The Creation of the Instrument
The Guzheng (古筝) has undergone great changes in both its structure and playing techniques. From the original silk string to the current nylon strings, each version of the guzheng is delicately curated, producing unique tunes that evokes the many nuanced emotions. It is said that the guzheng is influenced by the Se (瑟) - a 50 strings plucked instrument, where the instrument is divided into half thereafter. Thus, creating the 25-strings guzheng and later, the 13-strings guzheng. The 21-strings guzheng is commonly used now.
Traditionally, guzheng music was divided into two styles, namely "Nan Zheng" and "Bei Zheng". With the passage of time, seven playing styles are developed, each having its own characteristics and performing styles. In current times, the art of guzheng continues to flourish with the emergence of contemporary forms of guzheng music. At the same time, the rich heritage of traditional music is kept alive.
陕西筝
Shaanxi Style
"Melodious and Lyrical"
Shaanxi Zheng is a style formed in its original state when Zheng evolves from Se (瑟) during the Qin dynasty. The guzheng is rarely used in its rich history of opera performances and folk music. It became prominent towards the 1950s when Mr. Zhou Yanjia, the president of the Shaanxi Qin Zheng Society and a well-known performer, put forward the slogan "Qin Zheng returns to Qin". Shaanxi Zheng adapts the techniques of opera singing 碗碗腔 (or 哭腔), its characteristics include vigorous vibratos, the gliding pitch bending of fourth note 4 (fa) to third note 3 (mi) and seventh note 7 (ti) to sixth note 6 (la), pitch of the seventh note 7 (ti) is played slightly lower which is similar to Cantonese traditional music. Some of its representative pieces are《小小船》,《秦桑曲》and《香山射鼓》.
河南筝
Henan Style
"Dramatic performing style but Simple tunes"
Henan Zheng traces its history back to the area around Kaifeng city during the Qin and Han dynasty. The marriage of Qin Zheng and local music culture has form the Henan Zheng music also known as Ancient Tune of Central Plain (中洲古调). One of the significant playing methods of the Henan style is “drifting (游滑)” which requires the player to strike a string consecutively at a spot nearer to the bridge (琴码) while shifting to a spot near to the front fixed bridge (前岳山). Other techniques include fast pitch bending (slightly slower than Shandong style) and regular vigorous vibratos. Also, the repertoire of Henan Zheng comes mainly from folk rap music and opera music.《打雁》,《哭周瑜》,《苏武思乡》is often played by artists when they gather!
山东筝
Shandong Style
"Simple and Elegant"
Shandong Zheng is also known as Qi Zheng (齐筝). Shandong Zheng found its stride as a member of the popular string quartets called Xian Suo (弦索) which is thought to have been introduced in the early Qing dynasty, perhaps in the 1600s or 1700s. The other three instruments were either Pipa, Xiqin, and Yangqin or Pipa, Sanxian and Huqin. Most Shandong Zheng pieces are solo renditions of these trio pieces.
In the past, the Shandong Zheng used fifteen strings, seven strings for the lower tones, and eight for the higher tones. It is commonly known as “七老八少”. The thumb is use frequently in this playing style, especially in playing consecutive tuo (托) or short glissando. Clean rapid pitch bending is a trademark in this style. Some of the songs played are 《凤翔歌》,《汉宫秋月》and《高水流水》.
潮州筝
Chaozhou Style
"Delicate and Subtle"
Chaozhou music, categorized under Cantonese music has a special music structure and unique techniques that is different from other folk music. Chaozhou music uses unique scales that are derived from Er Si notation (二四谱) with the notes in ascending order 二 三 四 五 六. The scales include Zhong Liu (重六调), Qing San Zhong Liu (轻三重六调) and Huo Wu (活五调). The pitch of 7 (ti) is achieved by pressing the second note of the scale 三 lightly which will sound a little flat, while the pitch of 4 (fa) is achieved by pressing the fifth note of the scale 六 more forcefully which will sound slightly higher. The Chaozhou style generally uses steel strings. You may have heard of pieces like 《寒鸦戏水》,《西江月》and《柳青娘》!
客家筝
Hakka Style
"Smooth flowing and Light-hearted"
Hakka playing style also known as Guangdong Han music, has a long history that dates back to 405 CE. It was brought into the Guangdong region by Central Plain (Henan region) immigrants. Fused with local music culture, language and customs, it has formed a unique character of its own. A distinctive character of Hakka music is the pitch of the seventh note 7 (ti) is played slightly lower which is similar to Cantonese traditional music. Hakka techniques involve frequent pitch bending, vibrato of measure-long sequences in characteristic patterns and infrequent glissandos.《崖山哀》,《出水莲》and 《蕉窗夜雨》are songs that represent the Hakka style.
浙江筝
Zhejiang Style
"Bright and Beautiful tunes"
Zhejiang Zheng is also known as Wu Lin Zheng (武林筝). It is popular in the Zhejiang and Jiangsu region ever since it was introduced during the Eastern Jin Dynasty. Tremolo technique (摇指) is frequently performed by finely shaking the thumb with the left hand performing the glissando at the same time. The playing technique of plucking the strings with both hands makes the Zhejiang style suitable to express a wide range of themes that is suitable for composition of modern guzheng pieces. Also, Zhejiang Zheng repertoire is often associated with Jiangnan Silk and Bamboo music, sharing many common pieces.《月儿高》,《将军令》and《云庆》 are some of classic pieces played using Zhejiang playing style.
福建筝
Fujian Style
"Pure and Calm"
Also known as the Minnan Zheng is popular around the Yunxiao county, Zhaoan county and other southwestern counties of Fujian. Similar to Hakka Zheng, it was brought into the southern region of China by Central Plain (Henan region) immigrants as early as 400 CE. Many songs are borrowed from Chaozhou and Hakka schools. The performing style of Fujian Zheng is closer to that of Hakka than Chaozhou, with an emphasis on simplicity and fewer embellishments, yet the repertoire resembles the Chaozhou style melodically. Some of the classical Fujian Zheng pieces are 《普庵咒》,《铺地锦》and《蛟龙吐珠》.
Variation of Guzheng