Chinese Classical Music

Chinese classical music has a deep history prior to being introduced to western standard instruments. Like Korea in 2008 allowing a tour of the New York Philharmonic within its borders. China Opened during the 1970’s up until this point there was a crackdown on the entrance of western music into the Chinese Society. However today China invites the west with open arms in regards to music and more than likely as countries share each other’s talents, there will be a large pool to pull from of talented musicians coming from this sleeping giant. Its musicians are and have been trained and steeped in classical music tradition instruments and incorporating their own versions will be a treat in the coming years to say the least. As the western culture is meshed into the Asian culture, the sounds will be rich and vibrant taking the levels of creativism to new heights!

Several instruments that could have this profound effect when we consider, the pentatonic scale along with melodic effects are the Dizi a flute constructed out of bamboo and use six holes and a blow hole along with a membrane hole with allows for a rich piercing sound as the result of its construction. The origin of these wind instruments dates back well past 2000 years, during the Han Dynasty was its hay day due to the bright varied sound it produces. Recently it has started to emerge more and more within the local operas and has made its way across the pond to western operas as well. The main difference in the Dizi compared to other flutes around the world is the pliant reed membrane that covers certain holes on the flute itself.

Two new players that have wonderful sounds and when they are implemented will add beautiful accompaniment to Asian opera within the west. These instruments are the Erhu and Guqin. The Erhu has several different varieties and was very popular during the Yuan dynasty which was during the 15th century. This instrument has 2 strings and mainly used for folklore performances. Within the Chinese orchestra this will be a key player in producing the sound that the culture resonates with. It uses a main bow with a long narrow stem with the resonator covered in snakeskin. The fiddle is held in the upright position in the center of the musicians lap as the bow made with horsehair moves back and forth at the musicians will. The Guqin a seven stringed instrument that is plucked like various other instruments. It defines the oriental culture and has had a great deal of notoriety in various dynasties such as the Tang, Song, Nanbei, Qing and Sui dynasties The pentatonic scale is set due to the seven strings thickness with the thicker string on the outside.
A Chinese music ensemble would include the Dizi Guqin but let be clear Asian music has a wide range that addresses several different genres with music stemming from vast array of ethnic groups throughout it s regions. China reportedly has over 56 ethnic artistic customs with Cantonese composition or Peking opera as two of the most celebrated examples. Also, the Han culture holds roughly 96% of the total populous their musical heritage without question would be the richest of all the provinces within China. The music of China is divided into eight categories they are called bayin which means eight tones. The representations are: metal, stone, bamboo, gourd, membrane and wood. While you have these eight tones, most musical ensembles that you may not hear are three consisting of stone, or chimes bell or metal and wood. These sounds were used more during the imperial courts and not a part of the common folks usage. The common folks used the dizi and erhu which are very popular today.

Western music has influence the refinement and the production of professional group ensembles. The favored solo instruments are as mention before the erhu and dizi; these are taught at the conservatories allowing for new and inventive ways to play the instruments meshing ancient techniques with modern methods to producing very interesting sounds. Harmony and chromaticism have influenced the playing of these instruments, but have been incorporated into the new compositions and concerto along new methods to create other instruments. One can only imagine the sounds coming from this giant that has been sleeping for some time? During the 1950’s thru the 1970’s a type reformation has taken place with production of new instruments which have reached powerful octave range just by adding little here and there. One waste with bated breath as this instrument yields the awesome potential awaiting the musicians hand to start playing.

D.Ford