Toe-thumb pulls the string outward.

Split your thumb on the rope.

Erase-the index finger plays the string inward.

Pick-the index finger plays the string outward.

Hook-the midpoint plays the string inward.

Pick-point the string outwards in the middle.

Raise your ring finger and play the strings.

Continuation-Thumb continuously pulls strings outward.

Wipe-the index finger keeps playing the string outwards.

Pinch your thumb outward, your middle finger inward, and play two strings at the same time.

Pinch your thumb outward, index finger inward, and play two strings at the same time.

Double support-the thumb plays two adjacent strings outward at the same time.

Double wipe-the index finger plays two adjacent strings outward at the same time.

Eight-degree double support-the thumb plays two adjacent strings outward, the middle finger plays another sound eight degrees lower, and the three yin sounds at the same time.

Finger flick-thumb chop.

Arpeggio-The left or right hand plays different sounds in sequence with three or four fingers.

Overtone-the left index finger gently sticks the string at the pronunciation string 1/2, and the right hand plays the string to pronounce.

Flower's finger-thumb quickly grasps several strings.

A stroke from bass to treble on the guzheng string.

Sweep-a stroke from high notes to low notes on the guzheng string.

Rub or vibrato-classified according to different musical styles, it is a kind of rub, and the rub is relatively peaceful; It is a kind of vibrato, with dense sound waves and local style.

Tremolo-a hard vibrato.

Tone pressed-the tone pressed on the string.

Slippery sound-after the right hand plays the string, the left hand presses the string to make the sound slide from low to high.

Slippery-the left hand presses the string first, and the right hand gradually loosens the string after playing.

Slippery sound-after the right hand plays the string, the left hand presses the string to make the sound slide from low to high and from high to low several times.

Left-handed note-Left-handed girl's left side slides gently or gently.

In addition, there are five schools: Henan Zheng, Chaozhou Zheng, Hakka Zheng, Zhejiang Zheng and Fujian Zheng. See below for details.

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 local folk music "Zheng Yin" to develop 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 paizi and Bantou songs.

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.

Hakka Zheng music is not the original product of Guangdong music, but originated from the traditional music of the Central Plains.

In ancient times, the population of the Central Plains moved south to Fujian, Guangdong Province, and the exotic Central Plains music absorbed the essence of local folk music. After hundreds of years of development, a new instrumental music, Hakka Music, was formed. The eastern part of Guangdong is very closed, which makes Hakka Zheng music retain many characteristics of ancient music in the Central Plains, and still has the simple and elegant charm of Han music.

In Hakka music, there is a "three-headed" performance form played by Zheng, pipa and coconut tree. Because of its fresh and elegant style, it is named Le Qing. Hakka Zheng music is separated from the pure music of Han music, so it is often called Han Zheng music.

Hakka Zheng music can be divided into major chords (including minor):

The structure of Zheng music in major is rigorous, and its works are standard 68 boards. According to modern music theory: sixty-eight bars or sixty-eight remakes. Representative tracks: Cliff Mountain Mourning, Lotus Out of the Water and Revenge of Zhao Jun. ..

Cross-tune Zheng music includes China traditional opera music and Guangdong Han opera folk music plate. This kind of music varies in length and structure. Representative tracks: The West Chamber, Pinghu, Banana Window in Night Rain, and Emerald Climbing the Beach.

The variations and technical features of Hakka Zheng music are as follows:

Add adagio for bone adjustment:

Adagio is played repeatedly two or three times. Because of its slow speed, it is enriched by the methods of "adding words" and "continuous sliding sound" in the basic voice.

Intermediate board behind the flexible board:

The music is getting faster and faster, and when it turns to 2/4 beat, the melody begins to decrease and refine.

Faster on the middle board, turn to 1/4 beat. At this time, the melody is repeated more than twice, which is more abundant in terms of words reduction, flowers addition and variation.

When you subtract words, you just play music. Generally, the melody is first matched with hooks and supports, and the melody is highlighted through the "big pinch" fingering of octave harmony.

Adjusting bones and sweeping strings "adding flowers": that is, adjusting bones and adding arpeggios to modify the melody. Hakka Zheng music pursues simple and elegant style, and rarely uses gorgeous and bright long string-sweeping flowers, usually no more than two or three tones.

The change of rhythm and sound type of "rubbing" (segmentation): that is, the bone tone develops from the middle finger (hook finger) to the board, first hooked and then supported, and then further developed. There is a "sound behind the board" (segmentation), which highlights the second half beat and pauses the first half beat. This method is not necessarily used in the whole piece of music, but it is often used alternately with subtraction in different phrases. This way of playing enriches the music and makes it easy for the whole song to reach its climax. Such as: Zheng Song's "Rain under the Banana Window" in the board part of the three variations.

In the process of rotating variation, in order to enrich the change and contrast of timbre and enhance the ups and downs of melody emotions, the pitch of phrases is often changed to increase or decrease the melody phrases by eight degrees.

Highlight bass for melody and harmony;

In the traditional school of Zheng music in China, this is a unique technique of Hakka Zheng school. That is, according to the player's mastery of the music, no matter when playing adagio or adagio, usually at the last sound of each phrase (sometimes selected in the phrase), fingers or octave chords are used to play inward, so that the sound is lengthened and the rhyme is deeper, and the effect of "showing the root sound first" is formed on the melody and harmony of the next phrase.

This technique makes the melody form a three-dimensional sense of multi-voice, which makes it easier to play the simple and elegant style of Hakka Zheng music and enrich the melody. Rich and changeable left hand gliding:

The traditional Hakka zither uses metal strings, which can sing freely, creating conditions for sound extension and rhyme. The unique and elegant features of Hakka Zheng music have more "connotation" and "depth" than other Zheng music schools.

In terms of melody mode, Hakka Zheng music can be divided into "hard-line scale (composed of five tones by 56 123, with 47 occasionally appearing in the melody as a decorative passing tone)" and "soft-line scale (composed of five tones by 57 124, with 63 occasionally appearing in the melody as a decorative passing tone)". Guzheng music is light, gorgeous, bright and lively; Soft string guzheng is euphemistic, elegant, sad and moving.

Representative pieces of Hakka Zheng music: Water Lotus, Night Rain and Banana Window, Ai Ya Shan, Emerald Climbing to the altar, Pinghu, Zhao Jun Complain, etc.

According to historical records, as early as the Tang and Song Dynasties, Zheng had spread from the Central Plains to Hangzhou, Zhejiang. In modern times, it was mostly used in the form of ensemble or accompaniment for folk "bamboo music" and "Hangzhou Shanghai Beach".

At that time, Zhejiang Zheng had only fifteen strings, and the string length was about 1. 1 meter. Its front and rear panels are made of paulownia, its tail is slightly inclined downwards, and its tune is pentatonic pppppppppp. Sit or stand on the table to play. When playing, the thumb, index finger and middle finger of the right hand each wear a nail plate made of ox horn (or tortoise shell). The main tracks are "Hangzhou Sizhu Music", "Thirteen Chords" and "Hangtan", such as: Class 33, Embroidered Shoes (also known as Meet in the Moon), Mountains and Rivers, Little Nishang, Yunqing, Yulun Robe (also known as Dismantling Overlord) and Christina He Na. There are some techniques such as "big finger shaking", "four-hour fast", "clamping the bomb" and "lifting the string". Famous modern Zheng people include Jiang Yinchun, Wang Peizhi, Zhu Youxue, Qiu, Wu Rujin and so on.

From 65438 to 0956, Mr. Wang was engaged in the teaching of guzheng in Shanghai Conservatory of Music, and led a group of students to systematically sort out, enrich and develop the music score and performance techniques of Zhejiang Zheng. Since the 1960s, Shanghai Conservatory of Music has trained a group of influential young performers, and created many tracks with the techniques of Zhejiang Zheng School, thus rising on the professional teaching and performance stage at home and abroad and becoming a rising star of various Zheng schools in China.

Because Zhejiang Zheng music is based on "Thirteen Chords" and "Bamboo Slips in the South of the Yangtze River" and "Hangtan", the number of tracks has exceeded the system of 68 boards, and the music has also developed from a single musical concept to a complex musical structure. Therefore, several generations of Zheng people are trying to enrich and enrich the strength, speed, timbre change and contrast of music.

In addition to inheriting the traditional techniques of Zhejiang, the playing techniques of pipa, sanxian, dulcimer and even western musical instruments have been borrowed, studied and integrated, and the techniques of other schools of Zheng art have also been learned and developed.

Musical instrument shape: the length of the original Zheng * * * symphony box was increased to about 1.65 meters, and then Leshan was changed to an S-shape, and the number of strings was increased to 2 1 (the range was expanded to four octaves, and the interval was from D-P); The texture of the string changed from silk string to a series of Zheng strings with different thicknesses wrapped in nylon silk.

When you play, use a leather case to fix the nail board without adhesive tape. The nail board is made of tortoise shells.

Compared with other Zheng schools, the main features of Zhejiang Zheng school are:

First, some tracks broke through the traditional strict five-tone law of guzheng and the "shifting column and tone" in performance; Such as: He Na, Christina. This opens a new way of thinking for the creation of new Zheng music and provides acoustic enlightenment.

Secondly, due to the reform of musical instrument shape, the change of string quality, the expansion of musical range, the stability of nails, the richness of techniques and other factors, the expressive force of music has been enhanced, which has created conditions for the changes in strength, speed and timbre, and it is easier for modern people to accept and love it in the creation of Zheng music and to express the spirit of the times.

Third, the main performance techniques are as follows:

1. Finger shaking: This technique is different from the quick "supporting" and "splitting" of the big joint (or small joint) of the big finger, that is, the "round finger". Instead, the nail plate of the right thumb naturally holds the palm, the index finger supports the thumb, and swings back and forth quickly with the wrist as the axis (some people use the little finger to support the outside of Qian Yueshan to stabilize hand movements). Because this technique can mobilize the strength of the arm and wrist, it is more powerful, the frequency of touching strings is faster, and it can last for a long time. Generally, each beat is divided into eight thirty-two notes, that is, P is scored as an average ppppp. In this way, the duration of the notes that need to be extended in the melody is repeated many times, rather than the natural extension after the vibration of the zither string. Thereby solving the singing of melody more ideally. Specifically, it can be divided into:

"Long shake": shake your fingers for more than two beats. Shake your fingers evenly to form a continuous, undulating and affectionate melody line. If matched with the voice of the left hand, the contrast of different voices of the two hands is more prominent.

"short shake": shake your fingers with one hand. Generally, it is pp rhythm. This technique has short pronunciation, bright and full timbre and strong sense of rhythm.

"Sweep": four sixteenth notes in quick succession, the first note is hooked with the middle finger of the right hand (sometimes two or three notes are hooked in succession by "hooking" to form a short arpeggio effect of pentatonic scale), and the last three notes are played with a short swing. This technology can produce passion and powerful sound effects, and is good at expressing strong melody tones.

2. It's almost four o'clock; That is, the combination of fast hook, hug, wipe and hug techniques. It is characterized by its high speed, emphasis on accent, great strength, and easy to make the melody smooth and beautiful, lively and lively.

3. Quick clamping: that is, the combination of quick wiping and supporting technology. In addition to its high speed, this technique is often used in music. When used in combination with "Fast Silk Point", it can make the melody lines clearer, just like pearls falling on a jade plate.

4. Finger flick: that is, the fingers of both hands rub the strings alternately, and sometimes the fingers of the right middle finger, the left index finger, the right index finger and the left index finger are alternately combined, which can extend from playing the same tone to octaves or even more intervals. This technique can make the melody atmosphere warm and magnificent.

5. Fast chord: In addition to the general techniques of left-handed intonation, kneading, sliding and pressing, Zhejiang Zheng music mostly adopts the chord techniques of short rising and restoring "point tone" and fast rising and falling.

6. String lifting: Use the left thumb and forefinger (or thumb and ring finger) to lift the string, which is generally used in the bass area to emphasize rhythm and harmony. This technique has also derived the two-handed arpeggio technique, which can achieve the timbre change effect from low bass to bright treble.

7. The left hand develops from simple accompaniment harmony to complex rhythm polyphony.

To sum up, whether the voltage of the tune is quiet, simple and profound, or the level is changeable and magnificent, Zhejiang Zheng Art School shines brilliantly in various schools of Chinese Zheng Art with its unique charm.

Fujian Zheng (Fujian Zheng): It is popular in Zhangpu County, Yunxiao County, Dongshan County, Zhao 'an 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 Central Plains culture and art. In addition, northern artists, especially Central Plains artists, 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.

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.