Gu Zheng tuning

[gubaba]

I have received a few books of gu zheng music from aiyuechina. I have seen tuning for D and G but some of these songs are using F and C. I have also seen some "4's" and "7's" in the some of the music which tells me that the tuning is non-pentatonic, I think.

Where can I get information on the various tunings/modes?

[blueharp]

To answer, G is achieved by moving the F# bridge to the right to raise the pitch a half step (3 in D tuning). Some retuning of the strings may be necessary. Then that is now the 1 or G.

To achieve C you move the bridge for B (3 in G tuning, 6 in D tuning) and the bridge for F# to the right raising the pitches by one half step.

To get to F you move the bridge for E to the right raising it one half step in addition to the others.

A long time ago my guzheng teacher told me to ignore the key indications and play everything in the standard D tuning. It just makes life easier.

4 is made by pressing 3 to the left of the bridge. 7 is made by pressing 6. 4 and 7 are slightly higher in the Chinese scale than in Western one.

You will also see 4# and 7# meaning that you need to press a bit more.

In the D tuning:

4 = slightly sharp G
4#= slightly sharp G#
7 = slightly flat C
7#= slightly flat C#

The tuning remains pentatonic.

As far as I have been able to tell, there isn't very much written about modes in Chinese music. If I am wrong correct me!

Steve

[davidmdahl]

blueharp said:

As far as I have been able to tell, there isn't very much written about modes in Chinese music. If I am wrong correct me!

I think that it is safe to say that there is not much written about Chinese modes in English. I did find the following a while back:

research.umbc.edu/eol/8/dujunco/index.html

There is a misconception among some people that the Chinese pentatonic scale corresponds to the black keys of the piano. In reality, there are many pentatonic scales. Any five-note scale is pentatonic, and the notes do not need to match any of the pitches of the Western scales.

My understanding of Chinese modes is pretty shallow, and I would love to know more. I do know something about the Vietnamese modes, and it really helps to understand and perform the music better.

Best wishes,

David Dahl
Portland, Oregon