On the Relationship and Difference between Chinese and Western Piano and Guzheng ~

After listening to the piano solo, I enjoyed the recording of Chopin's piano solo in order to distinguish the characteristics of western piano and "China Piano" (China Guzheng). It's good. The music and performance are very high. I feel that there are still many places that are the same as our ancient people's comments on the characteristics of guzheng. The ups and downs, depression and upward, the combination of rigidity and softness, and the re-issuance and light release are all very interesting expressions, especially the use of ten fingers. Theme and sub-melody, under the contrast of various chords, overlap as subject and object, one after another, that is, separately. At the same time, the tenor is beautiful, the bass is rich, and the rhythm changes with the development of feelings. Through these means, all kinds of emotional colors are embodied, and the performance of music reaches a high level.

After enjoying it, compared with China's guzheng, it really has its own characteristics. No wonder foreigners call China's guzheng "China Piano".

China Guzheng has a long history. It has been playing its own characteristics in the pentatonic scale of the ancient music system for thousands of years. Today, on this basis, it has developed into twenty-one and twenty-three strings, which not only expands the range, but also obviously changes and improves the timbre and volume. At present, the timbre of a well-made guzheng can be comparable to that of an ordinary piano. When playing, the hands are folded together, while the hands of the guzheng are right-voiced and left-rhymed, which has a special rhyme with wonderful colors that the piano's chord counterpoint function does not have. As the saying goes: "The wonder of the Zheng is that it is extremely subtle." There are mutual influence and transition factors between tones, and sometimes a tone can have two or three rhymes. Each tone is based on the plateau tone, and the wonderful subtlety of the five tones is expressed by playing, plucking, kneading, controlling the volume, changing the timbre and mastering the sliding direction of the tone potential. Since it is exquisite, it must be discussed in depth, so the fingering of playing guzheng can not be fully expressed without detailed fingering symbols.

There are not many things that guzheng can simply imitate some pianos within its power, but pianos can't and don't need to imitate the phonology and timbre of guzheng by kneading strings. Piano, because it plays the role of counterpoint between chords and harmony, has extremely strict requirements on intonation, especially for each note, which can't be added with flowers, not to mention missing. All kinds of marks needed for playing should be recorded in detail on the piano score, and every trace should be required when playing. On the other hand, on the basis of China's pentatonic scale, guzheng pays attention to the phonological and color functions of phonology and rhyme, and produces many transitional tones of free vibrato other than pentatonic scale. What can often lead people to be very interested in guzheng is all kinds of alto that sound quasi-quasi-non-quasi-quasi.

I hope that in the future, someone can combine the characteristics of piano and guzheng to make another musical instrument with their comprehensive functions. Then, a new miracle will glow with a halo, shining the whole universe.

* I hope I can give you some reference. You can learn about piano and guzheng separately and understand their differences. *