Panda Po is the theme music of GongFu Panda. It is a very lyrical
It appears at the end of the film that the master and the disciple are
at the end of the film when the master and disciple are sharing buns under a peach tree. The music is a very lyrical piece of music.
Chinese flavor and the self-sufficiency typical of agrarian societies.
The film is full of Chinese flavor and the typical self-sufficiency of an agrarian society. The pulsating notes and lightly plucked strings
quietly transport us to that welcoming place, with the jumping rhythms of the yangqin pounding and the plucked strings of the lower register. The plucked strings immediately transport us back to the beautiful and peaceful valley of peace.
A series of lightly plucked notes and yodeling variations slowly introduce the second appearance of the main melody The main theme is reproduced with the addition of marimba, a Western percussion instrument, whose The “tinkling” sound of the marimba, like a gurgling stream of water The “tinkling” sound of the marimba, like the flow of water, is matched by the joyful flow of the yangqin, giving us a the valley of peace. At the end of each phrase, there is a sub-spin played on the yangqin with the typical Chinese folk song in the form of a reply.
In the section that follows, the composer uses Chinese opera-style small hits (hang cymbal, small gong, ringing board) and powerful drums to make this section witty and jumpy without losing its grandeur, and the lead instrument has been changed from a yangqin to a more dexterous small clapper flute, rendering this vigorous and continuous vitality very charming.
The bass of the overture is replaced by the yangqin, which plucks the strings throughout, and adds the humorous and mischievous gong from Chinese opera. In the second half of the piece, the first section is repeated, with more varied orchestration, for example, the beautiful strings replacing the yangqin and adding a contralto structure, with a fuller and more expressive mood than before, gradually bringing the piece to a climax. The piece returns to silence at the end, stopping with the initial plucking of the strings, as if you have just heard a seemingly mundane but infinitely meaningful story, and you feel as if you have not yet finished. It is worth noting that in this short score, the composer uses a melodic technique typical of traditional Chinese music – the ‘fish biting its tail’ – which is prominent in the main melody of the four phrases. The “fish bites the tail” refers to the structure in which the ending note of the previous melody is the same as the first note of the next melody, also known as the articulation and the succession, which is a form of traditional Chinese music structure. Musical language (musical language consists of many elements: melody, rhythm, meter, tempo, intensity, range, timbre, harmony, polyphony, modulation, tonality, etc.). The ideological content and artistic beauty of a piece of music can only be expressed through a variety of elements) is closely connected, with a neat and tidy syntax. This is very typical of Chinese compositional thinking, and is used in a large number of famous Chinese songs such as ‘The Moon in the Spring River’ and ‘The Night of the Flowers and the Moon’.