The notation of guqin - the "missing" dynamic and articulation

In qin notation that I have discussed in the previous article, for either a single pitch or a complete sonic event. Chou (2007) interrupted the qin notation, the components of each ideogram-like symbol specify not only pitch, articulation, timbre, dynamics, and so on, but also additional information such as vibrato or other forms of pitch modification after the articulation. 

Chou did not explain how the Jianzipu tablature indicates articulation or dynamics. Since my books about Chinese music have arrived. So I have can explain better.

In western notation, we use symbols for articulation like staccato, accent, marcato slur etc; for dynamics, we use text f, p, mf, mp, etc.  The western notates the result. On the contrary, the Jianzipu notates the method, no dynamic or articulation is directly notated. 

In Jianzipu  the information in each ideogram contains:

  • which finger on the left hand (at the left upper corner of the ideogram)
  • position of the left hand (at the right upper corner)
  • right-hand technique to pluck, strum, mute, etc, make the sound (at the middle)
  • on which string (at the bottom)
If using the thumb to pluck the string, it is louder and more articulate; vice versa with the ring finger, it is softer and less pronounced. Plucking outward or inward has a similar effect respectively. The different combinations, it can create diverse articulation or dynamics. That is how Jianzipu instructs the process.

Chou, W. (2007). Whither Chinese composers? Contemporary music review. [Online] 26 (5-6), 501–510.

Zhu, X. G. (2015). Chinese folk instruments instrumentation. [Minzu Guanxian yuedui yueqi fa]. 4th Edition. Soochow: Soochow University Press. 

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