Guzheng is an ancient Chinese musical instrument. It can be said that it is a national treasure of China. Guzheng, the Chinese Zither, is a traditional Chinese music instrument originated during the Warring Period over 2500 years ago in China. Guzheng belongs to the fretless zither family of plucked instruments. It is the predecessor of the Japanese koto, Korean kayagum and Vietnamese dan tranh. Guzheng shall not be confused with the guqin. Because of its melodic qualities, the Guzheng was extremely popular for both court and folk music.
In 20th century, guzheng has achieved historic development. Throughout the history, guzheng keeps its vitality by interweaving its music with rich folk foundation and creative performers in each generation. In the late 20th century, with the tremendous change of social and cultural environment, besides being continuously popular in the mass, guzheng music began to be taught in professional music conservatories. The mix of professional musicians and folk musicians produces an unprecedented improvements and enrichments in the guzheng music. The most outstanding example is the emergence of numerous new pieces. At the end of 20th century, guzheng has become the major Chinese instrument with richest pieces documentaries.
Most commonly, modern guzheng (after 1961) has 21 strings, tuned pentatonically (do, re, mi, so, la; D major) over 4 octaves. Very rarely guzhengs with lesser or greater number of strings are available: advanced players may use guzhengs with 23 or 26 strings. The strings are strung across the full length of the soundboard, over moveable bridges which transfer vibrations from strings to the soundboard and keep the strings from touching the soundboard. Their position, along with string tension, determines the pitch of each string.
Guzheng is placed horizontally on a special stand. Smaller guzhengs can be played on the musician's lap. In its early history it was played while placed on the floor.
Strings are plucked by fingers of the right hand using 4 special plectra (picks) attached to tips of fingers. Left hand is used to create half tones (as well as fa, ti) and tremolos (pitch bending), and sometimes also plucks the strings to compliment the melody. Some advanced players attach plectra to fingers of both hands, which is beneficial for plucking and protecting fingers of left hand from pain.
Some large volume instrument makers use ovens to accelerate the ageing process of the wu-tong in an attempt to increase profits. High-end luthiers consider this to be a deplorable practice, detrimental to the structure of the wooden grain.
Guzheng has a very large sound producing cavity, which is necessary for proper bass resonance. The top of the sound cavity (soundboard) is usually made from single piece of wu-tong wood ("Paulownia tomentosa"; named after Anna Pavlovna Romanov, the Queen of Netherlands and Grand Duchess of Russia). Higher quality guzhengs also use wu-tong for the bottom soundboard. The wood must be well aged, in order to minimize deformation and shape changes over time, weather and humidity. In many cases wu-tong wood aged for 1 year is quite adequate for crafting an instrument, however, patience can add a great deal to quality of sound (and price). Some large volume instrument makers use ovens to accelerate the ageing process of the wu-tong in an attempt to increase profits. High-end luthiers consider this to be a deplorable practice, detrimental to the structure of the wooden grain.
There are many good reasons why wu-tong wood is the best choice for guzheng soundboard: Wu-tong is very light and strong, has excellent resonant qualities and produces the most desirable sound. Of course, it also is a tradition to use wu-tong. Many guzheng manufacturers source wu-tong wood from Lankao County in Henan province. Lankao County has dry climate, so ideal for wu-tong trees.
The best wu-tong wood for soundboard is from the center of the tree trunk, and from the side which faces south. North side of the tree trunk is not usable.
Secret about selection of wu-tong wood from China's highest guzheng Master, Xu Zhen Gao: "The best wu-tong wood for soundboard is from the center of the tree trunk, and from the side which faces south. North side of the tree trunk is not usable." Depending on the size of the tree, one trunk can provide enough wood for only 1-2 high quality guzheng soundboards. It is no surprise that guzheng instruments with highest quality wu-tong soundboard (and also properly aged and properly shaped) can be quite expensive.
Extremely critical in guzheng construction are bridges. Their design, shape, material selection and manufacturing quality are crucial for producing most desirable sound. Ancient guzheng bridges were made from ivory (as were other parts of guzheng). Today, bridges are usually made from rosewood or zi-tan.
Other parts of the guzheng are less sensitive to wood selection, but mostly for appearance reasons, zi-tan, rosewood, sandalwood and other rare tropical woods are used most often.
