As a traditional national musical instrument in my country, the guzheng is arranged according to the pentatonic scales of Gong, Shang, Jiao, Zheng and Yu.

The traditional pentatonic tone can no longer meet the appreciation requirements of today's masses. Art needs development and innovation. Guzheng needs to change the original arrangement of the pentatonic scale and explore new arrangements. These problems have brought us new issues and requirements. an important issue today.

The string of the guzheng is relatively long, which is its unique advantage. However, during the performance, only the strings on the right side of the yardstick can play music, and the left side of the yardstick is out of tuning, so that the guzheng player can only play half of the instrument (especially for traditional music), which is not a waste. When traditional guzheng plays some modern works, in order to achieve a certain effect, it is necessary to change part of the positive tones into partial ones. This changes the arrangement of the pentatonic scale. For example, the scale arrangement of "Qianzhong Fu": D E # F A B d f # f a b d 1 e1 # f 1 a 1 b 1 d 2 f 2 # f 2 a 2 b 2 c 3 This arrangement puts the "e2" in the pentatonic scale " sound becomes "f2" sound, and when the "e2" sound is needed, it has to be pressed out of the "d2" string, which is actually just as troublesome.

If a temporary code is placed on the untuned string on the left side of the original code, a part of the wasted strings can be fully utilized, and the problem of difficulty in playing a chromatic guzheng can be solved. For example: place a temporary code on the left side of the code of the "horn" string, so that the string between the two saddles emits a "clear angle" sound. Use the same method on the "feather" string to make the string between the two bridges make a "change palace" sound. In this way, the partial tones in the heptatonic scale are arranged. When playing traditional music, you can still press "Qingjiao" from the "Jiao" string and "Biangong" from the "Yu" string, so that it retains the characteristics of "filling sound with rhyme". From this, it can be seen that using the temporary code to frame the desired partial tone on the left side of the code can not only retain the original pentatonic scale, but also free the left hand to play the sub-melody.

In the music, the left and right hands play alternately and simultaneously on both sides of the original piano bridge, which not only enhances the musical atmosphere and fully reflects the musical idea of the music, but also has some techniques that have never been used in the history of guzheng.

The right hand uses the continuous strumming of the bass as the background sound, and the left hand shakes the fingers on both sides of the original piano to play the main melody. Although this technique is difficult to practice, it plays an extremely important role in enhancing the expressiveness of the music after mastering it.

In addition, the techniques used on the strings between the temporary bridge and the original bridge, such as: left-hand finger shaking, ring finger and other techniques are also very helpful for training the basic skills of the left hand and making the hands reach the development balance.

The Law of Twelve Averages was not introduced to China from the West. The chimes unearthed in the tomb of Marquis Yi of Zeng can prove that the twelve equal laws existed in my country as early as the Spring and Autumn Period. Especially in the Ming Dynasty, Zhu Zai fully established the theory of the twelve equal laws. As an ancient Chinese musical instrument, the guzheng should and must inherit this essence. It is envisaged that, with proper adjustment and transformation on this basis, it is possible to make a twelve-equal-tempered guzheng without changing the timbre.