ORIGINAL ARTICLE

Playing Methods and Techniques of Pipa

WANG Can

College of Music, West Asia College, Zhengzhou University, Zhengzhou 450000, China
Abstract: Pipa is an important Chinese national musical instrument. It has the characteristics of strong performance,
rich techniques and rich playing methods, and plays an important role in the development of Chinese music. Pipa
has been in the history of the development of thousands of years since the introduction of the Western Regions. More
and more Pipa works have appeared in the view of people. The techniques and the playing methods of Pipa are the
focus of attention, which directly affects the Pipa. In view of this, this article focuses on the Pipa techniques and
methods of playing, hoping through this aspect of the discussion and research to promote the Pipa to the overall
progress and development.
Keywords: Pipa; Playing; Technique

Introduction
In the history of the development of Chinese musical instruments, since the introduction of Pipa from the Western
Regions, after continuous reform and innovation in China, the development has thousands of years of history. Pipa
has become the development of Chinese national musical instruments, the oldest and most representative instrument. In
the process of playing with the instrument of Pipa, the Pipa has the characteristics of softness, sound and music. In the
process of the creation of Pipa works, there is unlimited playing space because the Pipa techniques and playing methods
are more rich and varied. If the creation of the process did not put these techniques and playing methods, it is bound to
rise in the pipelines difficulty coefficient. Thus, in order to obtain high-quality Pipa works, in the creative process
creators to understand the Pipa techniques and playing methods and it is accurate and appropriate application to the
creation of works which is the focus of the entire creation of the weight.

1. Pipa Techniques and Playing Methods

Pipa techniques and playing methods are rich and varied, and difficult to grasp. In simple terms, it basically can be
divided into right-handed techniques and left-handed techniques. This chapter first applied to the Pipa in the techniques
and playing methods, to explore the composition of the right hand techniques and left hand skills.

Copyright © 2017 WANG Can

doi: http://dx.doi.org/10.18686/ahe.v1.466
This is an open-access article distributed under the terms of the Creative Commons Attribution Unported License
(http://creativecommons.org/licenses/by-nc/4.0/), which permits unrestricted use, distribution, and reproduction in any medium, provided the original work
is properly cited.

22 | WANG Can Advances in Higher Education

1.1 Wheel finger
Wheel refers to the right hand skills is an important part of the general refers to the five fingers alternating
fast-changing, is one of the components of the sound beat. Wheel refers to the most commonly used in a string, two,
three chords in the middle, four strings last, under normal circumstances, the use of two or three strings is relatively
small, while the string although the most convenient in the process of playing, but need to pay attention to the strings
thicker, playing out of the sound is more turbid, need a reasonable use. The use of wheel finger playing method is
divided into three aspects, one is to use one or two strings, the use of the two-wheel technique, the use of this technique
to play out the sound effect is more ideal; one or two fingers are used in order to play the three rounds of the wheel, this
technique is more unique in the pronunciation.
1.2 Sweeping and Brushing Techniques
Sweeping and brushing technique are right hand techniques, but also the most characteristic playing techniques. These
techniques can play a single, multiple, and even the chords of the sonic. The use of sweeping and brushing techniques in
the creation of the work process needs to pay attention to the following aspects: First, when sweeping and brushing
techniques in the process of playing sound, tension is large, not only can be weak play, but also can be hard play, but the
difference between the two is that the latter can show the characteristics of sweeping and brushing, and the former there
is no advantage of this. Brushing techniques should be paid attention to the use of strong play, in order to better depict
the uneasy, grand and intense scenes. Second, sweeping and brushing techniques in the course of the use of the general
four-stringed play, so the chord set to become sweep and brush the use of the key technology. If you want to use the
sweeping, brushing techniques in the process of the pursuit of music effects and tension, it must be set to set the four
chords, so to a certain extent, to achieve the purpose of the chord sound ideal. If the use of sweeping and brushing
techniques in the process to pursue the tightness of the pitch, it is only necessary to set the chord for playing three
strings. It is important to note that the player needs to avoid touching the other string and causing the burden of playing.
1.3 Rolling and Flexing
Rolling and flexing are also important components of the right hand techniques, which refer to continuous bouncing
that can be played on any string. These techniques can also be played on two adjacent strings, and flexure is the index
finger, middle finger back and forth plucked, which is the most commonly used in the middle finger, you can shake one
or two strings. Rolling can be used to play melody, can also be used to play the fabric, the intensity of the play can be
strong or weak, and the requirements of the string are not high, so that this playing method can play all kinds of sound.
This method of playing can also be used to play the sound, but the effect is far less than the wheel and roll, use this
playing method to play the sound, the sound of the sound intensity is full. Therefore, especially suitable for playing with
a very strong effort. On the other hand, it is necessary to use the deductive method to fully consider the characteristics
of the interpretation of their own characteristics, according to the needs of the expression of music, but also in the
performance of the music, accurate selection of the appropriate type, in order to effectively express emotions.
1.4 Pushing and pulling techniques
Pushing and pulling techniques are important components of left hand techniques. These techniques include left hand
horizontal push the strings to change the tone of the formation of the portamento. The creator in the creation of the
process need to pay attention to push, pull technology is more delicate, full of charm playing skills. Under normal
circumstances, this technology is used to express delicate music clips, not for the style of rough or majestic music. In
the same time, the effect of pushing and pulling is basically no difference, the creator in the creative process cannot be a
specific distinction, but need to pay attention to is to push, pull amplitude, push, pull the range should not be too large.

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Generally the most appropriate is to control the second or less, the taste of the sound is controlled, so as to better use
this technology. In the right hand push and pull the slide, you need to consider the problem of sound, the higher the
general tone of the sound is shorter, the effect of the portamento may be bad, so need to consider this issue, take some
measures to effectively solve. Thus, this promoting the overall progress and development.
1.5 Yin and Kneading Techniques
Yin and kneading techniques are also he important components of the left hand techniques The so-called Yin and
kneading techniques are mainly divided into two parts: Yin, rubbing two parts, and this technique is a large-scale
tremolo that changes the pitch, this technique can be completed within three degrees, where rubbing this technique
refers to not change the pitch of small amplitude tremolo, is generally played in the song decoration, polish the role of
rubbing this technique is in the two-tone on the use of more complex, and Yin this technique is less in the dual tone.
This technique is used to play the sound of the right hand, so in the process of creating Yin need to pay attention to the
problem of lingering, and rubbing this technique is mainly to get a rounded sound, so in the sound of playing music, the
player will be in accordance with their own understanding to arrange rubbing string, so in the process of creating a
kneading need to pay attention to this technique and give a certain mark.
1.6 Beating Skills
Beating skill is also an important part of the left hand technique. This technique refers to the left hand index finger,
middle finger or ring finger and little finger hook string, pitch for the index finger string, and hit this technique refers to
the index finger Press the string, the rest of any one finger singer. The use of techniques in Pipa works is also very
common in addition to being used independently. In the creation of the time need to grasp the tone and tone between the
interval relationships, with, playing skills can be slow or fast, you can play two or three tone of the decorative sound,
you can also play the multi-tone from the tremolo, the use of appropriate words can be harvested good effect. For
example, in the Pipa painting “Spring Silkworm” there is a band, playing technology used part, starting from the sound
as the beginning, the distance from the positioning of the second, in a string to complete the band, after playing to the
two strings to play in the same way. The formation of four tones composed of the flow of sound, each tone repeated four
times in the shift, so as to carry out a continuous play, get the music to express the voice, better to express the music
want to express the idea feelings, and promote the overall progress and development.

2. “Yi dance” as an example to explore the Pipa techniques and playing

methods
Whether it is Pipa’s left hand technique or right hand technique, these playing methods are complicated and difficult.
Therefore, on the basis of clarifying the technique and playing method of Pipa, this paper takes the Pipa “Yi dance” as
an example, to discuss the techniques and playing methods.
2.1 “Yi dance” Composition of the Content
“Yi dance” is created in 60’s. It is a specialty in Pipa works, not only has a high evaluation, but also by the broad masses
of the people are familiar with and love the national music. This Pipa works are unique whether in the playing skills or
music material selection. The author of “Yi dance” is HuiRan Wang. This song in the process of creating more to learn
from the traditional set of “Wenqu” performance techniques and characteristics, but also with the development trend of
the times, with a clear out the new meaning is one of the representative works in Pipa’s works. The emergence of “Yi
dance” plays an important role in the creation of Pipa, the innovation of playing techniques, the opening and expansion

24 | WANG Can Advances in Higher Education

of the performance of Pipa solo. Therefore, it is of great significance to discuss and study the relevant aspects of “Yi
Dance”.
2.2 “Yi dance” in the Composition
“Yi dance” is divided into three parts in the form of music, the structure of its song is composed of the introduction and
the three sections. The introduction around the tuning of the main tone A, the use of melodious tone to show the main Yi
quiet living place, playing is half round to long round change, in the way with a double-chord to play the melody, from
slow to fast start, and thus play the role of rendering atmosphere. The first part is the whole song theme. In
the beginning, the gentle half-round played the elegant decorative sound type, just as the breeze gently blowing the
same, the evening wind and carrying a burst of flute, this burst of melodious flute as if the hard work of the farmers go
home. The second part of a large section of the music is in front of the theme of music on the basis of the application of
multi-segment structure combined with six short pieces of the creation of the melody is in the lute of the first and
second strings, according to Yi folk music “smoke box music” to change, and to be processed to create, through the
Pipa playing, vivid description of the Yi girl in the moonlight under the dance scene, but also for the back of the music
to do pave the way. The third part is to describe the scene is quieter than the first paragraph. The use of Pipa in the main
chord to play a series of overtones, in order to express a specific scene.
2.3 “Yi dance” playing method
"Yi dance" in the use of traditional techniques used in the traditional Pipa in the left hand commonly used techniques,
such as push, pull techniques and Yin, kneading techniques, but also applied to the right hand techniques, especially the
right hand skills in the wheel is widely used. This is due to “Yi dance” on the volume requirements of the high volume
changes and nail resistance through the string is closely related to the relationship between the two is proportional to the
volume changes, nail resistance through the string to enhance, and vice versa . Therefore, in the “Yi dance”
interpretation of the use of wheel finger this fingering, the Pipa expression to the limit. Among them, the “Yi dance”
second, fifth and seventh paragraphs are used to hook the wheel of the fingering, and hook pick round is the
combination of hook and pick round together to form a complex type of fingering. “Yi Dance” in the final use of the
double-chord wheel of the fingering, and the first paragraph echoes, which clearly reflects the song's complex three-part
structure.

Conclusions
Pipa as the most expressive instrument of Chinese national musical instruments, in the techniques and playing methods
is the difficulty of writing is also the focus of play. This article mainly discussed the Pipa techniques and playing
methods, in the analysis of Pipa techniques and playing on the basis of the “Yi dance” as an example to explore and
promote the overall progress and development.

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5. Tian Y. After the founding of the development of Zheng music [D]. Shanghai Institute of Music 2015
6. Chen H. Xiangguo area Miao Drum performance art [D]. Central Conservatory of Music 2015

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