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Tối 29-9, vòng chung kết xếp hạng cuộc thi "Chuông vàng vọng cổ" 2024 đã diễn ra với phần tranh tài của 3 thí sinh là: Dương Thị Mỹ Nhung, Nguyễn Hùng Vương, Lê Hoàng Nghi tại Nhà hát Truyền hình HTV.
Út Bạch Lan & Minh Cảnh in " Con Gái Chị Hằng"
Câu Một Vọng Cổ (Vọng Cổ: Phrase One)
The first phrase of vọng cổ always begins with a rao, an improvised introduction
by all the musicians. If there is a vocalist, the music fades away and then he
begins singing the first line of text with no accompaniment. This vocal line,
also part of the rao, is improvised in both melody and rhythm. The next-to-last
note is typically drawn out for a very long time before the singer cadences on
Hò and all musicians join him. This first declaration is considered the
"crowd-pleaser," and well-performed renditions are always met with applause as
soon as the cadence hits.
Because of the rao, the first phrase is shortened to only sixteen measures, with
cadences as follows:
Hò --- --- Hò
--- --- --- (+) Xê
--- --- --- Xang
--- --- --- (+) Cống
(+) denotes a song loan clap
The first Hò at the beginning of the table represents the last cadence of the
rao introduction. Measures with dashes through them represent free improvisation
(within the constraints of the hơi until the cadence.
From câu một, one always transitions to another phrase.
Câu Hai Vọng Cổ (Vọng Cổ: Phrase Two)
--- --- --- Xê
--- --- --- Xang
--- --- --- Xang
--- --- --- Hò
--- --- --- Hò
--- --- --- (+) Xê
--- --- --- Xê or Xang
--- --- --- (+) Xang
(+) denotes a song loan clap
The second phrase can be used as a passing phrase, especially in the "one, two,
three" pattern, or it can be used as a closing phrase, with the final cadence on
Xang adding an emotional charge suitable for laments and grief-laden drama. The
preceding cadence floats between xê and xang, although xê might be used to
soften the transition to Xang at the end.
Câu Ba Vọng Cổ (Vọng Cổ: Phrase Three)
--- --- --- Xê
--- --- --- Xang
--- --- --- Xang
--- --- --- Xê
--- --- --- Xang
--- --- --- (+) Cống
--- --- --- Xê
--- --- --- (+) Hò
(+) denotes a song loan clap
Câu ba (phrase three) usually appears as a transition from câu hai (phrase two).
It works well as a closing phrase, because it ends on Hò (tonic). For the same
reason, one rarely continues directly from this phrase to another one; instead,
musicians may transition to another song, perform another rao, then finish the
vọng cổ cycle with "four -> five -> six" or "five -> six".
Câu Bốn Vọng Cổ (Vọng Cổ: Phrase Four)
--- --- --- Hò
--- --- --- Xề
--- --- --- Xề
--- --- --- Xê
--- --- --- Xang
--- --- --- (+) Cống
--- --- --- Xang or Xê
--- --- --- (+) Hò
(+) denotes a song loan clap
The notable aspect of this phrase is to distinguish between Xê, with circumflex
only, and Xề, with circumflex and grave (see diacritics for details). Xê
represents the pitch above Hò shown previously, while Xề represents one octave
below that note. Both are used in this phrase as cadences.
Câu bốn is occasionally used as the opening phrase in a vọng cổ performance. In
this case, it is truncated to sixteen measures (the last four cadences) and then
merged with câu một (details below in "Phrase Order"). The new phrase, which is
treated just like câu một, becomes:
--- --- --- Hò
--- --- --- (+) Xê
--- --- --- Xê
--- --- --- (+) Hò
(+) denotes a song loan clap
Câu Năm Vọng Cổ (Vọng Cổ: Phrase Five)
--- --- --- Xê
--- --- --- Hò
--- --- --- Hò
--- --- --- Hò
--- --- --- Hò
--- --- --- (+) Xê
--- --- --- Xang or Xê
--- --- --- (+) Xề
(+) denotes a song loan clap
Câu Năm is typically not recognized throughout by its melodic nature, but by its
rhythm. While other phrases show stresses on the beat, this phrase begins with
syncopated stresses and novel rhythms. It also boasts the most unique ending
cadence, on the pitch Xề in the low register. This closing cadence is often
referred to as "xuống xề" (going down to the xề pitch).
This phrase typically continues to câu sáu, because xề does not have the melodic
finality of xang or hò.
Câu Sáu Vọng Cổ (Vọng Cổ: Phrase Six)
--- --- --- Xề
--- --- --- Xê
--- --- --- Xang
--- --- --- Cống
--- --- --- Xê
--- --- --- (+) Xề
--- --- --- Xê
--- --- --- (+) Hò
(+) denotes a song loan clap
The use of xê and xề continuously can be seen as strengthening the return to hò
in similar fashion to the use of the "dominant" (fifth) in classical western
music. The finality of this phrase is always evident during performance.
Phrase Order
The phrases can be played in order, but this is not always the case. Popular
combinations of phrases include:
one, two, three
one, two, three, break, four, five six
one, two, break, five, six
one, five, six
Other combinations are possible, but these patterns represent the majority of
cases. The break in some patterns represent a transition to some other piece.
Possibilities include ngâm thơ (poetry declamation, tân nhạc (modern popular
music), nhạc cổ (traditional music), dân ca (folk songs), or even another rao
(improvised introduction).
When one starts with a phrase other than câu một, it''s necessary to merge the
two phrases (the new phrase and câu một to make a new opening phrase that is
both recognizeable and cohesive. First, one can remove the first sixteen
measures, cutting the phrase to sixteen measures like câu một (phrase one). This
leaves the necessary space for the rao. Afterwards, the phrases are merged, so
that the first eight measures are exactly the same as câu một and the last eight
measures are the last eight measures of the other phrase. This was how the
diagram for câu bốn (phrase four) above was prepared. Because the first, fourth,
and fifth phrases are the phrases used most as the starting phrase after the rao,
this technique is typically only used for the fourth and fifth phrases.
Famous Songs Based on Vọng Cổ
As has been stressed above, vọng cổ has more to do with a system of music than
any particular song. No two performances of vọng cổ music will ever be the same,
and futhermore, writers have penned many different verses to be used in vọng cổ
for many different performers and plays.
Some of the most renowned vọng cổ pieces have come from the prolific composer
Viễn Châu. Some of his famous verses include the lament by Võ Đông Sơ for his
lover Bạch Thu Hà in the play Võ Đông Sơ Bạch Thu Hà( sung by Minh Cảnh) and the
lament by Lan as she becomes a Buddhist nun in the play Lan và Điệp (sung by Út
Bạch Lan).
Mã an toàn:
Tối 29-9, vòng chung kết xếp hạng cuộc thi "Chuông vàng vọng cổ" 2024 đã diễn ra với phần tranh tài của 3 thí sinh là: Dương Thị Mỹ Nhung, Nguyễn Hùng Vương, Lê Hoàng Nghi tại Nhà hát Truyền hình HTV.
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