Скачать с ютуб 沧海龙吟 Cang Hai Long Yin 6-17 в хорошем качестве

沧海龙吟 Cang Hai Long Yin 6-17

The new piece I've been practicing is still quite rough. Please bear with me. I'm imitating the version by Master Yue Ying. It's extraordinary, with a free and lively rhythm. A friend wonderfully described it as "flowing clouds and streaming water, lofty and proud, yet carrying a joy that one does not wish to share with others." "Cang Hai Long Yin" (沧海龙吟), also known as "Cang Jiang Ye Yu" (苍江夜雨), first appeared in the qin music score "Bo Ya Xin Fa" (伯牙心法) from 1609 during the Ming dynasty's Wanli period. **Name**: Cang Hai Long Yin (沧海龙吟) **Type**: Ancient Guqin music **Contents**: 1. Records of Guqin Music 2. Analysis of the Music Meaning of the piece Epilogue **Records of Guqin Music**: "Bo Ya Xin Fa", 1609: Mode of Yu, consists of seven sections. "Qin Pu Xie Sheng", 1821: Palace mode, also known as Cang Jiang Ye Yu, consists of seven sections. "Qin Xue Chu Jin", 1894: Also known as Cang Jiang Ye Yu, Huang Zhong and Yu mode, consists of nine sections. "Gu Yin Zheng Zong", 1634: Also known as Cang Jiang Ye Yu, Yu mode, consists of seven sections. "Xi Shao Ge Qin Pu Ji Cheng", 1878: Yu mode, consists of nine sections. "Xiang Xue Shan Fang Qin Pu", during the Qing dynasty's Jiaqing era: Yu mode, consists of seven sections. **Analysis of the Music**: The original explanation from "Bo Ya Xin Fa" states that Cang Hai Long Yin is named so because its sound resembles that of a dragon's chant, with unpredictable rises and falls, possibly conveying a sense of solitude akin to that of a lone crane or oriole. The piece is characterized by a cold and slow melody, incorporating an unstable and turbulent stance, reminiscent of a dragon soaring through the clouds and plunging into ravines. Ancient sayings describe the qin's ability to provoke the chant of an oceanic dragon, illustrating the essence of this piece. It's suggested that since dragons dwell in the sea and this chant is associated with the feather mode (Yu), which relates to water, hence the name "Cang Hai Long Yin" is apt. In the "Xi Shao Ge Qin Pu Ji Cheng", the piece, also known as Cang Jiang Ye Yu, is said to emulate the sound of a dragon's chant, thus named for its resemblance to a dragon in a vast sea or river during a stormy night. The melody is crafted to echo the expansive flow of the Yangtze River, interspersed with sudden storms, thunderous rain, and towering waves, capturing the dramatic entrance of a dragon from the clouds into the sea. The piece is short but powerful, emphasizing both the majesty and the detailed intricacies of the qin music, creating a vivid scene of a stormy night with swirling clouds and mists where a dragon might lurk, resonating with ancient descriptions of the qin's power to evoke the deep chant of an old dragon from the sea. 新练的曲子，还很生硬，大家多包涵 临摹乐瑛先生的版本，气象非凡，节奏自由、灵动，友人妙评：“行云流水，孤高寄傲，却有一份不愿与人分享的欢悦。” 《沧海龙吟》又名《苍江夜雨》。最早见于明万历三十七年《伯牙心法》琴谱中。 *1609 羽音 凡七段, 琴谱合璧* *1634 古音正宗 又曰沧江夜雨 羽音 凡七段* *1667 琴苑心传全编 羽调 凡七段* *1821 琴谱谐声 宫调 又名苍江夜雨 凡七段* *1876 天闻阁琴谱 即沧江夜雨 羽音角调 凡七段* *1878 希韶阁琴谱集成 羽音 凡九段* *1894 琴学初津 又名沧江夜雨 黄钟均羽音 凡九段* *清嘉庆年间 响雪山房琴谱 羽音 凡七段* 琴曲曲意 《伯牙心法》中解题原文：沧海龙吟者，音有似于龙吟也。飞潜叵测，孰测其吟，毋亦别鹤孤莺之意欤。今考其音，每以淸冷和缓之调，寓飘忽动荡之势，有若龙之昂霄而耸壑者然。古云，琴动沧龙吟，其斯曲之昉矣。或曰，龙以海为归，而此吟属羽，羽属水，故曰沧海龙吟。理或然也。 《希韶阁琴谱集成》中琴曲解题：一名沧江夜雨，因其音似乎龙吟，故名沧海龙吟。夫飞潜升降孰测其吟，毋乃别寉孤鸾之意与。今考其音，每以淸冷和缓之调，寓飘忽动荡之势，有若龙之昂霄而耸壑者然。古云，琹能动沧海之吟，其斯曲之谓矣。或曰音属羽，羽属水，故名沧海龙吟理或然也。然此曲指奥乃蜀之霸派，欲高其弦，坚其指，肃其神，练其气，仍修妙指再得其传，时时温习可贯之矣。 此曲又名《苍江夜雨》，九段，有说是诸葛亮之作，从古代诗文中，至少可知其来源较早。现存谱本中，最早见于明末的《伯牙心法》（1609前）。乐曲描绘了夜雨江涛，水天一色，云雾迷漫，波涛汹涌的雨夜景色。《五知斋琴谱》说它以「清冷和缓之调，寓飘忽动荡之势」，「其音有似于龙吟」，大有苍龙出云入海，飞潜莫测之意境。古来形容琴音的美妙有：「琴能动苍海老龙之吟」的说法，可能是命名的由来。 　龙乃水中之王，龙吟而风生水起。该曲短而有力，激昂澎湃，又极重细节。琴声清婉，若长江广流，绵延徐逝之际，忽一阵云来，大雨滂沱，江涛拍案，卷起千重巨浪。水天一色，云雾弥漫的夜景中，一条苍龙出云入海，飘忽动荡。此曲自始至终力度浑厚，动人心弦，若隐若现中似有老龙秋啼沧海底，给人一种清越沉浑之感。 后记 《琴学初津》琴曲后记原文：是曲为诸葛武侯所作，一曰龙吟，又曰夜雨，分义详内篇。原稿传自祝君聼桐凤翥先生，曲中重用吟猱，然莫难於吟猱，弹法宜实忘浮，坚其指，而灵其腕，苟能潜心细作，自有龙出渊泉之妙，否则滞混繁复，习之者诚非易之。按武侯有梁父吟，沧海龙吟，云龙吟者其音似龙吟也，飞潜昇降，孰测其吟，有别鹤孤鸾之意。古人云，琴能动沧龙之吟，其斯曲之谓欤。