrases, each of which consists of 4 bars, and the music materials between the sentences are in sharp contrast, and the theme has a strong flavor of Jiangnan water town. The whole presentation part has a slow rhythm and a very melodious and quiet melody. Use two contrasting polyphony writing methods. The high-pitched part and the low-pitched part are harmonious, one-on-one, one-on-two and one-on-four with tight upper part and loose lower part, static upper part and moving lower part. The music festival's right hand and phrases complement each other, alternately forming echoes and close ties, forming obvious contrast. The middle section (25-52 bars) is a "parallel" middle section, which adopts the technique of "turning the palace" in Chinese music, and the main theme is G, with 2/4 beats. Polyphony music has become the main melody music, with improved range and accelerated speed. It adopts the rhythm of national dance, and the melody is cheerful and interesting, depicting the innocent shepherd boy playing happily and frolicking. The theme material, beat, speed, harmony and tonality, music texture and artistic conception are in sharp contrast with the presentation part. The middle section is divided into three phrases, each with 4 bars, which is the displacement and repetition of the same theme material at different pitches. The method of motivation modeling and development is in strong contrast with the previous paragraph, and the paragraph itself is repeated. The first sentence is a D key, and the second sentence is a strict imitation of the first five degrees, a key. The third sentence is an imitation of the first five degrees of the second sentence, which belongs to the mode of changing direction, but only has two bars. Because of the repetition of the paragraph, in the last two sections, the mode of G Palace in the first sentence is returned. In order to unify the style of counterpoint before and after, the middle section adopts parallel three-degree descending continuous bass, which weakens the function from the aspects of speed, strength and harmony to prepare for regression and reproduction. The reproduction part (bars 52-76) is a variation reproduction of the presentation part. On the basis of keeping the skeleton of the demonstration part, some decorative notes have been added. The way is to add two notes to the rhythm of two eighth notes to become sixteenth notes, which makes the theme melody more smooth, compact and cheerful. The tonality of the reproduction section is first on the G key, then on the D quotient key, and finally gradually reduces the volume and ends on the tonic G key. The application of the technique of "adding flowers and variations" has achieved the purpose of "changing and reappearing", making the music more tactfully moving, deeper and more dynamic.

When playing this piece of music, we should pay attention to the division of short sentences and how to connect several short sentences into a complete long sentence: for example, the first paragraph of the left hand is a Changle sentence composed of four short sentences from the fourth beat of the fourth bar to the third beat of the eighth bar; For example, the fourth beat of the left hand 12 paragraph to the third beat of the left hand 16 paragraph is composed of four short sentences: the fourth beat of the paragraph 16 to the third beat of the paragraph 20 is also a Changle sentence composed of four short sentences. When you play every short sentence, you should break the sentence and don't pause. The last sound of each short sentence can't be stressed, so pay attention to playing enough. Speak softly. Pop-up short sentences can't have the feeling of ending, but should be a tone of sound and death until the Changle sentence composed of short sentences is played. When you pick up a sentence, the voice can be a little longer and deeper, so that you can have a sense of completeness and logic of the sentence. This is a two-part polyphony, so we must practice it separately, especially the left hand is easy to be ignored. More careful practice is needed to make the independent bass of the left hand coordinate with the main voice of the right hand, showing the characteristics of polyphony and counterpoint. Moreover, we should pay special attention to the two parts of the phrase, which are basically carried out by the left and right hands: that is, the sentence receiving place of the left-handed phrase. It happens to be where the right hand begins the sentence, and vice versa. In addition, we should pay attention to the expression terms marked on the score, which are basically aimed at the right hand, while the phrases in the left hand should be weak at the end sentence. Only by breaking the convention can we deal with the strong and weak changes of the beginning and end of a sentence in particular detail. When playing together, the phrases of the left and right hands can cooperate tacitly. The expression of this song is very rich, almost every sentence is marked with expression terms, especially repeated sentences, so we should pay special attention to it and deal with it by changing the timbre volume.

The second paragraph is lively children's dance music, with vivace (lively) speed Speed up here, not as fast as possible, take the initiative and don't worry. When playing the right hand and the fast running sentence on Boeing, it should be clear that it is granular and the timbre should not be hard, just like the flute. The metacarpophalangeal joints should be flexible. Fingertips are very sensitive. The left hand is a semi-chord skipping rope with regular rhythm, which can help the fast right hand to stabilize the rhythm. The left hand has a wide skipping range, so you should pay attention to the accurate position of the sound when playing, but the left hand is also an accompaniment, so it is required to be slightly weak when playing (especially in the second half). Note that the pedal is only used in the first half of each section, and it is basically not used elsewhere. Don't increase the volume when your fingers pedal. Pay attention to the difference between jumping and Legato when playing with your right hand. The third paragraph is a variation of the first melody. The variation of flowers is mainly reflected in the right hand; The left hand is only on the last beat of the penultimate beat and the second beat of the penultimate beat. Other parts are exactly the same as the first paragraph. After adding flowers, the melody is more dynamic and melodious.

The Shepherd Boy Piccolo is a modern piano piece in China, which was born in the new cultural background. It depicts China's pastoral music and painting, which is completely different from the western style. His creative thinking, which runs through ancient and modern times and blends Chinese and western ideas, has laid a solid and unique foundation for his works, making the nationality and the world perfectly unified. Xinmin Evening News wrote: "The most important and memorable thing is that he broke through the boundary between China timbre and western music theory." The success of Cowboy Piccolo lies in its profound national origin and brilliant western color, and in the composer's creative courage and successful attempt to open up things and integrate ancient and modern times. He Lvting used western music theory and techniques to deduce and describe a perfect pastoral style of China in "The Cowboy Piccolo": with the sunset water town as the background, riding a cow across the wind as the modality, the shepherd boy, the old cow and the dusk merged seamlessly, presenting a faint pastoral landscape painting of China.

As the first piano piece with distinctive and mature China style, The Shepherd Boy Piccolo has formed its own distinctive features in content, structure, melody, harmony, polyphony, decorative sound and playing methods. Once it came out, it was widely loved by the audience in China, and soon it was welcomed by the audience in other countries in the world. The success of Cowboy Piccolo is of great significance not only to China's piano music, but also to the new creation of modern music in China. It proves that some composing techniques, principles and factors in western music can express China's temperament. At the same time, it also points out the direction for more composers' creative path, provides valuable piano music creation experience, and makes China's piano works look brand-new.

Mr. He Lvting not only inherited the achievements of Huang Zi, Zhao Yuanren and other senior composers in the exploration of the nationalization of harmony and polyphony, but also opened up a new world in this field and formed his own unique style. The application of polyphony in music is superb, which is called an important symbol of the great progress made by modern piano music in exploring polyphony in China style. He Lvting skillfully used polyphony, pentatonic rotation, multi-purpose progressive main melody, common endings of three or four degrees, and music development focusing on repetition and antithesis, which made the melodies of the two parts full of the charm of China folk songs. The two parts of polyphony are used to imitate national musical instruments, and they are written by imitating the traditional tail biting method in China. When dealing with the relationship between parts, the principle of "you are complicated and I am simple, and you are simple and I am complicated" is adopted. When the upper part is active, the lower part is accompanied by contrast polyphony; When there is a pause or pause in the upper voice, the lower voice "bites" the ending sound of the upper voice and goes with the flow, just like the "fish biting the tail" in Nanzhu, which makes the music between the two voices complement each other, making the whole phrase, paragraph and even the whole music form a continuous momentum, making people feel a lasting charm, reflecting the diversity of He Luting's music creation techniques and the development of piano works.