Talk about playing the guqin a few cultivation-Mr. Mei Yiqiang

Talking about playing the guqin a few cultivation-Mr. Mei Yiqiang(3)

Cultivate "sense of continuity" should pay attention to the problem is:

1, the heart should be quiet and not impatient, can not just listen to the sound not to seek rhyme.

2, start finger to be slow, that is, when the two fingers successively press the string, to try to achieve the latter tone does not appear, press the finger of the previous tone does not move, to maintain the remaining sound constantly in the case of organic and the latter tone associated.

3, can not use two fingers alternately, must start the finger to change the sound position can be used before a sound bac (note under), after a sound on the divination (nick), the purpose is to let the former a sound weak, after a sound from weak to strong natural link up, so that the sound of the sound and the sound of the articulation will not be hard and fast uncoordinated, but also to avoid the sudden interruption of the appearance of the rest.

4, multi-string continuous take the sound of the problem, it is a skill problem, generally using "a finger by multi-string" and "snake line crane step" technique to deal with.

One finger by multiple strings, there are generally two kinds, one is close to the two strings continuous tone, with one finger by two strings up and down sliding or playing two tones; the other is more than three strings, the finger can be pressed at the same time more than one string, so that the effect of the sound of the natural continuity of no gaps.

The snake walk and crane step is a fingering technique modeled after the snake walking and the crane walking stride. Snake walk, generally used in the big finger at the same time to press multiple strings continuous sound. Crane step, is more than two emblems apart from the sound method, because the finger length is not enough, must be like a crane walking across the past. But beginners are prone to commit the following faults:

1, after the rush out, can not control the power of the falling finger, not only to hit the surface of the sound of the board, but also impossible to master the coordination of the tone, how to solve this problem? First of all, the idea must have a sense of forethought, so that the fingers are not nervous before crossing out, and at the same time to see that the sound of the proper force to finger pressure string to the surface of the method of pressing the strings, can not be used to hit the surface of the method of pressing the strings, so that you can achieve good results. The former said, "Lift your finger as heavy as Mt. Tai, Fan finger as light as a feather." This is the truth.

2, across the fingers out of the inability to press the sound problem, to solve this problem, first of all, we must be familiar with the sound position and loose, according to the sound of the same degree, octave of the harmonic relationship, for example: commonly used in the positive key (1 = F) seven strings outside the emblem, twelve emblems, ten emblems, nine emblems, seven emblems, seven emblems of six, seven emblems, six emblems of the second, five emblems of the eighth, five emblems of the ...... and so on. Two-string chords (minor intervallic chords separated by one string), major intervallic chords (chords separated by two strings). Crossover chords (chords separated by more than three strings). There is an easy way to play in tune when you know the pitches, especially for beginners, so try it. That is, when you need to press a certain pitch, your eyes look at the pitch and not at your fingers, you can make your fingers press the pitch accurately (the pitch problem also needs to rely on the sense of hearing to make fine-tuning). The reason is very simple, because the various functions of the human body are commanded by the brain, the eyes observe the message to the brain, the brain and then command the hand action, this unity is human instinct, as long as the eyes do not look at the wrong pitch, the hand will not be pressed to the pitch of the place.

3, the sheet music on the common "two on", "two down" and other not remember the pitch of the fingering action, the beginner is often casually on the second or the next two, the appearance of "yellow" sound (not allowed to sound). The "yellow" sound (the sound that is not allowed) will cause auditory differences over time, and should be noted. Why don't you write the pitch on the sheet music? It is a basic common sense problem in music theory, because the guqin is handled according to the pentatonic scale, two on or two off is the upper two tones and the lower two tones, it is from the six strings of nine emblems on the sound on the seven emblems after nine points and then on the seven emblems, because it is common sense in common sense in music theory, so the notation of the human beings to omit the text and only write the two on or two off, the playing of the qin people must know the reasoning, must be seriously dealt with when playing can not be ignored, or else the sound level will occur! The problem is that you can't play a beautiful piece of music.

Continuous sense of cultivation, the reason is very shallow, not necessarily easy to use, requires fingering skill and have the internal letter cultivation, playing the heart hand consistent, in order to play a good effect.

V. Cultivation of aesthetic sense in guqin performance

"Aesthetic" is the inherent instinct of every human being. The "beauty" of the guqin is that the guqin player gives the listener a kind of enjoyment of beauty through artistic expression. How to do this, first of all, requires the player to know how to "aesthetize" himself, otherwise he does not know how to know the people, so it is also the cultivation that the player must have. Often play the piano people only know to play according to the score, the emotional effect is not pay attention to, aesthetic sense is the study of each music, phrases, music and the whole song processing.

The guqin is a musical instrument that uses three kinds of timbres interlaced by scattered, pan, and press (including fomentation), and plays the same degree of qin music, three degrees, five degrees, and eight degrees of harmony in particular, which inevitably produces a monotone, primary and secondary tones, strong and weak tones, and phrases and segments of the articulation of the complexity of the relationship between the complexity of the relationship, and do not know how to deal with it, play the qin music is unlikely to be rich in feeling, and is unlikely to give the listener a kind of enjoyment of the beauty of the piece, so the player must have the following aesthetic sense. So the player must have the following aesthetic cultivation.

(a), the handling of single tone (including pronunciation), the general view that the guqin fingering more than fine decision in the left hand, so the left hand fingering is difficult than the right hand, this understanding is not comprehensive, the left hand fingering, although more than fine, after all, you can master it through hard work, and the right hand is the pronunciation action, it is with the mind's idea of the command, light, heavy, Xu, the relationship between the qin music feelings of the pilot role. If you can't deal with articulation first, you can't play well even if you are skillful in left hand fingering. Therefore, the right hand fingering should be more difficult than the left hand fingering, of course, the right hand fingering to deal with even better, if there is no left hand fingering, it is impossible to play a good effect, it is also like a table with the flesh and blood relationship, which is linked to the left and right hand with the pronunciation of the problem.

The first time I learned the guqin, I was prone to the problem of playing a single tone that was not thick and not solid, and there was a strange sound, and I couldn't control the intensity of the sound, so what is the reason for this? First from the right hand fingering. The right hand strumming should generally be in the Yue Shan and one-half of an emblem, close to Yue Shan is just, close to an emblem or an emblem of the following (two, three emblems) is soft, how to deal with just, soft just right, according to the song to choose the part of the drop finger, the right hand strumming should also pay attention to is that the finger strumming to try to the surface of the piano swooping, don't go up to the Peach, because swooping down to the sound of the sound of the sinking, thick, condensed, solid; up to the pick on the light, floating, empty, floating, and the method of fingering is also very important, but also the way of using fingers is also very important. In addition, the finger method is also very important, the general finger string with half armor half meat, if you need to just use the full armor, need to use the full meat soft, need to be light with the finger touch string upward friction out of the sound, the need to aggravate the use of another finger can be used to do the strings finger to help force, such as: index finger pick seven strings, the middle finger can be placed on the five strings to help the index finger force to the surface of the instrument swooping, these are the basics of right-handed strings, the string on the string sound is not solid, not thick, and the problem of strange sounds. The problem of the string presses being insubstantial, not thick, and having strange sounds is fundamentally the relationship between the right and left hands. If the left hand presses the strings too early, the sound will be stagnant without thickness, and if it is too slow, there will be a double sound (loose sound and press sound), and the note should not be more than one pitch, otherwise there will be unwanted and uncoordinated sound (the so-called strange sound). General playing the piano people like to use gravity to take the sound of the strings, intended to show that the finger strength is strong, but do not know that the strings have a certain degree of tension, too heavy more than the strings to withstand the force of the sound out of the not "pure" have "defects" sound but instead of making a mess of things. The meaning of the old saying: "three points into the wood" is not to play the zither, but to play the fingers of the strings to use a lot of force to insert into the wood of the zither, but to ask the right hand to play the strings out of the sound to be solid, pure, not floating, not floating, and the left hand to match with the strings to be just right, so that the sound will be pure and have a thickness. Because of the construction of the guqin there is a *** sound box under the surface of the qin, the sound is through the *** sound box open the two sound holes (Dragon pool, phoenix swamp) sent out as if the sound through the wood to send out the same, so that the wood into the three points can only be a metaphor for the real meaning is to talk about the "sound" rather than talk about the "force", so play a good single-string sound, but not to play a good single-string sound. "So, to play a good single note, you have to harmonize your left and right hands.

(2), the correct treatment of the relationship between the primary and secondary sound is the necessary cultivation of the aesthetic. Guqin harmony is usually used to loose sound and press sound, overtone and press sound or two loose, two overtone, two press different strings, different timbre of the sound to take the harmony. Because the seven strings installed in the guqin have different thicknesses, although they are equal in height, the tones on different strings are different, and the emblems are also different, so the performance methods of the main and secondary tones are more important. In general, the two-stringed loose sound is the main sound, five-stringed press tone is the tone (secondary), deal with, two-stringed sound to be stronger, five-stringed sound to be weaker, so that it sounds coordinated, in addition to pay attention to is how to make the harmony of the organic connection and the problem of the soft sound, such as the above two sound and harmony study, should be played in the two-stringed sound after the aftermath of the rhyme is not finished, play five-stringed press tone with nicked up to take the chorus, so that the two tones in the bass when connecting, so that the harmony is very natural and natural, but also to make it more natural. The harmony will be natural and beautiful. There are a lot of these harmonies, so as long as you have the aesthetic cultivation of harmony, you can naturally harmonize the relationship between the primary and secondary tones.

(3), sentence, paragraph between the strong and weak sound processing problems. Things are always like this, there is no comparison, there is no identification, such as: there is no black, there is no white; there is no high, there is no low; there is no strong sound, there is no weak sound, play the guqin is also like this, the whole song every sound with a very strong force to play, but also "flat", and vice versa, with a weak force to play the same is "flat". The opposite is also "flat" if you play with a weak force. Only when you play with the right amount of strength and flexibility, can you play with the right amount of emotion and enjoy the "beauty" of the piece. Playing the piano from learning to maturity roughly through these stages: the first stage, the beginner due to rusty fingering play not sound, press not real: the second stage, learn a period of time to overcome the shortcomings of not sound, play up very hard to pursue only a "sound", the third stage, to learn to a certain extent, but also feel that only the sound of the flavor, to be able to pay attention to the light, heavy, Xu The fourth stage, when there is a certain attainment, not only mastered the light, heavy, Xu, fast, and at the same time can study the feelings of qin music through their own ideas to pursue the performance method; the fifth stage is also the highest state, can be fingering mood, temperament, physique into one of the gods will be the feelings of the qin music naturally out of the so-called "pure flame The so-called "pure fire" stage. Anyone who plays the zither with certain attainments may have such feelings. The relationship between the strong and weak tones and phrases mentioned here not only refers to the treatment of the strong and weak tones within the musical phrase, but also includes the relationship between the strong and weak tones and the urgency between the phrases. For example, the last sentence of the fourth section of the piece "Remembering the deceased" is connected with the slow phrase of the fifth section, if it is not prolonged by one beat after the "5" note for slow processing, then the slow beat at the beginning of the fifth section will not be able to blend in the feelings of the piece, and will give the listener a feeling of It will give the listener a feeling of suddenness or unstable beat or fast or slow, and importantly, it will destroy the mood of the piece from nostalgia to contemplation and then to the climax of passion. Therefore, the relationship between tone and tone, sentence and sentence, and paragraph and paragraph is an essential aesthetic cultivation for the player.

(d) The aesthetic sense of the whole piece. In terms of playing the piano according to the finger method is still easy to play, but dry lack of emotion, there must be brisk and rich tone, so that the tone is beautiful and beautiful, to the crutch playing the piano people emphasize the bard, brisk and brisk, as if bard, brisk and brisk, the more the more appear to be skilled in their own fingering, the piano played well. Ancient clouds; "when the gin is gin, when brisk is brisk," gin brisk too much will be counterproductive, it is like a fair lady in the head of the appropriate to wear a flower, two flowers or decorations, can increase the beauty of charming and dignified, if you wear a head full of flowers or decorations, it will be regarded as vulgar and frivolous, but the loss of the true beauty of nature. Playing the real "beauty" of the zither is not all based on Yin, brisk to decorate, mainly to correctly deal with the sound, sentence, paragraph and the relationship between the whole song, with light, heavy, Xu, fast, strong and soft, slow and easy, both form and content to play out the feelings of the zither, of course, including the role of Yin, brisk. I have this feeling, is that some of the qin music in the section appeared in one or two lines without Yin, brisk, nick, note very pure and simple sound when I feel very intimate, as if the cranes stand in a flock of chickens, far-reaching meaning, it has its own unique beauty. For example, the late Zhejiang School of guqin master of Hangzhou Zhuozhan Temple presided over the great Hugh Shan Shi taught the "Pu'an mantra" qin song, the whole song does not use "Yin". Because he is a Buddhist disciple, chanting is his daily homework, he y understands that chanting must be serious and dignified and not allowed to have a flowery voice, so it makes sense not to chant. But this Pu'an mantra play up, because it is a distinctive beat, sound resounding, plus simulated the temple bells, drums, gongs, cymbals of the sound of a different kind of interest, the same as everyone to listen to and hear the zither music.

The use of chanting and briskness is one aspect, and the repetition of phrases that are not well handled and do not deepen the feelings is also an important aspect that deserves attention. In the score, it is common to see the phrase "from the factory Wanzha" (i.e., from the "factory" mark to play again), or "from the bean Wanji Zha" (i.e., from the beginning to play two times). Like this kind of repeated phrases, music, if the fingering on the weight, the beat on a little change in the hard and bang bang play again, two times to give people and what is the feeling of beauty? It is like painting, two trees lined up together with the same thick and high does not look good, must be a small gesture is not the same, three trees lined up together with the same thick and high is even more difficult to see, must be two near, a far or size of the intermixed, different gestures, there are changes in the United States. Dealing with repetitive phrases is the same, can not draw the same to once again, must understand the heavy summer phrases to express the feelings of what, with light, heavy, Xu, respectively, to deal with, in order to play the piano music with feelings. Such as "Guanshan Yue" qin song **** three paragraphs, only one paragraph, the other two paragraphs are repeated and then play twice, play up must be in the melodic treatment of a paragraph than a section of the tight, so that the treatment method, emotionally speaking, no matter according to the "cursing the lover," the mood of the folk song, the more intense feelings, or the more intense feelings, or the more the curse. The more you curse, the more intense feelings, or according to Li Bai's "Guanshan Yue" words describing the ancient garrison soldiers, war-weary and homesick for their relatives, the more you think, the more impulsive feelings are all in line. (According to the Tongyinshankan zither score, Guanshan Yue was composed in 1901 by Li Jianzhong of Shandong Province based on the folk song "Scolding the Lover", and transplanted to the guqin score by Ling Tiren, and then designated as "Guanshan Yue" by Mr. Wang Yanchat.) (In the 1940s, Mr. Yang Yinliu and Mr. Xia Yifeng researched the poem "Guanshan Yue" by Li Bai of Tang Dynasty and matched it with the lyrics of the song, which became the "Guanshan Yue Qin Song" circulating nowadays.) Another example is "A Billion Deceased People", a piece of music composed of a few notes and three repetitions plus the first and last notes. Explore the author's original intention, from the nostalgic feelings and the need to adopt this form. Because there are three repetitions in each register, so that playing up can be like a wave of feelings to push up, to achieve unlimited nostalgia mournful feelings, if the player does not understand this, can not play the melody, strength to deal with, it is not possible to produce touching artistic charm.

(5), the aesthetic cultivation of handling the beat. Playing the piano to deal with the beat there is an easy to commit the fault, is not know to give full play to the role of "sound and rhyme", play up one after another for fear of misplacing the beat, should be continued for two beats, the rush can not be controlled to continue only one beat, and even can not grasp the beat time value of the popping, and the display of the rhythm of the rhythm of the beat in the random addition of fingering will be filled with the rhyme sound, so that the playing of the piano piece of the aesthetic cultivation. In some cases, the rhythmic beats should be displayed by adding fingerings to fill up the sound with rhymes, and the music played in this way lacks flavor (emotion). The traditional rhythmic expression of the guqin is controlled by the "heart plate", which is based on the natural condition of the human body's respiration combined with the mood of the piece. For example, if the first few tones in a phrase are handled tightly, you can prolong the duration of the last few tones to bring them back to the beat, and vice versa, if the front is loose, you can also use the back to deal with it in a tight way. This kind of tightness and looseness is based on the improvisation of the player's mood. The melody of the guqin is a unit of sentence, and Western music sentence beat processing method is different, in addition, the vast majority of the sheet music handed down in ancient times only segmented, the phrase is not labeled, depending on the cultivation of the player to deal with, so learning the guqin is also a difficult point, if the player does not have a certain degree of cultivation of the music theory playing the zither song will be unclear phrases, as if the writing of an article without punctuation, a kind of reading, a kind of reading, a kind of listening to the tedious. The reasoning is the same. Some people do not understand that our national art is characterized by a heavy "mood", so it is not strange that they feel uncomfortable or raise objections when they listen to guqin playing in the same way as they listen to Western music dealing with beats. Generally speaking, it is difficult to grasp something that is regular and something that is irregular, so the player must have a sense of aesthetics in dealing with beats and phrases. Of course, the field of aesthetics is very wide, including what kind of thought has what kind of aesthetics, a variety of qin music has a variety of different aesthetic methods, because this paper mainly writes about the cultivation of guqin playing techniques, so not one by one description. Throughout the ages, there have been guqin players and guqin appreciators who do not play, and the reason is that the cultivation of aesthetic cultivation, as long as you listen to more, think more, and over time, you will gradually comprehend in depth.

(6) The cultivation of melodic combination ability. The Guqin's notation is a combination of one or more sentences of text into a single word, commonly known as the minus-word score, using the radicals of the text. Those who don't know it call it the "heavenly book with words". The characteristics of this kind of minus character notation can contain three kinds of meanings: fingering, pitch and relative beat, which is a unique notation method in the world. Tone, fingering is tangible, there are norms can be practiced according to the score to master, the relative beat of its flexibility is relatively large, no certain norms, it is impossible to see the score into a song, it must go through the process of re-creation or by the teacher to teach. (Note: Qing Zhang He's "Introduction to the Qin" has begun to note a simple beat than the ancient spectrum has progressed, and the recent publication of the "Guqin Songs Collection" has noted a more complete beat, however, due to the complexity of the guqin fingering, rich in expressive power, the subtle rhythms and extension of the changes to the notation has brought about certain difficulties, and it is very difficult to reflect the true form of artistic expression and feelings of qin music through the method of notation, and playing qin music requires a certain degree of artistic cultivation processing or guidance by a teacher. It is difficult to reflect the true artistic expression and feelings of the qin music through the notation method. This is the reason why there is a problem of melodic combination ability in playing the guqin.

Why didn't previous composers specify a stable beat? This is from our national art to pursue the "mood" characteristics to realize. For example: Chinese landscape painting is a multi-point perspective painting, can be non-obvious scenery, with different angles of vision through the artistic process of combining the painting on a screen, several painters also take the same attractions from an angle, the painting is not the same as the painting, who is good? That depends on the artistic attainments of each painter, in addition to the pen, ink, whether the chapter reached the supernatural mood of the artistic image. Another example: writing calligraphy, the same is a word can be written in a variety of different writing methods, structure, several calligraphers write out the same word, who is good? It is up to them to judge by the artistic image of the organization of their strokes and character shapes. The guqin art is also like this, although the composer according to their own personal experience, want to feelings and forms of expression for a qin song, but, playing the qin people play due to the complexity of the fingering, each of them on the understanding of the meaning of the problem, the qin song itself needs to be perfect problem, as well as physical fitness, temperament, artistic cultivation and other factors, if a fixed form of expression, it is impossible to qin song development, so that it is passed on from one generation to the next. Guqin music ancient people so do not note the fixed beat to pursue the original intention, is to play the qin people not only can play, but also need to have a certain creative ability. Because, firstly, the complexity of the fingering expression needs to be played according to their own conditions to play, secondly, the guqin's musical phrases to sentence as a unit, there are long and short to play the qin into the mood according to their own want to go to the combination, if the beat is fixed, it will limit the qin into the conditions of their own can not be played to impose will not be able to play well, the music will not be possible with the knowledge of the nature of the people, and gradually improve, improve, improve, and the fact that In fact, if a teacher teaches the same piece of music to several students, after a certain period of time, several students will play the same piece of music, and it is impossible for them to play exactly the same piece of music, who will play it well? It depends on the artistic cultivation of each student who can play well. From this, we can see that playing the guqin with melodic combinations is a kind of artistic cultivation that determines whether or not you can express the "mood", and it is also a necessary cultivation to play the guqin well.

How to cultivate the melodic combination ability, I think it is often very simple, the most simple things, not easy to be valued and controlled by people, in a word, to do "have a heart".

(a) good observation of things. Wherever there is sound in the world, there is melody, there are certain characteristics of the form of expression. Such as: the mountain wind, spring water murmuring, machine roar, bird cries and even people's whispering, are expressed in sound. If you can't express the meaning of a piece of music (natural melody) naturally through artistic processing, it is impossible to express the theme idea of the piece of music, and it is impossible to produce a touching and deep charm with vitality. For example, the fourth section of "Woodcutter's Song" simulates the labor bugle (aiyo aiyi hi) and the seventh section simulates the singing of a mountain song, which is a form of reproducing the natural melody through artistic processing.

(2) strict and reach people, music is an artistic language, it comes from life and serves life, is to give people a kind of artistic enjoyment. If you want to achieve this goal, you must first have this condition. Because of this, playing the zither where people play a piece of music, must be the melody of the piece of music sentence by sentence research, the daily observation of the life of the melody and zither music mood combination of the objective laws of the runway, so that playing the zither music has feelings, artistic charm, so that people listening to the zither inspired by the sound of the **** to achieve the purpose of the art of life service.

(3) must pay attention to the duality of melodic combinations. That is, the melodic combination should be consistent with the beauty of the form, but also in line with the artistic content, there are many things in the natural world is difficult to use instrumental music sound out of the real performance, if completely monotonous with the real sound reproduction is no artistic value, must be processed through the art in order to give a person a real artistic enjoyment. Therefore, the player must master the melodic expression forms and laws according to the characteristics of the guqin, and combine the fingerings with the mood, such as: for the impassioned zither music, the characteristics of the guqin harmonies can be brought into play to strengthen the performance, and to use the combination of rigid and soft, dense and loose melodies; for the melancholy zither music, the characteristics of the guqin rhythms should be brought into play to use the combination of soft and rigid, and the expressive power of the rhyme should be fully brought into full play. For the melancholy songs, one should give full play to the expressive power of "rhyme" by using both softness and rigidity, and give full play to the "rhyme" of the melody; for the joyful and relaxing songs, one should give full play to the characteristics of the guqin's scattered and overtone colors of clearness, brightness, garden and runniness, and press the tone to harmonize with the melody. In short, playing the guqin must be good at mastering a variety of fingerings to give full play to the characteristics of the instrument, and creatively reflect life in art form.

(4) The fingering serves the melody, and the melody comes from the mood. One-sided emphasis on fingering is a taboo to play the guqin, melody is not combined with the combination of mood is also a taboo. People who play the guqin often fail to show the melodic content of the fingering, and thus retreat from difficulties and refuse to study hard. There are also those who only emphasize the form of fingering expression and do not study the combination of melody, which is an undesirable attitude of playing the guqin. It should be intentional first (i.e., melody in line with the mood), and then have the hands, the hands for the table, the intention for the table, the appearance of things belonging to the skills, can be obtained through hard work and practice, in the is a kind of connotation and cultivation, is a comprehensive knowledge (systematic) to be more difficult than the table. Li is the source, the table is the expression of Li, the combination of table and Li is the relationship that the player must know. The ancient saying "sound at will, meaning and wonderful together", sound is the finger method, meaning is the melody. The sound is the fingering and the meaning is the melody. "Sound" means the sound expressed by the fingering should be obeyed by the melody, and "Wonderful" refers to the meaning, that is, the melody should be combined according to the meaning. Usually when playing any instrumental music, it is common sense that the fingering must obey the melody. Why should we emphasize that the fingering must obey the melody when playing the guqin? It is because the fingerings of the guqin are many and difficult to play, and there is no certain standardization in the use of fingerings. Therefore, people who play the guqin must know this relationship and apply it well.

(E) External factors promote internal factors is an effective way to improve one's melodic combination ability. In addition to the knowledge learned in school, the vast majority of human knowledge comes from social practice and books. Often, extensive knowledge is only used at one point, on the contrary, if there is no extensive knowledge to inspire, judge and create problems, it is impossible to deal with them, and it will produce the trouble of "hating the book when it is used". As a guqinist, can not only hold the guqin play, China's national art is a lineage, many things can be borrowed to enrich their artistic cultivation, such as: listening to Beijing opera, listening to Kunqu opera, listening to folk songs, poetry and song, and even watch chess painting, listening to the symphony and so on can cultivate sentiments, and enhance the melodic combination of the guqin playing ability.