正文开始之前,想强调一下本文提出问题的重要性,即川剧高腔音乐的调式问题不太引人注意,甚至可以说还有些混乱,它不但影响了川剧音乐的整理与研究,也影响了川剧音乐的改革与发展。至今,约占整个高腔曲牌三分之一类曲牌的调式还未明确,这就是本文提出问题的来由。 (一) 川剧高腔属曲牌体,在使之系统化,归类成目方面,多年来川剧界的同志们作了不少努力。他们对曲牌进行了分类,但由于分类法尚未统一,不管如何分类,角调式仍是争论的焦点。川剧高腔究竟有无角调式?目前应丢掉偏见,以科学的态度,进行实事求是的分析和研究,所以,笔者认为回答应该是肯定的。过去,也有人虽承认川剧高腔中有角调式,但却把[一枝花]错认成角调式。其实[一枝花]应是羽调式,帮腔停止在属音上,以便加强唱腔出现趋势,结合听一下唱腔录音,那就更清楚了。再者,[一枝花]往往成堂使用。总以二流结束唱段,或用[牧羊关]、[四块玉]等结束在羽音 Before starting the text, I would like to emphasize the importance of the issue raised in this paper. That is, the tuning of the music in the Sichuan opera plays no less conspicuous or even confusing aspects. It not only affects the sorting and study of Sichuan Opera music but also affects Sichuan Opera Reform and development. Up to now, about one third of the total Tune of the Tune is still not clear, which is the reason why this article raises the question. (A) Sichuan Opera high chamber song body, to make it systematic, classified as a goal, Sichuan Opera comrades over the years made a lot of efforts. They categorized the songs, but because the taxonomy has not been unified yet, no matter how categorized it, the angular style remains the focus of the debate. Is there any angular style in the high chamber of Sichuan Opera? At present, we should discard the prejudice and conduct a scientific analysis of the facts. Therefore, I think the answer should be affirmative. In the past, although some people admitted that there was an angular tone in the high chamber of the Sichuan Opera, they mistook [a flower] for an angle tone. In fact, [a flower] should be plume style, to help stop in the genitals, in order to enhance the trend of singing, combined with listening to singing voice, it is more clear. Again, [a flower] often used as a hall. Always second-stream end of the singing, or use [shepherd off], [four jade] end of the feather tone