Professional Documents
Culture Documents
Guqin
A Contemporary English Guide to learning the Chinese Seven-Stringed Zither
First Edition
Juni L. Yeung
Toronto Guqin Association
(Dedication)
Afterward
guqin guzheng
(from http://www.geidai.ac.jp/~odaka/gcat/japanese/tubezithers.html)
Given our modern environment and resources, network with other guqin players
in your area – ask around, and utilize the Internet. Numerous websites are
linking players worldwide in forms of forums and newsgroups.
While a music background or previous music knowledge is not required to begin
learning the guqin, developing a sense of music elements (such as determining
relative pitch, a sense of melody and rhythm) is crucial to mastering it.
On Posture of Fingers
Right hand fingers act like little hammers, moving straight back and forward
when playing single notes. This is so that the notes are to sound confident and affirm
the player’s intentions as it is. The first joint of the finger (the one closest to the palm)
should be the only joint that bends in a motion. Tiao (index finger outward) should
always be supported by the thumb on the index finger pad for a firm enunciation. The
ancients assigned notes to fingers according to the characteristics of the sound each
finger produces, therefore the fingering (or the style) should be carefully observed.
The index finger is agile and produces a balanced sound.
The middle finger supports the index finger and produces a stronger note.
The ring finger adds complexity and is soft-spoken in tone.
The thumb adds a sense of affirmation to the musical phrase.
Modern players tend to replace ring finger movements with the middle finger,
but often forget the difference in tone quality and volume between these two fingers.
Hence it is important that if one does replace the fingering, the effect of the ring finger
(gentle, soft-spoken) must be emulated, or adapt to use the original fingering.
After every pluck, the fingers should stop just before the adjacent string on an
outward movement, or perch on the adjacent string if an inward movement (stopping
that string). If there is no string adjacent, control one’s hand with the mind so that the
hand does not wander off too far away. The right hand should not fly high with
exaggerated movements.
疊蠲
in rapid succession on the same string. Produces two
or Die3 quick but clear sounds. The simplified version of this shorthand
Juan1
is not to be confused with Quanfu and Banfu (全扶,半扶).
However, some old scores will record this movement with
multiple strings. In that case, perform a quick on all involved
strings, while using the middle finger to stop the previous string
as the next is played.
抹勾 Similar to above, but has implication to play slower, making the
Mo3 two sounds distinct from each other.
Gou1
1
The debate on the definition of “in/outward” becomes especially important for the thumb movements for its
identity as the opposing finger. Most agree on “inward” defined as “toward the center of the palm” and vice versa,
but a some groups (and some prominent traditional handbooks) still agree on “inward” as “towards the player’s
body”. One must make sure which definition is taken when interpreting or playing a piece by examining the original
document’s fingering section.
Standards for the Guqin 10
半輪 in rapid succession on the same string. Knuckles should
Ban1 be bent and lined against each other, firing off in an unrushed
Lun2
manner. Speed of playing this movement depends on context of
the piece.
輪 in rapid succession on the same string. Produces 3
Lun2 sounds. Knuckles should be bent and lined against each other,
firing off in an unrushed manner. Speed of playing this
movement depends on context of the piece.
背鎖 or in rapid succession on the same string. Produces 3
北 小鎖 sounds. Please see note 2 regarding rhythm.
くくく
or
Bei1
Suo3
小 or
くくく Xiao3
Suo3
短鎖 on the same string. Produces 5 sounds. See note
矢 Duan2 2 regarding rhythm.
くくく
Xuo3
長 長鎖 ( ) on the same string. Produces 7
Chang2 sounds (sometimes specified as 9 sounds with the term 九声).
くくく
Xuo3
See note 2 regarding rhythm.
Multiple-String Movements (single/double-sound movements)
歷 A movement on two (or more) consecutive strings. The
Li4 focus is on being light, brisk, and clear.
如一 “As one”, perform a on two strings simultaneously to produce
Ru3 Yi1 one whole sound. This character is usually written in subscript (and
looks like accompaniment notation) and includes one pressed and one
open string. E.g. (4th string at 7.6 hui, open 3rd string )
撮 There are two variations of this movement:
Cuo1 on two separate strings to produce 1 sound for smaller
distances (2~4 strings apart), OR
on two separate strings to produce 1 sound for larger
There is another movement played similarly, but can be used for open
and pressed notes called chuo4 齪, denoted by the simplified symbol
足.
雙彈 on two strings simultaneously with power, each finger in
Shuang1 consecutive order.
Tan3 An alternative name for this is (鼓, Gu3)
三 三彈
San1
on two strings simultaneously with strength, each
口口 finger in consecutive order. (For emphasis, some may replace
Tan3 the first with another )
Multiple-String Movements (Multiple-sound movements)
滾 A series of played continuously. The accompanying string
Gun3 numbers indicate the starting point to the final string. This
symbol is not to be confused with the number six.
臨 Similar to above, but played with (the index finger). Only used
Lin2 for harmonics.
沸 A series of played continuously. The accompanying string
Fu2 numbers indicate the starting point to the final string.
滾沸 A combination of and , producing a back-and-forth wave
Gun3 of sounds.
Fu2
索鈴 “A string of bells”, Similar to , but played as a series of
Suo3 (index) instead of (ring). Usually played with harmonic
Ling2 notes.
Standards for the Guqin 12
全扶 On two consecutive strings, on the top string. As the
Quan2 continues to the bottom string, the middle finger stops the top
Fu2 string sound by touching it, then proceeding with on the
two strings. When playing the bottom , the ring finger stops
the top string’s sound by touching it. Produces 4 sounds in
one continuous chain.
半扶 On two consecutive strings, on the top and bottom strings,
Ban4 Fu2 with middle finger stopping top string by touching it during
the on the bottom string. Used for harmonics only,
produces 2 sounds in one continuous chain.
掐撮三聲 On the aforementioned two strings (of which one is pressed),
Qia1 perform a and with the left hand (refer: Left hand “Yan
Cuo4 罨, to cover” and “Qia Qi 掐起, to dig up”), the two strings,
San1
Sheng1 and two more times, and another . Produces 8
sounds.
(Quick reference: , )
掐潑刺 On the aforementioned two strings (usually consecutive, of
三聲 which one is pressed), perform a and with the left
Qia1 Bo1
hand, followed by a , and two more times, ending
La2 San1
Sheng1 with a . Produces 8 sounds.
(Quick Reference: , )
摘潑刺 On the mentioned two (consecutive) strings, perform a on
Zhai1 Bo1 the lower string, then the upper string, and then a on both
La2 strings. Produces 4 sounds.
小間勾 Involves 3 strings, of which the top 2 must be consecutive (e.g.
小 Xiao3
日 strings 3,4,5 or 2,3,6). Begin with on the lower string of the
Jian1 consecutive set, followed by on the top string, finally a
Gou1 on the remaining untouched string. Produces 3 sounds.
SEE NOTE 3.
大間勾 Involves 3 strings, of which the top 2 must be consecutive (e.g.
大 Da4 strings 4,5,7 or 5,6,7). Begin with a on the lower string of
日 Jian1 the consecutive set, followed by on the top and lower
Gou1 strings. As the middle finger hits the lower string, ring finger
stops the top string, followed by on the two strings. Finally,
the remaining untouched string. Produces 5 sounds.
(e.g. 5, 4, 5, 4, 7), SEE NOTE 3.
3
Some textbooks may explain the Jian Gou movements to be simply a and with 1 string in the middle
for the smaller and 2 strings for the larger movement. This is a mistake.
Standards for the Guqin 13
Others
伏 “To prostrate oneself”. Use palm of right hand to cover the
Fu2 vibrating strings to abruptly stop the sound. This movement is
usually used in conjunction with , therefore also has a
variant known as (la fu 剌伏). It is suggested that one plays
this with the right hand near the 4~5th hui, so that the covering
motion creates a slapping sound like the ripping of silk.
Pressed note positions are also recorded on the same spot, but with further variation.
Since the basis of the pentatonic scale works differently on pressed notes and
harmonics, pressed notes use a “decimal system” where the space from one hui to the
next one is divided into tenths. Since there is no space to obviously denote the decimal,
the Chinese simply state the decimal after the hui number, such as (10-8, or 10.8, read
“tenth hui, eighth fen”), (6-4, or 6.4).
The Qin textbook Yuguzhai Qinpu (1855) also noted an even more precise system by
further dividing the fen into tenths, hence totaling the divide of the distance of 2 huis by
100. This obviously is impractical for recording (as hand-copied and printed handbooks
both could easily smudge and become illegible with such gross amount of detail) and
actual playing, so rarely anyone put this into practical use.
A final note is that for 0.5 positions, the character キ (Shorthand for 半) is used instead
of 五, example such as 8.5: .
4
These multi-step slides require familiarity of the pentatonic scale and its corresponding positions
represented on each string.
Standards for the Guqin 16
緩 “unhurried, slowly”.
Huan3
連 “Legato, connected”.
Lian2
滸 After playing a pressed note, pause briefly and glide up lightly
hu3 several positions (usually 3 or 4 notes on the pentatonic scale,
but not strictly controlled).
輕 “Lightly”. (piano)
Qing1
重 “Heavily”. (forte)
Zhong4
硬 “Firmly”. Similar to Shang (up), but quicker and should have a
Ying4 firmer remaining sound than after a shang movement.
淌 When playing a shang, push note back down (return to or
Tang3 beyond original position) just before the note drifts out.
Vibratos – Yin (吟)
吟 A small-degree vibrato performed closely around the actual
Yin2 tone (¾ tones or less on the pentatonic scale). Begin by playing
the actual tone, then move slightly back and forth for two to
three revolutions, finishing on the original position. The
movement is described as “in style of reciting a poem”, and the
movement should be rounded, natural (as to human speech),
and gradually decreasing. A graphical representation is
presented below:
雙吟 “Double yin”. On the same string, play the note and its
Shuang1 accompanying yin twice (in the same manner, unlike Huan-ji
Yin2 yin).
定吟 “Fixed yin”.
Ding4
Yin2
逰吟 “Roaming yin”.
You2
Yin2
往來吟 “Back-forth yin”.
Wang3
Lai2 Yin2
飛吟 “Flying yin”.
Fei1 Yin2
Vibratos – Nao (猱)
猱 A medium-degree vibrato performed only either above or
Nao2 below the actual tone (about 1 note on the pentatonic scale).
Begin by playing the actual tone, then move slightly back and
forth for about four to five revolutions, finishing on the
original position. The movement is described as “like a sloth
climbing a tree”, and the movement should be rounded and
gradually decreasing in tone variation. A graphic
representation is presented below:
緩猱 “Unhurried nao”.
Huan3
Nao2
急猱 “Hurried nao”.
Ji4 Nao2
落指猱 Perform the vibrations of nao as soon as the right hand
Luo4 produces the pressed note.
Zhi3
Nao2
撞猱 Perform a zhuang (See next section) followed by a nao (without
Zhuang4 striking a tone on the right-hand again after the zhuang).
Nao2
Standards for the Guqin 18
蕩猱 “Wavy nao”. A deliberate yet natural nao, similar to objects
Dang4 yielding to the wind or splash waves from a stone thrown into
Nao2 a pond.
Abrupt Portamento and Vibrato
撞 “To collide (or bump)”. Perform a rapid zhuo after obtaining a
Zhuang4 sound with the right hand lightly above the original intended
pitch, then rapidly return to original position with a firm
movement. The result is 1 actual tone, followed by 2 empty
tones.
Guqin strings are tuned in consecutive order of the pentatonic scale, one tone at a
time, unlike most Western stringed instruments, which are tuned by dominants (one
string is 5 whole tones up or down from the next/previous one). This results in many
recurring pitches in harmonics and stopped notes. The diagram below clearly shows the
positions of all similar harmonic notes on the instrument. Note that there is always (at
least) one set of harmonics in any given tuning that will not match.
To set the modern standard tuning, use a tuner to set either the first string as C
or the third string as F (This is optional if you are unable to tighten a certain string any
higher, but if this happens on a new instrument, that string should be restrung. Older
instruments with aged, unchanged strings should be tuned lower to avoid breaking).
Tuning pieces, beginner etudes, or simply set lines all work around the principle
of using a single string as standard, then compare with an equivalent pitch (on a
different string). Since any position is considered “correct” once a standard is set on a
string, one is given many choices on which other string to compare.
For example, if the first string is set, one can compare its 4th/10th harmonic with
the third string’s 5th/9th harmonic, or the 7th harmonic of the fourth string. Varying these
alternatives, one way (of many) to tune all seven strings is shown below, starting from
the 9th harmonic of the first string:
1st string 9th marker (Standard) = 4th string 7th marker (tune this string)
4th string 9th marker = 2nd string 10th marker (OR 7th string 7th marker)
2nd string 9th marker = 5th string 7th marker…
The pattern is variations of two sets of positions that have equivalent pitch,
which are the 9th/10th (5th/4th) harmonics and the 9th(4th)/7th harmonics, while avoiding
the exception pair. Cross-check into pairs that have been checked before in the tuning
session after coming halfway through the cycle – you may find that somewhere during
the tuning process, a pair may have led the whole gamut up to a whole tone higher.
When listening to the two sounds being played consecutively, here is a mental
checklist:
Standards for the Guqin 24
- Which strings am I playing? Which one is the “standard”?
- Did I play the “standard” note first? Last?
- Is the standard note higher than the other note? Lower? By how much?
- Did I find the corresponding knob on the right for the string, and turned it
accordingly? (About 1 twist per semitone, may vary per instrument)
- Do the strings sound the same? Am I playing on the right position
- Move on to the next set.
- Crosschecking (Playing a pair that has already been tested again) is good!
Guqin tunings are named in various ways, either by key (such as the standard
tuning also named Zhonglü, the Chinese name for the tone equivalent to the Western F),
by indicating which strings are altered (in comparison to standard tuning), by historical
aspects, or by poetic or emotional descriptors.
There are also two systems for classifying external tunings. There are cyclical
tunings, utilizing the circle of fifths to change the location of gong or tonic sound; and
irregular tunings that do not follow this pattern.
Keeping in mind that the guqin’s strings are not pitch-specific, the role of each
string is free to interpretation as to what pitch and part of scale it is. Say in the standard
tuning, it is said that F on the third string is the gong/tonic of this scale, since this
arrangement is laid out to suggest the FGAcd part – a complete pentatonic scale. Should
we choose to have the first string as gong, we can lower the 3rd string by one lü to make
the scale CDEGAcd, with the first five notes suggesting the pentatonic scale.
A chart can clearly explain the variations that can be done on the seven strings:
You probably may have realized that some pitches on certain strings don’t exactly sound right when
compared to, say, an electric tuner or piano – even when the fifth string is tuned to a perfect A. You
may also know that this is because the strings are not tuned using equal temperament, but another
form of musical temper known as Pythagorean temperament, which calculates the twelve sounds of
an octave by dividing, subtracting, and adding frequencies and finding its perfect third, fourth, fifth,
and sevenths. That’s why in Chinese, this tonal system is called “三分損益律” (San-fen-Sun-Yi-Lü,
“Thrice-divide, Subtract, and Add Temperament”).
Compared to equal temperament used in modern Western music, certain notes are off by several half-
steps (fractions of a semitone).
“Wuyi mode tuning” refers to a tuning with the seven strings tuned to Huangzhong, Taicu, Zhonglü, Linzhong, Wuyi,
Qing-Huangzhong pitches (equivalent to the modern C,D,F,G,A#,c,d), and is named so because of the Wuyi (#A or bB) on
its fifth string as the Gong (tonic) sound. Wuyi mode tuning has many other names in guqin history, such as “Ruibin(蕤賓)
tuning”, “Zhonglü (仲呂) tuning”, “Zhi (徵) tuning”, “Jinyu (金羽, golden yu) tuning”, “Qingyu (清羽) tuning”, et
cetera. This essay will attempt to investigate the legitimacy of these aliases.
Using the word yun (均) after the twelve tones’ (十二律,lü) actual name is a relatively reasonable method in
identifying and naming the untransposed mode. The ‘scientific’ aspect of this nomenclature is that the name contains the
name of the mode’s pitch, allowing the reader to directly relate the name to its pitch. But “Wuyi mode tuning (with its tonic
pitch at Bb)” being called “Ruibin Diao/Tuning”, “Zhonglü Tuning” etcetera not only cannot show where the pitch is, but
can also cause misunderstanding to the person reading the score, thinking that the tuning is in a Ruibin (#F) or Zhonglü (F)
key or mode. What’s more important, is that when the tuning is used to explain the interpretation of the pitch and the
transpositions of the guqin pieces, these alternative names or aliases become even more difficult to explain themselves.
Here are two examples: In Zha Fuxi’s Dongting Qiusi (In Vol.III of the Classic Guqin recordings), although the
strings are set to Zhonglü mode tuning (CDFGAcd), the melody in the first section did not use the F mode (a la tonic/gong
on 3rd string, 1=F), but is actually side-transposed to Linzhong mode (tonic/gong on 4th string, 1=G) in performance. The
second section then shifts to Wuyi mode (1=bB). Or, in Wuxue-Shanfang Qinpu’s Bijian LiuQuan (Flowing Stream of an
Azure Creek, 碧澗流泉), although it says the strings are set to “Zhonglü mode tuning”, the 6th section is actually a side-
transposition to Huangzhong (C) mode, and the one after that onto Wuyi (bB) mode. If we don’t use “Huangzhong
Yun/mode”, “Wuyi Yun” and so forth proper mode nomenclature, not only will we confuse ourselves with modal names’
relations with the piece itself, we can’t even say much for the functionality of traditional jargon to explain modality, and
students won’t even know where to begin to learn about pieces and their mode transpositions. “Ruibin Tuning, Zhi
tuning…” and other names cannot properly and clearly describe these guqin pieces’ modality changes.
The first five names in the Gong, Shang, Jue, Zhi, Yu, Wen, Wu (宫、商、角、徵、羽、文、武)reference refers
to the order of the guqin strings (In similitude to jia, yi, bing, ding, wu 甲乙丙丁戊 used for order of precedence in
Chinese), and not the pitches (i.e. “Do, Re, Mi, So La”). This reason works well for explaining tunings such as “Manshang
Tuning 慢商調” (lit. Loosen-Shang Tuning), in which the 2nd string (Shang) is loosened two semitones (or in proper
Chinese terminology, lü). As for “Wuyi mode tuning” being called “Ruibin Tuning”, “Zhonglü Tuning”, “Zhi Tuning” etc.,
it does not share similar reasons.
Wuyi mode tuning being named as “Zhi Diao/Tuning” originated with Wang Tan’s thesis Qinzhi in the Qing
Dynasty, where he used the third string as basis of all tunings’ names. Since Zhonglü (F) mode’s tonic (Gong) is on the
third string, it is called “Gong Tuning”. In Huangzhong mode tuning, the third string is a mediant (Jue), it is called “Jue
Tuning”. As for Wuyi, the third string is the dominant (Zhi), hence named “Zhi Tuning”. But in reality, Guxian (E) and
Zhonglü mode’s third string are both tonics, so they should be in theory both called “Gong Tunings”. This obviously is
unreasonable, and is easily mixed up with other modes – too casual of an arrangement.
Wuyi mode tuning being named as “Zhonglü Tuning” originated from Wang Binlu of the Zhucheng school, who
suggested that the third string of the guqin in standard tuning should be Huangzhong (C), and the fifth string after tightening
would be Zhonglü (F), hence the name. This is because the starting point of the mode itself is different, therefore it has no
tradition nor reasonable logic backing it.
As for the other two names “Jinyu Tuning” and “Qingyu Tuning”, it is probable that because it is tightening the
Yu (5th) string, the words “Jin1 金” and “Qing1 清” were passed down (as a mistake, or perhaps to beautify) instead of
the original word “to tighten (緊,jin3)”, a close homonym to the two.
If the reason why Wuyi mode tuning being called “Zhonglü Tuning” because the starting point is different is still
excusable, then because “Ruibin Tuning”’s name has absolutely no relationship with the Ruibin (#F) pitch, it is absolutely
unprovable. As for the name “Ruibin Tuning”, Xilutang Qintong in the Ming Dynasty gives a point of view: “Taking the
Zhonglü string and tightening the 5th, letting its 11th hui match the (open) seventh, is what we call Ruibin Diao today. The
Ruibin (tuning) actually has its own proper modality, and by (calling) Wuyi as Ruibin, is just a common (俗, can also be
interpreted as ‘vulgar’) name.”
The Chinese Music Dictionary contains a precise definition on the issue of improper naming of modes with other
pitch names: “[The issue is caused by the reasons of] Having a different starting point for Gongshang or modes, in
addition to improper passing down of tradition. For example tightening the fifth string being called “Qingyu Diao”, “Jinyu
Diao”, or “Ruibin Diao” and so forth.”
Using the names of pitches that cannot describe the mode’s actual modality makes the name no more than just a
decoration, and is suspect of being ‘dilettante’.
Essential Scorebooks:
Zhongguo Yishu Yanjiuyuan Yinyue Yanjiusuo & Beijing Guqin Yanjiuhui. 古琴
曲集 Guqin Quji, Vol.1&2. Renmin Yinyue Chubanshe. ISBN 7-103-01170 & 7-
103-01171.
Sources in Chinese
葉明媚 Yip Mingmei. 古琴音樂藝術 Guqin Yinyue Yishu. Commercial Press,
Hong Kong. 1991. ISBN 9620741447
顧梅羹 Gu Meigeng. 琴學備要 Qinxue Beiyao. Shanghai Yinyue, 2003.
成公亮 Cheng Gongliang. 是曲不知所從起-成公亮打譜集 Shiqu Buzhi Suocong Qi
– Cheng Gongliang Dapu Ji. Shuzhizhai Publications, 2005. ISBN 988987392-3.
姚丙炎 Yao Bingyan. 琴曲鉤沉 Qinqu Gouchen. Shuzhizhai Publications, 2007.
ISBN 9789889873936
Xianweng Cao
Jiu Kuang
Guan Shan Yue
Liu Shang
Xianweng
traditionally the
Cao is
introduction
仙
翁
piece to a guqin student, after
having learned basic left and
right hand movements mo 抹 ,
tiao 挑 , gou 勾 , ti 剔 for the right
hand, and pressing properly
操
with the thumb and ring finger
on the left hand along with
simple slides and a pickup (Qia-
qi 掐起).
Melodically, the piece
serves two purposes: The A figure of an old fisherman, found in
Toronto’s Chinatown.
student learns the pattern of Photo by the author, 2005.
positions on adjacent strings that
give perfect unison pitches; and from such, to correct the strings by tuning and cross-checking
using this piece.
Literally “Etude of the Transcendent Venerable One”, the piece got its name from the
continual matching tones sounding similar to the words “Xian Weng”. This piece also related to
the story of a famous Daoist named Chen Chuan, who was known to hide in the deep
mountains, away from strife and chaos in the world, and sleep for hundreds of years. However,
given the nature of the piece’s composition and arrangement, it is not to be classified as a Daoist
musical piece.
Qiu Feng Ce
Yang Guan San Die
Hua Xu Yin
Gu Feng Cao
Yu Qiao Wen Da
Kong Zi Du Yi
Ping Sha Luo Yan
Song Xia Guan Tao
松
下
觀
濤
Li Sao
Qiu Xiao Bu Yue
Gu Zhu Jun
Wang Zhi. Xilutang Qintong (reprinted in Qinqu Jicheng, Vol.3). Beijing Guqin
Yanjiu Association. 1549, 1982.