Henan Zheng: It was introduced into Henan and developed with the local folk music "The Voice of Zheng Wei", which became a famous Zhongzhou ancient song in later generations. Fu Xuan's evaluation of Henan Zheng music in Fu Zhengxu is that "the music is too high and too few, and the technology is difficult to work", which is characterized by impassioned heart.
Shandong Zheng: It is directly related to Shandong and folk music. The tunes are mostly Gongdiao, which consists of eight boards. Its playing style is simple and quaint.
Chaozhou Zheng: Popular in Chaozhou, Guangdong Province, it has a special musical structure and unique rotating style. It is exquisite, exquisite and unique with its smooth and gorgeous right hand and unique left hand sliding sound. The main tunes are heavy six, light six, lively five and anti-line. Among them, the tune of Liu Chong is euphemistic; The tune of Light Six is fresh and lively; The tune of "Living Five" is touching and sad, with distinctive rhythm.
Hakka Zheng: that is, the Zheng music of Guangdong Han music, which is one of the excellent traditional music in Guangdong. Guangdong Han music has a long history. According to legend, it was a long historical period from the ninth year of Jin 'an (AD 405) to the demise of the Song Dynasty. As the Central Plains people moved south many times, it became popular in the places where Hakkas lived. For example, some counties in eastern Guangdong, including Meixian, Huiyang and Shaoguan, as well as parts of Jiangxi, Fujian and Taiwan Province provinces and places where overseas Chinese live in concentrated communities. The guzheng performance of Guangdong Hanle has a long history. It is based on Gao Han's old music (that is, Chinese music) and influenced by local styles and dialects, forming a quiet and implicit style.
Jiangsu and Zhejiang Zheng: Wulin Zheng popular in Hangzhou. It is closely related to the silk and bamboo in the south of the Yangtze River, and its music is mostly transplanted pipa.
Inner Mongolia Zheng: Only 10 string, mostly used for folk songs and pastoral accompaniment.
Shandongzheng
According to Qi Ce of the Warring States Policy, "Linzi is rich and pragmatic, and its people are happy, so many people call Shandong Zheng Zheng". Its spread is mainly in Heze area, including Yuncheng and Juancheng, and Liaocheng area in western Shandong, especially in Heze area, where folk music is very popular and known as the "hometown of guzheng". There are many talented folk rap, opera and folk instrumental performers. The guzheng teaching system in these two areas is different, and the repertoire is also different. However, most of the traditional ancient music is a title song with the structure of "eight boards" with a length of 68 boards, and there is not much difference in playing techniques. The number of guzheng inheritors and ancient songs in Liaocheng area is small, and its traditional guzheng songs are mainly handed down by Mr. Jin Zhuonan and Mr. Kim I Hun from Jin Hao Village, Linqing County, Liaocheng area. Because the traditional Zheng music in Liaocheng has not spread in Shandong and the whole country, its history and spectrum need to be further sorted out and explored, so the concept of "Shandong Zheng" is customarily only used to refer to the Zheng in Heze.
Shandong Zheng music is mostly directly related to Shandong Qin Shu and folk music. Most of them are Gongdiao, which consists of eight boards. Some of them are piano music as a prelude to the piano book, similar to Henan Bantou, with 68 "Banqu", the autumn moon in the Han Palace and the first book by Hongyan, etc. In the folk, many musical images are often expressed in the form of divertimento ensemble, and these four ditties, Qin Yun, Bai Feng Cui Zhu, Night Tour and Shu Yun, are divertimento played as dialogues. In the 1950s, the title of "Mountains and Flowing Water" was added, which swept the country. In addition, it also evolved from Qin Shu's singing and qupai, such as Fengxiang Song and Broken Bridge.
Shandong Zheng used to use fifteen strings, the outer bass part used seven old strings and the inner eight strings, commonly known as "seven old Eight Little". When playing, the big finger is used frequently and forcefully. Even if it is a "flower finger", it is mostly a big finger playing with a "brace"; But the left hand is both rigid and soft, sonorous and deep, and the playing style is simple.
Henan Zheng
Judging from the words recorded in Historical Records and Hanshu, Zheng developed quite widely in Qin and Han Dynasties. In the Eastern Han Dynasty, Emperor Guangwu of Han Dynasty established Luoyang as the capital, and in the Northern Song Dynasty established the Bianliang (now Kaifeng) in Henan. The local folk music "Zheng Yin" has been circulating for a long time. Qin Zheng moved to Henan with the capital, blended with local folk music "Zheng Yin" and developed into a famous Zhongzhou ancient song. A great feature of Henan Zheng is that the right hand starts from the place near the Qin code and flows to the place near Yueshan. At the same time, the left hand shakes a lot, and the music performance is very dramatic and effective. In Zheng, Henan, this skill is called "wandering". The traditional usage of Zheng Can in Henan can be summarized from a poem circulated among the people:
The name refers to the pile, and the four fingers hang.
Shake and pluck the sleeves, gently pull the strings,
It should be noted that there is no other way for the left hand.
Shake and rub.
Among them, left-hand sliding pressure (left-hand pressing to the phoneme slightly retreats when playing the string, and greeting sounds slide up quickly, leaving no sensitive traces), small vibrato (vibrato is thin and tight), sliding vibrato (edge vibrato) and big vibrato (vibrato is wide and affectionate) are the most distinctive. In the application of fingering, whether it's the long, round and beautiful Tik Tok, the patchwork beat, or the mournful steps, the tragic and desolate tremors, they are all integrated with melody and emotion, depicting modality and meticulous description. For example, the song "Wild Goose" is another feature of Henan Zheng, which uses various fingering expressively and integrates narrative, concreteness and lyricism.
The characteristic of Henan Zheng scale is a seven-tone ancient scale with more variations than clear angles, which is close to the dichotomy, but the pitch of the two variations is not absolutely unchanged, and it tends to be higher than the Republican sign, which can really be described as "seven tones, six methods and 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 rising and falling tones commonly used in sophomores and juniors are especially suitable for the high-pitched tones of Zhongzhou, which gives the Zheng music an ancient 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 keen on pursuing beautiful and elegant styles, but are good at being rich and simple, characterized by deep passion. Fu Xuan's evaluation of Henan Zheng music in Fu Zhengxu is that "the music is too high and too few, and the skill is difficult to work".
The repertoire of Henan Zheng comes directly from folk rap music and opera music. Henan Quzi is a folk rap music with a long history, which declined after the Qing Dynasty. Only Nanyang is still very prosperous, so it is also called Nanyang Drum Ziqu. Its important components are "beat music" with lyrics and "head music" with pure instrumental music. Zheng is one of the important accompaniment instruments, and it is also an instrument that is played independently from rap. Almost without exception, the existing representative tracks of Henan Zheng School are the bantou and paizi of Henan tunes. In the past, when artists met each other, they often played an Bantou song to know each other, and borrowed the story of Boya and Zhong Ziqi to rename it "Mountain Flowing Water".
Paizi music evolved from the drum music, most of which are short and pithy, fresh and lively, with unique styles, such as "cutting flowers", "full boat" and "overlapping". But there are also more than 300 Daqu cards like "Wharf".
Bantou is an ensemble with strings, and also a solo of Zheng, Pipa and Sanxian, much like the "Qu Dan" of Han and Wei Dynasties. Folk performances often play one or two songs in ensemble or solo, and then sing drum music, which is called opening the stage or disturbing the stage; Or put a song between arias to change the atmosphere. For nearly half a century, major has tended to decline, and the first key often appears in the form of solo.
The banjo in the traditional repertoire of Henan Zheng is often called "Zhongzhou Classical Tune" or "Zhongzhou Classical Tune", such as Crying for Zhou Yu, Sighing for Yan Hui and Nostalgia for Su Wu. In Henan Quzi, some short Qupai gradually formed a "small Quzi" form of role division in the process of circulation, and today it has become a very famous drama "Henan Quju". Minor is relatively simple, but later, the melody developed; Zheng plays an important role in accompaniment, and gradually has its own personality in performance, which is the combination of the two. Formed its unique beauty in music.
With regard to the collection of Henan Zheng's music scores, Wang Huang of Weihui House published "Zhongzhou Drum Tune Sion Book" in the ninth year of the Republic of China (AD 192O), which collected contemporary works, namely, mountains and rivers, weeping weeks and overlapping falls. In the 1920s, Wei Ziyou compiled "Zhongzhou Ancient Tune" as a manuscript of Gongchi. Although it has not been published, it has been widely circulated, including more than a dozen articles such as One World and Guanju. 1958, Wang published the Collection of Guzheng Solos (Liu Jianpu published by Henan People's Publishing House), which included 37 Bantou songs and 14 Qupai songs. The Biography of Cao Dongfu was compiled into Selected Works of Qu Zheng, 198 1 year. People's Music Publishing House published Collection of Cao Dongfu's Qu (edited by Cao Yong and Li), with 22 Bantou songs and 8 adaptations. 1986, Cao Zheng published Selected Essays of Zhongzhou Classical Tunes (China Music Supplement), with 20 paizi and Bantou songs.
Chaozhou Zheng
Chaozhou Zheng: Popular in Chaozhou, Guangdong Province, it has a special musical structure and unique rotating style. Zheng can is different from other musical instruments in his own way. The most important thing is the change of left glide, which is called rhyme complement. Otherwise, it is hard to say the genre and development of Zheng music. In Zheng Chao, the application of this technology can be said to be wonderful. In fact, the combination of several scales and modes is realized by pressing the left hand when playing the Zheng. Moreover, the melody is also different from the twelve average laws and folk music in other places. Chaozhou Zheng is exquisite, subtle and unique because of its smooth and gorgeous right hand and unique left hand slip-flower play.
The main tunes of Chaozhou Zheng are "emphasizing six", "ignoring six", "living five" and "going backwards". Among them, the tune of Liu Chong is euphemistic; The tune of Light Six is fresh and lively; The tune of "Living Five" is touching and sad, with distinctive rhythm.
In the folk, playing the "poetry score" of ancient music with plucked instruments such as Zheng is called string poetry music. "Liu Qingniang" is the most popular song in this poem. Although it is not a big suite, it contains four tones: light six, heavy six, lively five and light three and heavy six. The tune is beautiful and has the characteristics of tidal music. It is called "the mother of string poetry" in Chaozhou music, which means the mother of music. When learning Chaozhou Zheng, "Liu Qingniang" is an essential repertoire. In addition, Western jackdaw, moon cakes and icing on the cake are also commonly used in Chaozhou Zheng.
The spread area of Chaozhou Zheng is Chaozhou dialect area with Chaozhou as the center. Minnan dialect is similar to Chaozhou dialect and belongs to the same cultural area, but Minnan dialect Zheng has developed its own characteristics and is regarded as an independent Zheng school.
Chaozhou Zheng once used 234 points, which is a unique score of Chaozhou music. Although it is no longer used now, many terms of Chaozhou music come from the score of 234. You can't explain these terms clearly without understanding 234 points.
The name of Si Er's score is 2345678 (sung by Chaozhou dialect, of course), which is equal to 56 12356(so la do re mi so la) of the simple score, where "three" stands for 6 and 7 and "six" stands for 3 and 4. For example, we often encounter "light 36", "light" means not pressing the strings, so 36 is 6 and 3. Another example is "weighing three or six", which is to press the string and press the original 6 and 3 into 7 and 4.
The biggest feature of Chaozhou Zheng playing skill is the cooperation between the left hand and the right hand thumb. Where the thumb bounces, the left hand follows. The thumb usage rate of Chaozhou Zheng is very high, and more than half of the sounds are completed by the thumb. In other words, more than half of the sounds are artistically processed by the left hand.
The work of the left hand is not only heavy, but also very meticulous. When learning Chaozhou Zheng, you often hear the right hand playing "one sound and three rhymes" and the left hand playing "three rhymes". One sound can produce three rhymes, which is really a piano endorsement.
Representative songs: Liu Qingniang, Yueergao, Western jackdaw in the west, Miss Fan, etc.
Representatives: Hong, Zhang Hanzhai, Zheng, Su Wenxian, Lin Maogen, etc.