Judging from the texts recorded in "Historical Records" and "Hanshu", guzheng has been widely developed in the Qin and Han dynasties. In the Eastern Han Dynasty, Emperor Guangwu of the Han Dynasty established his capital in Luoyang, while the Northern Song Dynasty established his capital in Bianliang (now Kaifeng), both of which were in Henan. In this area, folk music "The Sound of Zheng and Wei" had long been popular. Qin Zheng flowed into Henan with the relocation of the capital. , integrated with the local folk music "Zheng and Wei Zhiyin" and developed into the famous Zhongzhou ancient tune in later generations. A great feature of the Henan Zheng playing is that the right hand starts from the place close to the piano code and plays fluidly to the place close to the "Yueshan". At the same time, the left hand vibrates greatly. The musical performance is very dramatic and also Very effective. In Henan Zheng, this technique is called "wandering". The traditional usage of the Henan zither can be summarized from a folk poem: the ring finger is tied with four fingers hanging,

The hook is shaken and the string is lightly played.

It should be noted that the left hand has no Another method,

Press, tremble, push and rub in a leisurely manner.

Among them, the slide pressing of the left hand (the left hand presses to the note position, moves back slightly when playing the string, and the sound slides up quickly, with no trace of sensitivity), small vibrato (the vibrato is tight and tight), and slide. Techniques such as trembling (trembling from edge to edge) and big trembling (trembling with wide amplitude and affectionate movements) are the most distinctive. When it comes to the use of fingering techniques, whether it is a round and long swing, a well-proportioned tapping, or a melancholy wandering chant, or a tragic and desolate heavy trembling, they are all integrated with the mood of the tune, depicting the mood and carving out the details. For example, in the song "Fighting Wild Geese", the use of various fingering techniques is extremely expressive and integrates the three characteristics of narrative, object description and lyricism, which is another characteristic of Henan Zheng. The characteristics of the scale of the Henan guzheng are that it uses more changes and less clear horns, which is close to the seven-tone ancient scale of the three-point law. However, the pitch of the two changes is not absolutely unchanged, and it is often higher to close to the Gonghe Zheng. , it can be said that "seven tones and six rhythms are used to support the five tones"; the tunes of Henan Zheng are very singing, and there are many big jumps in the fourth, fifth and sixth degrees in the melody, and there are pauses and majesty in the freshness and smoothness; the frequently used The ascending and descending tones of the major second and minor third are particularly suitable for the sonorous and melodious tone of Zhongzhou, giving the zheng music a simple and pure charm.

In terms of performance style, whether it is slow or allegro, or whether the music is cheerful or sad, we do not pursue a clean, elegant, delicate and beautiful style. Characterized by impassionedness. In Fu Xuan's "Zheng Fu". The evaluation of Henan Zheng music in "Preface" is that "the music is high and mediocre, but the skills are difficult to master."

The repertoire of Henan guzheng comes directly from folk rap music and opera music. Henan tune is a folk rap music with a long history. It declined after the Qing Dynasty. It is still very prosperous only in Nanyang area, so it is also called Nanyang drum tune. Its important components are the "Pai Zi Qu" with lyrics and the purely instrumental "Bantou Qu". Zheng is an important accompaniment instrument. At the same time, it is also played independently from rap. The representative repertoire of the Henan Zheng School is almost without exception the bantou and paizi tunes of Henan. In the past, when artists met each other, they would often play a bantou song first to get to know each other. The song was renamed "High Mountains and Flowing Water" based on the story of Boya and Zhong Ziqi. The brand song evolved from the drum song, and most of them were relatively simple. They are short, fresh, lively, and unique, such as "Jiangjianhua", "Full Boat", "Stacked Fall", etc. But there are also Daqu cards with more than 300 pieces like "Dock".

The bantou song is an ensemble piece played with strings, and it is also a solo piece for the zither, pipa and sanxian. It is very similar to the "dan song" of Xianghe music in the Han and Wei dynasties. The folk performance method is to play one or two songs in an ensemble or solo before singing the drum music, and tune the strings and move the fingers, which is called the opening or stage; or play a song between the arias to change the atmosphere. In the past half century, major-key tunes have tended to decline, and bantu tunes often appear in the form of solos.

Among the traditional repertoire of Henan guzheng, bantou tunes are often called "Zhongzhou ancient tunes" or "Zhongzhou ancient tunes", such as "Crying for Zhou Yu", "Sighing Yan Hui" and "Su Wu's Homesickness" And so on. Among Henan operas, some short tunes have gradually formed a form of "minor tunes" with division of roles and can be performed on stage. Today it has become a very famous opera type "Henan Opera".

The minor tune was relatively simple at first, but later the melody developed; the zither played an important role in the accompaniment, and gradually acquired its own personality in performance, a combination of the two. It forms its unique beauty in music.

For the collection of Henan guzheng scores, Huangshi, the king of Weihui Prefecture, published the lithographic version of "Zhongzhou Drum Diao" in the ninth year of the Republic of China (AD 1920). ) "Cry Zhou'", "Die Luo", etc. In the 1920s, Wei Ziyou compiled "Zhongzhou Ancient Diao" as a Gongchipu manuscript. Although it has not been published, it has been widely copied and includes more than ten poems such as "Tian Xia Da Tong" and "Guan Sui". Wang Shengwu published the "Guzheng Solo Music Collection" in 1958 (notated by Liu Jiagui and published by Henan People's Publishing House) in simplified musical notation, which contains thirty-seven Ban Tou pieces and fourteen Qu Pai pieces. Cao Dongfu's musical score was once compiled into "Selected Zheng Music". In 1981, People's Music Publishing House published "Cao Dongfu's Zheng Music Collection" (edited by Cao Yong'an and Li Bian) in simplified musical notation, which contains twenty-two bantou songs. and eight arrangements and compositions. In 1986, Cao Zheng published "Anthology of Zhongzhou Ancient Diao Zheng Music" (a supplement to "Chinese Music"), a comparative version of simplified scores and regular scores, including twenty paizi tunes and bantou tunes.