Traditional Zheng music has been divided into north and south factions, and now it is generally divided into eight factions:
First, Shaanxi Zheng, a "true Qin Zhisheng"
Since the Qin and Han Dynasties, Zheng has gradually spread from northwest China to all parts of the country, and has merged with local operas, rap and folk music, forming various schools with strong local styles.
Traditional Zheng music is divided into two schools, North and South, and now it is generally divided into nine schools. As Cao Zheng said, "Nine schools flow to China", and the Zheng music and performance methods of each school have their own characteristics.
Shaanxi Zheng: Shaanxi is the birthplace of China Zheng.
But now the Zheng music of "Real Qin Zhisheng" is almost perfect. There are rich and colorful operas and folk music, among which there are many traditional musical instruments, but there are no or very few Zheng. It is only in Yulin that Zheng is used as an accompaniment instrument, which appears in the accompaniment of Yulin ditty together with dulcimer, pipa and sanxian.
Mr. Cao Zheng, a famous Qin Zheng theorist and educator, said that this is "the afterthought of Qin Zheng".
Although the Zheng has a history of more than 3 years in Yulin, Yulin is located in a remote place, and its culture is relatively backward. The skill of playing the Zheng is still stuck in the ancient method, with the right hand mainly using two fingers, and the left hand with little vibrato, which is the earliest way to play the Zheng.
Zheng has been gradually lost in Shaanxi, and there is no information for its descendants.
at the end of 195s, Shaanxi zithers put forward the slogan "Qin Zheng belongs to Qin". They did a lot of work from theoretical research to playing skills, from accompanying local operas to compiling zither music with Qin rhyme style, which made Shaanxi people familiar with the zither again.
In 1957, Bai Baojin, a famous zither player in Yulin, participated in the national folk music performance and the third folk opera performance in Shaanxi Province, and solo the zither music of Pinch Garlic Moss and Little Boat.
in 1961, the national conference on guzheng teaching materials was held in Xi' an, and the conference's affirmation of Shaanxi fan Hu Zheng music played a powerful role in promoting the development of Qin Zheng in Shaanxi.
Later, outstanding Shaanxi-style Zheng music such as Qin Sang Qu, Jiang Nv Tears, Xiangshan Shooting Drum, Sanqin Huange and Embroidered Gold Tablet appeared.
The records of the zither in Xi 'an drum music, Qin Opera and Mihu Qingqu give inspiration to Shaanxi zither people. With the great efforts of famous zither masters Cao Zheng, Gao Zicheng and Wang Sheng, and the help of many zither colleagues, after nearly 3 years' practice, Shaanxi has gradually resumed playing the zither.
The distinctive features of Shaanxi-style Zheng music are, firstly, the particularity of melody and the vagrancy of two inflections.
in the seven-tone scale, the fourth tone is high and the seventh tone is low.
the so-called bias, of course, is not half a tone.
these two sounds are vacillating again.
Generally speaking, it slides down to the next tone; Secondly, in the process of melody, it is generally upward jump and downward step by step.
Third, when playing, the left hand presses the strings, and the thumb is used more, which is a technique that must be used for melody.
fourth, the style is exquisite, and there are many sorrows in euphemism; Generosity is urgent, and there is lyricism in agitation.
When talking about the school of guzheng, Mr. Wang Xunzhi, a famous Zhejiang zither, said that "Shaanxi school is lyrical" explained the style and characteristics of Shaanxi zither music.
2. Henan Zheng, the "Zhongzhou Classical Tune" (or "Voice of Zheng Wei")
Henan Zheng: Judging from the words recorded in Historical Records and Hanshu, Zheng has developed quite generally in Qin and Han Dynasties.
In the Eastern Han Dynasty, Emperor Guangwu of Han Dynasty established Luoyang as the capital, while in the Northern Song Dynasty, Bianliang (today's Kaifeng) was established in Henan, where the folk music "Voice of Zheng Wei" has long been popular. Qin Zheng moved into Henan with the capital, and it merged with the local folk music "Voice of Zheng Wei" to develop into a famous Zhongzhou ancient tune in later generations.
The performance of Henan Zheng is characterized by the fact that the right hand starts from the place close to the Qin code and moves to the place close to Yueshan. At the same time, the left hand makes a great shaking, and the music performance is very dramatic and effective.
In Henan Zheng, this skill is called "wandering".
The traditional usage of the Henan Zheng can be summarized in a poem handed down from the folk:
The name refers to sticking a stake with four fingers hanging,
The hook is shaken and the sleeve is plucked lightly,
You should know that there is no other way for the left hand,
You can feel carefree by pressing the quiver.
Among them, the left-hand sliding press (the left hand presses to the phoneme, slightly retreats when playing the string, and the incoming sound slides up quickly, leaving no trace of sensitivity), small tremor (the vibrato is fine and tight), sliding tremor (the edge trembles), and big tremor (the tremolo is wide and the movement is affectionate) are the most distinctive.
In the use of fingering, whether it's a long and graceful shake, a patchwork of strokes, or a mournful walk, a tragic and desolate tremor, it is integrated with the melody and emotion, describing the modality and depicting it in detail.
For example, the song "Beating the Wild Goose" uses various fingering techniques with great expressiveness, integrating narrative, figurative and lyrical features, which is another feature of Henan Zheng.
The musical scale features of Henan Zheng are more varied than clear angle, which is close to the seven-tone ancient musical scale of the three-point profit and loss law, but the two-variable pitch is not absolutely unchanged, and it is often higher than the Gong He sign, which can be described as "seven tones and six laws to serve five tones". The melody of Henan Zheng is very singing, and there are many big jumps of four, five and six degrees in the melody, which is full of frustration and grandeur in the fresh and smooth; The frequently used rising and falling notes of sophomores and juniors are especially suitable for the sonorous tones in Zhongzhou, which makes the Zheng music have a simple and pure charm.
in terms of playing style, no matter adagio or allegro, no matter whether the music is cheerful or sad, they are not interested in pursuing a beautiful and elegant style, but are good at being rich and simple, and are characterized by deep inner impassioned.
In Fu Xuan's Preface to Zheng Fu, the evaluation of Henan Zheng Qu is "the melody is too high and too few, and the wonderful technique is difficult to work".
The repertoire of Henan Zheng comes directly from folk rap music and traditional Chinese opera music.
Henan Quzi is a folk rap music with a long history, which declined after the Qing Dynasty. Only Nanyang area is still very prosperous, so it is also called Nanyang Drum Ziqu.
Its important components are "Paiziqu" with lyrics and "Bantouqu" with pure instrumental music.
Zheng is one of the most important accompaniment instruments. At the same time, it also plays independently from rap.
Almost without exception, the existing representative tracks of Henan Zheng School are Bantou and Paizi of Henan Quzi.
In the past, when artists meet each other, they often played a bantou song first to know their friends, and renamed it "Mountain Flowing Water" by the story of Boya and Zhong Ziqi.
Paizi music evolved from the drum music, most of which were short and small, fresh and lively, and unique, such as "Cutting Flowers", "Full Boat" and "Overlapping".
But there are more than 3 pieces of Daqu cards like The Wharf.
Bantou is an ensemble with strings, and at the same time it is a solo of Zheng, Pipa and Sanxian, which is very similar to the "Dan Qu" of harmony music in Han and Wei Dynasties.
folk performances are mostly performed by ensemble or solo playing one or two songs before the drum music is sung, which is called opening or disturbing the stage; Or play a song between aria to change the atmosphere.
for nearly half a century, major tunes tend to decline, and the first tune often appears in the form of solo.
Bantou songs in the traditional repertoire of Henan Zheng are often called "Zhongzhou Ancient Tune" or "Zhongzhou Ancient Songs", such as Crying for Zhou Yu, Sighing for Yan Hui and Homesickness in Su Wu.
In Henan Quzi, some short Qupai gradually formed a form of "minor Quzi" with a division of roles and can be performed on stage. Today, it has become a very famous drama "Henan Quju".
The tune in minor was relatively simple, but later, the melody developed; Zheng plays an important role in accompaniment, and gradually has its own personality in performance, which is a combination of the two.
It has formed its unique musical beauty
The score collection of Henan Zheng. In the ninth year of the Republic of China (AD 192O), Wang Huangshi, the king of Weihui Prefecture, published the Shi Yinben of Zhongzhou Drum Tune, with a meticulous score, including "The World is the same" (that is, "Mountains and Rivers"), "Crying Week" and "Overlapping".
In the 192s, Wei Zi-you compiled "Zhongzhou Ancient Tune" as a manuscript of Gongchi. Although it has not been published, it has been widely copied, including more than a dozen pieces such as "Great Harmony in the World" and "Guan Sui".
In 1958, Wang Shengwu published a simplified version of the Collection of Guzheng Solos (Liu Jiagui's notation, published by Henan People's Publishing House), which included 37 Bantou songs and 14 Qupai songs.
Cao Dongfu's biography was once compiled into an anthology of Zheng Qu. In 1981, Cao Dongfu's Collection of Zheng Qu (edited by Cao Yong 'an and Li Bian) was published by People's Music Publishing House, which included 22 pieces of Bantou Qu and eight pieces of adaptation and creation.
In 1986, Cao Zheng published a simplified score and a reference book of Selected Works of Zhongzhou Guzhen Tunes (a supplement of China Music), and collected 2 pieces of Paizi Tunes and Bantou Tunes.
Third, Shandong Zheng of Qilu Daban
Shandong Zheng: According to Qice, the Warring States Policy, "Linzi is rich and practical, and its people are all happy to play the Zheng", so many people call Shandong Zheng Qi Zheng.
its popularity is mainly in Heze area, including Yuncheng and Juancheng, and in Liaocheng area of western Shandong, especially in Heze area, where folk music is very popular and is known as "the hometown of zither".
There have been many performers of folk rap, opera and folk instrumental music.
The guzheng teaching systems in these two areas are different, and the tracks are different, but most of the traditional ancient songs are the title music with the structure of "eight boards" with a length of 68 boards, and there is no great difference in playing techniques.
The number of zither inheritors and ancient songs in Liaocheng area is relatively small, and its traditional zither songs are mainly handed down by Mr. Jin Zhuonan and Mr. Jin Yiyun from Jinhaozhuang, Linqing County, Liaocheng area.
Because the traditional zither music in Liaocheng area has not been circulated in Shandong and the whole country, its history and spectrum have yet to be further sorted out and explored, so people's concept of "Shandong zither" is used to referring only to the zither in Heze area.
most of Shandong Zheng songs are directly related to Shandong Qin Shu and folk music, and most of them are in Gongdiao style, which is composed of eight boards.
Some of them are piano pieces that appear as a prelude to Qin Shu, which are similar to Henan Bantou Song, and there are 68 "Big Banqu", including Oak Autumn Moon in Han Palace and Hongyan Shoushu. In the folk, many musical images are often expressed in the form of divertimento ensemble, and these four ditties, Qinyun, Fengbai Cuizhu, Lingering at Night and Shuyun, are divertimento played as couplets.
In the 195s, it was titled "Mountains and Flowing Water" and became popular all over the country.
In addition, some of them evolved from the aria and qupai of Shandong Qinshu, such as Fengxiang Song and Broken Bridge.
In the past, the Shandong Zheng used to use fifteen strings, and the outer bass part used seven old strings, while the inner one used eight strings, commonly known as "seven old Eight Little".
when playing, the big finger is used frequently and is vigorous and powerful.
Even if it is a "flower finger", it is mostly played with the big finger and the "hold"; However, the left hand is hard and soft, sonorous and deep, and its playing style is simple and quaint.
Fourth, Chaozhou Zheng of "Han Jiang Si Zhu"
Chaozhou Zheng is popular in Chaozhou, Guangdong Province, with a special music structure and a unique style of rotation.
Zheng can be different from other musical instruments in its own way. The most important thing is the change of the left-hand sliding tone, that is, the so-called rhyme complements the sound. Otherwise, it is difficult to say the genre and development of Zheng music.
In Chao Zheng, the application of this technique can be said to be very wonderful.
In fact, it is the change of the left-handed tone when playing the Zheng, so as to achieve the combination of several scales and modes.
Moreover, the melody is also different from the twelve-average melody and folk music in other places. Chaozhou Zheng is unique with its smooth and gorgeous right hand and the unique method of adding flowers to its left hand.
The main tunes of Chaozhou Zheng are "Heavy Six", "Light Six", "Live Five" and "Reverse Line".
Among them, the tune of "Chongliu" is euphemistic; The tune of "Light Six" is fresh and lively; The tune of "Living Five" is touching and sad, and the rhythm is very characteristic.
among the people, playing the ancient music "Poetry Score" with plucked instrument such as Zheng is called string poetry music.
Liu Qingniang is the most popular piece of music in this poem. Although it is not a big suite, it includes four tones: light six, heavy six, lively five and light three and heavy six. The tune is beautiful and has the characteristics of Chaozhou music. It is called "the mother of string poems" in Chaozhou music, which means the mother of music.
When learning Chaozhou Zheng, Liu Qingniang is an essential piece.
In addition, Western jackdaw Playing in the Water, Yue Er Gao, icing on the cake, etc. are also commonly used in Chaozhou Zheng.
5. Hakka Zheng with "Han Gao Gu Yun"
Hakka Zheng, that is, Guangdong Hanle Zheng Qu, is one of the outstanding traditional music in Guangdong.
Guangdong Han music has a long history.
According to legend, it was a long historical period from the 9th year of Emperor Jin 'an (AD 45) to the Song Dynasty's death. As the people in the Central Plains moved south for many times, it brought the quaint "Zhongzhou Ancient Tune" and "Hangao Old Music". After being combined with local music, language and customs, it gradually formed a unique style of music, which was called Hakka music or Waijiangxian and Confucian music by local people.
In the 192s, Mr. Qian Rechu of Shantou Newspaper proposed to rename "Waijiang Opera" as "Han Opera", which was recognized by everyone. As a result, Waijiang Xian and Confucian Music were renamed as "Han Tune" or "Han Music" accordingly.
Han tune has the forms of ensemble and percussion, such as gongs and drums blowing, * * * suo, and Chinese military class.
The shape of the traditional Hakka Zheng is about 1.2 meters long, with a large radian of the panel and made of paulownia wood.
16 chords are installed, the chord axis is installed on the left side of the panel parallel to the code, and the chords are made of metal (steel or copper).
When playing, you usually wear a tortoise shell piece on your right hand.
tuning and tuning are divided into three octaves of pentatonic scale (i.e. the first key is 5 612 3 5612 3 5 6 i 235), which are mostly G or F, D or C, and rarely used.
Hakka Zheng and Chaozhou Zheng have been in the same place for a long time, so they will naturally influence and absorb each other. Many of their tracks are the same, and the shape of the Zheng used is the same.
As for the differences, for example, Hakka Zheng uses Gongchi notation, while Chaozhou Zheng uses Ersi notation; When playing, Hakka Zheng mostly uses the middle finger, while Chaozhou Zheng relatively uses the index finger. Moreover, the interval and fluctuation of the gliding sound of the former are more than that of the latter, which makes the sound of the Zheng lingering.
In terms of style, Hakka Zheng is melodious and profound, simple and elegant, while Chaozhou Zheng is beautiful and feminine.
The guzheng performance of Guangdong Han Music has a long history. It is based on the Old Music of Han Gao (that is, Han Tune Music) and is influenced by local styles and dialects, forming a quiet and implicit style.
Hakka Zheng music is an ensemble form of "Sixian Music" in Hakka music (a small ensemble composed of guzheng, pipa, coconut palm and dongxiao).