What are the classifications of pipa transmission schools?

Wuxi School:

In the early Qing Dynasty, the pipa was divided into two schools, the South and the North. The Southern School, or Zhejiang School, was represented by Chen Mufu, who used the lower outgoing wheel. The music pieces he specialized in included "Sea Green", "Unloading Armor", "Moon High", "Pu'an Mantra", "General's Decree", "Naval Drill", "Chen Sui", and "Wulin Yiyun", etc. The pipa was used to play a variety of musical instruments, such as the "Pipa", the "Pipa", and the "Pipa". The Northern School, i.e. Zhili School, is represented by Wang Junxi, who uses the upper exit wheel. Specializing in the music of "ambush on ten sides", "sunset xiao drums", "small Pu'an mantra", "Yan Le Zheng Sheng", etc., Wuxi Hua Qiu Ping, Hua Zi Tong two people to the North and South School two study, compiled the "North and South two schools of the secret of the pipa spectrum" three volumes, using the work of the rule of music, with a more complete fingering record, is China's earliest printed pipa spectrum. The school taught by Hua was then called the Wuxi School.

The Secret Pipa Scores of the North and South Schools were published three times, which had a great influence on later scholars and provided valuable information for the study of pipa genealogy. Although there are not many heirs of the Wuxi school's direct lineage. At present, there are also very few people who play according to the original score of the Huashi Genealogy, but the other schools have more or less adopted some of the music in the Huashi Genealogy to organize the now popular playing words. Therefore, the Wuxi school played a role in the middle of the Qing Dynasty and made its due contribution to the development of the pipa.

Pinghu School:

Pinghu School was represented by Li Fangyuan, whose family was a pipa family with five generations of pipa players, and whose father often traveled with the pipa and visited famous masters. It was published in the twenty-first year of the Qing Dynasty, and later called the "Li's Record", and the school taught by Li was called the Pinghu School.

The Pinghu School has been passed down from generation to generation by Li Qiyu, Li Fangyuan, Wu Mengfei, and Wu Bojun, Zhu Nymphoqing (Zhu Ying), etc., and there are the New Pipa Genealogy of Thirteen Sets of Great Pipa Songs of the North and South Schools, Pipa Genealogy of the Room of Yiyi, and Pipa Genealogy of Zhu Ying.

Wu Mengfei was taught by Li Fangyuan, and later by Zhang Ziliang, a student of Li Qiyu, and often performed in Shanghai, with a wide range of artistic activities, making a positive contribution to the promotion of the Pinghu School.

Zhu Nymphoqing studied under Wu Bojun, a senior member of Li Fangyuan, and in response to the Hua's genealogy, which states that "the left hand should be pressed on the strings, but the big two fingers should not be used," he pioneered the use of the left hand's big finger to press the buttress, and broke through the forbidden zone of not using the little finger to press the tone.

Pinghu School's performance has both cultural and martial arts, and the cultural compositions are delicate, often accompanied by virtual soothing movements to enhance the feeling of curling aftertone. The martial music is characterized by momentum, with the lower outgoing wheel (the upper outgoing wheel is used in the "General's Order"). The Pinghu School pipa has had a considerable influence on the formation of the various styles of pipa today.

Pudong School:

The Pipa School has been passed down from Ju Shilin to Ju Shilin, Ju Maotang, Chen Zijing, Ni Qingquan, Shen Haochu and other masters, and there are the "Pipa Score of Ju Shilin", the "Pipa Score of Chen Zijing" and the "Pipa Score of Yangzhengxuan" in circulation.

Ju Shilin was a native of Huinan, Nanhui County, during the Jiaqing period of the Qianlong period of the Qing Dynasty. His birth and death dates are unknown, and he was a good traveler, with a record of being "the first player in Jiangnan".

It is said that Ju once took a boat to Suzhou Hushu Pass, because the city gate was closed at night, Ju then play the lute for fun, the officers and soldiers guarding the pass for the sound of the lute, and happy to switch the release, so there is a "play open Hushu Pass," the beauty of the rumor. Ju Shilin left a "leisurely recounting the sound" hand-copied pipa score, which was published in 1983 by the People's Music Publishing House, titled "Ju Shilin pipa score".

Ju Shilin's disciples included Jiu Maotang, Chen Zijing and Cheng Chuntang, etc. According to Nansha Magazine, "At that time, there were some pipa players in our town: Mr. Jiu and Chen Zijing. Zi Jing often travel and eat out, remembering the Guangxu Dinghai (1887) to the Shanghai East Gate outside Wang's home, fit Zi Jing sitting, see the finger sets of copper armor, playing "Overlord unloading armor", the voice is loud and clear, there are pulling the mountain to cover the world's temperament. It was said that Chen was good at martial arts and Cheng was good at literature." The Pudong school of gongs and drums began with Chen, and Chen's disciple Cao Jinglou was the best at this technique. Another Chen disciple, Ni Qingquan, used a lute that was larger and longer than normal, called the large-set lute, which emphasized the momentum of martial arts.

Shen Haochu, Chen's second disciple, made important contributions to the development of the Pudong school, training a large number of pipa players and organizing and publishing the Yangzhengxuan Pipa Score.

The Pipa of the Pudong School is characterized by its majestic martial compositions, the use of the large pipa, the fullness and intensity of the open bow, and the quietness and delicacy of the literary compositions. Its characteristic traditional techniques include: pinch roll, long pinch roll, various kinds of pinch bomb and pinch sweep, big offerings, fly, double fly, wheel roll four strings, string changes, and four three two strings, sweeping, eight wind nodding, various kinds of ginzheng, tone changes, gongs and drums, etc. The Pudong School pipa is characterized by a majestic martial arts style, a full-bodied and powerful open bow, and a calm and delicate literary style.

Chongming School:

Chongming is located in the northeastern corner of Shanghai, and it is taught by the masters of the pipa sheet music of "Yingzhou Ancient Tune", and it is called the Chongming School by the descendants because it originated on Chongming Island. The Chongming School has been passed down from generation to generation by Jiang Tai, Huang Xiuting, Shen Zhaozhou, and Fan Ziyun, Fan Shaoyun, etc., and is famous for its timeless and beautiful style of literature and music. The Chongming School of pipa can be traced back more than three hundred years to the Kangxi period of the Qing Dynasty, when the Northern School of pipa was introduced to Chongming's near neighbor, Tongzhou, with Bai Zaimei, Ziyueru and his father and son, Fan Huapo, and Yang Tingguo. The early Chongming school of pipa was inherited from Bai Zaimei's northern school of pipa, and the evolution of its style was influenced by the local customs.

The publication of Shen Zhaozhou's "Yingzhou Ancient Tunes" and the publication of Xu Lixun's rearranged and renamed "Mei'an Pipa Score" in 1916 made it possible for the Chongming School pipa to flourish. In 1918, Liu Tianhua, a master of modern Chinese national music, studied the pipa pieces of Yingzhou Guzheng with Shen, and brought these pieces to various places to play, and in 1928, he produced the main piece of this school, "Flying Flower Pointing Cui", which played a very positive role in the promotion of the Chongming School of Pipa.

The pipa fingering method of the Chongming School requires that "the twisting method be sparse and strong, and the wheeling method be dense and clear", and advocates that "slow but constant, fast but not chaotic, and that the music of the Yazheng School is not too high in pitch, and the sections are not too rapid". Especially the wheel finger to "under the wheel" is good, so the sound is delicate and soft, good at showing quiet, elegant emotions, with leisure, delicate interest. At the same time, "heavy folder light wheel", favoring monotone and folder bomb, that "the wheel finger is easy on the ear, but more is guilty of low and lose elegance". Therefore, its repertoire is mostly a small piece of text plate, which is famous for "flying flowers pointing green", "Zhaojun complaints" and other slow, text plate music, elegant, upright; "fish play in the water" and other small songs, is full of the interest of life.

Wang School:

The Wang School, also known as the Shanghai School, is an important pipa school in the history of China's musical development since the 20th century, and the only school named after an individual. The formation of the Shanghai School set off the third climax in the history of pipa development in China.

Wang Yuting's pipa skills were inspired by Wang Huisheng. Later, Wang Huisheng taught the pipa score of Chen Zijing to Jiang. Later, he was taught by Ni Qingquan and Cao Jinglou of the Pudong school and Yin Jiping of the Pinghu school. He was able to learn from both sides of the story, and then he wrote the traditional pipa sheet music based on the actual performance of huayin, which was widely passed on to others.

Wang taught his students to use the Gong Ruler Sheet Music, and each one was copied and given to the students in his own handwriting, which has become a precious treasure to this day. All those who played according to Wang's sheet music were called the Wang School. Lin Shicheng wrote and published by the Music Publishing House in 1959, "Pipa Playing Method", the first to use the text form "Shanghai Wang Yuting School" as one of the pipa schools.

The Wang school's performance was characterized firstly by the fact that at that time, the southern school of pipa generally had more lower outgoing whorls, but Wang creatively used upper outgoing whorls, thus laying the foundation for the use of upper outgoing whorls on the pipa. Secondly, he did not stick to the traditional way of playing, but carefully modified the ancient scores to make them more concise and achieve better results than before. The performance of the pipa of the Wang School is powerful and touching.

Wang has cultivated a large number of excellent pipa players of the present and contemporary times. For example, Wei Zhongle, Sun Yude, Li Tingsong, Cheng Wuga, Jiang Fengzhi and so on.