Pipa and guzheng are plucked instruments.
Pipa is the representative of vertical plucked instrument.
Guzheng is the representative of horizontal plucked instrument.
See Baidu Encyclopedia specifically, it's complete ~
All three people who have studied have drifted over ~
/view/4330.htm
/view/9360.htm
My understanding of the timbre differences of these three instruments;
The tone color of pipa emphasizes "sharp", "hall", "loose", "brittle" and "explosive". Sharp refers to the bright timbre in the high-pitched position, hall refers to the deep bass, loose refers to the sensitive pronunciation, crisp refers to the crisp tenor timbre, and explosion refers to the sound of stones (played by close hands). The timbre is characterized by "big strings are like rain, small strings are like whispers, humming and whispering-then intertwined, like pearls of different sizes pouring into a plate of jade" and "a silver bottle suddenly breaks and a stream of water gushes out".
Jump out of the conflict and blow between armored horses and weapons. It's no exaggeration to describe the end of this song with careful brushstrokes. All four strings make a sound, like spinning silk. But at the same time, we can see that the tone of pipa is very grainy, mainly a masculine tone. Compared with Ruan's richness, the timbre of pipa is more dry and lively. The representative repertoire of pipa soft voice is Yi dance music, and the representative repertoire of masculine voice is naturally ambushed on all sides.
Compared with other plucked instruments, the long wheel has a very significant difference. Because the strength of the five fingers is uneven (theoretically, the volume difference between the five fingers should be as small as possible), the long wheel is like a threaded bead, showing periodicity and being very beautiful ~
Compared with the pipa, the timbre of the zither is a relatively feminine timbre, and even the fierce tune "Fighting Tigers Up the Mountain" is not as fierce as the plucking of the pipa. There is little difference in timbre between the high-pitched area and the low-pitched area of the Zheng, and the three-dimensional sense is very strong when making long-interval chords. Guzheng, as a plucked instrument with one string and one tune, has a discrete change in pitch, but it is fluid when walking in broken strings.
The feeling of water (the Zheng version is spring to Xiangjiang River), and at the same time, due to the soft tone of the Zheng, the Zheng is very good at expressing consistency in songs such as Qin Sang Qu, Zhao Jun Fen and Autumn Moon in Han Palace. Therefore, the focus and difficulty of the guzheng version of Lin Chong's night rush is to express the psychological activities of the characters, while the dulcimer version focuses more on the harsh environment. The dulcimer version of Lin Chong's night rush and snow disaster gives full play to the dulcimer's vocal ability.
The advantage of the effect is also softness. Compared with Ruan, our timbre can be said to be a combination of rigidity and softness.
The timbre of dulcimer is very different in high-pitched and low-pitched areas. The timbre in the treble area is close to that in Qin Liu, and the volume is low. The bass area has rich timbre, full volume and long reverberation, so that some dulcimers need to install a stop in the bass area in order to prevent the interference between long reverberations from affecting the sound effect. Because the chords of dulcimer break through the limitation of finger distance, they can jump greatly and the effect is low.
The heavy accompaniment sets off the high-pitched and bright melody, and the middle is a bit empty because of the lack of tone transition.