Discover the Beauty of Chinese Classical Music

Discover the Beauty of Chinese Classical Music is a blog that explores the beauty and history of traditional Chinese music.

The Origins of Chinese Classical Music

Chinese classical music is one of the oldest and most uninterrupted musical traditions in the world. With a history of over 3000 years, it is an integral part of Chinese culture. It is believed to have originated in the royal courts of the Zhou Dynasty (1046-256 BCE).

The Three Schools of Chinese Classical Music

Chinese classical music can be traced back over 3000 years ago to the days of the Zhou Dynasty. It was during this time that the first musical schools were established. These schools would go on to have a profound impact on the development of Chinese music and culture.

There are three main schools of Chinese classical music: theNorthern,Southern, andCentral Schools. Each school has its own unique style and repertoire.

The Northern School is known for its strong and powerful sound. The music is often very emotional, with a wide range of dynamics. The best-known composer of the Northern School is Cai Wenji, who lived during the Tang Dynasty.

The Southern School is known for its more relaxed and softer sound. The pieces are often shorter in length and have a more lyrical quality. The best-known composer of the Southern School is Bo Juyi, who lived during the Tang Dynasty.

The Central School is a combination of theNorthern andSouthern Schools. The music is often more restrained than that of the other two schools, but still maintain a high level of emotional expression. The best-known composer of the Central School is Su Dongpo, who lived during the Song Dynasty.

The Evolution of Chinese Classical Music

Chinese classical music is a genre of traditional music of China that developed over two millennia, encompassing a wide variety of styles and traditions. The origins of Chinese classical music can be traced back to the Zhou Dynasty (1046–256 BCE), when court musicians played an important role in royal ceremonies. From the Qin Dynasty (221–206 BCE) onwards, music became increasingly codified under the influence of Confucianism, with new works commissioned for specific occasions. By the Tang Dynasty (618–907 CE), Chinese music had reached its golden age, with famous composers such as Zhang Yue and Wang Zhenglin producing some of the most celebrated works in Chinese musical history.

During the ensuing Song Dynasty (960–1279 CE), Chinese music continued to flourish, with new genres and styles emerging, such as ci (poetic ballads), qu (folk songs), and kunqu (traditional opera). Classical music also began to be performed in a more formal setting, in temples and theatres rather than at court. In the late Ming Dynasty (1368–1644 CE), a new wave of composers emerged who were inspired by Western music, leading to the development of what is known as ‘national style’ classical music. This tradition continued into the 20th century, thanks to notable figures such as composer Xiao Youmei.

The Characteristics of Chinese Classical Music

The Five Tones

In Chinese classical music, tones (音 yīn) play a very important role. In traditional Chinese musical notation Zhang Huaisheng (張懷生) of the Southern and Northern Dynasties was the first to use the twelve notes of equal temperament. In his treatise On Music of the Qin (琴操 Qin Cao), he divided an octave into 12 notes: Do, Re, Mi, Fa, So, La, Si and high Do. These are analogous to C, D, E, F, G, A and B in Western music.

Five-Tone Scale
The most important scale in Chinese music is the pentatonic scale (五音 or 五线谱 wǔyīnpǔ), which consists of Do, Re, Mi (or Fa), So and La. This scale can be traced back to ancient times when it was used in folk melodies and court music. Examples of folk tunes using this scale include Yuèyáng Lǜchéng Qūn (月陽旅城群 The Flock of Wild Geese on a Moonlit River Bank) from the south-eastern province of Fujian and Huápéi Qǔfènghuáng (華佩曲鳳凰 The Phoenixes Wearing Flower Ornaments).

The Five Tones in Intervals
There are various ways of tuning the five-tone scale according to different intervals. The most common tuning methods are:
Do–So–Mi: an interval of a fourth
Do–La–So: an interval of a third

The Eight Tones

The beauty of Chinese music lies in its unique system of tones. In Chinese, tone not only refers to the pitch of a note, but also to its relative higher or lower position in relation to other notes in a scale, as well as its direction of change. There are two types of tones in Chinese music: level tones and changing tones.

There are four level tones, which are named after the four cardinal points: zhōng (“central”), shǎn (“up”), yáng (“down”), and qū (“empty”). These four tones correspond to the notes do, re, mi, and fa in solfege. The other four tones are named after the four seasons: chūn (spring), xià (summer), qiū (autumn), dōng (winter). These correspond to the notes so, la, ti, and do.

Tones can be combined to create eight possible melodic variations, which are collectively known as the “eight tones”. The eight tones are zhōngyáng ( do-mi), shǎnqiú ( re-ti), yángchūn ( mi-so), qūdōng ( fa-do), chūnyáng ( so-mi), xiàqū ( la-fa), qiúxià ( ti-la), and dōngchūn ( do-[high] so).

Each of the eight tones has a distinct character. Zhōngyáng is expansive and expansive; shǎnqiú is descending and restrained; yángchūn is rising and lacking; qūdōng is secluded but with majestic power; chūnyáng is elegant but melancholy ; xiàqū is deserted but desolate; qiúxià is lingering but with a sense of frustration ; dō ngchū n is forceful but heroic .

The Twelve Tones

In Chinese classical music, the twelve tones are called “erhuang” (二荒) and “gongcheng” (宮城). They are the foundation of all melody and harmony. The twelve tones are organized into a system of interrelated whole-steps and half-steps, similar to our major and minor scales. The only difference is that Chinese music uses a pentatonic scale, which has five notes per octave instead of seven.

The twelve tones can be divided into two groups of six: the upper six (“shang”) and the lower six (“xia”). The shang tones are associated with the five elements (wood, fire, earth, metal, water), while the xia tones are associated with the seasons (spring, summer, autumn, winter). Each group has its own unique character.

The shang tones are bright and energetic, while the xia tones are calming and introspective. In a typical Chinese piece of music, both types of tones will be used to create contrast and balance.

The relationship between the shang and xia tones is analogous to the relationship between major and minor keys in Western music. Just as a major key can be thought of as being “happy” while a minor key is “sad,” the shang tones are considered to be “positive” while the xia tones are considered to be “negative.” This is not always the case – sometimes a piece in a minor key can sound very happy, and sometimes a piece in a major key can sound quite sad – but it’s a general rule of thumb that can be helpful when trying to understand Chinese music.

One of the most important aspects of Chinese music is its use of embellishments. These ornamentations (called “yinnao” or “bendings”) add interest and complexity to a melody by altering the pitch of certain notes. There are four basic types of embellishments: trills (shu), turns (zhuan), slurs (ya), and vibratos (dong). Each one has its own distinct sound, and each can be used to create different emotional effects.

Embellishments are an integral part of Chinese music, and their use is one of the things that sets it apart from Western classical music. By adding ornamentations to a melody, Chinese musicians can create a wide range of expressive possibilities that would not be possible with just the basic notes alone.

The Instruments of Chinese Classical Music

Chinese classical music is a beautiful and unique genre of music that has been around for centuries. The instruments used in Chinese classical music are just as unique as the music itself. In this article, we will take a closer look at some of the instruments used in Chinese classical music.

The Qin

The qin is a plucked seven-string Chinese musical instrument of the zither family. It has been played for almost two thousand years in China and enjoyed by emperors and philosophers alike. Today, it is still an instrument of great cultural importance in China and one that is held in great esteem.

There are many different types of qin, but they all have a similar structure. The body of the instrument is elongated and usually made from a type of softwood, such as maple or pine. The top of the qin is usually curved, and the strings are stretched over it. The strings are plucked with the right hand, while the left hand is used to stop the strings on the fingerboard.

The sound of the qin is said to be ethereal and haunting, and its music has a very spiritual quality. The instrument has a wide range of dynamics and can be played very softly or very loudly. Qin music is often very meditative and calming, and it is said to be able to soothe the soul.

The qin is a complex instrument, with a great deal of technique involved in playing it correctly. However, it is also an instrument that rewards hours of practice with moments of great beauty and tranquility. If you have ever dreamed of playing an instrument that can transport you to another world, then the qin may be just the thing for you.

The Erhu

The erhu (pronounced “are-who”), is a two-stringed bowed musical instrument, and is sometimes known by its Chinese name, “huqin”. It is one of the most popular traditional string instruments of China, and has been played for nearly two thousand years. The Erhu can be traced back to the Tang Dynasty (618-907 AD), when it was known as the “huqin”, and was used as a court music instrument. The Erhu reached its height of popularity during the Qing Dynasty (1644-1911 AD).

The erhu consists of a wooden body with a snakeskin face. The face is attached to the upper part of the sound box, which is hollowed out of a single piece of wood. The lower part of the sound box is covered with animal skin. The two strings are attached to the top of the sound box and passed over a bridge before being wound around tuning pegs. The player holds the instrument horizontally and rests it on his or her lap, using a bow to play the strings.

The erhu has a wide range of tones and dynamics, and can be used to play both melodic and percussive passages. It is often used in solo or ensemble performances, as well as in traditional Chinese opera.

The Pipa

The pipa (pronounced “pee-pa”) is a four-stringed lute-like instrument that is plucked with the right hand. It has a pear-shaped body with a slightly bent neck. The instrument is held upright and sideways on the left leg with the strings facing the ground. The tuning is in fifths, and the strings are traditionally made of twisted silk.

The pipa has a long and rich history, having been mentioned in Chinese texts dating back over 2,000 years. It is thought to have originated in Persia and was brought to China by travelling musicians in the 7th century AD. The pipa quickly became popular at the imperial court and soon became an integral part of Chinese classical music.

Today, the pipa is still widely used in traditional Chinese music, as well as in more modern styles such as jazz and pop. It is a versatile instrument that can be used for solo performances or as part of an ensemble.

The Structure of Chinese Classical Music

The Four Movements

Chinese classical music is traditionally divided into four movements, or sections.

The first movement, known as the prelude, or caizi (彩子), is usually the shortest section. It is generally light and fast-paced, and serves to introduce the melodic themes that will be explored in the subsequent movements.

The second movement, zhong zi (中子), is typically slower and more lyrical in nature. This section often features a solo instrument or voice, along with accompanying instruments, playing the melody with a different feel or mood than in the prelude.

The third movement, fangshi (放式), is characterized by its faster tempo and greater sense of energy and vitality. This section may feature different instruments playing together in an ensemble, as well as various melodic themes being passed around among the performers.

The fourth movement, tingzhi (停式), is typically the longest and most dramatic section. It often features a gradual build-up of intensity, leading to a grand finale that brings the piece to a powerful close.

The Eight Sections

Modern Chinese classical music can be traced back to the qin, a seven-string zither, which was popular in the Zhou Dynasty (1046–256 BC). During the Tang Dynasty (618–907), court music reached its height of popularity and refinement. The melodies were elegant and regular, and the instruments, which included flutes, lutes, zithers and drums, were played in an ensemble. This type of music was called yanyue (“music of the Yang”).

During the Sung Dynasty (960–1279), a new style of court music emerged that was based on the earlier yanyue but with a greater emphasis on actually creating music, rather than simply playing it. This approach to music came to be known as shange (“lyric music”). The shange tradition continued during the Ming Dynasty (1368–1644) and into the Qing Dynasty (1644–1911).

One of the most important aspects of Chinese classical music is its structure. Most pieces are divided into eight sections, each with its own melody. These sections are then repeated several times over the course of the piece. This form is called da capo aria form, and it allows for a lot of flexibility in how a piece can be performed.

The first section is known as zhanglü (“opening statement”), and it usually introduces the main melody of the piece. The second section, called xiesheng (“elaboration”), develops this melody further. The third section, fulu (“coda”), brings the piece to a close.

The fourth section, xieshengqinlü (“elaboration of themes 1 and 2″), is where things start to get more interesting harmonically. This section features two conflicting melodic lines that are played simultaneously. The fifth section, shunlü (“transition”), links up these melodic lines and leads into the sixth section: zhanglüqinlü (“return to themes 1and 2″). This section features a return to the original melodic material from sections 1and 2, but with some variations added in.

The seventh section is called chuanshuoqinlü (��elaboration of themes 3and 4″). This section features two more conflicting melodic lines that are again played simultaneously. The eighth and final section is fengyunqinlü( “finale”). Thissection brings allof themelodic material fromthe previous sevensections together in one finalcadenza.

The Notation of Chinese Classical Music

The Tones

In Chinese music, tones (shengqiang 生腔) refer to the pitch of a note. There are 5 tones in total, with each tone having a different name, musical notation and use. The 5 tones are:

1. the first tone (gong 宫), also known as the low tone
2. the second tone (shang 商), also called the rising tone
3. the third tone (jiu 角), also called the falling-rising tone
4. the fourth tone ( ze 徵), also called the falling tone
5. the fifth tone (yin 阴)，also called the neutral or oblique tone

Tones are one of the most important aspects of Chinese music, helping to create its distinct sound. When singing or playing an instrument, it is essential to use the correct tones in order to create beautiful melodies.

The Pitches

Pitches in Chinese classical music are generally denoted by either solfège or note names. Solfège is a way of denoting pitches using syllables, and it is the most common method used in Chinese classical music. The seven syllables used in Chinese solfège are do, re, mi, fa, so, la, and si. These syllables correspond to the pitch classes C, D, E, F, G, A and B respectively. Note names are also occasionally used to denote pitches in Chinese classical music. The notes used are C (do), D (re), E (mi), F (fa), G (so), A (la) and B (si).

The Rhythms

In Chinese music, rhythms (or time) are categorized into different types according to the number of beats they have. The basic unit is known as a qu (formerly also called a ze in Taiwan).= Below are some of the more commonly used rhythmic types.

2/2 or 4/4: This is called du piece time and is used in fast-paced music such as martial tunes and many opera pieces.

3/4: This is called san piece time and is used often in folk music from various parts of China.

6/8: This rhythm, called liu piece time, is probably the most common one found in Chinese music. It can be fast or slow, but is usually associated with lively dance tunes.

9/8: Used primarily for slower-paced music, this rhythm is called jiu piece time. it’s used in various regional styles such as the nanguan music of southern China and the kunqu opera from the Jiangnan area.