1. The historical story of the guzheng
The guzheng is an ancient national musical instrument. Its structure consists of a panel, wild goose pillars, strings, Qianyue Mountain, string nails, tuning box, piano feet, It is composed of Houyue Mountain, side panels, sound outlet, bottom plate, and string holes; the shape of the zheng is a rectangular wooden speaker, and the string frame "zither column" (i.e., the wild goose column) can be moved freely. One string and one note are arranged according to the pentatonic scale. At first, the 25-string zither was the most common (the zither was divided into zithers). In the Tang and Song dynasties, there were thirteen strings, and later it increased to sixteen, eighteen, twenty-one strings, etc. At present, the most commonly used specification is twenty-one strings. Strings; usually the guzheng model number is preceded by S163-21, S stands for S-shaped Yueshan, which was co-invented by Wang Xunzhi and Miao Jinlin, 163 represents the length of the guzheng, which is about 163 cm, and 21 represents the number of guzheng strings, 21; the character with the same name is a Chinese woman Gymnastics team member; guzheng training school.
Guzheng/Hanzheng: That is, Hanzheng/Guzheng is the name of the Hanzheng instrument. It is the traditional national instrument of the Han people. In addition, there are the Mongolian Zheng/Yatuoge Korean Zheng/Gayaqin of the Korean people. The Korean zither/gayageum and the Han zither (Guzheng) have a deep relationship. The Mongolian zither, also known as Yatuoge, is an ancient national musical instrument popular in my country's Xilin Gol and Yike Zhaomeng areas. It is very expressive; its structure, tuning method, and playing style are all different from the Han guzheng.
The Korean zither is the Gayageum. According to legend, it was made by King Gyasi of the Gayage Kingdom and imitated the Chinese Han zither. Its shape is similar to that of the zither, with one string and one post. The gayageum currently in use has twenty-one strings, and its scale arrangement has seven tones and five tones. The technique of playing right and pressing left is basically the same as that of the Han zither.
It can be played solo, duet, ensemble, and can also play and sing. According to the "Historical Records of the Three Kingdoms": "King Jiashi of Gayage Kingdom made a twelve-stringed harp.
It resembles the rhythm of the twelve months. It was ordered to make its music."
"The Gayageum is also based on the Chinese musical instrument Zheng.
Although the Gayageum is slightly different from the Zheng system, it is roughly similar to it."
Note : "Historical Records of the Three Kingdoms" () is an official history describing the Korean Peninsula and is the oldest existing history book in Korea. "Historical Records of the Three Kingdoms" is mainly based on the lost "Old Historical Records of the Three Kingdoms" and "Hwarang Shiji", and also refers to Chinese historical classics including "Book of Wei", "Book of the Three Kingdoms", "Book of Jin", and "Old Book of Tang" , "New Book of Tang" and "Zizhi Tongjian".
This book is a precious document for studying the history of the Three Kingdoms period of Korea and the later period of Silla. 2. I am urgently looking for historical stories about guzheng (not guqin), thank you
History of guzheng The zheng has been widely circulated during the Warring States Period, and was especially popular in the Qin State, so it is also called Qin Zheng.
There are two types of zither commonly used in various places: thirteen-string and sixteen-string. The pentatonic scale is tuned, with the lowest note starting from G or C, and the range reaches three octaves.
Modern folk zheng has different styles in different regions. Such as Shandong, Henan, Zhejiang, Chaozhou and Meixian of Guangdong, etc.
Zheng is also called guzheng; in Korea it is called gayeqin; in Vietnam it is called sixteen-stringed qin. The appearance of the zheng was before 200 AD (Qin Dynasty) at the latest. During the Warring States Period, the Qin Dynasty had been widely spread. To this day, the Chaozhou Zheng is still called Qin Zheng.
It is mentioned in the book: Beating the urn, percussing the bowl, and playing the zither and playing the drum are the true sounds of Qin. Earlier, it was also recorded that in Linzi City of Qi State, all the people played the Yu, drums, zither, built structures, and played the zither.
Liu Xi of the Eastern Han Dynasty explained: Why is it called Zheng? Its pitch is as high as that of a zither. The Japanese Gang Changyin explained the origin of the word zither: the two daughters of Qin Guowan Wuyi competed to play the zither (twenty-five strings), Meng Tian broke it into two instruments, and each took half (twelfth and thirteenth strings). The king of Qin It was so strange that it was named Zheng, and it became a new instrument due to competition.
However, the book has not yet been seen, and the Qin Zheng has twelve strings and the Tang Zheng has thirteen strings, so it is possible that it was fabricated. : Five strings build the body, shaped like a harp.
The prefix for zither begins with bamboo, which may be related to the musical instrument Qin Zhizhu. Describing the zither, it says: The shape is the same as that of the zither, but there are fewer strings.
In ancient times, the one with twelve strings was called zither; the one with twenty-five strings was called zither. Confirmation can be obtained from unearthed ancient musical relics.
According to legend (see ), Guse originally had fifty strings, but Huang Di broke it into twenty-five strings. If it is later broken down into twelve and three strings, and the result is established, it will be added back to fourteen strings (Tang Dynasty), fifteen strings (Qing Dynasty), sixteen strings (early Republic of China), eighteen strings, etc. Twenty-one strings, twenty-five strings, twenty-six strings, forty strings, forty-four strings, forty-nine strings.
The contrast between the two makes people want to turn back time. The biggest difference between the guqin and the zither is that the zither and the zither have qin keys, one string, one code, and one note. When playing, the portamento can only be played on the left side of the qin code by pressing, pressing, releasing and other fingering techniques with the left hand. , changing the sound; and the piano has no keys, you can use your left hand to press the fingers to make the sound.
One string has multiple tones, and can be made by using open strings, fretted strings, or half-fretted strings (overtones). Therefore, the guqin only has seven strings, but its sound range is wider than that of the guzheng.
The same point between the two is that in principle, the open strings are all set to the pentatonic scale (generally, the guqin is set to the pentatonic scale of the key of F, and the guzheng is set to the pentatonic scale of the key of G). You can fingering the strings. Play the water effect. And the same is that the treble is inside and the bass is outside.
The guzheng is an eight-note "silk" musical instrument. It was originally made of silk strings like the qin and harp, and the sound was simple and classic. In modern times, it was switched to steel wire for a sonorous sound. In modern times, it is changed to steel wire and nylon wire, which can Get the best of both worlds. The timbre and performance characteristics of Zheng vary greatly due to different regions and schools. It is not suitable to generalize. Each Zheng school must be studied and discussed separately.
Zheng is widely circulated among the people, but it seems that only Chaozhou has two or four handwritten Zheng scores and one book with guzheng score spread. It was not until the 19th year of the Republic of China that Liang Zaiping published a book.
A rap art spread in Heze (Caozhou), Yuncheng, and Zhencheng in the southwest of Shandong Province, with dulcimer, pendulum qin, guzheng, (soft bow) Jinghu, pipa, and sanxian as accompaniment instruments . It has a history of more than 200 years.
The guzheng solo pieces that gradually evolved include , , , and other six pieces (Lao Liu Men). In terms of playing skills, the most prominent one is shaking the fingers with the small joint of the thumb.
In modern times, Zhao Yuzhai (1923-) in Yuncheng created the method of playing the zither with both hands (left). Arrange and compose zheng music , , , , etc.
Published three books. Another Yuncheng zheng master, Gao Zicheng (1918-), composed , , , , etc., and published , etc.
In addition, there is another form of ancient music performance called , which is played by an ensemble of dulcimer, guzheng, (soft bow) Jinghu or pipa and erhu (Ruyi hook). The repertoire is a four-part (paragraph) suite composed of sixty-eight measures.
It is composed of four major (board) categories, and the tracks include , , , etc. In the Liaocheng and Linqing areas in eastern Shandong, there are two types of guzheng solo music (in 4/4 time) and (in 2/4 time), both of which have sixty-eight planks.
The tracks include , etc. The most famous guzheng representative piece should be Lou Shuhua’s adaptation of the thirteen-string zither music. It was originally composed by Jin Zhuonan of Liaocheng, Shandong Province based on two folk zither music (in 2/4 time) from Linqing, Shandong Province, and passed on to Lou Shuhua.
Lou Shuhua passed it on to his disciple Cao Zheng (1920- ). Cao Zheng and Zhu Yuzhi compiled it into a duet for Huqin and Guzheng, which is one of his famous pieces. Among them, the third section of the rhythm, describing the whirlwind melody of returning to the boat after a storm, has been popular for nearly half a century and has remained popular for a long time.
It is a classic guzheng playing method and work. Each school has absorbed it, and the performance scores are only slightly different.
Later, Cao Zheng learned guzheng from Liang Zaiping in Nanjing and often played the guzheng (Henan Eight Banner). There are many kinds of publications.
The above three kinds of Zheng music repertoire form a school. In Henan Province, which is adjacent to Shandong, there is a kind of rap art called , which became popular in Nanyang after the middle of the Qing Dynasty. It is also called , , .
The instrumental music (opening, intermezzo) in major tunes is mostly played by guzheng, pipa, and three-stringed sanxian (accompanied by flute, four-hued, octagonal drum, etc.). Approximately , , , , , , and other 40 or 50 sixty-eight-meter pieces are collectively referred to as
The whole piece of Zhongzhou ancient tune has three sections, the slow and medium sections have 68 bars, and the allegro has three sections. Fourteen bars. The performance is characterized by the use of middle finger outstretching, big vibrato, vibrato and differential wandering.
The three famous masters of the Henan Zheng School - Wang Shengwu, Cao Dongfu, With the efforts of Ren Qingzhi, he broke away from the Shandong Guzheng School and became an independent school.
Cao Dongfu (1983-1970) played the Guzheng under the tutelage of Ma Shuzhang. 3. The origin and story of the Guzheng.
As early as the Warring States Period from the 5th century BC to the 3rd century BC, it was widely spread in the Qin State (now Shaanxi), so it was also called Qin Zheng.
Counting, It has a history of more than 2,500 years. "High Mountains and Flowing Waters", a Chinese ancient harp music, is one of the top ten ancient Chinese music.
It is said that the woodcutter Zhongzi was playing the harp in the wilderness of the pre-Qin Dynasty. Qi Qi actually understood that this was a description of "the mountains are as high as Mount Tai" and "the ocean is as high as rivers". Boya was surprised and said: "How wonderful, your heart is the same as mine."
Zhong Ziqi After his death, Bo Ya lost his friend's voice and dropped his qin without strings. He never played again, hence the song "Mountains and Flowing Waters". Extended Information Guzheng, also known as Han Zheng, Qin Zheng, Yao Zheng and Luan Zheng, is a zither instrument among traditional Chinese musical instruments. Plucked instrument.
It is one of the unique and important national musical instruments in China. It has beautiful tone, wide range, rich playing skills and strong expressive power, so it is deeply loved by the people. Love it.
Nowadays, there are also small guzheng, portable guzheng, mini guzheng, half guzheng, new guzheng, and twelve equal temperament guzheng. An ancient indigenous musical instrument.
It is a plucked instrument. Its structure consists of a panel, a wild goose pillar (also called a zheng code in some areas), strings, Qianyue Mountain, string nails, tuning box, and piano feet. It consists of Houyue Mountain, side panels, sound outlet, bottom plate and string hole.
Reference: Baidu Encyclopedia - Guzheng 4. The history and culture of Guzheng
Guzheng was originally called Zheng. , also called Qin Zheng. Because it has a long history of more than 2,500 years, later generations named it "Gu".
Our country has always admired the guzheng, calling it a treasure among national musical instruments, a wonder that is appreciated by both refined and popular people, the ancestor of all sounds, and the teacher of all kinds of music. There is a sentence in "Nineteen Ancient Poems" of the Han Dynasty: "Today's good banquet, it is difficult to express the joy. Playing the zheng is exciting and refreshing, the spirit of new and wonderful sounds." There is a sentence in "Zheng Fu" by Hou Jin of the Han Dynasty: "The sound of the group of buds is used as a Lord, he leads everyone to be a teacher, changes customs and integrates human relations, there is no one better than the zheng." Lu Xun's poem "Giving People" (Part 2): "The Qin girl is handling the jade zheng, and Liang Chen is dancing happily in the gentle night breeze. , the sound is sharp and the strings are dead, but the stars are flying and there is sound. "Many countries in the world also highly praise the Chinese guzheng, calling it a mysterious instrument and the music it plays as magical music.
The guzheng is a stringed instrument. According to its playing skills, it is a stringed instrument. Its appearance is simple, elegant and beautiful, its sound is beautiful, mellow, clear and bright, and its volume is loud but not noisy. It has extremely strong expressive power and strong appeal, and can fully express the music content with strong national style. The music played with the guzheng is soft, beautiful, clear and harmonious, and the lingering sound lingers for three days, and is deeply loved by people.
There are different opinions on the origin of the name of Zheng and Zheng. In history, there was a saying that the Yellow Emperor threw the zither and created the zheng. Such a story is recorded in the "Yin Hua Lu" written by Zhao Lin of the Tang Dynasty: The Yellow Emperor ordered the palace maid to play the harp, and the palace maid played a very sad tune on the harp, which made the Yellow Emperor feel sad and shed tears. The Yellow Emperor couldn't control himself, so he raised the palace maid's harp and threw it to the ground, breaking it into two pieces, so that the original harp of fifty strings was divided into two harps with twenty-five strings. So later generations called the twenty-five-string zither the zheng. There is also a saying in history that sisters separated themselves from each other and became zithers. It is recorded in the second volume of "Le Dao Ji": "The female sisters of Qin competed for the harp, and finally they broke into two pieces. One piece has thirteen strings, which is the sister's division, and the other piece has twelve strings, which is the sister's division. The Emperor of Qin was so surprised that he established The name is Zheng." Later, there was a saying that father and son fought to split the zither in two and got the name of the zither, and brothers fought to split the zither in two and got the name of the zheng. Let’s not talk about whether the origin of the name of the zheng is reasonable or not. One thing is certain, the zheng evolved from the harp. Where does the theory of Qin Zheng come from? Li Si, the Prime Minister of Qin, wrote in the "Book of Remonstrances and Chasing Guests": "The man who beats the urn and knocks the fou, plays the zither and beats the beard, and sings that makes the ears and eyes happy, is the true sound of Qin." This means that the person who beats the pots and earthenware is Basin, while playing the zither, clapping the thighs and making time, singing woo-woo songs to make the ears and eyes happy. This is the real music of Qin. Li Si regarded the zheng as a unique musical instrument of Qin, and regarded the sound of the zheng as an important symbol of Qin music. "Historical Records of Jing Ke" records: "When the prince and guests knew what had happened, they all wore white hats to see him off. When they arrived at the Yishui River, the ancestors took the road and built it high and gradually away. Jing Ke sang in harmony, which was the sound of change. The scholars all shed tears." This record means that when the prince and guests learned about Jing Ke's assassination of the King of Qin, they all wore white clothes and white hats to send Jing Ke off. When they arrived at the Yishui River, they worshiped the Road God and set out on the road. Gao Jianli built the building, and Jing Ke sang along with him, his voice desolate and sad. The local officials who saw him off all shed tears and cried. The building mentioned here, according to the records in "Customs of Customs" and the explanation in "Shuowen Jiezi", may be zheng. In the early days, zheng and zhu were very similar, and literati often confused zheng and zhu with the same thing. It can be seen from this that during the Warring States Period, the guzheng was quite popular in the Qin State and occupied a very important position among musical instruments. This is why later generations call Zheng Qin Zheng.
The guzheng was originally played by the player's own fingernails. In order to improve the quality of playing, increase the strength and volume of playing, zither players have adopted the method of replacing fingernails with fake nails. The development and changes of guzheng playing skills are greater than those of other instruments, especially in the past thirty years. The earliest guzheng playing techniques were very simple. The division of labor between the two hands was very clear. The right hand played and the left hand pressed the strings. The tune is also extremely simple, basically a slow single melody. As time goes by, the guzheng repertoire becomes more and more difficult, the playing techniques become more and more complex, the expressive power becomes stronger and the performance content becomes richer and richer. It has gone from simple playing with one hand to complex playing with both hands. The development process from simple string-plucking techniques to complex string-plucking, vibrating, pressing, and rubbing techniques. 5. What is the allusion to the origin of the guzheng
The guzheng is the "true voice of Qin", so it has always been called "Qin Zheng", but from the perspective of the writing, there are also things worthy of our consideration place, that is, "beating the urn and knocking on the fou" is in opposition to "Zheng Wei Sangjian", and "playing the zither and beating the feather" is in opposition to "shaoyu and wuxiang", so the next step is "abandon the knocking on the fou now, Hitting the urn and taking Zheng and Wei, withdrawing the zither and taking Shao and Yu, what if this is the case?" This is a violation of the precepts.
The counterpoint here is obviously not for literary talent, but the form and content of "joy" and "dance". The so-called "voice of Zheng and Wei" is "Sangjian Pushang", which is It is the folk music of Zheng Guo and Wei, so it can be seen that "knocking on the fou and beating the urn" was the folk music of the Qin State at that time, that is, "Shao Yu" is "Shao Xiao", which is what Confucius praised after hearing it. "Shao" in "Three months does not know the taste of meat". It is said that this music was composed by Dayu.
The above refers to music; this music is obviously not folk music, but court music. It can be seen that at the latest when Ying Zheng came to power, the Qin State had replaced the Zheng with the "Shaoxiao". The Zheng was a musical instrument used by the court at that time, and it should be more elegant than the Fou and the Urn.
As for "Bou Bi", what I want to challenge is "Wu Xiang". This "Wu", also known as "Da Wu", is music and dance, which was sung by Zhou people to praise King Wu for his defeat of Zhou.
It can be seen that "Bobi" should be the court music and dance of the Qin State.
The example given by Li Si proves that the songs, dances, and music used in the Qin court are from other countries. In order to refute the political question, Zhang Ben is not a guest.
The article has already mentioned that Li Sijin submitted the "Book of Remonstrance and Expulsion of Guests" in 237 BC, so the popularity of zheng in Qin must have been before that. The emergence of Zheng is relatively complete and should be earlier than Li Si's "Book of Remonstrance and Chasing Guests".
There are two theories about the name of the zither. One is that it comes from the split of zi, the other is that it got its name from the clank sound. "Ji Yun" maintains the saying of "dividing the harp into a zheng": "The Qin customs are weak and evil. If father and son fight against each other, they will each take half of the zither. At that time, it was called zheng."
Of course, in addition to the theory of father and son quarreling over steed, there are also stories about brothers quarreling over steed and sister quarreling over steed. These similar legends also illustrate the unreliability of these statements.
In addition, as far as common sense is concerned, if the zi is divided into two, it becomes a broken zi. How can it be considered a zheng? If you break a zither into two and repair it into a zither, it will probably be far more difficult than making a zither and a zither, right? Another theory is that it got its name because of the nature of its pronunciation. Liu Xi's "Shi Ming" states that "Zheng, the string is high, and the string is high, and the zither is straight". It is said that the zheng is pronounced "Zheng Zhengran" because of the "high strings". This timbre is obviously for the soothing tone of the harp, which connects the zither and the harp.
Indeed, our national musical instruments can be named after the origin of the instrument (such as Huqin), they can also be named after the development method (such as Pipa), and they can even be named after their timbre (such as Bawu). Here The sound of the Zheng is pronounced "Zheng (Zheng) Zhengran", so it is not a bad name. Judging from the following text, the original zheng and harp were not closely related, which lost the significance of the contrast between the timbres of the zither and the harp, making this theory difficult to fully believe.
The naming of the zheng mentioned above also involves the origin of the zheng. Since the theory of "breaking a zither into a zheng" is not credible, then the zheng that happened was not made from a broken zither.
So how did the zither form? Han Dynasty Ying Shao's "Customs of Customs" contains an article: Zheng, "I would like to follow the "Book of Rites and Music", the five strings are used to build the body. The shape of the zheng in Bing and Liang states today is like a zither. I don't know who modified it.
It may be said that it was made by Meng Tian. It can be seen from Ying Shao's "Customs of Customs" that the system of the zither before the Han Dynasty should be "five strings and a body", but at that time it was "incorporated into the (Shan) Liang (Gansu) two". "The Zhou Zheng is shaped like a zither". In response to the reform made by someone unknown to Shao, he also recorded the rumor that "it was made by Meng Tian". This also shows that the zither-shaped zheng has been circulated in the northwest region in the Han Dynasty.
Du You of the Tang Dynasty said in "Tongdian. Music Four": "Zheng is the sound of Qin. Fu Xuan's "Preface to Zheng Fu" said: "I thought it was made by Meng Tian."
< p> Looking at the instrument now, the top is as high as the sky, the bottom is as flat as the earth, the hollow is accurate to the six directions, the string pillars are like the twelfth month, the four images are there, and the drums are five tones. This is an instrument of benevolence and wisdom, how can it be implicated in the subjugation of the country by Tian? Chen Guan Sizai also added a note: "In the Qing dynasty, there are only two strings out of ten, but he is willing to have three strings out of ten.To roll a zither, use bamboo slices to moisten its ends and roll it. To play the zither, bone claws are used, which are more than an inch long to represent the fingers. ”
The above two pieces of information are worthy of our attention. Ying Shao was born in the late Eastern Han Dynasty (the end of the second century and the beginning of the third century). The "five strings and body building" he recorded are based on the "Book of Rites and Music" "The record of "Zheng" was not witnessed with his own eyes, and what he saw "in Bingzhou and Liangzhou, the shape of the zheng is like a zither" did not mention whether the shape of the zheng was different in other areas. Du You, who lived in the late Tang Dynasty, was from the ninth century. In "Tongdian", he explained in detail the shape of the zheng at that time, which was also in line with the standards of orthodox ritual vessels.
Of course, Du You also proposed "Mengtian's Zheng". Questions about this legend. Was Meng Tian actually making the zither? In recent years, some people believe that Meng Tian was a talented man in both civil and military affairs, and it is entirely possible that he made the zither.
However, judging from the age, it is not possible that Meng Tian made the zither. This possibility exists. Meng Tian's grandfather Meng Ao died in 240 BC (the seventh year of the Qin Dynasty). At this time, Meng Tian was only a young man in his 20s. Even though the young Meng Tian had the talent to make a kite, it would take a long time to make it. It became popular in the Qin Dynasty in just a few years and became a court instrument of the Qin Dynasty. It seems impossible.
Some people say that the zheng was made by Meng Tian when he was building the Great Wall. It is even less possible.
Because Meng Tian built the Great Wall after the Qin Dynasty destroyed Qi in the 26th year of the Qin Dynasty (221 BC). Sixteen years later! It is also said that Meng Tian made it as "Bi", and the ancient traditional "Bi" is similar to "Zheng". Due to errors in records, this theory was spread incorrectly. 6. The story of Gu Zheng
Guzheng is an ancient national musical instrument that was popular in the "Qin" region during the Warring States Period
Methods of playing strings
There are two basic methods of playing strings: clamping and lifting. Method.
Clamping method: The finger string direction is from diagonally above to diagonally below, the angle is 45 degrees, the sound is green and thick, and the sound quality is full. When playing, the ring finger is often placed on the strings. , so that the hand has something to rely on and the hand shape is naturally relaxed. The clamping method is the basic method for beginners to play the zither, and it is also the basic method of traditional techniques.
The direction of playing the string is from the direction of the finger. The angle is 45 degrees from the lower part to the upper part. The pronunciation is crisp and the sound quality is clean. It is often played without any support. During basic training, it is necessary to keep the hand in a relaxed state. It is an important method for quick practice.
In addition to these two basic methods of playing strings, the depth of touching the strings, the adjustment of the angle of touching the strings, and the differences in speed and strength of touching the strings all bring great changes to the pronunciation of the zither. In basic training, you must learn to master different methods of playing strings, learn to adjust the angle, strength, and speed of touching the strings, and freely apply them to the performance of music.
Method of pressing strings
The method of pressing strings with the left hand is to control the tension and pitch of the strings by pressing them, and change the residual sound after playing the strings with the right hand, so as to achieve "pressing the strings to get the rhyme" ”, the purpose of “complementing sound with rhyme”.
Essentials of string-pressing movements: Relax your shoulders and arms, bend your elbows naturally, make your wrists parallel to the backs of your hands, naturally bend your index and middle fingers on the strings, press the strings with the pads of your fingertips, and keep your mind on the strings. , on the tip of the middle finger, do not press down on the wrist.
Traditional techniques
Traditional techniques of the right hand mainly refer to the use of the big, middle and index fingers. Whether it is support, splitting, hooking, ticking, wiping, picking, or pinching, wheeling, shaking and many other techniques, the core principle is: with the big finger as the axis, the technique rules are characterized by hooking techniques within the octave of the pentatonic series. (Playing the string with the big finger outward is called "tuo", playing the string with the middle finger inward is called "hoo", and the hook-tuo coordination with the folk is called "hooting"). Whether it is for beginners or typical genre zheng music, all are based on big, The middle finger is in the octave strumming position - the big finger is the main finger used to play the melody, and the range of movement of the index finger is on the four zither strings within the octave of the big and middle fingers. This is the main feature of the traditional right-hand technique.
The traditional technique of the left hand is chanting, rubbing and sliding, with rhyme and simple sounds as its main feature. Various changes in techniques are the main expression methods of local schools. The first thing is to master the basic concept of chanting, rubbing and sliding. In order to further master the special performance techniques with local style characteristics
Modern techniques
With the development of the times, Zheng's techniques have widely borrowed and absorbed the techniques of other instruments to enrich themselves. From playing with both hands to the performance of special sounds, from the arrangement of pentatonic and septatonic scales to the arrangement of special scales, the expression ability of the zither is greatly enriched.
The regular arrangement according to the melody. The "finger sequence playing method" using finger order is suitable for special sound sequences and fast and changeable melody progressions. The "finger sequence playing method" makes the fingers playing strings not limited to the big, middle and index fingers of the right hand. The ten fingers of both hands emphasize the finger function and the independence of the fingers, and the main method of playing the string is the "lifting method", which further develops the technique of using points to form lines. "Finger shaking technique" is one of the important expression methods of modern music. It makes the rotation coherent and smooth, enhances the intensity, broadens the range of expression, and gives new meaning to the performance of modern music. 7. What is the legend?
According to legend, the Qin State already had the zither more than 2,000 years ago.
So how did the zither come about? There is an interesting legend: At that time, the Qin State had a zither. There is a musical instrument called the harp. There was a man named Wan Wuyi who was very good at playing the harp. His two daughters also liked playing the harp very much.
One day, both sisters rushed to learn from their father. Playing the harp, my sister ran fast and got the harp in her hand first. The coquettish younger sister couldn't give in, so she hurried over and hugged the harp in her sister's hand. The two of them pulled at each other and refused to give in.
Suddenly, there was a "click" and the string was broken in half. When the father heard the sound and rushed over, he was stunned when he saw half of the string in his sister's hand. Half of the strings in his sister's hands were twelve strings. He was anxious and angry, so he quickly took the strings from his two daughters' hands, sighed, touched the strings left and right, and plucked the strings with his fingers. To his surprise, half of the strings were broken. The harp actually made a better sound.
Wan Wuyi had forgotten to blame his daughter. He made some repairs to each half of the harp. As a result, this half of the harp played better than before and the sound was better! So he called this "two women fighting and breaking into two" harp "Zheng". From then on, "Zheng" spread in Qin.