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Chinese folk songs

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  • CHINESE FOLK SONGS

  • CHINESE FOLK SONGS

    Yeh Yung-Ching, Editor William Bellber, Arrangements Lu Yu, Advisor Shiah Mann, Translations

    Copyright 1972 by Art Resources for Teachers and Students, Inc. 2nd edition (revised and expanded) copyright 1979 3rd printing 1986 4th printing 1990 5th printing 1994 6th printlng 2004

    Published by ARTS, Inc. 134 Henry Street, N.Y.C. 10002

  • CONTENTS

    1 CLAY DOLL ),N. tit! ................... . ...... . . . ... . I 2. FENG YANG FLOWER ORUH ~ ~ .ft fl .... .. .. .. ...... 3 ) , GAU SHAN CHING~ Jl. '! .......................... S 4. HAPPY FARMERS l ~ ~ .............. .... ......... 7 5. IF THE RAIN DOESN'T FALL rf9'f 5JI1t1f.3" ~l . . ..... 9 6 . IN THAT FARA.WAY PLACE -& ~. j{ it ~ :l:~ t ... .... 11 7. JASM I ME FLO\JER f_ Jj ti .. ... .................... I) 8. KANG 0 I NG LOVE SONG J,j t If! f,t ......... ......... IS 9 . Ll FT YOUR VEIL ~~ tt~ ~ 1 f,! ~ .............. I 7 I 0. LITTLE DONKEY .J, .t ,Jj_ ....... ..... .. ..... .. .. ... I 9 II.LOOKING FOR PLUM BLOSSOMS IN THE SNOW}t)t4ff 21 12.LOTUS PICKING SONG 1* lf ~1 ... ..... .... ..... . 2) I) .MONGOL IAN SHEPHERD SONG t. 0 ~ ~k .... ......... 2S 14 . PURPLE BAMBOO FLUTE , JrT t/tJ ................ ... 27 IS.IIAINBCN SISTER ~J: ~ ~-t~--..................... 29 16 . SAI -DI -MA- LI - A..f. ~i,\ fj i ................... )1 17. SHA-L 1-I.JNG-IIA }r ' ~~ 'e.J .. .. ....... .... .... 33 18 .SWEET BIRO OF YOUTH it~~ t* . . )S 19.THE WEST WINO SPEAKS fi ~~ fo ............... )7 20. WAGONEER'S SONG 1.~ .. *. t ~ ... ... .... ... .... 39

  • INTRODUCTION

    OF THE 20 SONGS IN THIS BOOK, 15 ARE FOLKSONGS, ANp 5 ARE MODERN CO~POSED SONGS. ALL OF THEM ARE VERY POPULAR AMONG CHINESE PEOPLE IN CHINA AND OVERSEAS . HONG KONG, S.E. ASIA, AND THE UNITED STATES. MANY OF THEM AP-PEAR IN CHINESE ANTHOLOGIES FROM TAIWAN AND HONG KONG 1 A FEW ARE WRITTEN DOWN FROM MEMORY, HOST OF THEM ARE NOT OTHERWISE AVAILABLE IN ENGLISH.

    WE HAVE SELECTED THESE SONGS ON THE BASIS OF THEIR POPULARITY, AND THEIR MUSICAL INTEREST, W HAVE TRANSPOSED THEM INTO KEYS SUITABL FOR CHILD-REN'S VOICES, THE SONGS ARE WRITTEN WITH A MELODY LINE AND CHORDS FOR GUITAR OR PIANO ACCOMPANIMENT. THE CHORDS CORRESPOND WITH THE ORIGINAL MODAL STRUCTURE, WESTERNIZING THE SONGS AS LITTLE AS POSSIBLE.

    THE WORDS ARE IN WRITTEN CHINESE - WHICH MAY BE SUNG IN ANY DIALECT -ROHANIZED MANDARIN SOUNDS, AND ENGLISH TRANSLATIONS, WE HAVE TRIED TO MAKE THE TRANSLATIONS AS LITERAL AS POSSIBLE, AND TO HAKE SURE THEY ARE SINGABLE.

    THESE VERSIONS HAVE BEEN USED IN MANY CLASSROOMS IN NEW YORK CITY CHINA-TOWN, BY CHINESE, SPANISH, AND ENGLISH SPEAKING STUDENT$, CHILDREN ENJOY SINGING THEH, AND FIND THEH EASY TO LEARN.

    A CASSETTE TAPE WITH EACH SONG SUNG IN MANDARIN, AND ALSO IN A SIMPLE IN-STRUHFNTAL VERSION, IS AVAILABLE FROM ARTS INC.

  • ROHANIZATION J PRONUNCIATION

    THE WORDS OF THE SONGS ARE ROHANIZED INTO MANDARIN CHINESE SOUNDS. ALTHOUGH MANDARIN IS THE OFFICIAL LANGUAGE OF CHINA, IT IS A NORTHERN CHINESE DIALECT. PEOPLE FROM OTHER PARTS OF CHINA WILL PRONOUNCE THE WORDS DIFFERENTLY, EVEN THOUGH THE WRITTEN FORM IS THE SAME.

    SINCE CHINESE LANGUAGES ARE TONAL, THEY ARE IMPOSSIBLE TO ROHANIZE CORRECTLY WITHOUT USING CODE. HOWEVER, WE HAVE DEVELOPED OUR OWN SYSTEM FOR THE CASUAL READER, USING PHONETIC AMERICAN ENGLISH. A WORD IS PRONOUNCED AS IT LOO~S - MORE OR LESS. OUR SYSTEM, WHICH IS BASED ON THAT OF Y.R.CHAO, HAS THE DISADVANTAGE THAT IT IS QUITE DIFFERENT FROM THE PREVAILING SYSTEMSa W~DE-GILES, POST OFFICE, AND NATIONAL ROMANIZATION. HOWEVER, IT HAS THE ADVANTA;E THAT YOU WILL BE ABLE TO PRONOUNCE THE WORDS IN MANDARIN CONSISTENTLY AND NEARLY CORRECTLY, WITHOUT LEARNING A CODE. USE THE FOLLOWING VOWEL PRONVNCIATIONSa

    A E FATHER E HER = EVE 0 GLORY U RUDE

  • NOTES ON CHINESE MUSIC

    WESTERN PEOPLE APPROACHING CHINESE MUSIC FOR THE FIRST TIME OFTEN HAVE THE UNEASY FEELING THAT IT IS GOING TO BE TERRIBLY DIFFERENT. ACTUALLY, TRA-DITIONAL MUSIC IS VERY DIFFERENT FROM THE WESTERN, 80TH IN THEORY AND IN ITS PHILOSOPHICAL CONCERNS. BUT CHINESE MUSIC SINCE THE 20'S HAS BEEN DEEPLY AFFECTED BY WESTERN THEORY, AND HAS ALMOST EXCLUSIVELY USED WESTERN SCALES AND NOTATION. OUR BOOK FOLLOWS THIS PRACTICE.

    CHINESE MUSIC, LIKE SO MANY OTHER THINGS IN CHINESE CULTURE, IS SUPPOSED TO DATE BACK TO THE YELLOW EMPEROR (2700 BC). IT IS SAID THAT HE ORDERED HIS MINISTER TO CUT BAMBOO O~THE~JUN LUN MOUNTAINS, ANO BORE CERTAIN HOLES IN IT, THUS ESTABLISHING THE J\ ~HUANG JONG, OR FOUNDATION TONE, FROM WHICH ALL OTHER NOTES WERE THEN DERIVED.

    THE HOST C~ON OF TRADITIONAL SCALES WAS THE S-TONE (PENTATONIC). CHINESE MUSIC WAS MODAL, RATHER THAN TONAL AND HARMONIC. THE FOCUS WAS ON MELODY, AND RHYTHMIC PERCUSSION ACCOMPANIMENT. INSTEAD OF USING HARMONY, VOICES OR INSTRUMENTAL GROUPS PLAYED IN UNISON. FOR THESE REASONS, CHINESE FOLK MUSIC IS NATURALLY VERY SINGABLE.

    OVER THE CENTURIES CHINESE MUSIC WAS GREATLY INFLUENCED BY FOREIGN STYLES. CONTACT WITH INNER ASIA AND INDIA VIA THE SILK ROAD, AS WELL AS THE MONGOL INVASIONS OF THE 13TH CENTURY, INFLUENCED BOTH FOLK ANO COURT MUSIC, BRING-ING MANY NEW INSTURMENTS AND STYLES. THE LAST MUSICAL INVASION OF CHINA

    WAS, OF COURSE, THE WESTERN. FOUR OF THE HODERN'SONGS IN THIS BOOK WERE COMPOSED !Y ONE HAN, IN AN ATTEMPT TO COMBINE CHINESE AND WESTERN MUSIC. HUANG TZ Jf tJ , A GRADUATE OF YALE, WROTE "LOOKING FOR PLUM BLOSSOMS IN THE SNOW", "LOTUS PICKING SONG", "HAPPY FARMERS", AND "THE WEST WIND SPEAKS: AMONG MANY OTHER POPULAR AND PATRIOTIC SONGS, BEFORE HIS DEATH IN 19)8.

  • THE FOL~ MUSIC IN THIS BOOK REPRESENTS THE DIFFERENT REGIONS OF CHINA, AND THE VARIOUS INFLUENCES ON THEM. AN EFFORT HAS BEEN MADE TO INCLUDE SONGS FROM MANY PARTS OF CHINA, AND FROM THE MINORITY NATIONALITIES. IN THEIR HOME PROVINCES , THE SONGS ARE NATURALLY SUNG IN LOCAL DIALECTS, WITH MANY MUSICAL NUANCES CHARACTERISTIC OF EACH AREA. ALTHOUGH THESE LOCAL STYLES CANNOT REALLY BE REPRODUCED IN STANDARD NOTATION, STILL ONE CAN GET AN IDEA OF THE RICHNESS AND VARIETY IN CHINESE FOLK MUSIC.

    IN CHINA, FOL~ MUSIC IS MUCH MORE INTEGRATED WITH FORMAL CULTURE THAN IN THE WEST. FOL~ SONGS, IN STANDARDIZED VERSIONS, ARE THE MAIN MUSIC TAUGHT TO SCHOOL CHILDREN. SIMPLE MELODIC AND PERCUSSIVE INSTRUMENTS ARE SHARED BY BOTH FOL~ AND COMPOSED MUSIC 1 THERE IS NO GREAT GAP AS IN THE WEST BE-TWEEN ORCHESTRAL AND HOME-MADE. FOLK TUNES AND LEGENDS FORMED THE BASIS OF OPERAS AND PLAYS. FROM THE TANG DYNASTY ON, CHINESE POETS HAVE WRITTEN IN A FORM CALLED Jij TZYH, WHICH MUST FIT THE METER AND MELODY OF SPECIFIC FOLK TUNES. THE SONGS THAT VILLAGE PEOPLE MADE UP IN THEIR EVERYDAY LIVE S HAVE BEEN AN IMPORTANT AND FAMILIAR PART OF THE CULTURE OF All CHINESE FOR HUNDREDS OF YEARS.

  • ;;t 11 n. HOOERN CLAY DOLL

    l@i'lt FH c

    J=B 1 I J j j F HY CLAY DOLL, MY CLAY DOLL, LIT-TLE CUTE CLAY DOLLt

    3/t t! t!, }t t1 t!' - 1fiJ ;G. t1 tt. ! Nl WA WA, Nl WA WA, Yl GE Nl WA WAt

    LOOK AT HER EYE-BROWS, LOOK AT HER EYES TOO, BUT HER EYES CAN'T WINK.

    ~ "! ~ Jl ~ , ~ ~ ~ '~ If ' 8k " 3' -t 8l 0 YE YEOU NA ME I MAU, YE YEOU NA YEAN J lNG, YEAN J lNG BU HUE I ..1 A.

    c FH Ab CH

    J f I 1 J J i J. J5 J F I 0 HY CLAY DOLL, HY CLAY DOLL, LIT-TLE CUTE CLAY DOLL. ;!(, tl 1!' >t n n, - 1m ;t -ti ~! . Nl WA WA, Nl WA WA, Yl GE Nl WA WA.

    FH

    J J I 1 J5 J J I ., I LOOK AT HR PINK NOSE, LOOK AT HER HOUTH TOO, BUT HER HOUTH CAN'T TAU.

    t t ~ ~ t ~ l ~ IJ' btJ 1 PJ ~ 1' 1t 16 YE YEOU MA Bl TZ, YE Y~Ou MA TZUEI BA, TZUEI BA 8U SIM) HUA.

  • SHE'S A TOY LIT-TLE DOLL, NOT A REAL LIT -TLE GIRL.

    ~ ! 111) 1R f! tl, 3- !11~ J "ft fi. . TA SH CE JIA WA WA, BU SH CE JEM WA WA.

    ~ FH C7 fJ c 1- J 4J f f r rl J JCJ I F F 9 SHE DOESN'T HAVE A LOV-ING HA HA, OR A DAD-DY TOO.

    tt ~~ ;n a ~ 1tJ ~' ~' -tJ 3~ 1f ~ ~. TA HEI YEOU CHIN AI DE HA HA, YE MEl YEOU BA BA. c F14 Ab

    E L i .;J- J E"fJ. J> J t=l C) HY CLAY DOLL, MY CLAY DOLL, LIT - TLE CUTE CLAY DOLL.

    :t -ti 1!. Vt -n 1!, 1i!J :t -tl tl. . Nl WA WA, Nl WA WA, VI CE Nl WA WA.

    I'LL BE HER HA HA, I'LL BE HER DAD-DY, AND I'LL LOVE HER TRUE.

    A ~ tt 1i' _,, , A; 1DX: ttt ~ f;- , ~ it t f ~tJ o WO TZUO TA HA MA, WO TZUO TA BA BA, YUNG YUEN AI JE TA,

    2

  • ~ ~~- At t.l. -tt, AHHU I FENG YANG FLOWER DRUM

    SPIRITEDLY

    ~t ita c" Eb J,J F 9 r z---. r ~ r ;:J LEFT HAND A DRUM~ RIGKT HAND A GONG!

    i &- 1;! .1j j- Bf.! TZUO SHOU LUOl YEOU SHOU GUl

    I ?/til v r- ~ c" lr' C0J ; I ilJ

    HOLD -

    lNG DRUM AND GONG, COME LET'S SING A SONG.

    J t t tt, ~ v~ ~. SHOU NA JE LUO GU, LAI CHANG GE.

    ~ c" : Jc_JJ r Bt7 J=[ .J. J Eb t J r r I NO 0 - THER SONG DO KNOW HOW TO SING1

    ~1 t'j ~ ~ ~ ~ 1' 't p~; BIE DE GE ER WO YE BU tl.IE I CHANG a

    Bb

    ; E ;r='J Eb

    J v I THIS ONE AND ON - LY SONG, "FENG YANG" IS ITS MANE.

    I~ t JY HUEI

    01 1 CHANG GE,

    ~ 1t ~. "FENG YANG" GE.

    AiJ c" 9 I f J p J fl Wt r 4JilLJ J2J COME SING 11FENG YANG", VI HV YA HU HEYl itJ 'pt ~ t-. I ~ Pj' ~J Dj t]f!

    "FENG YANG" GE LAI, Yl tlJ YA HU HEll

    3

  • ~ ~ c,.. Eb c,.. r J J J ) J I r J J J 4 J CHORUS a DER LONG DANG PIAU Yl PIAU! DER LONG DANG PIAU Yl PlAUt

    1~ ~ 1" ~ ~! 1J~ }~ Jf ~ ~I A~ CM Eb

    J pi J J FJ J) OER PIAU! DER PIAU! DER PIAU OER PIAU PIAU Yl DER PIAU PIAU PIAU Yl PIAU!

    JJJt ~! 1~~~ ~ 1~1t ~~ f;v ~ - ff~ ~ ~ ~ - ~!

    2 BITTER MY LOT, HARD MY FATE1 MY WHOLE LIFE LONG, NEVER A GOOD MATE!

    Ji ~ ! I 1% 4p- ;l; - ~ - nt ~~ 1 t ~ A jt ! WO MING ~U, WO MING BOa Yl SHENG Yl SHYR JIA BU JAU HAU JANG FU!

    ALL THE BIG SHOTS MARRIED OTHER GIRLS, SO MY OLD MAN PLAYS THE DRUM ALL DAY.

    A ~ ~9 ~ /t. 'tit t ~ ~ ~~ i1G ~ (. A " 'f