感受中国乐器法中“韵”的传统魅力

刘文金

引言

认真学习、研究中国乐器法，细心体察“韵”的传统魅力，是当代作曲家在从事民族器乐创作过程中不可忽视的重要环节。

瞭解和熟悉各种中国乐器的基本构造、基本性能、基本演奏方法以及有效音域、不同音区的音色变化等等，应是很必要的。否则将心中无数，难以下手，但如果仅此而已，那也将显得不够充实而往往留下许多遗憾。这就需要我们在研究、分析各类（特别是那些具有代表性的）乐器繁複而有趣的演奏技法中，体验与规范其各种“韵”的元件及其形成过程，进一步感受与掌握中国乐器法中最生动、最鲜活的那个部分。这可能也是同我们在研究西洋管弦乐队乐器法的概念中最重要的区别。

应当充分肯定，作曲家们曾经写过许多成功的民族器乐（包括民族管弦乐）作品，但是在合奏艺术中，能够充分地运用、调动、发挥乐器传统技法中所具有的生动而丰富多彩的功能，并取得良好效应的作品，并不多见。我以为，当代作曲家应当注意开掘民族乐器传统技法中所蕴藏和关联的“韵”的魅力，并在运用过程中赋予新的生命力，以展现合奏艺术的另一种天地。

一、应注重对中国乐器演奏艺术中传统韵味和韵律的观察、体验与规范

中国不仅有著多民族的不同类别的语言体系，而且还存在在著腔韵纷呈、差异极大而顽强的地域性的方言传统。在民间乐器和地方乐种的原始形态及其发展过程中，语言环境对其有著天然的与生俱来的深刻影响（犹如对民歌、说唱、戏曲等音乐语言和形态的影响那样），从而决定了民间器乐演奏中腔韵痕迹的普遍性及其色彩的地域性特徵。冯光钰在《中国同宗民歌》一书中，曾列举了全国各地流传的五种《茉莉花》、六种《放风筝》和八种《绣荷包》的不同风格与色彩的变异；同样，我们从全国各地仍活跃在戏曲舞台上的二百六十多种地方剧种里，也能找到《小开门》《柳青娘》《银钮丝》《将军令》《哭皇天》等许多同名的曲牌。它们之间有的是大同小异，也有的是小同大异。但无论其差异的大小，其演化过程也同样会受到不同自然地域和语言环境以及审美意识的深刻影响。

所谓“韵”、“韵味”和“韵律”，在诗歌中原来是指和谐的声音、含蓄的意味以及声韵和节律的各种组合，而在音乐中则可理解为声腔、音调和节奏因素在流动中所形成的综合印象。它可能是对单个音种装饰的体现，可能是对一串音组合方式的体现，进而还包含著音乐在形成过程中的高低、疏密、强弱、快慢（或抑、扬、顿、挫）的某些特徵。我国民间管弦乐器的特定音色及其繁複而微妙的演奏技法，在发展中造就了民间音乐丰富的韵味和韵律。即使在我国民间打击乐各种单音色的组合及其节奏中，也充满著变幻无穷的韵律。

古琴的传统演奏技法多达百馀种，但简要规范之，则是运用“散音、泛音、按音”等三种不同的基本音色及其相互结合，右手以“托、擘、挑、抹、剔、勾、摘、打……”等基本指法取得不同质量的音响，左手则以“上、下、进、退、吟、猱、绰、注……”等不同的方法来修饰馀音，获得不同的效果。可以认为，历代琴家根据自己对“韵”的探索，创造并逐渐积累了繁複而生动的演奏技法。在三千首传统琴曲的遗产中，不仅技法丰富而题材也十分广泛。离别、爱情、忧伤、慷慨、激愤、幽深、华丽、庄重……诗情画意、自然景色等音乐形象的描绘，几乎应有尽有。我认为，就以古琴为代表的中国传统音乐而言，在构成音乐各种要素的结合与流动中，始终伴随著对“韵”的追求。传统音乐似乎给我们留下了某种概念：即“韵”的千姿百态，既有其规律性，也有其相当自由的即兴因素。这是我国传统音乐艺术表现手段中最生动的部分；反之，则可能被认为苍白、乏味。

在中国古典的民间传统音乐中，蕴藏著异常丰富的“韵”的元素，需要我们去认识、归纳、去拓展、创新，去综合利用。出色的表演艺术家和某些艺术作品，往往被人们讚誉为充满“神韵”。何谓“神韵”？词典中解释为“神采和气度”。但这似乎只是某种艺术表象的解释，其实更深层次仍然存在著某种可意会而妙不可言的内涵，并非外在之物。在音乐作品及其表演过程中的思维敏捷、乐韵畅达、出神入化，自然包含著艺术家同技术和艺术相关的宽阔的知识素养和深厚的文化底蕴。

二、中国乐器传统技法与“韵”的元素相依共存

在传统器乐的演奏中，“韵”的一般性规律和灵活的即兴性及其表现方式，自然与乐器类和演奏者自身的习性等因素密切相关。乐器品类的不同演奏方式，为“韵”的形成提供了不同的客观条件。但是，在不同的乐器品类精心营造“韵”的过程中，除了个性化的差异外，也存在著某些趣味的共同性和相似性及其相互之间的交叉、模仿等现象。

在中国吹管乐器的演奏中，以竹笛类和唢呐类为例。其不同幅度与速度的上、下“滑音”变化多端，并非单纯的装饰性，而具有丰富的表情意义。同样，短暂的“花舌”（滚舌）与长句或大段的“花舌”，以上方四度乃到七度迅猛装饰的“剁音”，强烈而粗犷的上、下“历音”，灵巧的“叠音”和“打音”，各种“吐音”以及由指震音、腹震音、波浪音所形成的“吟音”和“飞指颤音”等所有演奏技法，都与音乐的表情、风格、个性以及地域性色彩息息相关。唢呐为了在中低音区模仿京剧黑头腔调的气势，艺人们便採用了哨音、嗓音複合共鸣的“喉音”奏法。

唢呐在《百鸟朝凤》中所施展的种种技法，除了维妙维肖地模仿各种鸟鸣外，它们在音乐结构自然而合理。我们还注意到，即使唢呐用循环呼吸的技法在《百鸟朝凤》高音区所展示的超长音，曲笛在“三五七”中用循环呼吸法所演奏的悠长的、连绵不断的华彩段落，也具有令人讚叹的炫技般的艺术表现力。

此外，传统笙（包括高音加键笙）的某些技法也很有特色。由四、五、八度构成的平行流动的简技法，带有天然的中国传统色彩；用一组任意音孔的迅速抹打来强调某些音的“叠音”，具有强烈的音响与节奏效果；其口内技巧中所常用的“呼舌”、“花舌”和“揉音”、“波颤音”等，对于音响和色彩也颇具装饰、美化的效能。演奏家胡天泉率先在笙的高音区运用了滑音技巧，为这件传统乐器的演奏艺术，增添了一种新的韵味和情趣。

我国弹拨乐器中的琵琶，其左右手的传统演奏技法多达七十馀种。除了右手的“弹、挑、勾、抹、轮指、半轮指、夹弹、摇指、滚奏……”等基本弹奏方法外，它们之间的不同组合又衍生出许多有趣的技法，如“分、摭、扣、扫、划、拂”等。在由密集的颗粒构成音的线条时，“轮指、夹弹、滚奏、摇指”等不同技法对音色的影响，也存在著明显的差异。左手除了用“实音、泛音、吟揉……”等办法对基本音位进行操作外，而最有韵味的各种装饰性的滑音，是由“推、挽、纵起……”等不同技法来改变本位音音高的方式实现的。此外还有“进、退、绰、注、虚绰、虚注”等音或虚音的滑动办法。值得一提的是，在琵琶传统技法中还创造了一些噪音的特殊演奏方法。如具有不同紧张度的“绞弦”以及不同音响和意趣的“拍、提、摘、虚按”等等（这应当属于古人在演奏实践中创造的非常规技法）。

柳琴和阮类的弹奏虽然採用的是拨片，右手没有如琵琶那样繁多的技法，但其左手的技法几乎同琵琶一样可以营造出许多委婉、细腻的韵味。同样，古筝、扬琴和三弦等不同类别的乐器，也拥有极其丰富而各具特色的演奏技法，其中大量的技法都同传统“韵味”或“韵律”相关。

我国胡琴类的拉弦乐器品种很多。影响面较广的如二胡、高胡、京胡、板胡……它们在地方乐种和地方戏曲音乐中都佔有举足轻重的地位。拉弦乐器左右手的指法与弓法的技术类别并不繁杂。但是，它们的巧妙结合却对音乐语言的不同性质与风格的表达有著直接的影响。从总体上看，胡琴类的演奏技法及其对“韵味”的追求，易于发挥和发展的自由空间较大。但其中的某些乐器（如京胡、坠胡、板胡等）由于其发展过程同特定的地方戏曲音乐品种密切相关，使其演奏习惯以及技术发挥的倾向也带有某种特定的地方色彩。当然，任何乐器自身的构造条件，也同时决定著它技艺施展的局限性，但有时在相对的局限中，却能以集中锤炼出鲜明而浓烈的与“韵”相通的演奏技法，进而使我想到，我国传统的民族乐器在漫长的发展过程中，不仅善于大胆吸收，内外参照，博採众长，创新与较量，而且也深深懂得自身在相对的有限条件中，扬长避短的必要性与可靠性。

我国传统的打击乐器大体可划分为鼓类、锣类、钹类、板类以及钟磬类，等等。其各类品种繁多，地域分佈广阔，组合方式多样，表现力极为丰富。各地的民间打击乐组合，历来是民众文化生活中自娱自乐和节庆喧闹的重要部分。打击乐作为民间歌舞中节律的基础和各类地方戏曲音乐中“武场”的支柱，始终发挥著不可替代的作用。

打击乐在戏曲音乐中的应用及其功能十分广泛。任何角色的上下场、亮相、身段、舞段、台步、唱、做、念、打以及人物情绪、心理动态、舞台气氛和各种音响效果等，几乎无处不是用打击乐来配合、刻划与烘托的。

在京剧传统剧目中，就人物上下场的锣鼓点而言，虽然有其程式化的因素，但其运用之巧妙、描绘之准确，却令人讚叹。一位有身份的女性上场，因其端庄稳重，就用板鼓、小锣打出节奏舒缓的“小锣旦上场”；而一个活泼的小丫头上场，则用轻快的“小锣长丝头”；步履蹒跚的老公公上场，用悠缓而不太平稳的鼓点；如帝王将相之类的人物上场，为表现其身份气度，需要结构稍微複杂些的“一锤锣”与“归位”结合使用；表现跛腿、罗锅等丑角类的人物上场用“兔形锣”；妖魔鬼怪或某些凶猛粗暴的人物上场，要用大锣，以急促紧张的“九锤半”、“阴锣”、“急急风”等锣鼓点子表现；慌张焦急的人物或者丢盔卸甲、拖枪败阵的将领上场，则往往用含有三连音且节奏不稳的“乱锤”来表现其紊乱的神态……打击乐在京剧音乐舞台上经历了长期的千锤百炼的艺术实践，创造了许多虽业已程式化了的经典模式，但却是十分精彩的艺术成果。这就是大约拥有近百种锣鼓点子的“锣鼓经”。其中有许多音色与节奏的变化、组合，都饱含著民族文化传统中及其审美意识倾向中异常丰富的“韵律”。

可以认为，在我国古典和民间传统音乐及其演奏技法长期演化与发展的过程中，始终贯穿著演奏家们对“韵味”、“韵律”的追求和探索。我们应当去认真观察、体味、研究、归纳、扩大对传统艺术和技术材料的视野，增强综合利用与创新的能力。

三、在民族管弦乐合奏艺术充分发挥“韵”的功能优势，努力开掘“韵”的潜在能力

在中国传统乐器的演奏技法中，同“韵”相关联的因素几乎无处不在。许多乐器音色的个性化特徵，传统流派之间的差异和演奏家自身的习性，以及地域性色彩的影响，足以使得同音乐语言和演奏技法相关联的“韵”的形态也带有强烈的个性化特徵。这种特徵，使它在地方乐种或某些传统器乐组合中如鱼得水，而在现代大型民族管弦乐群体化的演奏中却难以尽兴。不言而喻，所遇到的情况和问题要複杂得多。

从当前民族管弦乐队的构成来看，中国乐器的改良成果，大大扩展了它的技术发挥和艺术表现力。所幸的是，对传统技法中“韵”的施展并无多大影响。就乐队合奏艺术的创作和演奏状况来讲，充分调动乐队和群体声部中“韵”的功能虽然问题很多，但也并非不可能。目前情况是，音乐院校在民族器乐的专业技术教学中，已基本打破了传统流派在技艺方面的相互制约，淡化了某些民间原始形态和地域色彩对专业教学的特定影响。在专业技术的教研过程中，对大量的传统技法已有所筛选和规范。演奏技术的统一和规范化的概念，在专业乐团的训练与实践过程中，得到了进一步的认定和加强。对演奏员自身绝对个性化的技术习性和倾向性必然有所遏制。为乐队整体和声部群体的协调统一提供了许多有利的条件。这是需要我们充分肯定的重要成果。但也应该承认，在此过程中，我们可能在无意中已经失去了传统音乐中某些可贵的东西，值得我们思考。早已引起大家注意的是，在民族管弦乐队的发展过程中，何以使得我们的创作与演奏向西方某些传统观念靠近进似乎较为容易，而编创和演绎充满中国韵味和韵律的作品反倒比较难？这显然是一种令人费解和发人深省的矛盾。当然，我们可以讲其主要问题在于作品技术倾向和基本质素以及乐队的水准和应变能力等等原因。但问题并非如此单纯，可能还涉及许多有关背景和理念方面的问题……

若干年来，在民族器乐的创作方面已经取得了很多令人鼓舞的成就，同时也积累了许多经验和教训。其中已经有不少作曲家（特别是青年作曲家）在传统与现代的思考中，进行了一系列卓有成效的艺术和技术的实践。

在独奏与协奏曲领域，刘德海在琵琶曲《天鹅》《老童》和《滴水观音》等创作中，对传统技法和“韵”的元素进行了适当的扩展与创新；王中山在古筝曲《溟山》中，採用了人工调式定弦并充分发挥了筝的现代演奏技法。还有王建民的两首《二胡狂想曲》，郑冰的三首《二胡协奏曲》，谭盾的胡琴协奏曲《火祭》，瞿小松的管乐协奏曲《神曲》，郭文景的笛子协奏曲《愁空山》，唐建平的琵琶协奏曲《春秋》、二胡协奏曲《八阕》以及笛子协奏曲《飞歌》，刘星的中阮协奏曲《云南回忆》，关乃忠的二胡协奏曲《追梦京华》等。

在乐队合奏领域，有些作品也早已引人注目。如：何训田的《达勃河随想曲》、阎惠昌的《水之声》、金湘的《塔克拉玛干掠影》、关乃忠的《拉萨行》、林乐培的《昆虫世界》、钱兆熹的《西湖梦寻》、景建树的《金沙滩》、谭盾的《西北组曲》、唐建平的《后土》、刘湲的《维吾尔音诗》等。这些作品在技法的创新和传统韵律的扩展等方面，都进行了不同程度的探索。似乎可以感觉到，作曲家们从自己背后的民族音乐文化传统的宝库中，正在努力捕捉“韵”的元素；在动机的构成、调性的游移以及音色、音响、节奏的幻变与纵横结构的自由化等方面，也有著较为深入的设想并取得了成效。在此过程中，为开掘新的音色，对一些非常规的演奏技法也进行了有益的尝试。

我认为，就从对民族乐器传统技法进行更深入的发掘和运用等方面的状况而言，作曲家作仍需进行更多的探索和实践。在此基础上，在创作的基本理念中，将近现代创作技法中有用的思维方式，同传统技法中有效的表现手段，以及同提高听众的审美意识之间，找到一个更好的切入点或者纽带。登上另一层台阶，开闢另一类境界。

当人们演绎或欣赏任何形态的音乐作品时，倘若仅在感官上令人震惊或令人震动，恐怕还显得不够，如能进而在心灵上使人震憾、使人感动，方为作曲家们梦寐以求完美结果。

最后，我想就民族管弦乐合奏艺术的创作（包括排演）方面提出几项本人也感兴趣的课题，仅供各位参考。

1、可尝试将本来疏散、直白的音和点，加以“韵”的修饰；

2、著意深化线条与节奏在流动中的“韵味”和“韵律”；

3、在织体中努力丰富“韵”的含量；

4、尝试“韵”同其他音乐要素融合的各种可能方式；

5、注意对常规与非常规演奏技法中“韵”的精心设计；

6、在近现代创作技法的应用中，增强对“韵”的思考；

7、关于乐队的群体声部在演奏技法中“韵”的表达方式；

8、在当代音乐作品中，技术、艺术的高品位与雅俗共赏；

9、在创意、技法、发表、效应等实践过程中的逆向思维。

结语

作曲家应努力学习、研究、运用并扩展中国乐器传统演奏技法中的“韵味”、“韵律”。将近现代创作技法同民族、民间最宝贵的实践经验和最有效的艺术手段有机地结合起来。需深入继承，大胆创新，言之有物，行之有理。在当代民族管弦乐合奏艺术春意盎然的园林中，辛勤耕耘，培育生动而鲜活的秧苗，收穫世纪之春的丰硕成果。

刘文金，作曲家、指挥家，原中国歌剧舞剧院院长

此文为作者二○○三年三月在香港“中国音乐在现代生存环境及其发展”研讨会上的发言

刘文金：

前中央民族乐团团长

中国歌剧舞剧院院长、艺术指导

中国音乐家协会创作委员会副主任

中国音乐著作权协会常务理事

中国民族管弦乐学会副会长

中国国家大剧院艺术委员会委员

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.”