Traditional Zheng music is divided into two factions, North and South, and now it is generally divided into eight factions:

First, Shaanxi Zheng's "Real"

Since the Qin and Han Dynasties, guzheng has gradually spread from the northwest to all parts of the country, and has been integrated with local operas, rap and folk music, forming various schools with strong local styles.

Traditional Zheng music is divided into two factions, North and South, and now it is generally divided into nine factions. As Cao Zheng said, "Nine schools are in China", and the Zheng music and playing methods of each school have their own characteristics.

Shaanxi Zheng: Shaanxi is the birthplace of China Zheng.

But now, the "Royal" Zheng music is almost perfect. Traditional Chinese opera and folk music are rich and colorful, among which there are many traditional musical instruments, but there are few or no Zheng. It is only in Yulin that Zheng is used as an accompaniment instrument, which appears in the accompaniment of Yulin ditty together with dulcimer, pipa and sanxian.

Mr. Cao Zheng, a famous theorist and educator, said that this is "the sequela of Qin Zheng".

Although Zheng has been in Yulin for more than 300 years, Yulin is remote and its culture is relatively backward. The skill of playing the Zheng is still stuck in the ancient method. The right hand mainly uses two fingers to eat, and the left hand rarely trembles, which is the earliest way to play the Zheng.

Zheng has gradually disappeared in Shaanxi, and his descendants have no news.

At the end of 1950s, Shaanxi Zheng experts put forward the slogan of "Returning to Qin", and did a lot of work from theoretical research to playing skills, from accompanying local operas to composing Zheng music with unique style, which made Shaanxi people familiar with Zheng again.

From 65438 to 0957, Bai, a famous guzheng player in Yulin, participated in the national folk music performance and the third national opera performance in Shaanxi Province, and solo the guzheng music "Pinch Garlic Moss" and "Boat".

196 1 the national conference on guzheng teaching materials was held in an, which affirmed the music of Hu Zheng, a fan in Shaanxi, and played a powerful role in promoting the development of Qin Zheng in Shaanxi.

Later, excellent Shaanxi Zheng music appeared, such as Qin Sang Qu, Jiang Nv Tears, Xiangshan Shooting Drum, Sanqin Huange, Embroidered Gold Monument, etc.

The records of Zheng in historical materials such as Xi 'an Drum Music, Qinqiang Opera, and Fanhu Qingqu give inspiration to Shaanxi Zheng people. With the efforts of famous Zheng artists and friends, Shaanxi has gradually resumed playing Qinqiang Opera after nearly 30 years of practice.

The distinctive features of Shaanxi Zheng music are firstly the particularity of melody and the wandering of two tone sandhi.

The fourth tone in the heptatonic scale is high, while the seventh tone is low.

Deviation, of course, is not half a tone.

The two voices wavered again.

Generally speaking, slide down next to the next note; Secondly, in the process of melody, it is generally jumping up and down step by step.

Third, when playing, press the strings with your left hand and use your big finger, which is a necessary technique for melody.

Fourth, the style of writing is exquisite, and there are many sorrows in euphemism; Generosity is urgent, and there is lyricism in agitation.

The late Wang Xunzhi, a famous guzheng master in Zhejiang, said that "Shaanxi School Lyric" showed the style and characteristics of Shaanxi Guzheng music.

Second, Henan Zheng's "Zhongzhou Classical Tune" (or "Voice of Zheng Wei")

Henan Zheng: Judging from the words recorded in Historical Records and Hanshu, Zheng has developed quite widely in Qin and Han Dynasties.

In the Eastern Han Dynasty, Emperor Guangwu of Han Dynasty established Luoyang as the capital, and in the Northern Song Dynasty established the Bianliang (now Kaifeng) in Henan. The local folk music "Zheng Yin" has been circulating for a long time. Qin Zheng moved to Henan with the capital and merged with the local folk music "Zheng Yin", which developed into a famous Zhongzhou ancient song.

A great feature of Henan Zheng is that the right hand starts from the place near the Qin code and flows to the place near Yueshan. At the same time, the left hand shakes a lot, and the music performance is very dramatic and effective.

In Zheng, Henan, this skill is called "wandering".

The traditional usage of Zheng Can in Henan can be summarized from a poem circulated among the people:

The name refers to the pile, and the four fingers hang.

Shake and pluck the sleeves, gently pull the strings,

It should be noted that there is no other way for the left hand.

Shake and rub.

Among them, left-hand sliding pressure (left-hand pressing to the phoneme slightly retreats when playing the string, and greeting sounds slide up quickly, leaving no sensitive traces), small vibrato (vibrato is thin and tight), sliding vibrato (edge vibrato) and big vibrato (vibrato is wide and affectionate) are the most distinctive.

In the application of fingering, whether it's the long, round and beautiful Tik Tok, the patchwork beat, or the mournful steps, the tragic and desolate tremors, they are all integrated with melody and emotion, depicting modality and meticulous description.

For example, the song "Wild Goose" is another feature of Henan Zheng, which uses various fingering expressively and integrates narrative, concreteness and lyricism.

The characteristic of Henan Zheng scale is a seven-tone ancient scale with more variations than clear angles, which is close to the dichotomy, but the pitch of the two variations is not absolutely unchanged, and it tends to be higher than the Republican sign, which can really be described as "seven tones, six methods and five tones"; The melody of Henan Zheng is very singing, and there are many big jumps of four, five and six degrees in the melody, which is full of frustration and grandeur in the fresh and smooth; The rising and falling tones commonly used in sophomores and juniors are especially suitable for the high-pitched tones of Zhongzhou, which gives the Zheng music an ancient and pure charm.

In terms of playing style, no matter Adagio or Allegro, no matter whether the music is cheerful or sad, they are not keen on pursuing beautiful and elegant styles, but are good at being rich and simple, characterized by deep passion.

Fu Xuan's evaluation of Henan Zheng music in Fu Zhengxu is that "the music is too high and too few, and the skill is difficult to work".

The repertoire of Henan Zheng comes directly from folk rap music and opera music.

Henan Quzi is a folk rap music with a long history, which declined after the Qing Dynasty. Only Nanyang is still very prosperous, so it is also called Nanyang Drum Ziqu.

Its important components are "beat music" with lyrics and "head music" with pure instrumental music.

Zheng is one of the important accompaniment instruments, and it is also an instrument that is played independently from rap.

Almost without exception, the existing representative tracks of Henan Zheng School are the bantou and paizi of Henan tunes.

In the past, when artists met each other, they often played an Bantou song to know each other, and borrowed the story of Boya and Zhong Ziqi to rename it "Mountain Flowing Water".

Paizi music evolved from the drum music, most of which are short and pithy, fresh and lively, with unique styles, such as "cutting flowers", "full boat" and "overlapping".

But there are also more than 300 Daqu cards like "Wharf".

Bantou is an ensemble with strings, and also a solo of Zheng, Pipa and Sanxian, much like the "Qu Dan" of Han and Wei Dynasties.

Folk performances often play one or two songs in ensemble or solo, and then sing drum music, which is called opening the stage or disturbing the stage; Or put a song between arias to change the atmosphere.

For nearly half a century, major has tended to decline, and the first key often appears in the form of solo.

The banjo in the traditional repertoire of Henan Zheng is often called "Zhongzhou Classical Tune" or "Zhongzhou Classical Tune", such as Crying for Zhou Yu, Sighing for Yan Hui and Nostalgia for Su Wu.

In Henan Quzi, some short Qupai gradually formed a "small Quzi" form of role division in the process of circulation, and today it has become a very famous drama "Henan Quju".

Minor is relatively simple, but later, the melody developed; Zheng plays an important role in accompaniment, and gradually has its own personality in performance, which is the combination of the two.

Formed its unique beauty in music.

With regard to the collection of Henan Zheng's music scores, Wang Huang of Weihui House published "Zhongzhou Drum Tune Sion Book" in the ninth year of the Republic of China (AD 192O), which collected contemporary works, namely, mountains and rivers, weeping weeks and overlapping falls.

In the 1920s, Wei Ziyou compiled "Zhongzhou Ancient Tune" as a manuscript of Gongchi. Although it has not been published, it has been widely circulated, including more than a dozen articles such as One World and Guanju.

1958, Wang published the Collection of Guzheng Solos (Liu Jianpu published by Henan People's Publishing House), which included 37 Bantou songs and 14 Qupai songs.

The Biography of Cao Dongfu was compiled into Selected Works of Qu Zheng, 198 1 year. People's Music Publishing House published Collection of Cao Dongfu's Qu (edited by Cao Yong and Li), with 22 Bantou songs and 8 adaptations.

1986, Cao Zheng published "Selected Essays of Zhongzhou Classical Tunes" (China Music Supplement) with 20 rows of sub-tunes and bantou tunes.

Third, Shandong Zheng's Qilu taipan.

Shandong Zheng: According to Qi Ce of the Warring States Policy, "Linzi is rich and practical, and its people are happy, so many people call Shandong Zheng Zheng Qi".

Its spread is mainly in Heze area, including Yuncheng and Juancheng, and Liaocheng area in western Shandong, especially in Heze area, where folk music is very popular and known as the "hometown of guzheng".

There are many talented folk rap, opera and folk instrumental performers.

The guzheng teaching system in these two areas is different, and the repertoire is also different. However, most of the traditional ancient music is a title song with the structure of "eight boards" with a length of 68 boards, and there is not much difference in playing techniques.

The number of guzheng inheritors and ancient songs in Liaocheng area is small, and its traditional guzheng songs are mainly handed down by Mr. Jin Zhuonan and Mr. Kim I Hun from Jin Hao Village, Linqing County, Liaocheng area.

Because the traditional Zheng music in Liaocheng has not spread in Shandong and the whole country, its history and spectrum need to be further sorted out and explored, so the concept of "Shandong Zheng" is customarily only used to refer to the Zheng in Heze.

Shandong Zheng music is mostly directly related to Shandong Qin Shu and folk music. Most of them are Gongdiao, which consists of eight boards.

Some of them are piano music as a prelude to the piano book, similar to Henan Bantou, with 68 "Banqu", the autumn moon in the Han Palace, Hongyan calligraphy and so on. In the folk, many musical images are often expressed in the form of divertimento ensemble, and these four ditties, Qin Yun, Bai Feng Cui Zhu, Night Tour and Shu Yun, are divertimento played as dialogues.

In the 1950s, the title of "Mountains and Flowing Water" was added, which swept the country.

In addition, it also evolved from Qin Shu's singing and qupai, such as Fengxiang Song and Broken Bridge.

Shandong Zheng used to use fifteen strings, the outer bass part used seven old strings and the inner eight strings, commonly known as "seven old Eight Little".

When playing, the big finger is used frequently and forcefully.

Even if it is a "flower finger", it is mostly a big finger playing with a "brace"; But the left hand is both rigid and soft, sonorous and deep, and the playing style is simple.

Four, "Han Jiang Si Zhu" Chaozhou Zheng

Chaozhou Zheng: Popular in Chaozhou, Guangdong Province, it has a special musical structure and unique rotating style.

Zheng can is different from other musical instruments in his own way. The most important thing is the change of left glide, which is called rhyme complement. Otherwise, it is hard to say the genre and development of Zheng music.

In Zheng Chao, the application of this technology can be said to be wonderful.

In fact, the combination of several scales and modes is realized by pressing the left hand when playing the Zheng.

Moreover, the melody is also different from the twelve average laws and folk music in other places. Chaozhou Zheng is exquisite, subtle and unique because of its smooth and gorgeous right hand and unique left hand slip-flower play.

The main tunes of Chaozhou Zheng are "emphasizing six", "ignoring six", "living five" and "going backwards".

Among them, the tune of Liu Chong is euphemistic; The tune of Light Six is fresh and lively; The tune of "Living Five" is touching and sad, with distinctive rhythm.

In the folk, playing the "poetry score" of ancient music with plucked instruments such as Zheng is called string poetry music.

"Liu Qingniang" is the most popular song in this poem. Although it is not a big suite, it contains four tones: light six, heavy six, lively five and light three and heavy six. The tune is beautiful and has the characteristics of tidal music. It is called "the mother of string poetry" in Chaozhou music, which means the mother of music.

When learning Chaozhou Zheng, "Liu Qingniang" is an essential repertoire.

In addition, Western jackdaw, moon cakes and icing on the cake are also commonly used in Chaozhou Zheng.

Five, "Gao Han Ancient Rhyme" Hakka Zheng

Hakka Zheng: that is, the Zheng music of Guangdong Han music, which is one of the excellent traditional music in Guangdong.

Guangdong Han music has a long history.

According to legend, it was a long historical period from the ninth year of Jin 'an (AD 405) to the demise of the Song Dynasty. With the people of the Central Plains moving south many times, they brought the quaint "Zhongzhou Ancient Tune" and "Gao Han Old Tune". Combined with local music, language and customs, it gradually formed a unique musical style. Locals call it Hakka music, or Waijiangxian and Confucian music, mainly in eastern Guangdong.

In the 1920s, Mr. Qian Ruochu, a Shantou newspaper, proposed to rename "Waijiang Opera" as "Han Opera", which was recognized by everyone. Therefore, Waijiangxian and Confucian music were renamed as "Han tune" or "Han music" accordingly.

Chinese tunes include ensemble and percussion, such as gongs and drums, ropes and classes.

The shape of traditional Hakka Zheng is about 65438 0.2 meters long, and the panel is curved, and the material is paulownia wood.

Install 16 chord, the chord axis is installed on the left side of the panel parallel to the yard, and the chord quality is metal (steel chord or copper chord).

You usually wear a tortoise shell piece on your right hand when you play.

The tuning of strings is divided into three octaves (that is, the first key is 5 6 12 3 56 12 3 5 6 i 235), most of which are G, F, D or C keys, which are rarely used.

Hakka Zheng and Chaozhou Zheng coexist in one area for a long time, which will naturally influence and absorb each other; Many of their tracks are the same, and the shape of the Zheng used is the same.

As for the differences, for example, Hakka Zheng uses Miyachi notation and Chaozhou Zheng uses Si Er notation; When playing, Hakka Zheng mostly uses the middle finger, while Chaozhou Zheng relatively uses the index finger. Moreover, the interval and fluctuation of the former glide are larger than the latter, which makes the zither sound long.

In style, Hakka Zheng is melodious and long, simple and elegant, and Chaozhou Zheng is beautiful and feminine.

The guzheng performance of Guangdong Hanle has a long history. It is based on Gao Han's old music (that is, Chinese music) and influenced by local styles and dialects, forming a quiet and implicit style.

Hakka Zheng music is a solo music gradually formed by the enrichment, enrichment, development and refinement of Hakka Zheng people in the past dynasties.

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The repertoire of Hakka Zheng is very extensive, including "major" and "cross-tune".

Strictly speaking, the major is Liubaban, which is consistent with Henan Bantou, and the rest are crosstalk.

Hakka Zheng music is famous for its simplicity, elegance, elegance and generosity, and Shuilian is one of the typical representatives of this artistic style.

There is no definite number of strings, which has the characteristics of China traditional opera music.

In order to facilitate the mastery of tonality, the application of techniques and the presentation of music content, music is divided into "soft set", "hard set" and "anti-line".

Traditional handwritten Miyachi scales and printed books mostly record the "bone adjustment" of the melody trunk, while fingering, "variation" and "flower addition" are arranged according to the player's understanding of the music and the accomplishment of Hakka music.

At present, most of the Hakka Zheng scores circulating in China are composed by Yu Zhai, played by Mr. Luo Jiuxiang and recorded.

Six, "Wulin" Hangzhou Zheng (that is, Zhejiang Zheng)

Zhejiang Zheng: Wulin Zheng, also known as Wulin Zheng, is popular in Zhejiang and Jiangsu.

It is said that the Zheng was introduced to Jiankang (Nanjing) in the Eastern Jin Dynasty, which was more common in poetry and writing in the Tang Dynasty.

The traditional Zhejiang Zheng has only fifteen strings, and its length is about 1. 1 meter. The front and back panels are made of paulownia, and the tail of the kite is slightly inclined downward. The tuning of the strings is 5,665,438+023,5,665,438+023. Put it on the table and sit (or stand) to play.

When playing, the thumb, forefinger and middle finger of the right hand each wear a nail board made of horns (or tortoiseshell), but now it has changed, and the length of the resonance box of the Zheng has increased to about 1.65 meters.

After the Moon Mountain was changed to an S-shape, the number of strings increased to 2 1 (the range was expanded to four octaves, and the interval was from D to D3); The texture of the string changed from silk string to a series of Zheng strings with different thicknesses wrapped in nylon silk.

When playing, the nail board is fixed with a leather case, without tape.

Most nail plates are made of tortoiseshell.

The performance features include techniques such as "big finger shaking", "four-hour fast", "clip playing" and "lifting strings", and the performance techniques of pipa, sanxian, dulcimer and even western musical instruments are all used for reference, learning and integration.

The application of "finger shaking" in Zhejiang Zheng is played with the slight jitter of thumb, and its effect is very similar to that of bowstring instruments.

Strictly speaking, this is not found in the traditional Zheng music of other schools, because the fingering or fingering of other schools actually uses the thumb as a relatively quick support and parting, while the fingering of Zhejiang Zheng shows its own characteristics, which is different from other schools.

We can clearly see from two Zhejiang Zheng songs "Your Legend" and "Moon Height" that the former simulates the whistling sound of the horn by "shaking your fingers"; The latter showed continuous singing in the way of "flick of fingers".

Zhejiang Zheng music is closely related to the popular rap music Hangzhou Beach Spring.

Hangzhou Beach Spring has three basic vocals: Adagio, Allegro and Allegro. As an accompaniment instrument, Zheng, accompanied by flowers, has gradually formed a distinctive "four-point" playing technique. From a technical point of view, it is also used in other schools of Zheng music, but it is not as prominent as Zhejiang Zheng, which obviously forms a performance characteristic and has a special name.

The application of "Sifen" in Zhejiang Zheng music often gives people a lively and lively feeling, and it is also often used in some modern Zheng music.

Zhejiang Zheng music has a close relationship with Jiangnan silk and bamboo, and many tracks are the same.

The silk and bamboo in the south of the Yangtze River are bright, delicate, beautiful and elegant. In Zhejiang Zheng music, such as Yun Qing and Four Harmony Ruyi, many of them retain the early form of Jiangnan music, with a faint earthy flavor, and use a lot of "four points" techniques. They outlined a series of Jiangnan folk paintings with clear timbre and brisk rhythm.

Another important part of Zhejiang Zheng music is some excellent traditional ancient music, most of which are pipa.

For example, the height of the moon, your legend, Christina with swans and so on. "Thirteen sets are indispensable".

These pieces of music have a wide range of themes and rich playing skills and techniques, such as the technique of holding the Zheng with both hands. In Thirteen Chords edited by Rong Zhai 18 14, the technique of holding the zither with both hands used by Mr. Wang Xunzhi, a famous Zhejiang zither, and his predecessor Mr. Jiang Yinzhuang in the 1920s has been recorded. Zhejiang Zheng is based on Thirteen Strings, Bamboo in the South of the Yangtze River and Hangtan, so the number of tracks has exceeded the system of 68 boards.

Music has also developed from a single musical concept to a complex musical structure.

In terms of playing style, the overall rhythm is bright, smooth and beautiful.

At the same time, Zhejiang Zheng has a wide range of themes and rich techniques, and its style performance is not completely single.

For example, the song "Mountains and Rivers Flowing Water" is widely spread all over the country, first spread in Zhejiang, and is an important repertoire taught by Zheng people in Zhejiang.

The song "Mountain Flowing Water" is the first work of freehand brushwork, with a sonorous and simple rhyme.

Lyricism by borrowing scenery is related to the story that Yu Boya and Zhong Ziqi became bosom friends.

There is nothing in common in tunes between Zhejiang Zheng music "Mountain Flowing Water" and Guqin music "Mountain Flowing Water", but they are variations of the same name.

In other schools of Zheng music, such as Bantouqu in Nanyang, Henan Province, it is called "Mountain Flowing Water"; Shandong Quartet Qin Yun, Bamboo in the Wind, Bell in the Quiet Night and Shu Yun are called "Four Songs", "Four Brocades" and "Mountains and Flowing Water".

7. Fujian Zheng is in southern Fujian.

Fujian Zheng: It is popular in Zhangpu County, Yunxiao County, Dongshan County, Zhaoan County, Shanghang County, Yongding County and other counties in southwest Fujian. It is customary to call Fujian Zheng "Minnan Zheng".

From the end of Song Dynasty to the beginning of Ming Dynasty to Tongzhi period, guzheng was popular all over Fujian for a long time.

Historically, people from the Central Plains moved south on a large scale many times (in the 4th and 5th centuries), bringing rich Central Plains culture.

Make the originally backward southwest Fujian prosperous year by year.

The guzheng music of the Central Plains also spread to the southwest of Fujian with the southward migration of the Central Plains people.

In the second year of Tang Dynasty (686), Zheng Chen and Chen Yuanguang from Gushi, Gwangju, Henan Province, led Zhongyuan people into Zhangzhou, southern Fujian. At the end of the Tang Dynasty, the Gushi Dynasty and Wang Lingbing entered Fujian, later known as the King of Fujian. At the end of the Southern Song Dynasty, a large number of Central Plains bureaucrats fled from Lin 'an to Fujian.

These are closely related to the spread of culture and art in the Central Plains. ..

In addition, northern artists, especially those from the Central Plains, come to Fujian to entertain artists.

This greatly promoted the development of Fujian culture (including music).

From the late Ming Dynasty to the early Qing Dynasty to the early Republic of China, a folk instrumental ensemble prevailed in counties in southwest Fujian.

Zhao 'an County is called "Ancient Music Ensemble", Yunxiao County is called "Lehe", Dongshan County is called "Lehe" and all parts of western Fujian are called "Han Music String".

The most prominent feature of this folk instrumental performance is that guzheng is the main instrument, which dominates the beat, especially in Zhao 'an and Xiao Yun counties.

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From the Qing Dynasty to the early years of the Republic of China, ancient music was very popular in Zhao 'an, Xiao Yun, Zhangpu and Dongshan.

There are eight streets in Zhaoan City, and each street has an ancient music club. Among them, the most influential are the Concert Hall and Liuxiang Concert Hall founded by Mr. Zhang.

The concert hall meets friends with music, and music is everywhere at night, which is very lively.

Mr. Zhang plays the guzheng himself, and is also equipped with stringed instruments, bamboo strings, flutes, small three-stringed instruments and Shuangqing musical instruments.

There are seven or eight players, up to more than ten people.

They don't play trendy music. They only worship ancient music. Sometimes they sing Kunqu opera with Qu Di.

Yunxiao County and Zhangpu County are also busy with "Le Hui" activities.

From the Republic of China to the early 1950s, most rural communities in Yunxiao County had ancient music organizations and activities, but guzheng was rare in the "harmonious music" of rural communities.

There is only the ancient music ensemble of Zhende Drama Club in the city.

The guzheng played by Mr. Chen is simple and elegant, and still retains a strong traditional charm.

The history of Fujian's "Ancient Music Ensemble" is actually the history of Fujian Zheng, which is dominated by guzheng, similar to the Bantou "Zhongzhou Ancient Music" and "Xiansuo Elegant Music" in Henan Province. It can be said that Minnan Zheng, Henan Zheng, Shandong Zheng, Hakka Zheng, Chaozhou Zheng and Wulin Zheng are of the same origin and may all have originated in ancient times.

Eight, Inner Mongolia grassland "denture" denture (Mongolian)-Mongolian guzheng

Mongolian Guzheng: Yatog, an ancient national musical instrument popular in Xilin Gol and Yike Zhaomeng in China, is very expressive; Its structure, tuning method and playing style are different from those of Han Guzheng.

Yatogo has twelve strings and ten strings.

Mainly spread in Xilin Gol League and Yikezhao League, it has a great influence on local herders because of its long history.

Generally, the twelve-stringed piano is used in palaces or temples, while the ten-stringed piano is popular among the people, and is mostly used for folk songs and pastoral accompaniment.

Yatogo made Sonte.

Total length139cm; ; It is 7 microns thick, 28 centimeters wide and 96 centimeters long.

These strings are made of silk.

The body of the piano is painted in red, yellow, blue, green and white with Mongolian style.

The chord code is 5 om high and ancient in shape.

Yatogo has its own unique tuning method, although it is also a pentatonic tuning category (fa and si are on mi and la), but the code is composed of two lines with different lengths.

There are four tunes in Yato songs: ① Chagan tune -(D key), 2, Hages tune -(G key), 3, Heile tune -(C key), 4, Handing Gree tune -(F key).

This is a performance theory handed down from generation to generation by Yatogo performers after thousands of years of practice. It is an inherent tune of Mongolian zither, and the tune is exactly the same as that of Han zither.

Yatogo mainly uses the thumb support of his right hand, splits and forefinger to play a song.

Ximeng artists respond to the strings with the big index finger octave, fourth degree and fifth degree, and also sweep up and down with their thumbs; Yimeng artists play octave and fifth chords with their thumb and forefinger in the same direction at the same time, so as to achieve the effect of strengthening strength, changing emotions and highlighting style.

As for the fingering of the left hand, it is roughly the same as that of the Han Zheng: pressing, kneading, sliding and vibrating the strings are the main methods. Obviously, Yatogo's gameplay is older.

Yatog has always been used to accompany Mongolian folk songs or play and sing themselves.

Therefore, many of its playing styles and techniques are absorbed from the singing of Mongolian folk songs, and of course, some other Mongolian musical instruments (such as Ma Touqin, Hu Si and Sanxian) have gradually formed regional characteristics.

The characteristics of folk songs in Ximeng area are high, open and unrestrained.

Guzheng players in Ximeng not only play some local folk songs, but also some folk music such as "accel" and "Eight Tones".

It is said that the form of "accel" music was originally a prelude (interlude) of folk songs (early Qing Dynasty), and later it gradually developed into a solo (also called a banquet).

Yimeng area is very rich in folk songs, so it has the reputation of Ordos singing sea.

The folk songs in this area are cheerful, with distinct rhythm and great leap in melody and tone. Singing and dancing are their main characteristics.

Yimeng zither players mainly play Yimeng folk songs, and also play some Yimeng folk song ensembles. There is a fixed prelude (interlude) between the ensemble folk songs, which has become the characteristics of Yimeng folk songs.