Category: Culture/Art>> Instrumental Music/Vocal Music

Problem Description:

The guqin is the oldest plucked instrument in my country, formed more than 3,000 years ago It is said that it was made by the "Fuxi" and "Shennong" families; the guzheng was much later and was formed in the Qin Dynasty. According to legend, there was a person in the Qin Dynasty who passed the zi (instrument) to two women, and the two women wanted to compete with each other. , divided into two, so it is called "Qin Zheng". This is the difference between the two formation years.

Secondly, the body of the guqin is made of a single wood, with seven strings tied to the surface, so it was called "lyre" in ancient times. The strings are tied with velvet ropes and tied to the pegs. It is a "horseless instrument" in the plucked music category; the guzheng is composed of a frame plate, a panel and a bottom plate. The earliest zither had 5 strings, which developed into 12 strings at the end of the Warring States Period, 13 strings in the Sui Dynasty, 16 strings in the Qing Dynasty, 21 strings in the 1960s, and increased to 24-26 strings in recent years. The strings are evenly arranged on the surface of the zither, and each string is supported by a herringbone bridge. It is a "horse instrument" in the plucked music category.

Thirdly, although the guqin only has seven strings, one string has multiple tones, and its sound range is as wide as more than four octaves. With the help of the thirteen "qin signs" on the panel, many kinds of sounds can be played. Lots and lots of overtones and fret notes. The timbre is implicit and deep, simple and elegant, and the expression is rich in connotation and extremely rich. Therefore, it was ranked first among "qin, chess, calligraphy, and painting" by literati in ancient times. The guzheng basically has 1-2 tones per string. By moving the bridge (column) in the same string, the pitch can be adjusted, the range is wide, the volume is huge, the tone is pure and beautiful, melodious and sweet.

Fourthly, Guqin musical notation has its own style. In ancient times it was called "Wenzi Pu", and after the Tang Dynasty it was called "ZhiZi Pu". In ancient times, Guzheng music music was mostly called "Gongchi Pu". Use "simplified musical notation" and "five-line musical notation" more frequently.

Fifth, the oldest representative repertoire of the guqin is "Jieshi Diao. Orchid", which describes Confucius' failure and used the orchid in the empty valley to describe himself. It has been more than 1,400 years ago. There are also "Guangling San", "Xiaosha Yunshui", "Three Plum Blossoms", etc. There are about thousands of existing piano scores. Our country's historical records include the legend of Yu Boya and Zhong Ziqi meeting their close friends in the mountains and flowing water, and the story of Kong Ming in the "Three Kingdoms" who cleverly used the empty city strategy to retreat from Sima's 100,000-strong army by playing the harp. They all talk about the guqin rather than the guzheng. In 1977, the "Voyager" spacecraft launched by the United States crossed the solar system and headed for the Milky Way space. The song "Flowing Water" played by the spacecraft was a famous song played on the Chinese guqin; the representative ancient music of the zither includes "Fishing Boat Sing" "Late", "Jackdaws Playing in the Water", "Water Lotus", "Flowers on the Brocade", etc. S

The sound of the guzheng is loud and beautiful, and it has a strong blessing when played. It's perfect if you want to use it to get drunk. Therefore, since ancient times, it has been mostly girls practicing their skills. Guqin has a small sound and is relatively introverted. Only under certain special circumstances will it move people particularly, and often it is only the piano player himself who is moved. Some masters have also played songs with strong blessing power, which make people feel as if they are listening to thousands of pines and are extremely intoxicated. But judging from the structure and development history of the guqin, the real significance of the guqin lies not in skill and touching, but in state of mind and nature. The unity of man and nature is the final destination of a piano player. Therefore, guzheng is more likely to be played for others to listen to, while guzheng is more likely to be played for oneself. #Once the guzheng is played, many people will be attracted to listen, but a close friend of the guzheng is always hard to come by. "

This so-called "difference" is too biased and requires a more objective article. It must be worthy of the reward points~~

Analysis:

Guzheng and Guqin are completely different.

Similarity: both are plucked instruments.

Difference: Guqin has seven strings, while Guzheng has 21 strings. Guqin structure: The Qin is an instrument full of cultural connotations. Just from the shape of the Qin, it can be said that it has a whole body.

Guzheng: It consists of a frame, a panel and a body. It is composed of a bottom plate. It is 160 cm long, 38 cm wide and 14 cm thick. It originally had 5 strings, and later gradually developed into 12, 13, 16 and 21 strings. Now there are 24 and 26 string zithers, and the most commonly used one is 21 strings. The strings are evenly arranged on the surface of the zither, and each string is supported by a herringbone bridge. It is a "coded instrument" of the plucked instrument type.

Let's introduce the guzheng and guqin

The crystallization of folk music - Guzheng: 11U0u-hm

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? Guzheng is also known as "Qin Zheng". Since the Qin and Han Dynasties, it has gradually spread from the northwest region of my country to all parts of the country, and gradually formed schools with strong local characteristics. Shandong Zheng, Henan Zheng, Chaozhou Zheng, Hakka Zheng, Zhejiang Zheng, Fujian Zheng, Inner Mongolia Zheng (i.e. Yatuoge), Korean Yanbian Zheng (i.e. Jiajuqin) and Shaanxi Zhengjiu, known as the voice of the true Qin A genre. ^:

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?The current national unified specifications of guzheng: 1.63 meters, 21 strings.

The panels of the guzheng are mostly made of paulownia wood from Lankao, Henan. The frame is made of white pine. The head, tail and side panels of the guzheng are made of mahogany, old mahogany (Burmese rosewood), golden nanmu, rosewood and other precious woods. The sound quality of the guzheng depends on the panel. and strings, and the surrounding materials can slightly improve the timbre of the guzheng, with old mahogany, rosewood, and golden nanmu being the best. From early times to modern times, there were 12, 13, 18, 23, 25 strings, etc. Zhengs in different regions had various tuning methods. New types of zithers include "butterfly zither", "modulated zither", etc. yV]J{=~n

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?The common playing technique for guzheng is to pluck the strings with the big, index and middle fingers of the right hand to play the melody and master the rhythm. The left hand on the left side of the zither post follows the tension of the strings and controls the changes in string sound to polish the melody. There are many fingering methods for zheng, including supporting, splitting, picking, wiping, ticking, hooking, shaking, pinching, etc. with the right hand, and pressing, sliding, rubbing, shaking, etc. with the left hand. The traditional guzheng playing technique has made new breakthroughs in modern times. In 1953, Mr. Zhao Yuzhai composed "Celebrating the Harvest Year", which liberated the left hand. The tune used polyphonic techniques, left-hand alternation and multi-part playing techniques, which greatly enriched the music. Guzheng playing skills have achieved a breakthrough development; `fvQ^;tu

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?In 1965, Wang Changyuan successfully composed Guzheng music The emergence of "Fighting Typhoon" and "Fighting Typhoon" has brought the technique and technique of guzheng playing to a new level, thereby ending the era when guzheng could only be played lightly and slowly. The four sweeps and swings in this song Techniques such as dotting, dense shaking, buckling, scraping and using noise in the ineffective area to create typhoon effects are all innovative techniques that improve and enrich the expressive capabilities of the zither; Mumq-h1i

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In the 1970s, Zhao Manqin created and used new techniques such as double-string transition slide, *** long tone, fast picking and 1/5 overtone in his performance practice, and broke through the traditional octave. The symmetrical mode creates a "quick finger sequence technique system" consisting of dozens of new finger sequences such as wheel fingering, wheel playing, and rocking, so that the zither can play the fifth, seventh and changing scales with one hand without changing the tuning. The fast melody laid a solid foundation for the zheng to enter the ranks of regular instruments from color instruments. Representative works include "Fighting the Tiger on the Mountain", "The Sun is Red on Jinggang Mountain, etc."; /d7(4%

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?Since the 1990s, guzheng creation has ushered in the spring of blooming flowers. The performance of "Qianzhong Fu" has become a highlight by using the alternating technique of piling and hanging. During this period, composers participated in the creation of zither music and enhanced their innovation. They broke through the limitations of traditional pentatonic modes, absorbed the colors of Japan's Ryukyu mode and Tokyo mode, and drew on Messiaen's experience in artificial modes to design many of their own. The new mode has even created a new mode color of "minor third below and minor second above". Each octave is divided into three links, and each link is a major third interval. In each link, you can Playing the same tonic major and minor modes. The new modal colors and the multi-tonal overlapping tuning method have promoted changes in performance techniques, such as "Fantasia" (Music by Wang Jianmin), "Honghou Yin" (Music by Zhuang Yao), "Mingshan" (Wang Zhongshan Song) and so on. In the tuning of these Zheng music, conditions are prepared for modulation. Different tone sequences are also used in different tone areas, making it possible to play different modal colors in different tone areas, which not only supports the traditional music. The deviation of modal colors and the return to traditional modal colors create conditions for the birth of a new musical language; [Ot~\fdnt4

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?During the same period, more guzheng pieces were composed using the pentatonic tuning method, such as "Qin Sang Qu", "Lin'an Forget", "Iron Horse Song", etc. At the same time, there were also guzheng ensemble pieces. It has also been launched one after another, which shows that people are paying attention to the expressive power of guzheng in groups. Guzheng and Pipa duet "Big Waves on the Sand", "Water Country Singing", "Spring River Flowers and Moonlight Night",: Guzheng and Gaohu duet "Fishing Boat Sings Evening": Guzheng and Gaohu trio "Harvest Song": Guzheng duet "The River is Red"; Guzheng and Butterfly Style Zheng Duo "Sea of ??Spring"; Guzheng Quartet "Little Girl Picking Mushrooms", "Backgammon", Zheng Ensemble "Harvest Gongs and Drums", "Yao Dance", "Ili Riverside", "Introducing Hundreds of Flowers", "Uprooting Luchai Flowers" Wait, basically they have withstood the test of history. n8C[cG

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?Zheng is often used for solos, ensembles, instrumental ensembles, and accompaniment for singing, dancing, opera, and folk arts. It has a wide range of sounds and beautiful timbre. It is so beautiful that it is called the "King of Music" and also known as the "Oriental Piano". }"/ CY!

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Attachment: Origin of guzheng: ; Y *!o(

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?The guzheng is an ancient national musical instrument that was popular in the "Qin" region during the Warring States Period. The information cited in "Li Si Lie Zhuan. Remonstrance to Guests" recorded in Sima Qian's "Historical Records" is quite worthy of our attention. The place. Li Si's "Admonishing Guests" describes the music and dance of the Qin Dynasty: "The husband beats the urn, bangs the fou, plays the zither, and beats the beard, and the song is so sweet that it is the sound of the real Qin. Zheng Wei Sangjian, Shao, Yu and Wu Xiang are the joys of foreign countries.

Now, if we give up knocking on the fou and hitting the urn and go to the Zhengwei, we abandon the zither and go to the Shaoyu, what if? The present pleasure is just a matter of observation. " y$a=.]_~

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? Zheng is the "true voice of Qin", so it has always been called "Qin Zheng", but From the perspective of the writing, there is something worthy of our scrutiny, that is, "beating the urn, knocking on the fou" is in opposition to "Zheng Wei Sangjian", and "playing the zither, beating the beard" is in opposition to "Shao Yu, Wu Xiang" , so the following is a violation of the commandment: "Now abandon the knocking on the fou, hit the urn and go to Zheng and Wei, withdraw the zither and go to Shao and Yu, what if it is the case?" The confrontation here is obviously not for literary talent, but the object of the promotion. It is the form and content of "music" and "dance". The so-called "music of Zheng and Wei" is "Sangjian Pushang", which is the folk music of Zheng Guo and Wei. It can be seen that "knocking on the fou and striking the urn" is It was the folk music of the Qin Dynasty at that time, that is, "Shao Yu" is "Shao Xiao", which is the "Shao" that Confucius praised as "the third month does not know the taste of meat" rU+,,* z

?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. Later when Yingzheng 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 the "Bobi", Yu wanted to compare it. It is "Wu Xiang". This "Wu", also known as "Da Wu", is a music and dance that was performed by the Zhou people to praise King Wu's defeat. From this, it can be seen that "Bou Bi" was performed by Li Si in the palace. This example proves that the songs, dances and music used in the Qin court are from other countries. In order to refute the political ban on guests, Zhang Ben has already mentioned that Li Sijin submitted the "Book of Remonstrance and Expulsion" in 237 BC. Therefore, the popularity of Zheng in the Qin Dynasty should have been relatively complete before that, and it should be earlier than Li Si's "Book of Remonstrances and Guests" N[tF@d,#

?There are two theories about the name of Zheng. One is that it comes from the split of zi, the other is that it got its name from the clanking sound. " "Ji Yun" holds the view of "dividing the zi into a zheng": "Qin customs are bad, if father and son compete with each other on the zi, each person is called a zheng." Of course, in addition to the saying that father and son compete with each other, there are also brothers. The similar legends about the zither and the quarrel between sisters also prove that these statements are unreliable. In addition, according to common sense, if the zi is divided into two, it will become a zither. How can it be considered as a zither? Secondly, repairing a zither is probably far more difficult than making a zither or zither? Another theory is that it is named because of the nature of its pronunciation. In Liu Xi's "Shi Ming", "Zheng, the string is high, and the zither is straight." Just stick to this statement. It is said that the zheng is pronounced "Zheng Zhengran" because of the "high string". This sound is obviously for the soothing tone of the harp, which connects the zither and the harp. Indeed, our nation. Musical instruments can be named after their origin (such as Huqin), their development methods (such as Pipa), or their timbre (such as Bawu). The zheng here is pronounced "Zheng (Zheng)" because of its timbre. ", and it is not a bad idea to get a name. From the following, it can be seen that the original zheng and harp were not closely related, which lost the meaning of the contrast of the timbres of the harp and the harp, making this theory difficult to fully believe. U&m!fCuB

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?The naming of the zither mentioned above also involves the origin of the zither. 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? rnv1qNU

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?Han. Ying Shao's "Customs" contains an article: Zheng, "I would like to press the "Book of Rites and Music", five strings, to build the body. Now it is included The shape of the zither in Liangzhou is like a zither. I don’t know who made it. It may be said that it was made by Meng Tian. It can be seen from the "Customs of Customs" that the system of the zheng before the Han Dynasty should be "five strings and a body", but at that time "the shape of the zheng was like a zither in the two states of (Mountain) and Liang (Gansu)", Ying Shao did not know who made it During the reform, the rumor that it was "made by Meng Tian" was also recorded, which shows that the zither-shaped zither was already popular in the northwest region during the Han Dynasty. p>

? Du You of the Tang Dynasty said in "Tongdian. Music Four": "Zheng, the sound of Qin." Fu Xuan's "Zheng Fu Preface" said: "I thought it was made by Meng Tian." Looking at its utensils, see above. The sky is as high as the sky, the bottom is as flat as the earth, the hollow is like the six, the string pillars are like the twelve months, the four images are there, and the five tones are emitted by the drum. This is an instrument of benevolence and wisdom, how can it be thought of by the minister of Tian's subjugation. There is also a note: "In today's Qing dynasty, ten zithers have two strings, but he played ten zithers with three strings. To roll the zither, use bamboo pieces to moisten its ends and roll it. To play the zither, use bone claws, more than an inch long, to represent the fingers." U}M# 1r*x

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?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). He recorded The "five strings and body building" are based on the records in "Book of Rites and Music", not witnessed by his own eyes. However, what he saw was "the shape of the zither in Bing and Liangzhou is like a zither", but he did not mention the shape of the zither in other areas. Is there any difference? Du You, who lived in the ninth century in the late Tang Dynasty, explained in detail the shape of the zheng at that time in Tongdian, which was also in line with the standards of orthodox ritual vessels.

Of course, Du You also raised questions about the legend of "Mengtian making a kite". [~L$>#d

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?Was Meng Tian made the Zheng? In recent years, some people believe that Meng Tian was a versatile man in both civil and military affairs, and it is entirely possible that he made the Zheng. However, according to the age, 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 a young man. Meng Tian had the talent to make a zither, but it became popular in the Qin State within a few years after it was made, and became a palace instrument of the Qin Dynasty at that time. It seems that this is not possible. Some people even say that the zither was made when Meng Tian was building the Great Wall. This theory is even less likely because Meng Tian built the Great Wall after the Qin Dynasty was destroyed 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 the records, this theory was spread incorrectly. 7.T^(f(Od#

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? Ying Shao's "Customs" says that the zheng is "five strings, built on the body", but the form of "building" is not clear in the literature of the past 1973. In 2006, a Han Dynasty Ming vessel was unearthed from the No. 3 Han Tomb in Mawangdui, Changsha. The reason why this vessel is said to be a Ming vessel is because although it is painted with black paint, it is made of a single piece of wood. It is good for singing, but if it is used for playing, it will not be able to obtain enough volume. In addition, the instrument is about 34 centimeters in length, which is obviously too short for playing. According to "Tongdian", the length of the instrument in the Tang Dynasty was four feet and three inches. Although there are differences in the evolution of Han Dynasty architecture to the Tang Dynasty, the differences are not so huge. These reasons are enough to prove that it is a Ming vessel. The vessel is like a small zither with a handle, and there are horizontal rows of bamboo nails nailed to the top of the building surface. There are five in the row, which is consistent with the records in "Customs". The style of this Ming ware is the same as that of zi, which seems to indicate that the styles of zi, zhu and zither are very similar. Rw 7"GT b

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?If the styles of zither, zhu and zither are really the same, then we can only conclude that the difference between zither and zither is not only the timbre, but also the main external difference. The number of strings, that is: the zither has twenty-five and fifty strings, while the zheng in the Tang Dynasty only has twelve and thirteen strings. The zhu at that time also developed into twelve and thirteen strings, so the zheng and zheng What's the difference between them? "Tongya" notes under the zither that "the bone claws are used to step on the zither, and it is more than an inch long to refer to it"; while in the annotation, it quotes the statement from "Shi Ming": "Zhu is made of bamboo drums." From this point of view, the main difference is that the zheng is a plucked instrument. Of course, "Tongya" also notes under the construction: "Like a zheng, with a fine item." "This has become the main difference in the shape of zhu and zheng. It turns out that the first test of zhu was to hold the neck with the left hand and play with the right hand. Therefore, the "thin neck" was more than four feet long in the Tang Dynasty, and it was obviously impossible to hold it. It seems that this detail is just a preservation of the old system. "Tongya" also notes under the entry of Zheng that "the ends of the Zheng are rolled with bamboo slices, and bone claws are used to play the Zheng. The length is 1 inch." "Yu, to refer to" explanation. This annotation is to explain that CHOU (Hand 诌 Que Yan) and Jia Zheng are originally the same instrument. The only difference in their names is that one means playing and the other means pulling. _{["6R S

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? Of course, some people think that the Chinese koto was transmitted from foreign countries. Naoao Tanabe of Japan in his "History of Oriental Music" "" put forward the idea that the zither was introduced to the Qin Dynasty from the West at the end of the Warring States Period. Another Japanese scholar, Lin Kenzo, believed that Tanabe Naoxiong's evidence was insufficient. hJst- 1Z

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From the above discussion, it can be seen that whether it is a zither or a zither, the initial form of the zither has not yet been clarified. Therefore, the origin of the zither is still a mystery and we need to continue to explore it. . The search for the origin of the zither obviously cannot be based on literature, and it seems that we must turn to new archaeological discoveries. BbZ({

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Guqin# .&}=izLU

Guqin, also known as Yao Qin, Jade Qin and Lyre are one of the oldest plucked instruments in China. The Guqin was already popular during the Confucius period and has a history of at least 3,000 years. It was only called "Guqin" at the beginning of this century. The creators of the instrument include "Fuxi made the instrument", "Shennong made the instrument", "Shun made the five-stringed instrument to sing the southern wind", etc. As a posthumous legend, it is not necessary to believe it, but it can be seen that the instrument has a long history in China. It has a long history. "The Book of Songs·Guan Ju" has "a graceful lady, playing the harp and the harp", and the "Book of Songs·Xiaoya" also has: "The harp and the harp play the drums to control the ancestors of Tian" and other records. tS[Tv!e

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Guqin as a whole is a flat long speaker, about 130 meters long cm, about 20 cm wide and about 5 cm thick. The panel, also known as the piano surface, is a long wooden board with an arched surface. There are string holes at one end of the piano head and an oval tail on both sides of the neck and waist. There are crescent-shaped or concave people with square folds.

The bottom plate is also called the bottom of the piano. It has the same shape as the top panel but is not arched. The belly cavity of the piano is dug out of the lower half of the whole piece of wood. There are two sound holes on the bottom plate, which are called Longchi and Fengmarsh. There are two foot holes near the waist, and two feet are installed on them, which are called praise feet. The top and bottom plates are glued together to form the body of the instrument, and a tongue-shaped wooden board is glued to the inside of the head to form a space separated from the belly of the instrument, called the tongue point. There are bracing beams on the back of the panel, also called Xiangshi. There are two sound pillars in the belly of the piano, called the sky pillar and the earth pillar. The peg is also called the peg, which is mostly round or melon-shaped and hollow (for stringing). The strings are tied with velvet ropes and tied to the pegs. The strings are wound with silk. Yueshan is inlaid at the head of the panel, and there are also string holes. There are four feet on the bottom plate, the two at the head are called fuzhang, and the two at the end are called jiaoweixiatie, which serve to level the body of the instrument. Thirteen emblems made of mother-of-pearl or jade are embedded on the panel to mark phonemes. pgAP[}n0

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Guqin shape$pSo8yT n

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Guqin has beautiful shapes, and the most common ones are Fuxi style, Zhongni style, Lianzhu style, Luoxia style, Lingji style, Banana leaf style, Shennong style, etc. They are mainly distinguished by the shape of the neck and waist. There are cracks in the lacquer, which is a sign of the age of the guqin. Due to the vibration of long-term playing and the difference between the wood and the lacquer bottom, various cracks can be formed, such as plum blossom breaks, ox hair breaks, snake belly breaks, ice cracks, turtle patterns, etc. . Qins with broken patterns have clear sound and beautiful appearance, so they are more valuable. Ancient famous qins include Green Qi, Jiaowei, Chunlei, Bingqing, Dasheng Yiyin, Jiuxiao Huanpei, etc.

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Evolution of Guqin

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Tang Qin, especially the Qin in the prosperous Tang Dynasty, has a fat and * **. Most of the existing Tang qins are often pasted with two pieces of paulownia wood on the panels of Longchi and Fengnum as fake sound. Until the early Ming Dynasty, there were still qin makers who used this method to create broken patterns on Tang qins. Most of them are broken in the belly of snakes, and there are also broken ones with ice patterns and flowing water. The gray paint on the surface can be either ink or chestnut shell color. Those with vermilion paint are all added by later generations during repairs. The gray body is all pure antler gray. Wrap the sides of the piano back from bottom to top to prevent the upper and lower panels from being glued apart. The side lengths of these pianos are between 120 and 125 cm.

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The guqin of the Song Dynasty changed, with a total length of 128 cm and a shoulder width of 25 cm. The body of the qin was flat and enlarged, and its size was larger than that of the traditional Tang qin. It was one of the main styles of the qin of the Northern Song Dynasty and the Southern Song Dynasty, except for the antique works. , the body shape becomes gradually flatter and narrower, especially the Zhongni style guqin, which is towering and narrow, which is the main style of qin making in the Southern Song Dynasty. Patterns include broken snake belly, broken ice patterns, broken water lines, etc. The gray tire is still mainly made of deer antler gray, but it is rare to see the eight-treasure gray pattern in the late Northern Song Dynasty. The usage of grinding gold, silver, pearls, emeralds, corals, etc. into stag antler ash was used). The Song Dynasty was an important stage in the history of Qin making after the Tang Dynasty. The official government even set up a bureau to make Qin, which was the so-called "official Qin". /p>

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Qin-making in the Yuan Dynasty was a transitional period between the Song and Ming Dynasties. Due to its relatively short duration, there are relatively few existing examples of Qin-making in the Ming Dynasty. Regardless of whether they were emperors, princes or officials, there were many famous qin-makers in their clan, including King Ning, King Heng, King Yi, and King Lu. Among the four kings, King Lu made the most qin, and production began during the Chongzhen period. , it is said that there are as many as four to five hundred pieces, all of the same style and size, and they are all numbered and engraved in the belly in order of year; the back of the piano is engraved with the name of the piano "Zhonghe", a poem in tribute to the owner of the poem "Looking up to the Yangtze River" and "Lu According to Guo Shi Zhuan, the big seal is all made of eight treasures paint gray. ']7j \Q

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How to play/!c-c#1&V

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When playing, place the qin on the table, pluck the strings with your right hand, and press the strings with your left hand to pick up the notes. The guqin has seven divergent tones and ninety-one overtones. , one hundred and forty-seven technical sounds. There are many playing techniques. The right hand includes holding, smashing, wiping, picking, hooking, ticking, hitting, picking, wheeling, plucking, pinching, rolling and whisking, etc.; the left hand has chanting, 籱, and Chuo. , note, hit, advance and return, retreat and return, rise, etc... }g1E`o9T

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Qin School: W@( D?

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Since the late Southern Song Dynasty, with the development of guqin playing art, due to differences in playing styles, teachers' origins, and handed down scores, numerous qin schools have been formed, each with its outstanding qin players and music. . The famous Qin schools include the Zhejiang School, the Yushan School, and the Guangling School. In modern times, there are the Pucheng School, the Fanchuan School, the Jiuyi School, the Zhucheng School, and the Lingnan School. /p>

Ancient violin makers and their characteristics I/}1BA

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There were many master violin makers in the Tang Dynasty, except for the Lei family (Lei Wei, In addition to Lei Xiao, Lei Wen, Lei Jue, and Lei Yuanyi, there are other famous figures recorded in the literature: Zhang Yue, Guo Gao, Shen Lu, etc.

It is a pity that except for Lei's Qin, none of the others' works have been handed down to the world. There were many famous piano makers in the Song Dynasty, such as Zhu Renji, Ma Xiliang, Ma Xiren, Seng Renzhi in the Northern Song Dynasty, Jinzhou, Jinggong Road, Chen Hengdao, etc. in the Southern Song Dynasty. In the late period, there were also Yan Zun, Ma Dafu, Mei Siyan and others. There were very few people in the Song Dynasty who made qin with the year mark, and there were also many imitations of the Tang style. Famous piano makers in the Yuan Dynasty include Yan Guqing, Shi Xiyun, Shi Guyun, Zhu Zhiyuan, etc., among whom Zhu Zhiyuan is the most famous. There are many imitations of Zhu Qin, some of which are inscribed with "Zhu Zhiyuan" or "Zhu Zhiyuan". We hope collectors will pay attention to them. There were also many masters of piano making in the Ming Dynasty, such as Tu Minghe and Wang Shunqing. The most famous ones were Zhang Jingxiu, Weixiu, Shunxiu and others. Zhang Dai's "Tao'an Mengmei" calls Zhang Jingxiu's piano-making one of Wuzhong's unique skills, "which can guarantee his invincibility for a hundred years." bOB?^7d_0

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Refers to Various fractures on the surface of the instrument are caused by years of weathering and vibration during playing. There are many types of broken patterns, including plum blossom broken, ox hair broken, snake belly broken, ice pattern broken, running water broken, dragon scale broken, etc. Generally speaking, a guqin will not show any breakage patterns for more than a hundred years, and the degree of breakage patterns will vary with age, which is one of the main criteria for appraising ancient qin collections. &si5 .&Cf

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Guqin Broken The pattern will not appear after hundreds of years, which is a very important point in identifying the guqin. Forged fracture patterns have been around since ancient times, and there are many methods, such as baking them with strong fire, and then using ice and snow to crack them; or using egg whites soaked into ash to paint, then steaming them in a retort, and then air-drying them; or using gypsum. Do gray bottom roasting, etc. In fact, there is a big difference between real and fake broken grains upon careful observation. The true broken grains have a smooth shape, the tail of the grain disappears naturally, and the peaks of the grains are like sword blades; while the fake broken grains inevitably have some defects after being catalyzed by cold and heat or knife carving. Losing nature and showing flaws. The inscription on the guqin is also an important basis for identifying the authenticity of the guqin. The back of the piano is all engraved, while the belly has both engraved and written styles. Those carved with a knife are easier to preserve, while those written in ink are more difficult to identify if they are older. The carvings on the belly of the guqin, such as the joints between the upper and lower plates on both sides of the guqin body, show no traces of reworking. Most of them are original models. If traces of reworking are found, they need to be studied carefully. The most difficult to identify are old instruments that have been cut open, rebuilt, and engraved with counterfeit models, and the bonding joints are made to be perfect, and those that use ancient wooden instruments and are engraved with fake models. No matter whether it is the belly or the back, experienced appraisers can also identify it from the customary names of the emperors in the past, the taboo words used, and the calligraphy style of a dynasty or a certain calligrapher. Collectors whose main purpose is to play will definitely take the timbre of the guqin as one of the main criteria. When we listen to the sound of a guqin, the timbre is deep and thick yet bright, the upper, middle and lower three levels of timbre are even, and the overtones are as bright as pearls. And if it's responsive, you know it's a good guqin. Some guqins have broken lines, which will cause "brake sounds" when playing the notes, which affects your hearing. At this time, you should carefully weigh the pros and cons and do not abandon it easily. When collecting guqin, it is generally recommended to hang it on a dry wall, and it is not advisable to keep it flat for a long time; if it is kept flat for a long time, it will easily cause "slumped waist". As a musical instrument, the guqin should be played frequently, otherwise the sound will be dark and astringent, and the guqin may be damaged by insects. bYZ;$ <-*

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Guqin famous song 'cjYR6,

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"Three Plum Blossoms" "Nong", "Pingsha Luoyan", "Guangling San", "Xiaoxiang Shuiyun", "Fishermen and Woodcutter Questions and Answers", "Pounding Clothes", "Yangguan Sandie", "Flowing Water", "Drunken Madness", etc.