Cuo 〈 撮〉 is to pluck two strings at the same time, lun 〈 輪/轮〉 is to pluck a string with the ring, middle and index finger out in quick succession, the suo 〈 鎖/锁〉 technique involves plucking a string several times in a fixed rhythm, bo 〈 撥/拔〉 cups the fingers and attacks two strings at the same time, and gun fu 〈 滚 拂〉 is to create glissandi by running up and down the strings continuously with the index and middle fingers. ![]() Out of these basic eight, their combinations create many. There are eight basic right hand finger techniques: pi 〈 劈〉 (thumb pluck outwards), tuo 〈 托〉 (thumb pluck inwards), mo 〈 抹〉 (index in), tiao 〈 挑〉 (index out), gou 〈 勾〉 (middle in), ti 〈 剔〉 (middle out), da 〈 打〉 (ring in), and zhai 〈 摘〉 (ring out) the little finger is not used. The above four figures are from an old handbook. Additionally, because one can feel the qin strings better, it is best to pluck with natural fingernails. Furthermore, fake-nails tend to hinder the fingers or create an unsatisfactory tone. Unlike the guzheng and pipa where one must attack the strings with force, thus, susceptible to fingernail breakage, the qin requires little force to play. Unlike other plucked instruments such as guzheng and pipa, plectrums and fake-nails should be avoided. For people who have brittle fingernails the Yugu Zhai Qinpu has some methods of strengthening them. Generally the nails of the right hand are kept long, while the nails of the left are cut short, so as to be able to press on the strings without hindrance. If it is too long then the fingers can be cumbersome and can impede performance. If it is too short then the finger tip will deaden the sound as it touches the string after the nail has plucked it. ![]() The length is subjective and will depend on the player's preference but it is usually around 3 – 4 mm from the finger tip. One will often leave their fingernails long and cut them into an elliptical shape. When plucking the strings, fake nails are not desirable. Most are obsolete, but around 50 or so are sufficient to know in modern practice. ![]() It therefore uses the most finger techniques of any instrument in Chinese, or even Western, music. ![]() This technique resembles that of playing a slide guitar across the player's lap, but the technique of the qin is very varied and utilises the whole hand Listen to Pei Lan ⓘ.Īccording to the book Cunjian Guqin Zhifa Puzi Jilan, there are around 1,070 different finger techniques used for the qin, with or without names. Afterwards, the musician's hand often slides up and down, thereby modifying the pitch. The third is an yin 〔 按音 / 案音 / 實音 / 走音〕, or "stopped sounds." This forms the bulk of most qin pieces and requires the player to press on a string with a finger or thumb of the left hand until it connects with the surface board, then pluck. The second is fan yin 〔 泛音〕, or "floating sounds." These are harmonics, in which the player lightly touches the string with one or more fingers of the left hand at a position indicated by the hui dots, pluck and lift, creating a crisp and clear sound Listen ⓘ. The music of the qin can be categorised as three distinctively different "sounds." The first is san yin 〔 散音〕, which means "scattered sounds." This is produced by plucking the required string to sound an open note Listen ⓘ. The playing techniques of the guqin, sometimes called fingerings, are more numerous than those of any other Chinese or Western musical instrument. ( August 2016) ( Learn how and when to remove this template message) The references used may be made clearer with a different or consistent style of citation and footnoting. This article has an unclear citation style.
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