If there is a musical instrument that can represent the harmony of mankind and nature, the Chinese seven string zither, the Guqin, is that instrument. “Gu” in Chinese means “old,” “ancient.” “Qin” means zither or stringed instrument. The Guqin has been in existence in Chinese culture for more than three thousand years and was the favorite instrument of the literary class.
In general, the length of the Qin body is about 120 cm, the width is about 20 cm and the height is about 3 cm (not including the goose feet). The Guqin is played by the left hand pressing down string(s) and the right hand plucking string(s).
In general, the length of the Qin body is about 120 cm, the width is about 20 cm and the height is about 3 cm (not including the goose feet). The Guqin is played by the left hand pressing down string(s) and the right hand plucking string(s).
Guqin Playing And Notation
For playing guqin, the finger technique is of the highest importance. Guqin has a unique system of notation all its own. Each note is written in abbreviated Chinese characters, so called "Jian-Zi." Here is one example 
, read as "Da Zhi Qi Hui Tiao Wu Shuan." It is a symbol that represents one note. This symbol means that you use your left thumb to press down the 5th string on the 7th Hui (dot) and use your right index finger to strum the 5th string.
Guqin has 7 strings, from farthest to nearest, from the thickest one to the thinnest one, this notation is represented by Chinese numbers from one to seven.
, read as "Da Zhi Qi Hui Tiao Wu Shuan." It is a symbol that represents one note. This symbol means that you use your left thumb to press down the 5th string on the 7th Hui (dot) and use your right index finger to strum the 5th string.Guqin has 7 strings, from farthest to nearest, from the thickest one to the thinnest one, this notation is represented by Chinese numbers from one to seven.
Guqin has 3 kinds of sound: Fan Yin, An Yin and San Yin.
Fan Yin (Harmonics) -Left fingers slightly touch the strings to stop the vibration played by right hand. The sound is light and bright.
An Yin (Fundamental tone) -Left fingers press down the strings and the right hand plays. The sound is solid.
San Yin (Open String)-without touching or press down the strings and the right hand plays. The sound is the nature sound (natural harmonics) of the whole strings.
Notation:
Name: San Yin (Loose)
Explanation: The left hand does not touch the strings. All the sound comes only from plucking or strumming by the right hand. When there is a continuing SanYin in one piece, the notation will only show in the first note and will omit it until the next type of sound shows up.
Notation:
Name: Fan Yin (Touch)
Explanation: 2 ways of Fan Yin: 1, The left hand fingers lightly touch the strings. At the same time, the right hand plucks or strums the strings so that it creates a very clear and crisp sound.
2, The left hand fingers are put on the correct Hui position but not touching the string and leaving about one rice space between the fingers and strings. At the same time, the right hand plucks or strums the strings so that the vibrating strings touch the left fingers to create Fan Yin. This is used in the situation that the right hand has to strum or pluck several strings to create continuing Fan Yin. (See Guenfu)
This notation indicates to start using Fan Yin.
This notation indicates to stop using Fan Yin."o" This notation is used above the simple note number to indicate that the note should be played using Fan Yin.
Notation:
Name: An Yin (Press)
Explanation: An Yin is a solid sound. The left hand presses the strings down tightly and the right hand plucks or strums the strings. The notation of An Yin is usually omitted. The position of the left hand fingers on the Hui is the way to decide the sounds. Therefore, the notation of Hui position is the way to memorize the notes.
There are 13 Hui positions (marked by 13 dots on the body of the instrument) on the Qin from the right to the left, from one to thirteen. The notes are,
The distance between every two Hui is divided into 10 sections, with notes as
Examples of the combination of Hui notes:
This notation indicates the 3rd or 4th section above the 13th Hui. 
This indicates the second section of the 6th Hui.
This indicates the eight section of the 10th Hui.Body Position
when getting ready to play the Qin:
1, Sit straight with your heart between the 4th and 5th Hui. Legs naturally open about 1 foot apart. Feet parallel.
2, Concentrate your mind. Relax your shoulders. Do not lean forward or backward and do not swing your body.
3, Elbows should be naturally hanging down. Position your right hand on the 1st Hui area and your left hand on the 7th Hui area with your wrists flat and the angle of your elbows at 90 degrees. If it is not 90 degrees, adjust the height of your chair. Never rest your wrists on the qin board. This way your Qi (energy) will float smoothly to your finger tips.
Main Points of Playing Qin:
1, The strength of the Right hand needs to be natural, don't be too strong or too weak. Avoid too much pressure.
2, On the right hand, use the finger tips. Nail length should be about 2mm for the right hand, and trim the nails of left hand.
3, The left hand's movement has the combination of loose and tight, empty and solid. When pressing down, it is solid. When gliding, it is loose and empty but tight and solid at the end when arriving at an indicated Hui position.
4, The left hand has many movements which are essential to the performance quality, such as Yin, Ruo, Chuo, Zhu, Zhuang, Do, Shang, Xia.... ect,. However, do not use these movements all the time to try to create a variety of performing effects. Each vibrato and upward or downward technique needs to be clearly identified and used appropriately.
5, Move your energy naturally, do not make stiff or hard movements.
6, Always keep your mind concentrated and calm. Use your heart to listen to the music which is also a way to accomplish and train your nature and temperament.
Tang Dynasty, Zhou Fang (AC 780-810) (attributed) “Tuning Qin, Drinking Tea” (Detail)
Tuning Position:
Using your right thumb and index fingers to turn the tuning pegs to tighten or loosen the strings. At the same time, you can also use your left thumb and index finger to slightly push the knot (Yuan-Bao Jie) towards your right or left to help to tighten or loosen the strings. The movement is very subtle, unless it is really way out of tune.
The basic tuning is C D F G A C D (open string from 1st to 7th string). If with silk strings, it can start with B-flat from 1st string and lower the rest of strings accordingly. In general, silk strings can tune to as high as metal strings. But tuning a half tone lower will lengthen the life of the strings.
Basic Tune 正調– Open String 空弦
1 2 3 4 5 6 7 (String)(弦)
C D F G A C D
Sol La Do Re Mi Sol La (唱名)
Fan Yin Tuning 泛音調弦
Using Fan Yin technique to play and listen the sounds by follow the instruction below:
(1) Skipping 2 strings, same note 隔兩弦同音
7 弦(String) 7 徽(Hui) --- 4 弦(String) 5 徽(Hui)
D --- D
La --- La
Meaning: Playing the 7th string on the 7th dot should sound the same (La and La) as playing the 4th string on the 5th dot.
6 弦 7 徽 --- 3 弦 5 徽
C --- C
Sol --- Sol
Meaning: Playing the 6th string on the 7th dot should sound the same (Sol and Sol) as playing the 3rd string on the 5th dot.
5 弦 7 徽 --- 2 弦 5 徽
A --- A
Mi --- Mi
Meaning: Playing the 5th string on the 7th dot should sound the same (Mi and Mi) as playing the 2nd string on the 5th dot.
4 弦 7 徽 --- 1 弦 5 徽
G --- G
Re --- Re
Meaning: Playing the 4th string on the 7th dot should sound the same (Re and Re) as playing the 1st string on the 5th dot.
(2) Skipping one string, same note 隔一弦同音
7 弦 (String) 5徽 (Hui) --- 5 弦(String) 4 徽(Hui)
A --- A
Mi --- Mi
Meaning: Playing the 7th string on the 5th dot should sound the same (Mi and Mi) as playing the 5th string on the 4th dot.
6 弦 5徽 --- 4 弦 4 徽
G --- G
Re --- Re
Meaning: Playing the 6th string on the 5th dot should sound the same (Re and Re) as playing the 4th string on the 4th dot.
4 弦 5徽 --- 2 弦 4 徽
D --- D
La --- La
Meaning: Playing the 4th string on the 5th dot should sound the same (La and La) as playing the 2nd string on the 4th dot.
3弦 5徽 --- 1 弦 4 徽
C --- C
Sol --- Sol
Meaning: Playing the 3rd string on the 5th dot should sound the same (Sol and Sol) as playing the 1st string on the 4th dot.
Please notice that "pluck" means pull the string toward you (or away from you if using the thumb) with the tip of your finger and nail. "Strum" means push the string away from you (or toward you if using the thumb) with the back of your nail.
8 basic right hand finger techniques:
Playing Guqin, the left hand controls the precise pitch of the sound. Therefor the position of the fingers is very important. There are 6 basic finger techniques of the left hand: Yin, Rou, Chuo, Zhu, Shang and Xia. Under these 6 basic techniques, there are a number of variations. The variations are based on the length and the strength of vibrato, creating different atmospheres. Player needs to have an understanding of the piece of music first, so that one can present the appropriate feeling by using different finger techniques.
Making Rong-Do: Rong-Do is the twisted silk thread which is attached to the string at the knot, and goes through the string hole of the Qin, through the tuning peg and hangs down and is attached to the fringe. It is also used to tighten and tune the string.
Preparing the silk thread to make the Rong-Do: The finished length of the Rong-Do will be around 5" long.
1, Find an object (like a back of a chair, for example) that allows you to wind the silk thread around. The ideal width will be 20". Go around 15 times.
2, Cut one end.
3, Stabilize one end firmly and use your thumb and index finger to twist it tightly.
4, Fold it in half and hold both ends together, and whip the cord against a table or hard surface, the two strands will twist themselves together evenly, then tie the ends.
Putting the Rong-Do together with the Qin fringe and tuning peg:
5, Pass the finished Rong-Do through the Qin Fringe.
6, Pass the Rong-Do with fringe through the Qin Zhen (Tuning Peg).
7, Pull out a loop of the Rong-Do through the neck hole of the Qin Zhen, make one twist then loop over the end of the Rong-Do and back down around the neck, then pull both ends of the Rong-Do to make it tight. Adjust the length of the Rong-Do so it is not over the Yue montain.
1) Making Yuan-Bao Jie:
Yuan-Bao Jie is the knot at the head of the string where the silk tassel is attached. Before stringing the instrument, make a knot at the head of each string.
If using silk string, there are added wrapped silk on the 1st to 4th string. At the head of the 1st to 4th strings, there are small parts which have no added wrapping. At the tail parts of the 1st to 4th strings, there is a long section which has no added wrapping. Be sure making the knots at the section of added wrapping after the shorter non wrapped section, and when the knots are done, cut the shorter non wrapped parts off.
Below is the demonstration of how to make a Yuan-Bao Jie.
2) Combine the tunning pegs with Rong-Do and strings:
Pass the Rong-Do through the Xian-Yan (string holes), then loop over the knots. Adjust the length of the Rong-Do, so that the knots will be located (face up) in the middle of the Yue mountain.
The Ten Maxims of the Qin
Ten Maxims of the Qin (Qin Yan Shi Ze 琴言十則) was written by a rationalist Neo-Confucian, Wu Cheng (1249 - 1333) in China, Yuan dynasty 元理學家 吳澄:
1, When laying the qin on a table, give enough space for the right hand to be able to turn the tunning pegs. Sit opposite the 5th dot, so the left and right hands can move freely.
2, The right hand plays not farther to the left than the 4th dot. Playing near the Yue mountain will create the right sound. The right hand finger techniques cannot be floating, nor heavy and muddy. The right hand should play lightly and the left hand should press the strings down firmly.
3, When playing qin, regardless if there is a listener around, one should comport oneself as playing to a superior. The body has to be straight, the mind has to be at rest and the spirit has to be clear. The look concentrated, the thought serene. Then the fingers naturally won't play a wrong string or missed note.
4, One prefers to creat a simple sound yet natural. Its wonderfulness based on the right strength and the right speed of the finger technique. If the finger technique is clumsy and poor, the speed and rhythm are loose and laziy or adds many specious effects and creates irritating tones, all these are a deficiency of playing qin that one has to avoid.
5, The essential quality of the qin is simple and quiet without adding extra sounds, based on the idea that one should be careful about one's hand gestures so the appearance is worth watching. When pressing down the strings, one should carefully distingusih if it is giving a flesh sound or nail sound. The finger movements have to be linked up correctly. If each finger technique such as Bo, Zuo, Fu, Li and the gestures of the palm and wrist do not follow the way, one has not yet achieved the wonderful finger technique. Even if one can play, it means nothing.
6, The Qin's character tends toward loftiness. If one plays qin with a frivolous mien, wandering eyes, hunchback, overlapped feet, shaking head and swinging shoulder, then an inelegant atmosphere is created. Those movements should be noticed and forbidden. Moreover, if one plays qin with an uneasy sentiment and produces many mistakes, one should give up playing qin altogether.
7, Ancient people composed qin music to express their emotion, feelings, sorrow or indignation. One must understand the meaning of the tune. If one is playing qin only to create the sound but playing contrary to the meaning of the tune, how then will the ancient mood and melody be found between the silk and wood?
8, The essence of Qin learning regards proficiency very highly. If one learns many tunes at one time, one will not be proficient. If one learns several tunes from a master, one should practice them again and again in order not to forget the tune and the meaning of the tune. Besides, wonderful music comes from practicing well . This is what is meant by the saying that 'self satisfaction is derived from constant attention to the strings'. Otherwize, learning too many tunes, there should be too many failues, as if thorns grew on one's fingers.
9, There is a saying: 'Rigidly observe the rites by respecting the Way.' When it is windy, raining, and when in a market, one does not play qin. When meeting friends who understand the music, ascending a storied building, climbing a mountain and resting in a valley, sitting on a rock and tarrying by a stream, in the two clear and comfortable seasons, all these are the right people, right timing and right place for playing Qin. On the contrary, when meeting a vulgar man, a courtesan, an actor, a drunken, dirty and noisy environment, all these are bad surroundings for playing qin. One should carefully choose the right atmosphere to play the Qin.
10, To play the qin is to cultivate one's nature, not to acquire fame. Therefore, one plays qin for someone who has a kindred spirit, otherwise it is better to return the qin to its bag for one's own enjoyment. If one plays qin for those who have no kindred spirit and to vulgar and boastful people, one should feel ashamed and quickly conceal the fact that one plays the Qin.
2, Concentrate your mind. Relax your shoulders. Do not lean forward or backward and do not swing your body.
3, Elbows should be naturally hanging down. Position your right hand on the 1st Hui area and your left hand on the 7th Hui area with your wrists flat and the angle of your elbows at 90 degrees. If it is not 90 degrees, adjust the height of your chair. Never rest your wrists on the qin board. This way your Qi (energy) will float smoothly to your finger tips.
Main Points of Playing Qin:
1, The strength of the Right hand needs to be natural, don't be too strong or too weak. Avoid too much pressure.
2, On the right hand, use the finger tips. Nail length should be about 2mm for the right hand, and trim the nails of left hand.
3, The left hand's movement has the combination of loose and tight, empty and solid. When pressing down, it is solid. When gliding, it is loose and empty but tight and solid at the end when arriving at an indicated Hui position.
4, The left hand has many movements which are essential to the performance quality, such as Yin, Ruo, Chuo, Zhu, Zhuang, Do, Shang, Xia.... ect,. However, do not use these movements all the time to try to create a variety of performing effects. Each vibrato and upward or downward technique needs to be clearly identified and used appropriately.
5, Move your energy naturally, do not make stiff or hard movements.
6, Always keep your mind concentrated and calm. Use your heart to listen to the music which is also a way to accomplish and train your nature and temperament.
Basic Tuning
Tang Dynasty, Zhou Fang (AC 780-810) (attributed) “Tuning Qin, Drinking Tea” (Detail)
Tuning Position:
Using your right thumb and index fingers to turn the tuning pegs to tighten or loosen the strings. At the same time, you can also use your left thumb and index finger to slightly push the knot (Yuan-Bao Jie) towards your right or left to help to tighten or loosen the strings. The movement is very subtle, unless it is really way out of tune.
The basic tuning is C D F G A C D (open string from 1st to 7th string). If with silk strings, it can start with B-flat from 1st string and lower the rest of strings accordingly. In general, silk strings can tune to as high as metal strings. But tuning a half tone lower will lengthen the life of the strings.
Basic Tune 正調– Open String 空弦
1 2 3 4 5 6 7 (String)(弦)
C D F G A C D
Sol La Do Re Mi Sol La (唱名)
Fan Yin Tuning 泛音調弦
Using Fan Yin technique to play and listen the sounds by follow the instruction below:
(1) Skipping 2 strings, same note 隔兩弦同音
7 弦(String) 7 徽(Hui) --- 4 弦(String) 5 徽(Hui)
D --- D
La --- La
Meaning: Playing the 7th string on the 7th dot should sound the same (La and La) as playing the 4th string on the 5th dot.
6 弦 7 徽 --- 3 弦 5 徽
C --- C
Sol --- Sol
Meaning: Playing the 6th string on the 7th dot should sound the same (Sol and Sol) as playing the 3rd string on the 5th dot.
5 弦 7 徽 --- 2 弦 5 徽
A --- A
Mi --- Mi
Meaning: Playing the 5th string on the 7th dot should sound the same (Mi and Mi) as playing the 2nd string on the 5th dot.
4 弦 7 徽 --- 1 弦 5 徽
G --- G
Re --- Re
Meaning: Playing the 4th string on the 7th dot should sound the same (Re and Re) as playing the 1st string on the 5th dot.
(2) Skipping one string, same note 隔一弦同音
7 弦 (String) 5徽 (Hui) --- 5 弦(String) 4 徽(Hui)
A --- A
Mi --- Mi
Meaning: Playing the 7th string on the 5th dot should sound the same (Mi and Mi) as playing the 5th string on the 4th dot.
6 弦 5徽 --- 4 弦 4 徽
G --- G
Re --- Re
Meaning: Playing the 6th string on the 5th dot should sound the same (Re and Re) as playing the 4th string on the 4th dot.
4 弦 5徽 --- 2 弦 4 徽
D --- D
La --- La
Meaning: Playing the 4th string on the 5th dot should sound the same (La and La) as playing the 2nd string on the 4th dot.
3弦 5徽 --- 1 弦 4 徽
C --- C
Sol --- Sol
Meaning: Playing the 3rd string on the 5th dot should sound the same (Sol and Sol) as playing the 1st string on the 4th dot.
Right Hand Finger Technique
Please notice that "pluck" means pull the string toward you (or away from you if using the thumb) with the tip of your finger and nail. "Strum" means push the string away from you (or toward you if using the thumb) with the back of your nail.
8 basic right hand finger techniques:
 | Notation: Name: Bo  Explanation: Using your thumb to strum the string. |
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 | Notation: Name: Tuo  Explanation: Using your thumb to pluck the string. Bo and Tuo are used more often on the 6th and the 7th strings. |
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 | Notation: Name: Muo  Explanation: Using your index finger to pluck the string. |
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 | Notation: Name: Tiao  Explanation: Using your index finger to strum the string. When playing, slightly bend the index finger and put your index finger tip against your thumb nail tip to strum the string. When using Muo and Tiao, be sure your elbow is hanging flat and do not against your wrist on the instrument. |
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 | Notation: Name: Gou  Explanation: Using your middle finger to pluck the string. Slightly bend the middle finger, and put more strength on the finger tip. After pluck the string, stay your middle finger on the next string and not move away yet. |
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 | Notation: Name: Ti  Explanation: Using your middle finger to strum the string. Gou and Ti are a little bit stronger than Muo and Tiao. Also keep your elbow hanging flat. |
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 | Notation: Name: Da  Explanation: Using your ring finger to pluck the string. |
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 | Notation: Name: Zhai  Explanation: Using your ring finger to strum the string. The ring finger has less power, therefore it has to practice more to get strength. Da and Zhai are lighter than Muo, Tiao, Gou and Ti. |
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 | Notation: Name: Muo Tiao  Explanation: The combination of Muo and Tiao, the index finger plucks the string first then strums. | |||||
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 | Notation: Name: Gou Ti  Explanation: The combination of Gou and Ti, the middle finger plucks the string first then strums. | |||||
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 | Notation: Name: Muo Gou  Explanation: The combination of Muo and Gou, on the same string, do Muo first then Gou, it creates 2 gradually continuing sounds. | |||||
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 | Notation: Name: Dei Juan  Explanation: Same as Muo Gou but faster. | |||||
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 | Notation: Name: Bei Suo  Explanation: On the same string, use Ti Muo Tiao to play a fast continuing 3 sounds. Use the tip of the nails, don't put them too deep into the string. | |||||
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 | Notation: Name: Duan Suo  Explanation: On the same string, do Muo Gou first, a slowly and gradually continuing sound, then following with Ti Muo Tiao, a faster continuing sound. | |||||
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 | Notation: Name: Chang Suo  Explanation: On the same string, do Muo Tiao, Muo Gou 4 sound first then following with Ti Muo Tiao 3 continuing sound. | |||||
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 | Notation: Name: Lun  Explanation: On the same string, use the ring finger, middle finger and index finger to do Zhai, Ti, Tiao 3 continuing sound. When playing this technique, bend the 3 fingers slightly, then strum the string gradually. Or do the Zhai first then following with Ti and Tiao. Or do Zhai and Ti first then following with Tiao. It all depends on the needs of different pieces. When using Lun finger, it must be strong and clear. | |||||
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 | Notation: Name: Ban Lun (half Lun)  Explanation: Same technique as Lun but one sound less than Lun. On the same string, use either Zhai Ti or Ti Tiao. | |||||
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 | Notation: Name: Ru Yi  Explanation: When there are 2 strings that can be created an An Ying and a San Yin with the same sound at one time, use the middle finger or index finger (usually use the middle finger) to strum the 2 strings (strong) together. | |||||
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 | Notation: Name: Shung Tan  Explanation: Same as Ru Yi but play twice. Before strumming the string, position the index and middle finger above the thumb, do Ti (strong) then Tiao(light). | |||||
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 | Notation: Name: Bo  Explanation: Cup the index, middle and ring fingers together and pluck the string(s) (one or two) strongly in and fast to the left. |
 | Notation: Name: La  Explanation: Straighten the index, middle and ring fingers together and strum the string(s) (one or two) strongly out and fast to the right. |
 | Notation: Name: Bo La  Explanation: Do Bo first with lighter strength then La later with strong strength. |
 | Notation: Name: Fu  Explanation: After doing Ci or Bo Ci, flatten together of the index, middle and ring finger and place them on the strings to stop the sound. |
 | Notation: Name: Zuo  Explanation: Using the index finger to strum (Tiao) and the middle finger to pluck (Gou) two strings together (when one is An Yin and the other is San Yin or both of them are An Yin or San Yin). The strength must be the same. |
 | Notation: Name: Da Zuo  Explanation: Using the thumb and middle finger (Tuo, Gou) to pluck two strings(either the 1st and 6th or the 2nd and 7th) at the same time.The strength must be the same. It was so called Da Zuo in old handbooks. Now collectively known as Zuo. |
 | Notation: Name: Fan Zuo  Explanation: The opposite of Zuo, usually used after Zuo. Using the thumb and middle finger (Bo, Ti) or the index and middle finger (Mo, Ti) to strum and pluck two strings together. |
 | Notation: Name: Da Yuan  Explanation: Use Tiao and Gou back and forth on 2 strings and consisting of seven notes. First Tiao, then Gou, a slight pause, then rapidly repeat the same movement twice (or 1½ times --Tiao Gou Tiao), again a short pause, and then end up with Tiao (or Gou Tiao) on the string one started with. Fingers must be flexible to create continuous sound. |
 | Notation: Name: Li  Explanation: The index finger lightly and rapidly strums 2 or 3 strings in succession. |
 | Notation: Name: Gun  Explanation: Ti (the ring finger) over several strings in succession, from the 7th to the 2nd string or form the 6th to the 1st string. Starting with a fast and strong strength then ended with a slow and soft movement. The energy started from the elbow to move the right hand forward. Make sure it's a continuous and clear sound. |
 | Notation: Name: Fu  Explanation: The opposite of Gun but using the index finger to pluck strings from 1 to 6 or 2 to 7. Starting with a slow and soft strength and ending with a fast and strong movement. |
 | Notation: Name: Gun Fu  Explanation: The combination of Gun and Fu. Started from the left inside to the right outside and back to the left inside, like a circle. |
Left Hand Finger Technique
Playing Guqin, the left hand controls the precise pitch of the sound. Therefor the position of the fingers is very important. There are 6 basic finger techniques of the left hand: Yin, Rou, Chuo, Zhu, Shang and Xia. Under these 6 basic techniques, there are a number of variations. The variations are based on the length and the strength of vibrato, creating different atmospheres. Player needs to have an understanding of the piece of music first, so that one can present the appropriate feeling by using different finger techniques.
| Press String Position of The Left Hand: | |
 | Notation: Name: Da Zhi (Thumb)  Explanation: Slightly bend the thumb and using the side of the thumb, where the nail meets the skin or the side of knuckle of the thumb, press down the string. If pressing down 2 strings at one time, use both of the side of the nail and knuckle. |
 | Notation: Name: Shi Zhi (Index finger)  Explanation: Naturally position the index finger on the string. It is used more often in Fan Yin, which is just lightly touching the string. Sometimes used together with the thumb. |
 | Notation: Name: Zhong Zhi (Middle finger)  Explanation: Naturally position the middle finger on the string. It is used more often on the 1st string. |
 | Notation: Name: Ming Zhi (Ring finger)  Explanation: Slightly bend the ring finger and using the left side where the nail meets the skin to press down the string. Do not use the tip of the finger to press the string and do not use the middle finger to try to help to press down the ring finger. Thumb should not be raised up. |
 | Notation: Name: Gui (Kneel)  Explanation: Kneeling the ring finger on the string. Using side of the back of the nail or back of the 1st knuckle to press down the string. It is usually used above the 5th Hui. |
| The pictures shows the techniques using the thumb, but the techniques can also be perform using the index, middle and ring fingers. 6 Basic Finger Techniques of The Left Hand: | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
 | Notation: Name: Yin  Explanation: A vibrato movement. A finger of the left hand presses down a string, and after a finger of the right hand plays the string, the left hand quickly moves up (to the right) and down 2 to 3 times and back to the spot one started with. The strength of this movement is strong at the beginning but gradually reducing at the end. The distance between each up and down is not bigger than 1/5 of the distance to the next Hui position. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
 | Notation: Name: Rou  Explanation: Same as Yin but the movement is down (to the left) first then up. The distance between each downs and ups is not bigger than 1/4 of the distance to the next Hui position. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
 | Notation: Name: Chuo  Explanation: A finger of the left hand, before pressing down a string on the indicated spot, starts about 5mm. below (to the left) of that spot, and quickly glides to the right, till the place indicated is reached. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
 | Notation: Name: Zhu  Explanation: It is the opposite of Chuo. The movement starts about 5mm. above (to the right) of the indicated spot, and quickly glides to the left, till the place indicated is reached. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
 | Notation: Name: Shang (ascending) Explanation: While the right hand pulls the string that the left hand pressed down, the left hand glides up to the right spot where it is indicated. The pressing and moving of the left hand should be solid so that it will create a very clear sound. If there is one ascending after another ascending, the notation will be "  " | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
 | Notation: Name: Xia (descending) Explanation: opposite of "Shang." While the right hand pulls the string that the left hand pressed down, the left hand glides down to the left spot where it is indicated. If there is one descending after another descending, the notation will be "  " | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| The Variations of Yin and Rou: Notation:  Name: Chang Yin  Explanation: A drawn-out vibrato movement. The frequency of up and down is several times more than Yin. Notation:  Name: Xi Yin  Explanation: A thin vibrato movement, more delicate than Yin. Notation:  Name: Ding Yin  Explanation: A calm vibrato. It is rocking the string back and force without moving the finger. Notation:  Name: You Yin  Explanation: Swinging vibrato. Similar to Shuang Zhuang (see Shuang Zhuang on next page) but slower. Notation:  Name: Luo Zhi Yin  Explanation: Immediately vibrato. Do Yin as soon as the left hand presses the string and the right hand plays the string. Notation:  Name: Lue Yin  Explanation: Slightly Yin. Notation:  Name: Chang Rou  Explanation: The movement is the same as Rou but the timing of the vibrato is longer. Same situation as Chang Yin. Notation:  Name: Ji Rou  Explanation: A fast Rou. Feels tight and rapid but not in a hurry. Notation:  Name: Luo Zhi Rou  Explanation: Same situation as Luo Zhi Yin. Do Rou as soon as the left hand presses the string and the right hand plays the string. Notation:  Name: Lue Rou  Explanation: Slightly Rou.
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Tempo Notation, Etc.
| Notation: | Name: | Explanation: |
 | Bu Dong  | After a left finger presses down a string, stay there and do not move away in order to play another same note at the same spot. |
 | Shou Xi  | A short pause. |
 | Lian  | Legato; continual playing several notes without pause. |
 | Cheng  | Blends into the next note. |
 | Ji  | Presto; in rapid tempo. |
 | Huan  | Lente; in a slow tempo. |
 | Ru mang  | Ritardando; slow gradually. |
 | Qing  | Piano; soft. |
 | Zhong  | Forte; loud. |
 | Jiu  | This notation shows that there is the same finger technique as the previous note. Using this notation instead of writing it again. |
 | Zhi  | Up to. |
 | Zai Zuo  | Repeat. |
 | Chong Tou Zai Zuo  | Repeat from the beginng. |
 | Chong Kou Zai Zuo  | Repeat from the notation "  ." |
 | Zai Er Zuo  | Repeat twice. |
 | Qu Zhong  | The end. |
Preparing the silk thread to make the Rong-Do: The finished length of the Rong-Do will be around 5" long.
1, Find an object (like a back of a chair, for example) that allows you to wind the silk thread around. The ideal width will be 20". Go around 15 times.
2, Cut one end.
3, Stabilize one end firmly and use your thumb and index finger to twist it tightly.
4, Fold it in half and hold both ends together, and whip the cord against a table or hard surface, the two strands will twist themselves together evenly, then tie the ends.
Putting the Rong-Do together with the Qin fringe and tuning peg:
5, Pass the finished Rong-Do through the Qin Fringe.
6, Pass the Rong-Do with fringe through the Qin Zhen (Tuning Peg).
7, Pull out a loop of the Rong-Do through the neck hole of the Qin Zhen, make one twist then loop over the end of the Rong-Do and back down around the neck, then pull both ends of the Rong-Do to make it tight. Adjust the length of the Rong-Do so it is not over the Yue montain.
Stringing the instrument
1) Making Yuan-Bao Jie:
Yuan-Bao Jie is the knot at the head of the string where the silk tassel is attached. Before stringing the instrument, make a knot at the head of each string.
If using silk string, there are added wrapped silk on the 1st to 4th string. At the head of the 1st to 4th strings, there are small parts which have no added wrapping. At the tail parts of the 1st to 4th strings, there is a long section which has no added wrapping. Be sure making the knots at the section of added wrapping after the shorter non wrapped section, and when the knots are done, cut the shorter non wrapped parts off.
Below is the demonstration of how to make a Yuan-Bao Jie.
2) Combine the tunning pegs with Rong-Do and strings:
Pass the Rong-Do through the Xian-Yan (string holes), then loop over the knots. Adjust the length of the Rong-Do, so that the knots will be located (face up) in the middle of the Yue mountain.
3) Stringing: The suggested sequence for wrapping the strings to the Goose Feet is by wrapping the 7th (the thinnest), 6th, 5th and the 4th string first onto the outer foot, then the 1st (the thickest), 2nd, and the 3rd strings to the inner foot. Outer means away from your body when putting the instrument vertically with the feet out to the right as the first picture shows below. These pictures are showing the stringing of the 4th string and the finished view. It is easy for new strings to lose tone, if so, just redo the stringing once a while to adjust the tone. Later on, the strings will become more stable. | |
 | After the tunning pegs with Rong-Do and strings are completed, vertically put the instrument against a soft pad on a chair or on a bed with the tail of the instrument towards up. The bottom side of the instrument should face towards your right hand side and the top side of the instrument faces to your left hand side. |
 | Wear a leather glove or use a towel to wrap your hand. Pull the string over to the Long Yin (Dragon's Gum) and towards to the Goose Feet. Wrap the tail of the string onto your right hand and pull the string. |
 | Pull the string down with strength. |
 | While pulling the string, use your left hand to test if the sound is the right tone. |
 | When the tone is correct, hold your breath and pull the string as the direction with strength. (The wrapping direction of the 3rd, 2nd and 1st strings are the opposite). |
 | Wrap it to the Goose Feet as direction. While wrapping it, still hold your breath, don't lose any strength. The incoming string has to be against the bottom of the instrument tightly without any space between. |
 | Finished view. After wrapping the string, tuck the end of the string under the incoming string and pull it tightly. The technique of stringing the rest of the strings is the same. |
ANCIENT QIN TALK
The Ten Maxims of the Qin
Ten Maxims of the Qin (Qin Yan Shi Ze 琴言十則) was written by a rationalist Neo-Confucian, Wu Cheng (1249 - 1333) in China, Yuan dynasty 元理學家 吳澄:
1, When laying the qin on a table, give enough space for the right hand to be able to turn the tunning pegs. Sit opposite the 5th dot, so the left and right hands can move freely.
2, The right hand plays not farther to the left than the 4th dot. Playing near the Yue mountain will create the right sound. The right hand finger techniques cannot be floating, nor heavy and muddy. The right hand should play lightly and the left hand should press the strings down firmly.
3, When playing qin, regardless if there is a listener around, one should comport oneself as playing to a superior. The body has to be straight, the mind has to be at rest and the spirit has to be clear. The look concentrated, the thought serene. Then the fingers naturally won't play a wrong string or missed note.
4, One prefers to creat a simple sound yet natural. Its wonderfulness based on the right strength and the right speed of the finger technique. If the finger technique is clumsy and poor, the speed and rhythm are loose and laziy or adds many specious effects and creates irritating tones, all these are a deficiency of playing qin that one has to avoid.
5, The essential quality of the qin is simple and quiet without adding extra sounds, based on the idea that one should be careful about one's hand gestures so the appearance is worth watching. When pressing down the strings, one should carefully distingusih if it is giving a flesh sound or nail sound. The finger movements have to be linked up correctly. If each finger technique such as Bo, Zuo, Fu, Li and the gestures of the palm and wrist do not follow the way, one has not yet achieved the wonderful finger technique. Even if one can play, it means nothing.
6, The Qin's character tends toward loftiness. If one plays qin with a frivolous mien, wandering eyes, hunchback, overlapped feet, shaking head and swinging shoulder, then an inelegant atmosphere is created. Those movements should be noticed and forbidden. Moreover, if one plays qin with an uneasy sentiment and produces many mistakes, one should give up playing qin altogether.
7, Ancient people composed qin music to express their emotion, feelings, sorrow or indignation. One must understand the meaning of the tune. If one is playing qin only to create the sound but playing contrary to the meaning of the tune, how then will the ancient mood and melody be found between the silk and wood?
8, The essence of Qin learning regards proficiency very highly. If one learns many tunes at one time, one will not be proficient. If one learns several tunes from a master, one should practice them again and again in order not to forget the tune and the meaning of the tune. Besides, wonderful music comes from practicing well . This is what is meant by the saying that 'self satisfaction is derived from constant attention to the strings'. Otherwize, learning too many tunes, there should be too many failues, as if thorns grew on one's fingers.
9, There is a saying: 'Rigidly observe the rites by respecting the Way.' When it is windy, raining, and when in a market, one does not play qin. When meeting friends who understand the music, ascending a storied building, climbing a mountain and resting in a valley, sitting on a rock and tarrying by a stream, in the two clear and comfortable seasons, all these are the right people, right timing and right place for playing Qin. On the contrary, when meeting a vulgar man, a courtesan, an actor, a drunken, dirty and noisy environment, all these are bad surroundings for playing qin. One should carefully choose the right atmosphere to play the Qin.
10, To play the qin is to cultivate one's nature, not to acquire fame. Therefore, one plays qin for someone who has a kindred spirit, otherwise it is better to return the qin to its bag for one's own enjoyment. If one plays qin for those who have no kindred spirit and to vulgar and boastful people, one should feel ashamed and quickly conceal the fact that one plays the Qin.
DragonRider
Invite as author
Really good one to introduce Chinese tradition to the west
This is a really good introductory article for this ancient treasure.