At the beginning of the piece, there is a free beat, a slow loose plate, which the pianist calls "scattering". Its tonality is not necessarily obvious, mainly using the main tone and subordinate tone to determine the tonality.
Some of the characteristic sound patterns of this piece appear here in fragments, preparing the listener to enjoy the whole piece. Its length is determined by the scale and performance needs of the whole song, and forms an organic part of the whole song.
After thorough preparation, the main tone of the piece is revealed. By this time, the beat had been incorporated into the routine, and the melody was greatly strengthened, which the pianist called "into the key". Some vivid and melodious theme tones appear in this part in turn, and after repetition, contrast, change, and development, the ** is gradually pushed to a climax.
The climax is often formed with increased tempo, expanding the vocal range, and enhancing the timbre contrast. Some double tones that enhance the strength of the tune are also often used in these places. This part often accounts for more than half of the whole piece and is the main part of the music.
After the climax, the mood gradually calms down and enters the "slowness" of the piano song. At this time, obvious rhythmic contrasts or tonal changes are often used to introduce the music to a new level. In some large-scale piano pieces, sometimes the material with the meaning of the end is inserted, or the previous theme is partially reproduced, or the previous material is reproduced in a deformation, which is called "resurrection", so that the music has a twist and turn, and the taste is unstoppable.
After the above series of developments and changes, the overtones are finally used to play a light and slow phrase, ending the whole piece on the main note, resulting in the effect of lingering notes. This is how the "epilogue" of many pieces is composed.
The structure of a piece like this: "Scattering", "Entering the Tune", "Entering the Slow", "Rising", and "Ending" can only be used to summarize the situation of ordinary music. In addition, there are some ancient qin songs, qin songs transplanted from other ** genres, and qin songs specially sung for accompaniment, etc., which have their own special music forms, which are not included in the above situations.
All these forms have been gradually formed in long-term practice in accordance with the traditional psychological habits of the nation, the wisdom of people from generation to generation, the test of time over thousands of years, and the accumulation of wisdom from generation to generation.