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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

4.

'! .......................... S HAPPY FARMERS l ~ ~ ........................... 7

5.

IF THE RAIN DOESN'T FALL rf9'f 5JI1t1f.3"· ~l

) , GAU SHAN CHING~ Jl.

....... 9

-& ~. j{ it ·~ :l:~ t ... ....11 JASM I ME FLO\JER f_ Jj ti ......................... I) KANG 0 I NG LOVE SONG J,j t If! f,t ......... ......... IS

6 . IN THAT FARA.WAY PLACE 7. 8.

9 . Ll FT YOUR VEIL

~~ tt~ ·~

I 0. LITTLE DONKEY .J,

1 f,! ~

.............. I 7

.t ,Jj_ ....... ..... .. ..... .. .. ... I 9

II.LOOKING FOR PLUM BLOSSOMS IN THE SNOW}t)t4ff· • • 21 12.LOTUS PICKING SONG

1* lf

... ......... ..... .2)

~1

I) .MONGOL IAN SHEPHERD SONG

t. 0 ~ ~k .... .........

14 . PURPLE BAMBOO FLUTE ,

JrT

IS.IIAINBCN SISTER

17. SHA-L 1-I«.JNG-IIA

~i,\

it~~

19.THE WEST WINO SPEAKS

1.~ . .

.....................

29

fj i ................... )1

~~ 'e.J

}r '

18 .SWEET BIRO OF YOUTH

20. WAGONEER'S SONG

t/tJ ................ ... 27

~J: ~ ~-t~--

16 . SAI - DI -MA - LI - A..f.

2S

.. .. ....... .... .... 33

t*

•.•• ••• ••••.•• )S

fi ~~ fo ............... )7 *. 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 APPEAR 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 CHILDREN'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 CHINATOWN, 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 INSTRUHFNTAL 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, TRADITIONAL 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, BRINGING 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 BETWEEN 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.

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