Wednesday, May 20, 2009



REFERENCE:

http://www.chinesemusic.co.uk/english/InstrumentsPage.htm


(1) BOWED-STRINGED INSTRUMENTS 弓弦乐


Bowed-stringed instruments
became popular in
China
during the Sung Dynasty (960 to 1279 AD). The instruments are played using
a bow made of horse hair to vibrate the strings. They generally have a
soft, elegant tone, which is often used to produce a feeling of weeping or
complaining. The most popular bowed strings include
Erhu,
Gaohu, Zhonghu, Dihu, Gehu and Di Gehu.


Gaohu
and
Erhu are the outstanding ones among the
instruments and are capable of performing in solos and concertos.


In a modern Chinese Orchestra,
the strings occupy a position comparable in importance to the violin in a
western orchestra.





二胡 Erhu (2-string
Fiddle, Chinese Violin)



Tuning: d1, a1

Range: d1 - d4


 



 


Erhu also known as Huqin胡琴, the full name for Hu.
Its early ancestor was known as
Xiqin
奚琴 (string instrument of a Mongolian tribe
called Xi) in the tenth century.


 


The parts of an erhu
include the neck, pegs, resonator, strings,
qianjin,
bridge, and bow. The resonator is a box made of hard wood. One end of the
sound box is covered with snake skin which gives this instrument i
ts distinctive mellow and bright, said to be the
closest in sound to the human voice. The
erhu has
two strings, and the
qianjin is installed between
the pegs and the bridge for the control of pitch. The bow with horse hair
is inserted and played between the two strings to generate the sound.




The erhu's musical range spans
about four octaves. Its two strings are typically tuned a fifth apart to d
and a. Its sound is similar to a violin, but differs by being much more
nasal in quality.


 







高胡 Gaohu
(2-string Fiddle)




 


Tuning: a1, e2

Range: a1 - e4


 



The Gaohu is also known as a Yuehu
粤胡 (Cantonese hu)
or
Nanhu
南胡 (southern hu).



Developed in the 1920's, the high
hu has the same
basic construction as the
Erhu, with its tubular
resonator somewhat smaller, a fourth or fifth higher in tuning. Its range
can reach two octaves. In performance it is held vertically with the lower
part of the resonator supported between the knees to control the noisy
tone.



With its sweet and delicate tone, the
Gaohu is
often in the treble of the bowed strings of the modern Chinese orchestra.
Apart from solo and leader in the Cantonese Opera music, the
Gaohu is also used in ensemble and accompaniment.



 












 



大提琴 Cello



低音大提琴 Bass



 








(2) PLUCKED-STRINGED
INSTRUMENTS
弹拨乐


The
plucked stringed instruments are used to a great extent in a Chinese
traditional orchestra. There are many plucked stringed instruments compared
to a western orchestra.


There
may be more types of plucked stringed instruments in
China
than any other country in the world. This is due to a long history and
broad development of this instrument family. Musical scores that have
survived from ancient times also favor plucked stringed instruments.
Plucked stringed instruments are played by using a pick or finger nails to
pluck the strings. The
Yangqin is an exception
which is played by using a pair of hammers to strike the strings. It is
categorised as a member of the plucked stringed
instrument probably because of its location on stage and its musical
effects which are similar to other familiar members.


The
sound of plucked stringed instruments is lively and attractive. They can be
performed in the forms of solo, ensemble or in an orchestra.


The
popular plucked stringed section consists of
Pipa,
Liuqin, Yueqin, Ruan, Sanxian, Guqin, Guzheng, Duxianqin, Yangqin




琵琶 Pipa (Pear
Shaped Lute, Chinese guitar)




 


Tuning:
A-d-e-a


Range:
A - c3


 



 


The word
"Pi" meant "to play forward" and "Pa" meant
"to play backward". The
pipa had a half
pear shaped sound box, a crooked neck, and normally 4 or 5 strings.


 


The Pipa arrived in China in the 4th century AD from Central Asia. The history of pipa
dates back more than 2000 years. The
Pipa
occupies a very important role among the plucked strings because it has a
magnificent tone and can produce very expressive sound, from gentle and
pleasing music, to dramatic sound effects of horses galloping and
battlefield scenes. Today the playing techniques are even more
sophisticated.


 


The pipa is often used for solos and in ensembles or in
modern Chinese orchestras.








柳琴 Liuqin (Small
Lute, Treble Lute)




 


Tuning:
g, d1, g1, d2

Range: g-g4



 


The Liuqin looks like a miniature pipa,
but it has the shape of a willow leaf, this is where the
Liuqin got its name from. It also has two sound holes
on either
sides of the strings. The Liuqin is also called tu pipa
土琵琶 (unrefined pipa)
because of its appearance of a small
pipa.


 


The performer
plays it with a pick made traditionally of horn, but more commonly today,
plastic. A modern
Liuqin's front is made of tung wood and the reverse side, of red sandal. The four
strings are steel wires. The frets, increased from 7 to as many as 24, are
arranged in half step intervals. The plectrum is made of horn.


 


The sound of Liuqin is a little like mandolin, high pitched, bright
and it can produce an exciting and agitating tune when played loudly, and a
sweet and touching tune when played softly.
Liuqin
is often played in Chinese operas.


 



 




Ruan (Long Neck Lute)




 


Zhong Ruan (alto)

Tuning: A, d, a, d1 or G, d, a, e1

Range: A - a2

Da Ruan (tenor)

Tuning: D, A, d, a or C, G, d, a

Range: D - e1


 



 


The Ruan was once termed as Qin pipa 秦琵琶 (dating to the Qin
dynasty between 221-207BC) or
Yueqin
月琴 (moon shaped short neck lute). The name
is a shortened form of
Ruan Xian who was a
musician in the 3rd century (the Six dynasties). Pictorial evidence,
excavated from a tomb of his time in
Nanjing, depicting Ruan
Xians performance of this instrument, confirms
that its construction was roughly the same as that of today.


 


The Ruan is now constructed as a family of soprano, alto,
tenor, and bass, a development intended to increase its range and
effectiveness in the modern Chinese orchestra. The alto (
Zhong Ruan
中阮) and the tenor (Da
Ruan
大阮) are commonly used. A plectrum is needed
in performance. Mellow in tone quality, it is often seen in ensembles or in
accompaniments, and also as a solo instrument in recent years.


 



 




三弦 Sanxian
(3-String Lute/Banjo)




 



 


The name appears
popularly as
Xianzi
弦子, in which zi
is a diminutive suffix. Its ancestor is said to be plucked stringed
instrument
xiantao (a type from a rattle drum),
commonly seen among the ancient people. The modern type has a resonator of
padauk or red sandal, covered on both sides with python
skin. Its fretless neck functions as its fingerboard. The strings are nylon
coiled steel wires. Performers pluck with fingernails, generally without
any plectrum. It is solid and sonorous in tone quality.


Sanxian has a structure of a wooden drum covered
with a snake skin, and an extended long and smooth finger board. It has a
distinctive rich and harmonious sound with great volume and wide range.
When it is played at the low pitch, it sounds like an old man humming a
tune; when it is played at the high
putch, it
sounds like a young girl singing a song.









古筝 Guzheng
(Half-tube Zither)





 


Also called
"
Zheng
", it was popular as early as in the
Warring States (475-221 BC), especially in the state of
Qin
in west China. That betrays the origin of the name
qin
zheng. Another hypothesis for its name came from
a folk tale that the se (a large zither) was split in half to settle a
family quarrel between two sons, thus creating the first two
Guzheng. In Chinese character the lower portion for Guzheng happens to mean "quarrel".



The sound box is constructed of wood, red sandal for its sides and bottom
and
wutong
梧桐wood (firmiana platanifolia) for the arched soundboard. According to
the historical texts, it was described as having 12 strings before the Han
and Jin period (206 BC-AD 420). In succeeding periods the number of strings
kept increasing: 13 after the Tang and Song (618-1279), 15 or 16 since the
Min and
Qing (1368-1911), 21 since the 1960s and
24 or 26 at present. Each string is suspended over the upper soundboard by
a single adjustable bridge as a device for fine tuning. The strings are
traditionally
silk, or steel wire with or without
nylon coiling round, which has been more common since the 1960s. The
strings are tuned to give three complete octaves of a pentatonic scale,
sometimes of a
heptatonic one.


 


The instrument
is rich in playing techniques. The performer plucks the strings with his
right hand fingernails (either real or simulated), while left hand fingers
apply pressure to the strings to execute vibratos, glissandos, other
embellishments and occasional plucking techniques. Sounding melodious and elegant,
it is an important solo instrument now, and often in accompaniments as
well. It has a loud and bright tone. If its strings are struck
consecutively, it produces a sound like flowing water.


 



 













扬琴 Yangqin
(Struck-box Zither, Hammer Dulcimer)





 


Besides daqin 打琴 (struck instrument with two beaters), one
of its other names means "foreign instrument" in its original
Chinese character, owing to the fact that the
yangqin
is an adaptation of the Persian
santur or some
Arabian type.



The original was confined to the south-eastern coastal
province of Guangdong late in the Ming dynasty (c. the 16th
century). It spread later throughout the inner areas.




The earliest type was arranged in two choirs (two rows of bridges), each
having 8, later 10-12, courses (2 or 4 strings per course). In the 1960s it
developed into a type with 3 choirs, 10 courses each, or a type with 4
choirs, 12 or 13 courses each. Special devices such as the grooves with
balls on both sides were added for the convenience in modulating. One of
the recent types, without grooves, is arranged in traditional Chinese 12 l
ü, similar to Western chromatic scale, for
more convenient modulation. Its range is over 4 octaves. Under the box is a
damper to control lingering tones.



The instrument, bright and harmonious in tone, is often used for solos and
in ensembles or in the accompaniment of local operas, narratives and other
vocal singings.


 



 







(3) BLOWN-WOODWIND
INSTRUMENTS
吹管乐


 


Blown-woodwind instruments
produce sound by blowing to vibrate the tube and reeds of the instruments.
The tone produced depends on the strength of the wind. Different strengths
can produce pitches that differ by a perfect fifth or an octave. Its origin
can be traced back to BC 1100, the
Shang Dynasty,
when there were
Xun, He (Sheng),
and
Yan (Da Xiao) etc.
The more popular wind instruments include
Sheng, Suona, Di and Xiao.etc.


 



 


 











笛子 Dizi (Di, Transverse Flute)




 


 



 


Early in the
reign of Emperor
Wudi (141-88 BC) of the Han
dynasty, the
di flute was introduced to
China from western areas. into
china and
standardised in construction through
revisions. But broadly speaking, such features as its bamboo make, edged
tone and side-holes have given the evidence of its existence in the
ensembles of the Spring and Autumn Period (770-476 BC). Archaeological
finds revealed one of the earliest type of flute unearthed from a tomb in
Hubei province. It had a very similar
construction as a modern bamboo type, only without the hole for membrane.
Despite these old flutes being 8000 years old, they can still be played.



The modern flute has an octave range of about two and a half. It is often
bound with bands of silk or thread for crack proof. There are many types of
flute, the
bangdi
梆笛and qudi 曲笛 are the most common. The bangdi is the shorter and has a bright clear tone. It's name comes from the bangzi
opera of northern china. The longer one known as
qudi.
It has a more mellow tone and is associated with the
kunqu
opera of central china.




The
di is very popular and is widely used for
solos and in ensembles.


 



 













萧或洞箫 Xiao or Dongxiao (Notched Flute)




Length: 80cm



 


The
term
dongxiao distinguishes the instrument as an
end-blown notched flute. The prefix dong means "hole" in Chinese.




The modern type is often made from a nine joint black bamboo, has six
finger holes, five at the front and one at the rear, and 2-4 air holes at
the lower end.



The instrument has soft, subtle tones and is suitable for solo performances
and duets with the
qin zither or used in the sizhu (silk and bamboo instrument) chamber music
traditions. The so called long
feng xiao refers to the coupled flutes respectively engraved
with dragon and phoenix patterns.


 



 











唢呐 Suona
(Trumpet)




 



 


The suona, often called laba喇叭 (trumpet), first appeared in the Wei and
Jin period (220-420). It has a penetrating tone quality, The
suona is has a passionate and lively sound,
particularly
good at imitating the singing of
hundreds of birds. Experienced players can control their breath with double
lips to produce the characteristic soft tone (called tone of
xiao) for a plaintive or sentimental effect. A smaller
high pitched variety is known as
haidi
海笛 (sea-flute) is a fourth higher in range than the common type. In a
modern Chinese orchestra the
suona has a revised
alto and bass variants with added keys.



The instrument is commonly used as an accompaniment in theatres or to
singing and dancing. It is also used for solos or ensembles on such
occasions as weddings, funerals or other ceremonies and celebrations.


 



 













Sheng
(Mouth Organ)





 


It
is said that the first female ancestor N
üwa or one of her followers called Sui
invented the instrument. It is listed in the gourd category of the
bayin classifications. The early type had a calabash
base with pipes mounted through its holes in its top. According to ancient
literature, the
sheng symbolizes everything that
breaks through the soil. The larger type is called
chao
and the smaller he. The earliest type ever seen is 14 piped unearthed from
Zenghou Yi tomb in Hubei province.


 


During
the period from the Southern Dynasties to the Tang dynasty (420-907) the
instrument played an important role in court music. And in the Ming and
Qing dynasties (1368-1911) it was used extensively both
in folk instrumental ensembles and in accompaniment to local theatres and
popular narratives. The bowl like wind chamber was large or small in size,
square or round in shape, and variable in pitch arrangement as well.


Nowadays
the most common type has 17 pipes and the improved one for the contemporary
compositions has 21-37 pipes, with keys and a metal resonating pot for the
pipes to insert. The result is a bright and harmonious tone quality, a
chromatically complete scale and an extended compass.


 



 











Xun (Clay Vessel
Flute)




 


 



 


The Xun was said to be made of baked clay by the legendary Bao Xin Gong the first male
ancestor in Chinese myth. It falls into the category of earth in the
traditional
bayin classifications of musical
instruments based on eight kinds of materials (metal, stone, silk, bamboo,
gourd, earth, hide, and wood).


 


7000 years ago a
single-finger-hole type was found in
Hemudu Village, Zhejiang province. The instruments with 1-5
finger holes were from areas such as
Banpo Village (Xian, c. 000-3000BC). Xun flutes varied in shape ranging from an olive, a
ball, a fish, or an egg, most with flattened bottoms. Its construction was
standardised in the Shang
dynasty (1766-1122BC). It is generally pear shaped with five finger holes,
three at the front and two at the rear.


 



 







(4) PERCUSSION 打击乐


 


The history of percussion
instruments in
China
is longer than any other category of traditional instruments. The character
of 'drum' was first found in the inscriptions on bones and tortoise shells
of the
Shang Dynasty. At that time (BC 1562 -
1066) more than 50% of instruments were percussion.


Percussion instruments
produce sound by striking on their surfaces. Common material used for
making percussion instruments in the past were gold, rock, wood and bamboo.


The percussion section is the
most important section in Chinese opera, particularly in
"martial" scenes known as
wu-chang. The
player of the
bangu, directs the rest of the orchestra through his
different methods and positions of striking his instrument. He has control
over the overall development of the action and creation of atmosphere, and
is equivalent to the conductor of a western style orchestra.


Because of the richness of
timbre, sound and variety of Chinese percussion instruments, they are
frequently used in western style musical compositions. A large gong can
create a stately and imposing atmosphere; dramatic effects can be achieved
with the
tanggu, and muyu
and
Ching also can produce an atmosphere of
mystery.


Percussion Instruments were
easy to learn and play. As the instrument can produce different sound
effects, it is frequently used in joyful and exciting occasions such as
harvest, marriage and dragon boat as well as more as well as memorial
ceremonies. The more popular percussion instruments include
Luo, Gu, Bo, and Bianzhong.


 



 


 











板鼓 Bangu
(Single-headed Frame Drum)



(ban: flat board; gu:
drum)


 


 


 



 


It is also commonly
called
Jing Bangu
京板鼓 (bangu for Peking opera) and Danpi (single drumhead). The drum's frame is
constructed of thick wedges of hard wood glued together in a circle,
wrapped with a metal band. Its body is bell mouthed in shape, open at the
bottom. Its top surface (C.25cm), covered with a piece of pig or cow-hide,
has a small convex central circular opening (about 5 or 6 cm in diameter),
which is called the
Guxin (drum heart), the
actual sounding position. The player strikes on this central area with a
pair of bamboo sticks.



The type used for
Peking opera and other northern musical dramas, with
a smaller central striking area, has a relatively solid tone quality. The
type used for the southern gong and drum ensemble, with a larger striking
area , is loose and soft in tone. The southern type is
fit for solos with a variety of techniques and rhythms. The
Jing Bangu leads the
percussion section in the instrumental ensemble of the
Peking opera.


 



 













堂鼓 Tanggu
(Medium-sized Barrel Drum)



(tang: hall; gu: drum)


 




 


Diameter:


(large drum) over 1m;


(small drum)20-30cm



 


The drum is
listed as "hide" in the traditional
bayin
classifications. The common type is similar in shape to a barrel. Its
wooden shell, entirely painted red with decorative patterns, is covered
with two drumheads of cowhide or pig skin. Four lateral iron rings around
the shell allow the drum to be vertically suspended in a frame. It is
struck with a pair of wooden beaters. Tone quality can be modified by
moving the point of striking closer to the centre of the surface, with
varying dynamics.


The Tanggu is constructed mainly in two types. The larger
one can produce a deep and sonorous tone and the smaller is solid and
forceful in tone quality.


The drum is
traditionally used with other instruments like
luo
(gong) and
bo (cymbals) in folk festivals and
celebrations, and in ensembles or in accompaniments as well.


 



 











Luo (Gong)



Diameter: 35-50cm(larger type)
8-23cm(smaller type)



 


Chinese gongs
are made of high-tin bronze, hammered into a sifter shape. Its central
resonating area can be either flat or convex. At least its long history can
be traced back to the early Western Han period (206BC-AD 24) according to
an archaeological find from a tomb of that period in
Guangxi.
In the Tang text (618-907) it is called
Shaluo
(sand gong), the earlier evidence in classical literature.


Modern varieties
are great in number with varying tone qualities. The name is usually
preceded by a prefix to specify each different kind. The largest type (over
120cm in diameter) called
Dachaoluo, with the
name from its deep and grave tone, is used in weddings, funerals and temple
ceremonies. The smallest
goujiao luo (dog-call gong), only 8cm in diameter, can often be
seen in theatre instrumental ensembles in southern
Fujian province. Both the larger and the
smaller include a series of types under different names and in varying tone
qualities. Much more are the derivative types in ethnic minorities with
individual acoustic features, functions and performing styles.


 



 











Bo (Pair of bronze cymbals)





 


They were frequently used in Sui
and Tang dynasties (581-907) with varying designs. Now it is commonly made
of high-tin bronze.


 


The performer strikes the pair together. The most common
type now is the
Jingbo (the prefix jing referring to Beijing),
a name from the instruments use in the
Peking opera.
This type is clear and forceful in tone quality. It is also used in other
regional opera genres and instrumental ensembles, and is one of the four
major instruments (drum, large and small gongs, and cymbals) in the
jubilant
Luogu (gong and drum) music. In local
operas the instruments is often for the accompaniment of acrobatics
fighting


 



 











木鱼 Muyu
(Woodblock or Slit drum)



(mu:
wooden;
yu: fish)


Diameter: 5-50cm (or more) 8-16cm (types
in sets)




 


It was used
originally to accompany Buddhist chant only. An account of this instrument
was found in the literature of the Ming dynasty (1368-1644): "The
muyu is carved from a block of wood and into the shape
of a fish,
then its interior is hollowed out.
Sounds can be produced by striking" Since the
Qing
dynasty (1645-1911) the instrument has appeared in folk instrumental
ensembles.


The muyu is mostly made of mulberry or Chinese toon wood. The larger type is primarily used in
Buddhist temples, but recently appears in sets, varying in diameters and
tone qualities. The set is mainly used for regular rhythms in the
accompaniment.


 



 


 











云锣 Yunluo (Set of
small bronze gongs)




(yun: cloud; Luo: gong)


 



 


The Yunluo was first mentioned in China as yun-ao in
the Yuan dynasty (1271 - 1368). The small gongs in set, usually 10 in different
pitches, are suspended vertically in the same wooden frame. Each is
attached to a cubicle within the frame by cords. The gongs are
all of the same diameter but of varying thickness. In
tuning, thicker dimensions give higher pitches, and thinner ones, lower.
The instruments are struck with a small beater.


 


In the
redesigned type the number of gongs is increased, ranging from 29 to 38,
and two mallets with either hard or soft tips, are used for different tonal
effects. One sounds clang and solid and the other soft and drifting. Owing
to the enlarged range, modification in thickness cannot produce any other
pitches. Thus varying diameters are used for the new tones.


 


The yunluo are mostly seen in instrumental ensembles, and
recently for solos as well.


 



 













编钟 Bianzhong
(Collected Bronze Bells)



(bian:
collected;
zhong: bell)




 


This instrument,
listed as "metal", heads the
bayin
classifications. Its long history dates back to the
Shang
dynasty (1766-1122BC), when a set of 3 bronze bells was common, though the
earlier pottery type of the late Stone Age was unearthed in
Shaanxi province. From the 5th to the 3rd
century BC the number of bells was increasing, mostly to 9 and a few to 13.



The largest set ever seen was from the tomb of
Zenghou
Yi (the 5th century BC) in
Hubei province. This archaeological find has
become a focus of world academic attention. The set consists of 64 bells,
hung in three layers. The upper ones are called
niuzhong,
i.e. bells with bronze loops for vertical suspension; those on the two
lower layers are called
yongzhong, i.e. bells
with handles for suspension at a slight angle. Because of the bells shape
two different pitches, a major or minor third apart, can be produced on any
of the bells, depending on the two striking locations, the frontal or the
lateral. 12 semi-tones are found in the set, with a total range of 5
octaves.



The inscriptions on the bells unite to form a literature of a large tone
system, valuable sources for the study of the musical culture in the period
of the Warring States (475-221 BC). With the construction for two different
pitches from a single bell and the unique casting technology, the
bianzhong has established itself as the eighth wonder
of the world.