感受中國樂器法中「韻」的傳統魅力

劉文金

引言

認真學習、研究中國樂器法，細心體察「韻」的傳統魅力，是當代作曲家在從事民族器樂創作過程中不可忽視的重要環節。

瞭解和熟悉各種中國樂器的基本構造、基本性能、基本演奏方法以及有效音域、不同音區的音色變化等等，應是很必要的。否則將心中無數，難以下手，但如果僅此而已，那也將顯得不夠充實而往往留下許多遺憾。這就需要我們在研究、分析各類（特別是那些具有代表性的）樂器繁複而有趣的演奏技法中，體驗與規範其各種「韻」的元件及其形成過程，進一步感受與掌握中國樂器法中最生動、最鮮活的那個部分。這可能也是同我們在研究西洋管弦樂隊樂器法的概念中最重要的區別。

應當充分肯定，作曲家們曾經寫過許多成功的民族器樂（包括民族管弦樂）作品，但是在合奏藝術中，能夠充分地運用、調動、發揮樂器傳統技法中所具有的生動而豐富多彩的功能，並取得良好效應的作品，並不多見。我以為，當代作曲家應當注意開掘民族樂器傳統技法中所蘊藏和關聯的「韻」的魅力，並在運用過程中賦予新的生命力，以展現合奏藝術的另一種天地。

一、應注重對中國樂器演奏藝術中傳統韻味和韻律的觀察、體驗與規範

中國不僅有著多民族的不同類別的語言體系，而且還存在在著腔韻紛呈、差異極大而頑強的地域性的方言傳統。在民間樂器和地方樂種的原始形態及其發展過程中，語言環境對其有著天然的與生俱來的深刻影響（猶如對民歌、說唱、戲曲等音樂語言和形態的影響那樣），從而決定了民間器樂演奏中腔韻痕跡的普遍性及其色彩的地域性特徵。馮光鈺在《中國同宗民歌》一書中，曾列舉了全國各地流傳的五種《茉莉花》、六種《放風箏》和八種《繡荷包》的不同風格與色彩的變異；同樣，我們從全國各地仍活躍在戲曲舞台上的二百六十多種地方劇種裏，也能找到《小開門》《柳青娘》《銀鈕絲》《將軍令》《哭皇天》等許多同名的曲牌。它們之間有的是大同小異，也有的是小同大異。但無論其差異的大小，其演化過程也同樣會受到不同自然地域和語言環境以及審美意識的深刻影響。

所謂「韻」、「韻味」和「韻律」，在詩歌中原來是指和諧的聲音、含蓄的意味以及聲韻和節律的各種組合，而在音樂中則可理解為聲腔、音調和節奏因素在流動中所形成的綜合印象。它可能是對單個音種裝飾的體現，可能是對一串音組合方式的體現，進而還包含著音樂在形成過程中的高低、疏密、強弱、快慢（或抑、揚、頓、挫）的某些特徵。我國民間管弦樂器的特定音色及其繁複而微妙的演奏技法，在發展中造就了民間音樂豐富的韻味和韻律。即使在我國民間打擊樂各種單音色的組合及其節奏中，也充滿著變幻無窮的韻律。

古琴的傳統演奏技法多達百餘種，但簡要規範之，則是運用「散音、泛音、按音」等三種不同的基本音色及其相互結合，右手以「托、擘、挑、抹、剔、勾、摘、打……」等基本指法取得不同質量的音響，左手則以「上、下、進、退、吟、猱、綽、注……」等不同的方法來修飾餘音，獲得不同的效果。可以認為，歷代琴家根據自己對「韻」的探索，創造並逐漸積累了繁複而生動的演奏技法。在三千首傳統琴曲的遺產中，不僅技法豐富而題材也十分廣泛。離別、愛情、憂傷、慷慨、激憤、幽深、華麗、莊重……詩情畫意、自然景色等音樂形象的描繪，幾乎應有盡有。我認為，就以古琴為代表的中國傳統音樂而言，在構成音樂各種要素的結合與流動中，始終伴隨著對「韻」的追求。傳統音樂似乎給我們留下了某種概念：即「韻」的千姿百態，既有其規律性，也有其相當自由的即興因素。這是我國傳統音樂藝術表現手段中最生動的部分；反之，則可能被認為蒼白、乏味。

在中國古典的民間傳統音樂中，蘊藏著異常豐富的「韻」的元素，需要我們去認識、歸納、去拓展、創新，去綜合利用。出色的表演藝術家和某些藝術作品，往往被人們讚譽為充滿「神韻」。何謂「神韻」？詞典中解釋為「神采和氣度」。但這似乎只是某種藝術表象的解釋，其實更深層次仍然存在著某種可意會而妙不可言的內涵，並非外在之物。在音樂作品及其表演過程中的思維敏捷、樂韻暢達、出神入化，自然包含著藝術家同技術和藝術相關的寬闊的知識素養和深厚的文化底蘊。

二、中國樂器傳統技法與「韻」的元素相依共存

在傳統器樂的演奏中，「韻」的一般性規律和靈活的即興性及其表現方式，自然與樂器類和演奏者自身的習性等因素密切相關。樂器品類的不同演奏方式，為「韻」的形成提供了不同的客觀條件。但是，在不同的樂器品類精心營造「韻」的過程中，除了個性化的差異外，也存在著某些趣味的共同性和相似性及其相互之間的交叉、模仿等現象。

在中國吹管樂器的演奏中，以竹笛類和嗩呐類為例。其不同幅度與速度的上、下「滑音」變化多端，並非單純的裝飾性，而具有豐富的表情意義。同樣，短暫的「花舌」（滾舌）與長句或大段的「花舌」，以上方四度乃到七度迅猛裝飾的「剁音」，強烈而粗獷的上、下「歷音」，靈巧的「疊音」和「打音」，各種「吐音」以及由指震音、腹震音、波浪音所形成的「吟音」和「飛指顫音」等所有演奏技法，都與音樂的表情、風格、個性以及地域性色彩息息相關。嗩呐為了在中低音區模仿京劇黑頭腔調的氣勢，藝人們便採用了哨音、嗓音複合共鳴的「喉音」奏法。

嗩呐在《百鳥朝鳳》中所施展的種種技法，除了維妙維肖地模仿各種鳥鳴外，它們在音樂結構自然而合理。我們還注意到，即使嗩呐用循環呼吸的技法在《百鳥朝鳳》高音區所展示的超長音，曲笛在「三五七」中用循環呼吸法所演奏的悠長的、連綿不斷的華彩段落，也具有令人讚嘆的炫技般的藝術表現力。

此外，傳統笙（包括高音加鍵笙）的某些技法也很有特色。由四、五、八度構成的平行流動的簡技法，帶有天然的中國傳統色彩；用一組任意音孔的迅速抹打來強調某些音的「疊音」，具有強烈的音響與節奏效果；其口內技巧中所常用的「呼舌」、「花舌」和「揉音」、「波顫音」等，對於音響和色彩也頗具裝飾、美化的效能。演奏家胡天泉率先在笙的高音區運用了滑音技巧，為這件傳統樂器的演奏藝術，增添了一種新的韻味和情趣。

我國彈撥樂器中的琵琶，其左右手的傳統演奏技法多達七十餘種。除了右手的「彈、挑、勾、抹、輪指、半輪指、夾彈、搖指、滾奏……」等基本彈奏方法外，它們之間的不同組合又衍生出許多有趣的技法，如「分、摭、扣、掃、划、拂」等。在由密集的顆粒構成音的線條時，「輪指、夾彈、滾奏、搖指」等不同技法對音色的影響，也存在著明顯的差異。左手除了用「實音、泛音、吟揉……」等辦法對基本音位進行操作外，而最有韻味的各種裝飾性的滑音，是由「推、挽、縱起……」等不同技法來改變本位音音高的方式實現的。此外還有「進、退、綽、注、虛綽、虛注」等音或虛音的滑動辦法。值得一提的是，在琵琶傳統技法中還創造了一些噪音的特殊演奏方法。如具有不同緊張度的「絞弦」以及不同音響和意趣的「拍、提、摘、虛按」等等（這應當屬於古人在演奏實踐中創造的非常規技法）。

柳琴和阮類的彈奏雖然採用的是撥片，右手沒有如琵琶那樣繁多的技法，但其左手的技法幾乎同琵琶一樣可以營造出許多委婉、細膩的韻味。同樣，古箏、揚琴和三弦等不同類別的樂器，也擁有極其豐富而各具特色的演奏技法，其中大量的技法都同傳統「韻味」或「韻律」相關。

我國胡琴類的拉弦樂器品種很多。影響面較廣的如二胡、高胡、京胡、板胡……它們在地方樂種和地方戲曲音樂中都佔有舉足輕重的地位。拉弦樂器左右手的指法與弓法的技術類別並不繁雜。但是，它們的巧妙結合卻對音樂語言的不同性質與風格的表達有著直接的影響。從總體上看，胡琴類的演奏技法及其對「韻味」的追求，易於發揮和發展的自由空間較大。但其中的某些樂器（如京胡、墜胡、板胡等）由於其發展過程同特定的地方戲曲音樂品種密切相關，使其演奏習慣以及技術發揮的傾向也帶有某種特定的地方色彩。當然，任何樂器自身的構造條件，也同時決定著它技藝施展的局限性，但有時在相對的局限中，卻能以集中錘煉出鮮明而濃烈的與「韻」相通的演奏技法，進而使我想到，我國傳統的民族樂器在漫長的發展過程中，不僅善於大膽吸收，內外參照，博採眾長，創新與較量，而且也深深懂得自身在相對的有限條件中，揚長避短的必要性與可靠性。

我國傳統的打擊樂器大體可劃分為鼓類、鑼類、鈸類、板類以及鐘磬類，等等。其各類品種繁多，地域分佈廣闊，組合方式多樣，表現力極為豐富。各地的民間打擊樂組合，歷來是民眾文化生活中自娛自樂和節慶喧鬧的重要部分。打擊樂作為民間歌舞中節律的基礎和各類地方戲曲音樂中「武場」的支柱，始終發揮著不可替代的作用。

打擊樂在戲曲音樂中的應用及其功能十分廣泛。任何角色的上下場、亮相、身段、舞段、台步、唱、做、念、打以及人物情緒、心理動態、舞台氣氛和各種音響效果等，幾乎無處不是用打擊樂來配合、刻劃與烘托的。

在京劇傳統劇目中，就人物上下場的鑼鼓點而言，雖然有其程式化的因素，但其運用之巧妙、描繪之準確，卻令人讚嘆。一位有身份的女性上場，因其端莊穩重，就用板鼓、小鑼打出節奏舒緩的「小鑼旦上場」；而一個活潑的小丫頭上場，則用輕快的「小鑼長絲頭」；步履蹣跚的老公公上場，用悠緩而不太平穩的鼓點；如帝王將相之類的人物上場，為表現其身份氣度，需要結構稍微複雜些的「一錘鑼」與「歸位」結合使用；表現跛腿、羅鍋等丑角類的人物上場用「兔形鑼」；妖魔鬼怪或某些兇猛粗暴的人物上場，要用大鑼，以急促緊張的「九錘半」、「陰鑼」、「急急風」等鑼鼓點子表現；慌張焦急的人物或者丟盔卸甲、拖槍敗陣的將領上場，則往往用含有三連音且節奏不穩的「亂錘」來表現其紊亂的神態……打擊樂在京劇音樂舞台上經歷了長期的千錘百煉的藝術實踐，創造了許多雖業已程式化了的經典模式，但卻是十分精彩的藝術成果。這就是大約擁有近百種鑼鼓點子的「鑼鼓經」。其中有許多音色與節奏的變化、組合，都飽含著民族文化傳統中及其審美意識傾向中異常豐富的「韻律」。

可以認為，在我國古典和民間傳統音樂及其演奏技法長期演化與發展的過程中，始終貫穿著演奏家們對「韻味」、「韻律」的追求和探索。我們應當去認真觀察、體味、研究、歸納、擴大對傳統藝術和技術材料的視野，增強綜合利用與創新的能力。

三、在民族管弦樂合奏藝術充分發揮「韻」的功能優勢，努力開掘「韻」的潛在能力

在中國傳統樂器的演奏技法中，同「韻」相關聯的因素幾乎無處不在。許多樂器音色的個性化特徵，傳統流派之間的差異和演奏家自身的習性，以及地域性色彩的影響，足以使得同音樂語言和演奏技法相關聯的「韻」的形態也帶有強烈的個性化特徵。這種特徵，使它在地方樂種或某些傳統器樂組合中如魚得水，而在現代大型民族管弦樂群體化的演奏中卻難以盡興。不言而喻，所遇到的情況和問題要複雜得多。

從當前民族管弦樂隊的構成來看，中國樂器的改良成果，大大擴展了它的技術發揮和藝術表現力。所幸的是，對傳統技法中「韻」的施展並無多大影響。就樂隊合奏藝術的創作和演奏狀況來講，充分調動樂隊和群體聲部中「韻」的功能雖然問題很多，但也並非不可能。目前情況是，音樂院校在民族器樂的專業技術教學中，已基本打破了傳統流派在技藝方面的相互制約，淡化了某些民間原始形態和地域色彩對專業教學的特定影響。在專業技術的教研過程中，對大量的傳統技法已有所篩選和規範。演奏技術的統一和規範化的概念，在專業樂團的訓練與實踐過程中，得到了進一步的認定和加強。對演奏員自身絕對個性化的技術習性和傾向性必然有所遏制。為樂隊整體和聲部群體的協調統一提供了許多有利的條件。這是需要我們充分肯定的重要成果。但也應該承認，在此過程中，我們可能在無意中已經失去了傳統音樂中某些可貴的東西，值得我們思考。早已引起大家注意的是，在民族管弦樂隊的發展過程中，何以使得我們的創作與演奏向西方某些傳統觀念靠近進似乎較為容易，而編創和演繹充滿中國韻味和韻律的作品反倒比較難？這顯然是一種令人費解和發人深省的矛盾。當然，我們可以講其主要問題在於作品技術傾向和基本質素以及樂隊的水準和應變能力等等原因。但問題並非如此單純，可能還涉及許多有關背景和理念方面的問題……

若干年來，在民族器樂的創作方面已經取得了很多令人鼓舞的成就，同時也積累了許多經驗和教訓。其中已經有不少作曲家（特別是青年作曲家）在傳統與現代的思考中，進行了一系列卓有成效的藝術和技術的實踐。

在獨奏與協奏曲領域，劉德海在琵琶曲《天鵝》《老童》和《滴水觀音》等創作中，對傳統技法和「韻」的元素進行了適當的擴展與創新；王中山在古箏曲《溟山》中，採用了人工調式定弦並充分發揮了箏的現代演奏技法。還有王建民的兩首《二胡狂想曲》，鄭冰的三首《二胡協奏曲》，譚盾的胡琴協奏曲《火祭》，瞿小松的管樂協奏曲《神曲》，郭文景的笛子協奏曲《愁空山》，唐建平的琵琶協奏曲《春秋》、二胡協奏曲《八闋》以及笛子協奏曲《飛歌》，劉星的中阮協奏曲《雲南回憶》，關乃忠的二胡協奏曲《追夢京華》等。

在樂隊合奏領域，有些作品也早已引人注目。如：何訓田的《達勃河隨想曲》、閻惠昌的《水之聲》、金湘的《塔克拉瑪干掠影》、關乃忠的《拉薩行》、林樂培的《昆蟲世界》、錢兆熹的《西湖夢尋》、景建樹的《金沙灘》、譚盾的《西北組曲》、唐建平的《後土》、劉湲的《維吾爾音詩》等。這些作品在技法的創新和傳統韻律的擴展等方面，都進行了不同程度的探索。似乎可以感覺到，作曲家們從自己背後的民族音樂文化傳統的寶庫中，正在努力捕捉「韻」的元素；在動機的構成、調性的游移以及音色、音響、節奏的幻變與縱橫結構的自由化等方面，也有著較為深入的設想並取得了成效。在此過程中，為開掘新的音色，對一些非常規的演奏技法也進行了有益的嘗試。

我認為，就從對民族樂器傳統技法進行更深入的發掘和運用等方面的狀況而言，作曲家作仍需進行更多的探索和實踐。在此基礎上，在創作的基本理念中，將近現代創作技法中有用的思維方式，同傳統技法中有效的表現手段，以及同提高聽眾的審美意識之間，找到一個更好的切入點或者紐帶。登上另一層台階，開闢另一類境界。

當人們演繹或欣賞任何形態的音樂作品時，倘若僅在感官上令人震驚或令人震動，恐怕還顯得不夠，如能進而在心靈上使人震憾、使人感動，方為作曲家們夢寐以求完美結果。

最後，我想就民族管弦樂合奏藝術的創作（包括排演）方面提出幾項本人也感興趣的課題，僅供各位參考。

1、可嘗試將本來疏散、直白的音和點，加以「韻」的修飾；

2、著意深化線條與節奏在流動中的「韻味」和「韻律」；

3、在織體中努力豐富「韻」的含量；

4、嘗試「韻」同其他音樂要素融合的各種可能方式；

5、注意對常規與非常規演奏技法中「韻」的精心設計；

6、在近現代創作技法的應用中，增強對「韻」的思考；

7、關於樂隊的群體聲部在演奏技法中「韻」的表達方式；

8、在當代音樂作品中，技術、藝術的高品位與雅俗共賞；

9、在創意、技法、發表、效應等實踐過程中的逆向思維。

結語

作曲家應努力學習、研究、運用並擴展中國樂器傳統演奏技法中的「韻味」、「韻律」。將近現代創作技法同民族、民間最寶貴的實踐經驗和最有效的藝術手段有機地結合起來。需深入繼承，大膽創新，言之有物，行之有理。在當代民族管弦樂合奏藝術春意盎然的園林中，辛勤耕耘，培育生動而鮮活的秧苗，收穫世紀之春的豐碩成果。

劉文金，作曲家、指揮家，原中國歌劇舞劇院院長

此文為作者二○○三年三月在香港「中國音樂在現代生存環境及其發展」研討會上的發言

劉文金：

前中央民族樂團團長

中國歌劇舞劇院院長、藝術指導

中國音樂家協會創作委員會副主任

中國音樂著作權協會常務理事

中國民族管弦樂學會副會長

中國國家大劇院藝術委員會委員

To Sense the Traditional Charm of “Yun (Rhymes and Lingering Charms)” in Chinese Instrumental Playing Techniques

Liu Wenjin

It is a step not to be ignored for contemporary composers in to carefully study and research on Chinese instrumental playing techniques and understand the traditional charm of “yun” in their creation work of traditional Chinese instrumental music.

It is very necessary (for composers) to understand and be familiarized with the basic structures, features and playing techniques as well as the effective music ranges and different phoneme of Chinese instruments. Otherwise, composers will feel difficult to start their work without anything in mind. However, composers’ knowledge should not be limited to above things either. Otherwise, their works will not be complete and many regrets will appear. Therefore, we need to experience and standardize various elements contributing to the “yun” and steps for forming “yun” in researching and analyzing various (especially those representative) playing techniques, which are normally complicated but interesting. We need to further feel and master the most lively and fresh part of Chinese instrumental playing techniques. This might be where researches of Chinese instrumental techniques differ most from those on western orchestra instruments.

We admit that Chinese composers have created many successful traditional folklore instrumental works (including folklore orchestra music works.) However, it is very rare to see works which can fully activate and utilize the lively and rich functions of Chinese traditional instrumental playing techniques in the ensemble performances and achieve good effects. I think contemporary composers should pay more attention to cultivate the charm of “yun” which are embedded in traditional playing techniques and other related elements, and to entitle them with more vitality so as to create a new era of ensemble performances.

[I] Pay Attention to Observing, Experiencing and Standardizing the Traditional “yun wei (pleasing quality of tones)” and “yun lu (music rules which create pleasing quality and rhymes)” in Chinese Traditional Performance Art

There are not only different kinds of language systems in Chinese ethnic groups, but also various kinds of local dialect traditions which differ from each other very much in singing rhythms. Language environment extends its in-depth effects on the original formation and development process of folklore instruments and local music types, which are natural and inherent (same as what it has influenced on other performance types such as folklore songs, rapping performances and opera), and which decides the popularity and regionalism of the singing rhythms in folklore instrument performances. Feng Guangyu once listed in his work “Zhongguo Tongzong Minge (Chinese Folk Songs of Same Origins)” different styles and colors of five types of “Moli Hua (Jasmine Flowers)”, six types of “Fang Fengzheng (Flying the Kites)”, and eight types of “Xiu Hebao (Embroidering a Pouch)”. Meanwhile, we can also find many performances of same qupai (titles of repertoire songs) such as “Xiao Kaimen”, “Liu Qing Niang”, “Yin Niusi”, “Jiangyun Ling” and “Ku Huangtian” among over 260 local performance types which are still actively played on stages all over the country. They either have more differences than similarities, or more similarities than differences. Wherever they are different, they are affected deeply by the language environment and aesthetical philosophy of different regions in their process of development.

So-called “yun”, “yun wei” and “yun lu” originally, in poetry, refer to those harmonious rhyming words, embodying meaning and a variety of sweet tones and syllable schemes. However, they, in music, can be understood as the comprehensive impressions of factors in singing voices, tones and rhythms which are formed in a playing. It might be the representation of the decoration for a single tune, but can also be that for the combination of a series of tunes, and in a further sense, that for some music features in its formation process such as high or low pitches, densities, strength, and speed or the rhythm and cadence of the music. The special timbre of Chinese folk woodwind and stringed instruments and their complicated and subtle playing techniques create unique and rich “yun” and “yun lu” of traditional folk music in its development. Even in the ensemble of various single tunes played with Chinese folk percussion instruments and their beats there exist unpredictable rhythms.

There are over 100 traditional playing techniques for guqin (heptachord: seven-stringed plucked instrument in some ways similar to the zither), but if classified in simpler way, they are actually utilizations and combinations of three most basic timbres—“‘san yin (loose sound), “fan yin (floating sound)”, and “an yin (definite sound)”. Players use their fingers of right hand to make such basic actions as “supporting, mopping, plucking, rubbing, pushing outward, hooking, picking and beating…… *to achieve acoustics of different qualities; and use fingers of left hand to make such methods as “rolling upwards, rolling downwards, marching on, withdrawing, singing, rubbing, catching quickly with thumb and the first finger, using more strength to play …… ” to decorate lingering sounds so as to achieve different effects. It is believed that guqin players of different dynasties have created and accumulated complicated and lively playing techniques based on their own explorations for “yun.” There are not only rich playing techniques but also wide ranges of subjects in the three thousand traditional guqin works inherited from the past. There are all depictions of music themes that are necessary, including farewell, love, depression, generosity, anger, depth and serenity, luxury, solemnity…charming mood of poetry and painting, and natural sceneries. I think traditional Chinese music with guqin as the representative is always in exploration for “yun” in the combination and development of various music components. It seems to give us such impression that various presentations of “yun” not only have their regularity but also have considerable improvised elements, which is the liveliest part of the presentation method of Chinese traditional music art. Without such improvised elements, the presentation is considered to be dull, colorless and boring.

There are rich music elements contributing to “yun” in Chinese traditional folklore music requiring us to understand, classify, develop, innovate and comprehensively utilize. Many excellent performers and artistic works are normally praised as possessing “romantic charm”. What is “romantic charm”? The dictionary explains this word as “amiable and radiating disposition”. But this is very superficial explanation of its artistic meaning. There are more in-depth connotations which are internal and can only be felt by the heart but not easy to be explained by words. The fastmindedness, smoothness and excellence of music works and their performances present those artists’ wide and in-depth understanding and accumulation of techniques and knowledge of art.

[ll] Co-existence of Chinese Traditional Instrumental Playing Techniques and Elements of “Yun”

In traditional instrumental performances, some normal regularity and flexible improvising of “yun” and its presentations are obviously connected with natures of different instruments and of players themselves. Different types of instruments offer different objective conditions for the formation of “yun”. However, in the process of purposeful creation of “yun” when people play different instruments, there is phenomenon where players create similar “yun” and copy each other or exchange with each other despite of their different personalities and instrumental conditions.

In Chinese woodwind instruments’ performances, let’s take bamboo flutes and a kind of suona, a Chinese brass trumpet as examples. Techniques such as “hua yin (portamento)’ upwards or downwards can differ greatly in ranges and speeds. They are not simply used for ornament, but represent rich expressive connotations. Similarly, all kinds of playing techniques such as short “huashe”’ (rolling the tongues to create unique sounds) and long paragraphs of ““‘huashe” (rolling the tongues to create unique sounds), “duo yin (suddenly stopped sounds) ” of upper fourth pitch and that of powerful seventh pitch, powerful and rough flexible “die yin (repetitious tunes) , various kinds of “tu yin (sounds produced when players purposely stick the tongues in and out) ” and created by trembles of fingers, bellies and waving sounds are all closely related to the expressiveness, styles, personality and regionalism of the music. In order to create the power of tunes of a “heitou”—a male character in traditional Chinese opera, players of suona utilize the technique of “hou yin (sounds created by the resonance of throats)which creates double resonance effects and power normally achieved in “whistle music” and “throat music”??? of low and middle- pitched phoneme in Bejing Opera. People use various techniques in playing “Bainiao Chaofeng (Hundreds of Birds Paying Tributes to the Phoenix)” with suona which vividly copy the chirping of birds, and also create music with natural and sensible music structures. We also notice the continuous breathing technique that suona players use to make super-long tune in high pitches when playing “Bainiao Chaofeng (Hundreds of Birds Paying Tributes to the Peony)” and “qudi flute (a kind of flute mainly used for accompaniment of Kun opera) players use to play the long-reaching and continuous paragraphs of sonority in “San Wu Qi (Three, Five and Seven)” both displayed praise-worthy power of performance art.

Besides, some techniques of traditional sheng (including high-pitched sheng with keys) are also very unique. The simplified technique composed of smoothly flowing music of tunes in fourth, fifth or eighth pitch features a traditional Chinese origin. “Die yin” which features the technique of using fingers to rapidly touch and mop a group of randomly selected music holes to stress certain tunes can achieve strong musical and beat effects; Some mouth-playing techniques such as “hu she, “hua she” and “rou yin (sounds created when instruments are rubbed)’, and “bochan yin (sounds like trembling waves)” have considerable ornament and beautification effects for acoustics. Player Hu Tianquan first used portamento techniques in high-pitch zones of sheng, bringing new rhymes and charms to this traditional instrument.

There are over 70 traditional techniques with the left and right hands for playing pipa, one of the traditional Chinese pluck-and-stroke instruments. Besides the basic techniques for right hand such as “tan (stroke), tiao (pluck), gou (hooking), mo (mopping), lunzhi (rolling fingers), ban lunzhi (semi-rolling fingers, yao zhi (rocking fingers), gun zou (rolling strokes)” many other interesting techniques derive from different combinations of those basic ones, such as “clasper, sweeping . rowing, brushing”etc. When dense individual tunes form threads of music, effects of such different techniques as “lunzhi, jiatan, gun zou and yao zhi’on music qualities also differ from each other very obviously. The left hand can not only use “shi yin (very definite and clear sounds ), fan yin (not definite and somewhat floating sounds), and yin rou (continuous rubbing)…… ” etc. to create some basic phonemes, but also realize various kinds of portamento, which is richest in “yunwei ”, by using different techniques such as pushing, pulling and …… *to change the pitch of benchmarking tunes. Besides, there are other methods for portamento such as by using sounds such as. It is worth mentioning that there are some special playing techniques for pipa to create noises; for example, “Jiao xian (twisting the strings)” with different pressure and“pai (patting, ti (carrying up), zhai (picking), xu’an (slightly touching)’etc. create different acoustics and charms. (Those are some non-standard techniques that ancient players created in their own playing experiences.)

People usually use plectrum to play liuqin (a kind of pipa–like instrument in shape of willow leave) and ruan, and there are not so many complicated techniques for the right hand. However, techniques for the left hand can create much elegant and refined “yun wei’, same as those of pipa. For the same reason, guzheng, yangqin and sanxian, etc., all have very rich playing techniques which are different from each other, but most of those techniques are related to traditional “yun wei” or “yun lu”.

There are many kinds of stringed instruments of huqin (hu fiddle) category in China with erhu, gaohu, jinghu and banhu as most popular one, obtaining powerful status in local music types and opera music. The laws of fingers and bows of left and right hands for stringed instruments are not very complicated, however, their clever combinations extend direct effects on presentations of different natures and styles of music languages. In general, there is much space for free cultivation and exploration of the “yun wei” and playing techniques of instruments of huqin category. But some of those instruments (such as jinghu, zhuihu and banhu, etc.) are endowed with special localities in playing habits and utilization trend of techniques due to their close relationship with local opera music in the process of development. Of course, any music instrument has its limitations due to its natural shape and structural conditions; however, in relative limitations, people can concentrate on certain aspects of the instrument so as to create unique and powerful techniques contributing to “yun”. This reminds me the long development process of Chinese traditional folklore instruments in which ancient players not only absorbed exotic instrumental features and made courageous integration and innovation, but also fully understood the necessity and reliability to make better use of the advantages and avoid the disadvantages of those instruments within their respective natural ranges.

Chinese traditional percussion instruments can be classified into drum category, gong category, ba (cymbals) category and ban (panel) category and qing (percussion instrument usually made of metals) category, etc. They are various in types, wide in locations for their popularity, rich in combination methods, and colorful in expressiveness. Various bands of percussion instruments are always important parts that folk people use for self-entertaining celebrations.

Percussion music, as the base for folk dancing music rhymes and the pillar for “kungfu-related (martial art related) music chapters” in local operas, has always been extending irreplaceable effects on people’s life. Percussion music is widely used in operas and has many functions. It is with no exception that people use percussion music to pre-announce and depict any roles’ stepping on and off the stages, the sudden face-turning to the audience on stages, stage pose, dancing, stage walking, singing, acting, reading, and fighting, and to express people’s emotion and psychological movement, and to create stage atmosphere and various kinds of audio effects.

In traditional Beijing opera pieces, the drums and gongs’ sounds for pre-announcing roles’ stepping on or off stages, though being of somewhat formalities, are worth praising for the excellence of the utilization and exactness of the depiction. For example, if one lady with high social status is to be staged, usually it is the lento of “Xiaoluodan Shangchang (Xiaoluodan Enters on the Stage) that is played with bangu and small gongs due to the necessity to depict the lady’s sedateness and steadiness. If it is a lively girl to be staged, the music is usually the lively “Xiaoluo Changsitou”. If a teetering old grandpa is to be staged, slow drums of somewhat instability are to be used. If kings, emperors or generals are to be staged, combinations of “Yi Cuiluo ” 5 “Guiwei (Return to the Position)” with certain complexity in structures will be used to display their status and disposition. If some characters of clowns’ kind with lame legs or humps are to be staged, “tuxing luo (gongs stricken humorously as a timid rabbit jumping)” will be used. If devils or other ferocious and rough personas are to be staged, then short and quick drums and gongs in tunes of “Jiu Chui Ban (Nine and Half Hammerings)’, “Yin Luo (Feminine Gongs)” and“Ji Ji Feng (Dashing Wind)” will be used. If some personas 1n anxiety and restlessness or defeated generals, who have lost their helmets and armors, dragging their spears behind in failure are to be staged, then “Luan Chui (Chaotic Hammering)” played with three consecutive tunes and unstable beats will be used to depict their confused and agitated mien……. Percussion music has developed over long history on the stages of Beijing opera with thousands of experiences and innovations, and formed many classical models, which are of wonderful achievements though of somewhat formalities. This is the so-called “Luo Gu Jing (Bible of Gongs and Drums)” which is consisted of almost one hundred ways of playing drums and gongs. Much of the music played by such methods and the deviations and combinations of beats all display the colorful and abundant “yunlu” embedded in traditional cultures and traditions and folk people’s aesthetical philosophies. We may believe that the derivation and development of Chinese classical and traditional folklore music and playing techniques are always connected with musicians’ search for and explorations on “yunwei” and “yunlu’”. We need therefore carefully observe, feel, research on, summarize those traditional artistic materials and achievements and enlarge our eye-scopes so as to increase our abilities for comprehensive utilization and innovation.

[III] To Better Extend Functions and Advantages of “Yun” in Traditional Orchestra Ensemble Performances and Cultivate Potentials of “Yun.”

Elements related to “yun” are almost everywhere in Chinese traditional instrumental playing techniques. The individualized features of the timbre of many instruments, personalities of players and differences of various music schools, as well as the effects of localities are enough to bring strong individualism to the presentations of “yun” which is related to music language and playing techniques. Such features make them feel like ducks to water in the performances of local music or some traditional instrument ensembles, but are hard to enjoy themselves to the full in some large-sized contemporary orchestra performances. It is obvious that problems and situations in such performances are more complicated.

If current structures of traditional orchestra bands are talked about, we should say the innovation of Chinese instruments has been successfully increased their capacities for utilization and artistic expressiveness, and fortunately, has not had many effects on the utilization of “yun” in traditional playing techniques. If the composition work for ensemble performances and current performance situations are talked about, we should say it is not impossible for players to fully activate the functions of “yun” of the bands and group performance chapters. Currently, many music conservatories have almost reduced the inter-restrictions of different traditional schools, lessen the effects of primitive formations and regional ties of folklore music types on professional and technical education in traditional music instruments. In their professional teaching and learning, large amount of traditional techniques have been selected or removed and standardized, and the concept to unify and standardize performance techniques have been further acknowledged and strengthened in training and performances of professional music bands. This will surely restrain the technical individualism and personalized performance of players, and lay beneficial conditions for the unification of the group performances and bands. It is one important achievement that we should fully acknowledge. However, we should also admit that we might have, without any intention, lost some invaluable elements of traditional music in this process, which calls for our thinking and consideration. Why it 1s easier for our compositions and performances to be closer to western traditional concepts than to our own tradition in which Chinese “yunwei” and rhythms are everywhere has long caught our attention in the development process of orchestra bands of traditional instruments. This is obviously a contradiction full of doubts and guessing. Of course we can attribute this contradiction to factors such as the technical trends and basic disposition of the works and levels, and the endowed abilities to deal with any changes of the bands. However, the problem can’t be answered so easily. It must have involved many factories relating to the background and concepts.

We have made many exciting and inspiring achievements and also accumulated lots of experience and lessons in the past years in the composition work with traditional Chinese instruments. Many composers (especially some young composers) have conducted a series of successful experiments in artistic and technical fields, taking both the tradition and modernity into consideration.

In the fields of solo performances and concerto, Liu Dehai considerably innovate and expand the concepts of traditional playing techniques and elements of “yun” in his compositions of pipa pieces “Tian’e (Swan)”, “Lao Tong (Old Man)” and “Dishui Guanyin (Drip-Goddess of Mercy)”. Wang Zhongshan utilized man-made tunes to adjust the keynotes and fully made use of modern playing techniques in the guzheng piece “Ming Shan (Sea-Wave Mountains)”. Other examples include two pieces of “Erhu Kuangxiang (Erhu Rhapsody)” by Qu Wang Jianmin, three pieces of “Erhu Concerto” by Zheng Bing, huqin concerto “Huo J (Agnihotra)” by Tan Dun, band concerto ” Shen Qu (The Divine Comedy)” by Qu Xiaosong, flute concerto “Chou Kongshan (Sorry for Empty Mountains)” by Guo Wenjing, pipa piece “Chun Qiu (Summer and Autumn)”, erhu concerto “Ba Que (Eight Chapters)” and flute concerto ’Fei Ge (Flying Songs)” by Tang Jianping, zhong ruan (middle-sized four or three-stringed plucked musical instrument, named after Ruan Xian, a poet of the Western Jin Dynasty) concerto “Yunnan Huiyi (Memory on Yunnan)” by Liu Xing, and erhu concerto “Zhuimeng Jinghua (Search for Dreams in the Capital)” by Guan Naizhong.

Some works have been eye-catching in the field of bands’ ensemble performances, such as He Xuntian’s “Dabo River Caprice”, Yan Huichang’s “Soundsof Water”, Jin Xiand’s “Glimpses of Taklamagan Desert”, Guan Naizhong’s “Touring in Lasha”, Lin Lepei’s “Insects World”, Qian Zhaoxi’s “Searching for a Dream in West Lake’, Jing Jianshu’s “The Golden Sands”, Tan Dun’ s “Suite in Northwest”, Tang Jianping’s “The God of the Earth”, and Liu Yuan’s “Music Poetry of Uygurs”. Composers all have conducted explorations of different levels on the innovation of techniques and expansion of traditional rhythms. We seem to feel that composers are trying hard to catch the elements of “yun” in the traditional Chinese music and cultural treasure-house behind them. They also have in-depth considerations and successful innovations on the structures of impulses, compositions of motives, moving-about tonality as well as changes of timbres and acoustics and beats, and free exchange of horizontal and vertical structures. In this process, they have made beneficial experiments on some abnormal performance techniques in order to cultivate some new timbres.

I think our composers need to do more explorations and application work to cultivate and utilize traditional instrumental playing techniques more deeply and widely. Based on this, they can combine and integrate some useful concepts of modern and contemporary composition methods into their basic ones, and try to find a better cutting point or common platform between effectively expressing ideas by traditional techniques and upgrading the aesthetical consciousness of the audience. In that way, we can make another step on to open up a new era.

It is insufficient for people to physically feel astonished when they perform or listen to any types of music. It is the result to astonish and move their minds that composers dream of.

Finally, I want to list several subjects on the composition (including rehearsals) for ensemble performances of traditional Chinese woodwind and stringed instruments. Those subjects interest me as well very much and they are listed here for your reference.

1. Try to add ornaments of “yun” on some sounds and rhythms which are originally loose and straightforward.
2. Focus on increasing “yunwei and “yunlu” of the music threads and beats in their movements.
3. Try to increase elements of “yun (rhythms)” in the web.
4. Try various possible methods to integrate “yun” and other essential music elements.
5. Pay attention to the careful design of “yun” in standard and non-standard playing techniques.
6. Increase considerations of “yun (rhythms)” in the application of modern and contemporary composition techniques.
7. About the presentation methods of “yun” of the playing techniques in group performances of bands.
8. Try to achieve high tastes of technologies and art, and try to compose modern music works for the enjoyment of intellectuals and the general public.
9. Thinking in a converse direction in the composition process, techniques, expression and effects.

Conclusion

Composers should try hard to study, research, utilize and develop“yunwei ” and “yunlu” of traditional playing techniques of Chinese instruments, and to integrate the modern and contemporary composition methods with most valuable experiences of ethnic and folklore people as well as the most effective artistic methods. We need to continue inheriting the past and making innovations courageously, and set words to music in a rational, convincing and reasonable way. Let’s work hard in the field of ensemble performances of traditional woodwind and stringed instruments, making fresh seedlings in the hope of having rich and abundant harvests in the spring of new century.

Liu Wenjin is both composer and conductor, and former Director of China Theatre of Dancing and Singing Opera.

This article was a speech made by the author in March 2003 in the Hong Kong Conference of “Modern Survival Environment of Chinese Music and Its Development.”