High-rise buildings are made of various components, and so are word cards. Various sentence patterns are combined to create sentence rhythms to reflect changes in emotional tone. Sentence rhythm is the basis of word cards, and words are mostly a combination of long and short sentences, so the expressions and tone are richer. If you understand the rhythm of the sentence, no matter what the word pattern is, you can get the general idea just by looking at it.
The key point is the matching effect of sentences with different word counts. Therefore, it is necessary to understand the temperament characteristics of various sentences. They have different methods of using Qi, such as collection, release, suppression, and adjustment. 1234567 all have their own rhythms and usages. Starting, tying, crossing the bridge, establishing, adding, and switching all have suitable and inappropriate occasions. Variation of use. If the combination is not good, the energy channels will be confused and blocked. When the momentum of the previous sentence is not exhausted, you cannot turn around. You must be determined and turn around again.
The balance in the sentence: Only when the rhythm of the sentence is clear can the balance in the sentence be discussed based on the situation. Some small orders and even the middle level of the sentence can be turned around because the nodes are in the rhythm of the sentence. The same is true for the three four-character sentences in the first shot of Qin Yuanchun. You can make a U-turn from the oblique to avoid the similarity between oblique and oblique, or make the last sentence three oblique and one oblique or even oblique oblique and oblique.
Pai: equivalent to a couplet of poetry, the number of sentences is uncertain.
The word "leading" is used to lead sentences. Because it has the meaning of "interrupting and extending the energy", the "qi" is regarded as an independent sentence. Yanqi is easy to become a slow tone, so Xiaoling is not commonly used. The first character of one-word collar, two-character collar, and three-character collar is basically in the negative tone. In order to enhance the emphasis, other tones are rare.
One-word sentence: often serves as the leader of other sentences, leading and starting the momentum before the shot, making a turning point during the shot, and leading the last sentence at the end of the shot for emphasis.
When it is a separate sentence, due to the small number of words, it is necessary to make some questions in the front, and the spirit has just been expressed but cannot be exhausted. The following sentence must bear the unfulfilled spirit, plus the spirit of the latter sentence itself, so use Only a seven-character sentence can carry on the task safely.
I will emphasize later that you cannot use it alone to your heart's content. It is pretended to be three consecutive sentences, only combining the entry and exit sounds. If the flat tone and the upper tone are not combined, the Qi will not be in harmony. For example, if the hairpin head phoenix is ??strong and the flat tone is used, it will break the heart. gas.
The 17th Order is just a work of words and does not fit into the tone of the poem for discussion.
Two-character sentences: The euphemism school uses the first part of the lower part of the middle tone to set the tone. If the sentence is short and long, it can be extremely euphemistic.
It can also be used as the leader of a long sentence or a pair of short sentences, with a slower momentum and a slow tone. If you only receive a single short sentence, it will be too heavy.
Using two words in succession at the beginning of a beat can easily prompt the following, so the timing of entering the flat foot is smooth.
If used twice in a row, it can increase the meaning.
Used twice in a row, the changes will be faster and not suitable for medium and long tunes. Flat feet don’t require longevity, just use them repeatedly.
The three words "Pingjiao" are used in conjunction to complete the two-character sentence. One rhyme is scattered and must be echoed. Used to set the tone at the beginning of the palace, it can express longness and no more procrastination.
Three-character sentence: It has many uses and is complex.
It is used to lead before shooting, and is mostly used as a modal particle before a sentence in a slow tone, used for crossing bridges and turning around.
It is a characteristic of words and sentences to read four-character sentences in the middle of the sentence. If it is read four or three times, it becomes a typical seven-character sentence and its independence disappears.
It can also be used to add extended meaning and rhyme after a long sentence, and the previous sentence must leave room for potential energy.
Or use two together to form a small combination, the best is water flow, otherwise the effect will be greatly reduced.
If you make a combination of three, three, and seven, it has the effect of flowing down the river, so it is suitable for small orders.
Four-character sentences: internally facing each other and forming a pair. This structure creates a typical shortest sentence that can independently express the complete combination of emotions. Therefore, the four-character Qiyan style appears dignified.
When paired with a long single sentence, it is easy to show shortness of breath, so it is often used as a contraction in the contraction effect.
If it is continued with a five-character sentence, one is suppressed and the other is slightly released, the pattern is slightly smaller, but it fits into the low voice.
If it is continued as a six-character sentence, there will be a change of big gain and small gain, which can reflect the excitement after depression.
If it is continued with a seven-character sentence, it will give you the feeling of enjoying yourself by suppressing the last utterance.
Used twice in a row, it is a short expression and can easily lead to confrontation. This is often followed by a long sentence to digest the two short-term effects, or the filming is changed and the rest is continued to increase the coherence effect. If two consecutive uses can eliminate the suppressed potential, and three consecutive uses can produce an extended effect, it can be used as a tail.
Five-character sentence: It should be noted that this does not refer to the structure with collar characters.
Whether it is made into the 221 pattern or the 212 pattern, it is longer than the four-character sentence. Therefore, it is easier to express the distant meaning than the four-character sentence. Therefore, as the main structural sentence of the poem, the words and phrases are naturally also commonly used. .
It is continued with a four-character sentence, which does not release much but welcomes a large amount of closing. It is relatively depressing and suitable for sadness.
The combination of five and five is often used as the end of a long sentence combination, with both closing momentum and aftertaste.
Six-character sentence: a long sentence with less than seven words and one character, so it can run vertically and horizontally without being full and unrestrained. If a five-character sentence is used as a carrier sentence to make a combination of contraction and expansion, it will be very generous.
Using a three-character sentence to carry on the poem helps the meaning to be profound. The slight extension of the three-character sentence is exactly the same as the slightly unfinished version of the six-character sentence.
If the beat is followed by six or seven, it will gradually release and not close, which will amplify the inertia of a longer sentence after a long sentence, making it difficult to close the opening. In the combination of six, six and seven, seven is the extension after double six, so there is no such worry.
Seven-character sentence: It should be noted that this does not refer to three or four readings. It is the longest basic sentence, and any sentence with more than seven characters will be read and broken. It is as easy to express the distant meaning as the five-character sentence, but it is more widespread.
Use a five-character sentence to carry on the following, and then add more leisurely, spreading vertically and horizontally. However, if this is the case, the preparation must be done before to keep it coherent. If seven words follow seven words, and the second sentence is too long, the momentum of the previous sentence will be sluggish.
The six-character sentence is followed by a slight contraction, so it appears stable without losing variety.
Using a three-character sentence to carry on the following, because the meaning of this sentence is already self-sufficient, and the need for the three-character sentence to carry on the following is not as good as that of a six-character sentence, so it is inferior to the six-three structure. The square foot can be optimized by connecting the flat foot, which is the use of flat The unstable oblique sounds of the rhyme are in need of stabilizing the flat sounds.
Combination of Qi Yan: two Qi for echo, three Qi for extension.
Sentences with the same number of words are combined with each other, which will appear stable and less changeable, and the longer the sentence, the more expressive it will be. The combination of sentences with different number of words will cause changes and unstable performance. Just like the characteristics of flat tones seeking stability and oblique tones seeking instability.
The seven-character sentence itself has a far-reaching meaning. The seven-seven-seven-sentence pattern of Huanxisha's two columns pursues a more distant structure. Therefore, it is easy to be extremely euphemistic. The third sentence is As a continuation of the first two sentences, you cannot have another meaning, otherwise it will become a single sentence.
Bold and unrestrained people often use vertical and horizontal patterns, and the long and short echoes are common. If it is forced into a euphemistic pattern like Huanxisha, the bold and unrestrained spirit will be lost.
Ping and Ze: A flat sound is stable, and a flat sound promotes change.
Each of the three categories, Level and Level, has its own rules (dialects have entered tones). Some of them are not applicable. If they are applicable, frequent switching should not cause instability.
The flat tone can add a long-lasting and distant style, but if three consecutive flat tones are not changed in time, it will easily become a sad tone.
The upward tone can add twists and turns to the emotional style, but if the upper tone is not used well, it can easily lead to a greasy tone.
The entrance voice is short and suitable for expressing emotional styles such as excitement and depression.
The pronunciation of a word can be divided into clear and voicing or weak due to the initials and finals. Therefore, the connection between words must also be paid attention to, as well as whether the mouth shape can be switched smoothly.
Changes in sentence fragmentation: mostly due to style
One word leads to two four-character sentences, which is an upright structure. If it is made into a three-six structure, it will increase the euphemism.
When writing in medium and long tones, a five-character sentence is often broken into two-character and three-character sentences, and the two-character sentences are rhymed. This is a technique to slow down the rhythm of the sentence and increase the euphemism.
When the general rhythm remains unchanged, sometimes the minor rhythm is changed, such as the replacement of the third and fifth readings with the first and seventh readings of an eight-character sentence, and the replacement of the third and sixth readings of a nine-character sentence by the fourth and fifth readings.
Staggered: Too neat and easy to be dull.
For small lines with a small number of words, the same upper and lower paragraphs can arouse vibration. Medium and long paragraphs with a large spacing span cannot generate vibration, so they do not need to be the same. Also because of the long span of the text, the medium and long tunes need to make use of the difference in the starting beat of the upper and lower sections to boost the listener's tolerance with a new posture, so distinction must be made.
Generally, distinctions are made between beats. If there is no distinction and the rhythm of two consecutive beats is the same, the rhythm of the next beat must be staggered. Or sentences with odd and even numbers of words are interleaved, or sentences with different lengths are interleaved. You can also use the rhythm of reading and breaking as an aid. Only using straight and oblique words to interleave is a bad idea, and it is limited to small orders.
It is not advisable to have all flat feet when shooting. It can be all single, or single and double staggered. Generally, it is not suitable to have all single flat feet.
Changing rhymes: Do not change rhymes too frequently, as frequent rhyme changes will hurt your energy.
Most of the ancients preferred to change the rhyme from flat to oblique to flat first, in order to achieve long-term meaning. However, switching from flat to oblique is a minority. Nowadays, things are becoming more and more complicated. If you don't say anything, it will become more and more turbulent. The flat rhyme can't help but turn into oblique rhyme, which is true of the nature of the times.
Regarding the tone of words, directly changing the plain rhyme to another plain rhyme is much inferior to changing the flat rhyme to oblique rhyme, and it does not work.
If the level becomes even again, it is already the critical point, and the skill is insufficient and it is easy to become chaotic.
Length: The lyrical poem should not be too long. A medium to long tune of about 100 words is most suitable. Any longer is just suitable for narrative. There is an end to popularity, so the main paragraph of Jiuzhangji respects nine as the ultimate number, and also uses narrative as the backbone to support the length. Two paragraphs of Xiaoling are enough, but three paragraphs are cumbersome.
Translation: changing the rhyme or rhyme.
Because the original rhymes and tones are adaptable, translations generally change the original sentence patterns. If they remain unchanged, some contradictions will often occur. Although there are occasional exceptions, they must be considered.
For example, in Huanxisha, if the rhythm of the original sentence is used and only the flat and oblique inversions are used, then the steep zigzag sound of the double oblique foot rhyme sentence will be in extreme opposition to the long style of the seven-seven-seven sentence pattern, making it double oblique. The rhymes are not good.
The rhythm of the original sentence cannot be copied when reproducing Yugezi. The light and fluent style of Yugezi is due to the position of the sentence breaks, which is also very inconsistent with the twists and turns and steep sound.
It’s also like Meng Ling. When the two words are used together, they have the tendency to urge the following, but entering flat feet is too slow. Therefore, Wu Wenying’s flat rhyme is like Meng Ling, which is not advisable.
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When creating new lyrics, the rhythm of the words must keep up with the rhythm of the music. Therefore, the rhythm must be formulated before writing lyrics. Those who do not sing must also have a chanting rhythm. Without singing or chanting, the creation of new words is completely meaningless.
Tune is related to Qihe. The shorter it is, the more it reflects the basic physiological rhythm. Human physiology has not changed much from ancient to modern times, so the difference between Xiaoling’s ancient and modern styles is also small. The ancients have made a lot of creations, so that There’s not much room for creating new tunes.
The longer the tune, the greater the difference between ancient and modern styles. Especially for very long tunes, there are both ancient tunes and modern tunes that are more complex. When writing new lyrics, it is better to determine the words according to the tune. There is no need to draft the name of the lyric brand, call it prose or indicate what to follow. Just a song.
It is used:
Introducing the sentence rhythm of Cipai into the ancient style can make the ancient style more flexible and changeable.