Zheng's main schools.

Qu Zheng, Shandong Province: Based on Shandong Qinqiang Taipan Opera and Shange Qin Shu's aria Xiao Qu Banqu, it is rich in timbre, gorgeous and lively in timbre, and full of sound. Representative figures are Pang Rong, Li Lianjun, Zhang, Zhao Yuzhai,. Representative repertoires include Autumn Moon in Han Palace, Homesickness of Beauty, Books Brought by Hongyan, Turn to the Oriole, Four Stages, Fengxiang Song and Dalbergia.

Henan Qu Zheng: It is divided into two parts: Xiaoqu and Bantou Qu. The local style is distinct and rough, rich and sonorous, full of meaningful charm. Representative figures are Wei Ziyou, Cao Dongfu, Wang, Ren Qingzhi and so on. Representative repertoires include: Great Harmony in the World, Leaping into Resentment, Going Upstairs, Chen Xingyuan and Fan, Suwu Shepherd, Mountain Flowing Water, Xinkaiban, Shanpo Sheep, etc.

Guangdong Hakka Zheng music: there are three main categories: major, cross-key and minor. Hard wire and soft wire are divided by tone, which is characterized by elegant rhyme, euphemism and simplicity. Representative figures He Yuzhai, Luo Jiuxiang, Rao, etc. Representative tracks include: Water Lotus, Rain in the Night at Bajiao Window, Mourning over Cliff Mountain, Seeking the Wind Song, etc.

Qu Zheng, Zhejiang: It is mainly composed of bamboo music, divertimento and folk tunes. Its style is elegant and subtle, smooth and colorful. The representative figures are Jiang and others. Representative repertoires include: Clear Clouds, Four in One, Mountains and Flowing Water, Your Legend, Yuergao, Christina Na Swan, etc.

The plates used by Qu Zheng in Chaozhou dialect are the first, second and third plates. Its performance is based on a relatively fixed plate, giving full play to the performer's re-creation. Based on the characteristics of Chaozhou folk music, supplemented by rhyme, it has undergone various "urging" changes, and formed its own unique playing method with its unique board structure, variation method and timbre characteristics. Representative figures include Guo Ying and Su Wenxian. Representative tracks include "Playing in the Water in Western Western jackdaw", "Langtaosha" and "Liu Qingniang".

On the basis of long-term study, inheritance, reference and the characteristics of Shaanxi local music style, the techniques of Shaanxi Zheng music have absorbed the strengths of various Zheng techniques, forming unique Shaanxi Zheng music playing techniques, such as pressing strings with the left thumb and Tik Tok with the right knuckles. Shaanxi Zheng music has the tragic momentum of the ups and downs of Qin opera music, warm and generous "heroic songs", Qiang music's weeping and lingering, euphemistic and sour ginger tune, and ethereal fairy songs related to Taoist temples, such as "Empty Spirit and Five Clouds Ascending to Heaven", "Giant Buddha Ascending to the Temple" and "Moon Palace". Shaanxi Zheng music involves many kinds of dramas, rich forms and diverse styles and colors. Its rich rotation, mode, scale and temperament constitute the unique artistic style of Shaanxi Zheng Music. The representative figures are Bai, Zhou and so on. Representative repertoires include Qin Sang Qu, Xiang Shan Shooting Drum, Great Wall Tune and so on.