Traditional Culture Encyclopedia - Traditional stories - Playing method of guzheng
Playing method of guzheng
Playing methods and skills of guzheng;
1. The playing methods of guzheng are mainly divided into right-handed technique and left-handed technique.
2. Right-handed play, with big, food, middle and unknown fingers to play the strings, to control the change of rhythm and sound intensity.
3. Press with the left hand and press with the middle finger in the middle of the food to suppress the zither string, control the change of pitch and string sound, and show different phonology. The left hand pressing is the main feature of its technique, and it also needs professional play, which is the same as the right hand.
4. Playing Zheng posture: Playing Zheng posture includes vertical posture, disk posture, kneeling posture, sitting posture, etc. And usually sitting posture is the main posture.
5. Hand shape of playing the zither: Playing the zither emphasizes the natural hand shape, that is, the relaxed hand shape with hands naturally drooping when people stand.
6. String playing position: one eighth of the pronunciation string segment.
7. There are two basic plucking methods for the Zheng, namely, the plucking method and the plucking method.
8. Clip-in method: The fingerstring playing direction is from oblique top to oblique bottom, with an angle of 45 degrees, thick blue and full sound quality.
9. Pick-up method: Finger-playing string direction is inclined from below to above at a 45-degree angle, with clear pronunciation and clean sound quality.
10. String pressing method: Left-handed string pressing method is to control the tension and pitch of the zither string by pressing the string, and change the residual sound after the right hand plays the string, so as to achieve the purpose of taking rhyme from the string and supplementing the sound with rhyme.
The basic structure of guzheng:
The unified specifications of guzheng are: 1.63m, 2 1 string. The panel of guzheng is mostly paulownia in Lankao, Henan Province, and the frame is white pine. There are precious wood such as mahogany, old rosewood (Burmese rosewood), golden nanmu and rosewood on the side plates around the piano body. The sound quality of the guzheng depends on the panel and strings, and the surrounding materials also slightly improve the sound quality of the guzheng, especially the old mahogany, rosewood and golden nanmu.
From early to modern times, there are 12, 13, 18, 23, 25 strings and so on. And there are many ways to set strings in different areas. New types of Zheng include "butterfly Zheng" and "mode Zheng".
1. Panel: The sound quality of guzheng depends on the panel and strings. The middle part of the front of the panel is best. Frontal refers to putting the whole paulownia tree into the water, with the side exposed to the water as the frontal side and the truncated end as the middle section. Generally, 9- 12-year-old paulownia trees are the best, especially in Lankao, Henan. Sand and pine are good for sound quality transmission.
The best panel for professional guzheng performance is through grain, and the texture spacing is 5-9 cm in the midrange and 1.5-2.5 cm in the treble and bass. Generally, the panel thickness is 9mm, 1 1mm and 10mm. At present, most panels adopt chord cutting technology.
2. Strings: In the early days, ponytails and deer tendons were used as raw materials, but at present, nylon steel strings are the mainstream, which increases the volume and charm. The strings are mainly made of steel wire imported from Germany, with uniform carbon content, long service life and good hand feeling. They are represented by five-tone incomplete cards, Baoquan cards and Dunhuang cards, which are more popular among professionals.
3. Zheng code: Generally speaking, mahogany piano is matched with mahogany piano code, nanmu piano is matched with chicken wing piano code, and rosewood piano code is matched with rosewood piano code. It is also said that colored wood is the best piano code material, but there is no conclusion so far. Zheng code requires that the texture should be vertical downward, and the embedded ox bone and string laying groove are generally one-third of the depth of the corresponding strings.
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