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Glossary In《粵劇合士上》 (For Teachers' Reference) Yiban Yiding (一板一叮) a Grouping of Beats; Also Called Y

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Glossary In《粵劇合士上》 (For Teachers' Reference) Yiban Yiding (一板一叮) a Grouping of Beats; Also Called Y Glossary in《粵劇合士上》 (for teachers’ reference) yiban yiding A grouping of beats; also called yiding yiban, ban (板) is more important than (一板一叮) ding (叮) in the entire families of vocal and percussive music because ban controls the tempo and the last word at the end of a singing passage always falls on ban. Also named yan (眼), ding is a beat that controls the transition between every ban. The symbol to indicate rhythm and beat is called dingban (叮板). yiban yiding is similar to duple metre in Western music, the first beat is ban and the second beat is ding; that is, a cyclical and alternate grouping of ban and ding. The dingban in banqiang (板腔) family is strictly governed by rules, while the dingban of xiaoqu (小曲) is relatively free. This is why the same tune can be performed at either yiban sanding (一板三叮) or yiban yiding. yiban sanding A grouping of beats, also called sanding yiban. ban is more important than ding (一板三叮) in the entire families of vocal and percussive music because ban controls the tempo and the last word at the end of a singing passage always falls on ban. Also named yan (眼), ding is a beat that controls the transition between every ban. The symbol to indicate rhythm and beat is called dingban (叮板). Yiban sanding is similar to quadruple metre in Western music, the first beat is ban, the second beat is touding (頭叮), the third beat is zhongding (中叮), and the fourth beat is weiding (尾叮); that is, forming an cyclical grouping of “ban ding ding ding”. Moreover, a unit of yiban sanding usually forms a dun (頓) in vocal delivery types. The dingban in the family of banqiang (板腔) is strictly governed by rules, while the dingban of xiaoqu (小曲) is relatively free. This is why the same tune can be performed at either yiban sanding or yiban yiding (一板一叮). yichui (一槌), A term of percussion pattern, meaning a strike on the percussive instruments. yichui (一錘), Some yichui practices nowadays include more than one striking and are yicai (一才) embellished with ornaments. The usage of yichui percussion pattern is as follows: 1. chadecheng (查得撐): used to differentiate and connect the upper and lower lines of banqiang (板腔) , such as in shouban (首板) and gunhua (滾花), as well as shoujue (收掘). 2. changkou yichui (唱口一槌): mostly used as the introduction of erhuang manban (二黃慢板) and xiaoqu (小曲). The most original yichui is as follows: ヽ ㄨ ヽ ヽ ∟ 局 的 的 局 查 查 得 撐 yichui with ornaments is as follows: ヽ ㄨ ヽ ヽ ∟ 局 的 的 局 撐 查 得 撐 3. qichui (齊槌): is used to highlight a word, a group of words or a moment in a jiekou (介口, can be a speech, singing passage or movement) in order to capture the attention of the audience. 4. zhongyichui (重一槌): is used to emphasise a particular movement or 1 reaction made by the performer. The connection between the dingban (叮板) of percussive music and that of vocal in Cantonese opera has all along been a subject of arguments because of the long history and development of Cantonese opera. The issue has yet to be investigated. yifan (乙反) A musical mode of Cantonese operatic music which belongs to the zhengxian (正線) family. The accompanying musical instruments are tuned to he (合) and che (尺) (he = G, che = D). If C = shang (上), the scale of yifan mode is: he yi shang che fan liu (合 乙 上 尺 反 六). This kind of musical mode is also called kuhou (苦喉, bitter voice) and is used to express sad and sorrowful feeling. yifan erhuang erhuang manban performed in yifan xian (乙反線). (乙反二黃) qiziqing (七字清) Also known as qiziju zhongban (七字句中板). As the name suggests, each line has seven words, with chenzi (襯字, also known as me zae zi 孭仔字) being inserted occasionally. At current practice the qiziqing in general is performed at moderate tempo or a relatively shuang tempo (爽速, between moderate and fast tempo). qixingbu (七星步) The basic set of footwork on the stage for all hangdang (行當). It was said that the name derived from the formation of the seven stars of the Big Dipper, which is why the movement is in sets of seven steps. Performers may add more steps, usually in odd numbers, to each set in performance according to the size of the stage. erbuzhen In shengongxi (神功戲), the six leading actors and actresses of a Cantonese (二步針) opera troupe perform only in the evenings and on the festival day. Other performers who are responsible for the day performances except the one on the festival day are called erbuzhen. erbuzhen are actors and actresses of the second and third ranks. With the establishment of liuzhuzhi (六柱制), the supporting huadan (二幫花旦) are included in liuzhu, the second supporting huadan (三幫花旦) are therefore called erbuzhen. erbuzhen comprises the second supporting sheng (第三生), second supporting huadan, third supporting sheng (第四生), third supporting huadan (四幫花旦), supporting chou (第二丑) and supporting wusheng (第二武生). erhuang (二黃) One of the traditional shengqiang (聲腔) of Chinese opera. There are two arguments about the origin of erhuang. One argument said that the earliest erhuang originated from the shengqiang in Huangpo (黃坡) and Huanggang (黃 岡) in Hubei Province (河北省). It was later absorbed by the hui diao (徽調) and was thus named erhuang (二黃). Some old literature of Cantonese opera also recorded the names as erhuang (二簧) or erwang (二王). The other argument said that erhuang was actually the qiang (腔) of Yihuang (宜黃), which was in the south of Yiyang (弋陽) in Jiangxi Province (江西省). There has never been any conclusion to these two arguments. Introduced into Cantonese opera through the hanju (漢劇), erhuang tunes are relatively melodic. The form of beats of erhuang family consists of shouban (首板), daoban (倒板, adapted from Peking opera), manban (慢板), siping (四平, mistakenly named as xipi 西 皮), liushuiban (流水板), gunhua (滾花) and shaban (煞板); traditionally there 2 is no zhongban (中板) in erhuang family. erhuang may also mean: 1. A musical mode, using heche xian (合尺線); 2. The short form of erhuang manban (二黃慢板); 3. One of the major categories of banqiang (板腔) in Cantonese opera, consisting of shouban, manban, erhuang liushuiban (abbreviated as erliu 二 流), gunhua and shaban, etc. erhuang manban Abbreviated as erhuang (二黃). The manban in erhuang manban indicates the (二黃慢板) dingban grouping of yiban sanding, not the tempo. It can be classified into ten‐syllable phrase, eight‐syllable phrase and changju (長句, long phrase) in terms of phrasing. Its musical modes include zhengxian (正線), yifan (乙反) and fanxian (反線), and the tempo and pulse can either be fast or slow. badaquben Referring to the score for singing, not the libretto of the play. badaquben and (八大曲本) jianghu shibaben (江湖十八本) are the oldest repertoire of Cantonese opera. There are several versions of badaquben contents. The relatively reliable one includes “Patleihei Reuniting His Wife” 《百里奚會妻》, “Biancai Monk Exorcisting the Willow Tree Demon”《辨才釋妖》, “Daiyu Burying Flower”《黛 玉葬花》, “Liulang Punishing His Son”《六郎罪子》, “Crossing Over to Join Han from Chu”《棄楚投漢》, “Luzhishen Becoming a Monk”《魯智深出家》, “The Memorial Service for He Wenxiu”《附薦何文秀》 and “A Virtuous Man in Snow” 《雪中賢》. In some historical documents, the sixth and the seven repertoire are replaced by “Li Zhong Selling His Martial Arts Skills”《李忠賣武》 and “Shepherding the Big Flock”《大牧羊》. bahe huiguan The guild of Cantonese opera performers formed after the ban against the (八和會館) opera was removed in the Qing Dynasty. The name bahe (八和) bears the meaning of hexibafang (和翕八方, concord and harmony in bafang, the eight directions). The guild is divided into eight halls, they are Zhaohetang (兆和堂) for gongjia (公腳), zongsheng (總生), zhengsheng (正生), xiaosheng (小生) and dahuamian (大花面); Yonghetang (永和堂) for xiaowu (小武) and wusheng (武 生); Qinghetang (慶和堂) for erhuamian (二花面) and liufan (六分); Fuhetang (福和堂) for huadan (花旦), yandan (艷旦), wanxiaodan (玩/頑笑旦); Xinhetang (新和堂) for male and female chou (丑); Dehetang (德和堂, also known as Luanxingtang 鑾輿堂) for dawujia (打武家) and wujunhu (五軍虎); Shenhetang (慎和堂) for negotiating and taking up orders for performance, and Puhetang (普和堂) for pengmian (棚面, accompanying musician). The bahe huiguan (Chinese Artists Association of Hong Kong) today is similar to a labour union of Cantonese opera professionals and has a relatively simple structure because of the merging and the changing of the names of those halls. sanchutou Please refer to the entry “chutou (齣頭)”. (三齣頭) xia (下) A performer entering backstage after performance is referred to as xiachang (下場), abbreviated as xia. 3 xiaju (下句) Please refer to the entry “shangju (上句), xiaju (下句)”. xialanren Performers who play minor roles in the Cantonese opera troupe, including (下欄人) shouxia (手下), who play soldiers and servants; lache (拉扯), who play miscellaneous roles, and meixiang (梅香), who play housemaids, maids in an imperial palace or female soldiers. shang (上) A performer entering front stage for performance is referred to as shangchang (上場), abbreviated as shang. It is also the name of a note in the gongchepu (工 尺譜). shangliu xian, shang and liu are equivalent to doh and soh in a musical scale. fanxian erhuang fanxian manban (反線二黃慢板) and fanxian bangzi zhongban (反線梆子中板) are (上六線、反線) tuned to shangliu xian. fanxian erhuang manban is sad and sorrowful in mood. fanxian shigong zhongban (反線士工中板) has two expression styles: the first one is about a fifth lower than baqiang zhongban (霸腔中板) because fanxian is close to the baqiang (霸腔) style, but the singing voice is more stirring and moving, instead of high and sonorous; the second one is more like pinghou (平 喉), and is relatively lower and deeper.
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