Traditional Chinese Music

Traditional Music Guqin

Legend has it that the Guqin, the most revered of all Chinese musical instruments, has a history of about 5,000 years. This legend states that the legendary figures of China’s pre-history Fuxi, Shennong and Huang Di, the “Yellow Emperor” were involved in its creation. Nearly all Guqin books and tablature collections published prior to the twentieth century state this as the actual origins of the Guqin, although this is now presently viewed as mythology. It is mentioned in Chinese writings dating back nearly 3,000 years, and examples have been found in tombs from about 2,500 years ago.

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Historical Guqin Players

  • Confucius: Philosopher, 551-479 BCE, associated with the piece Kongzi Duyi, Weibian Sanjue and Youlan.
  • Bo Ya: Qin player of the Spring and Autumn Period, associated with the piece Gao Shan. and Liu Shui
  • Zhuang Zi: Daoist philosopher of the Warring States period, associated with the piece Zhuang Zhou Mengdie and Shenhua Yin.
  • Qu Yuan (340-278 BCE): Poet of the Warring States period, associated with the piece Li Sao.
  • Cai Yong: Han musician, author of Qin Cao.
  • Cai Wenji: Cai Yong’s daughter, associated with the piece Hujia Shiba-pai, etc.
  • Sima Xiangru: Han poet, 179-117 BCE.
  • Zhuge Liang: Chinese military leader in the Three Kingdoms, one legend has him playing guqin calmly outside his fort while scaring off the enemy attackers.
  • Xi Kang: One of the Seven Sages of the Bamboo Grove, musician and poet, writer of Qin Fu.
  • Li Bai: Tang poet,
  • Bai Juyi: Tang poet,
  • Song Huizong: Song emperor famous for his patronage of the arts, had a Wanqin Tang .
  • Guo Chuwang: Patriot at the end of the Song Dynasty, composer of the piece Xiaoxiang Shuiyun.

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Playing Technique

The music of the Guqin can be categorised as three distinctively different “sounds.” The first issan yin, which means “scattered sounds.” This is produced by plucking the required string to sound an open note About this sound Listen. The second is fan yin, or “floating sounds.” These are harmonics, in which the player lightly touches the string with one or more fingers of the left hand at a position indicated by the hui dots, pluck and lift, creating a crisp and clear sound About this sound Listen. The third is an yin, or “stopped sounds.” This forms the bulk of most qin pieces and requires the player to press on a string with a finger or thumb of the left hand until it connects with the surface board, then pluck. Afterwards, the musician’s hand often slides up and down, thereby modifying the pitch. This technique is similar to that of playing a slide guitar across the player’s lap, however, the technique of the qin is very varied and utilises the whole hand, whilst a slide guitar only has around 3 or 4 main techniques.

According to the book Cunjian Guqin Zhifa Puzi Jilan, there are around 1,070 different finger techniques used for the qin, with or without names. It is therefore, the instrument with the most finger techniques in either Chinese or Western music. Most are obsolete, but around 50 or so are sufficient to know in modern practice.

Learn the Guqin at Master Chen Shiyu’s School

Many Chinese come and learn the Guqin in our school. Now the Guqin lessons are open and exclusive for foreign students! Master Chen Shiyu wants to spread this ancient tradition and is now teaching the way of the Guqin to people outside of China. If you have more questions about playing the Guqin please contact Master Chen Shiyu in the Contact Us section. Come to our School and learn this artdirectly in the Wudang Mountains personally from Master Chen Shiyu.

Xiao

The Xiao is a very ancient Chinese instrument usually thought to have developed from a simple end-blown flute used by the Qiang people of Southwest China in ancient period.

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Xiao are almost always made of bamboo, the best being ‘purple bamboo” or “zizhu”. Sometimes, the xiao is made of solid wood that has been carved and hollowed out. They can either be made plain, or have a horn inlay at the end and/or various inscriptions along the shaft. Usually, nylon wire bindings along the shaft are wrapped on which attempts to stabilize the bamboo and prevent cracking. Some players tie a tassel to dangle from one of the lower sound holes, purely for decorative purposes.

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