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The zheng (pinyin: zhēng; Wade–Giles: cheng) or guzheng (Chinese: 古筝; pinyin: gǔzhēng; lit. 'ancient zheng'), is a Chinese plucked zither. The modern guzheng commonly has 21, 25, or 26 strings, is 64 inches (1.6 m; 5 ft 4 in) long, and is tuned in a major pentatonic scale. It has a large, resonant soundboard made from Paulownia wood ...
The koto (箏 or 琴) is a Japanese plucked half-tube zither instrument, and the national instrument of Japan. It is derived from the Chinese zheng and se, and similar to the Mongolian yatga, the Korean gayageum and ajaeng, the Vietnamese đàn tranh, the Sundanese kacapi and the Kazakh jetigen. [1]
A man playing the đàn tranh beside the singer. The đàn tranh (Vietnamese: [ɗâːn ʈajŋ̟], 彈 箏) or đàn thập lục [1] is a plucked zither of Vietnam, based on the Chinese guzheng, from which are also derived the Japanese koto, the Korean gayageum and ajaeng, the Mongolian yatga, the Sundanese kacapi and the Kazakh jetigen.
The guzheng is a Chinese plucked zither. Generally, it has 18 or more strings and movable bridges. Performers use picks to play this instrument and they are known as "daimao". Performers can play guzheng with both hands with different skills. There are usually a few guzheng members in a Chinese Orchestra, but it can also be played as a solo ...
Traditional Japanese musical instruments, known as wagakki (和楽器) in Japanese, are musical instruments used in the traditional folk music of Japan. They comprise a range of string , wind , and percussion instruments.
Henan is a central province of China, known for an unusual way of playing the guzheng; the technique, known as you yao, consistings of using the right hand to pluck the strings, starting from the movable bridge to the fixed bridge, while using the left hand to press the strings at the other end, creating a rich and dramatic sound effect.
Arabic qanuns are usually constructed with five skin insets that support a single long bridge resting on five arching pillars, whereas the somewhat smaller Turkish qanuns are based on just four.
Liang had much to do with the revival of the guzheng in the 20th century, helping to establish the instrument as one of the major Chinese traditional solo instruments, as well as a component of the Chinese orchestra. Throughout his life, he preferred the older steel string version of the instrument.
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