They are "poor and self-sufficient", and regard the qin as an indispensable measure of a person's literacy, cultivation, and character, and even the life of a literati like a book.

1. The literati have always been the main body of the Guqin inheritance.

There are usually a group of teachers, friends and disciples around them, forming a folk culture salon, often drinking together, composing poetry, playing the piano and discussing Taoism. The inheritance of qin learning is carried out unconsciously in this group. This pattern was basically the same before the Ming Dynasty. Since the Ming and Qing dynasties, there have been various schools of piano learning. As a result, various schools of folk form a group, and there are clear clues to the inheritance of teachers, which can often last for several generations. They also compiled piano scores that expressed the characteristics of the genre, and were enthusiastic in forming associations (associations), maintaining and spreading the style and characteristics of the piano school.

2. Oral teaching is the main method of traditional piano learning.

Although since the Ming Dynasty, more and more qin scores have been compiled and printed, and there are countless manuscripts, all of which have been widely circulated. According to the minus-character notation, it can help to learn the music, memorize the fingering, and understand the prompts about the rhythm in the notation. However, from a beginner to seeking refinement and playing a qin piece well, one must master the priorities of stroking and play, and correspond to reality and reality; also deal with the connection between the upper and lower tones and between the preceding and following phrases; , and genre styles, etc., these are often acquired gradually through face-to-face teaching by teachers. Or after regular observation and listening to the teacher's instructions, it is possible to master it through one's own pondering. Especially for Daqu, oral teaching can be said to be the only way to pass on piano learning.

Learning "Xiaoxiang" from Master Wu was a face-to-face teaching. At that time, I was young and basically mastered all kinds of essentials, which was inexhaustible in my life. The song "Fisherman's Song" was learned by listening to the recording according to Mr.'s intention, and it was difficult to achieve a vivid, smooth, free and easy state for a long time. Now some young people also use this method to learn Wu Zhaoji's "Xiaoxiang" and "Fisher's Song".

3. The traditional techniques of guqin are tightly combined with the concentric method.

Some modern piano teachers only talk about skills, not mind, let alone teach the cultural heritage of the guqin. The result is that the students have no essentials, only skilled skills, a hundred people have one face, only the body, but lack of soul and look. The ancients said that this kind can only be called "craftsman", not "teacher" or "home".

As far as techniques are concerned, the traditional techniques of the ancients are far from the so-called techniques of today. As recorded in the qin score of Ming and Qing Dynasties, the traditional fingering emphasizes: the right hand should be prioritized and controlled according to the law; The sound is quiet and ancient, and there is no desire to feel power. However, the current techniques often emphasize the practice of fingering on speed and strength. Some of them change the subtle and varied fingerings with unique charm into a single advance and retreat; some replace the vibrato on the violin for the chant on the guqin. As a result, there are many drawbacks such as "not round in the taking, heavy voice, trembling everywhere, and indistinguishable". Don't you see? Guqin's unique chanting and chanting is closely related to the aura of the person who plays the qin. To cancel these fingerings combined with the mind method is to lose the humanistic characteristics of the guqin with its long rhythm and rhythm.

Traditional qin players attach great importance to guiding techniques with the heart method. For example, before playing the qin, bathing hands, tidying clothes, sitting upright, watching, paying respect, calming the mind, etc., although it is the appearance of the qin, it is also a kind of mental method. Work under the dignified Qin Rong Xin method, and use traditional fingering skills. Breathing in playing the qin is an important mental method. If you are impetuous, enter the strings hastily, shake your head in a crooked manner, wave your hands indiscriminately, or even breathe heavily, obviously it cannot be matched with traditional techniques. Another example is the harmony, tranquility, clearness, distance, looseness, cleanliness, antiquity, dampness, roundness, and smoothness in "Sixteen Methods of Qin Sound" and "Twenty-Four Conditions", which are not only the aesthetics of traditional piano learning, but also the heart of playing the piano. Law. When learning the piano, Mr. Wu Zhaoji always asked us to sit up and stare, keep our heads straight, keep our chests and backs up, feet parallel, whole body relaxed, shoulders relaxed, elbows and wrists. He said that the specific fingering techniques of Qin music should be based on these mental methods Under the guidance of the correct performance.

Here, it is mentioned that different schools have their own characteristics of mind and fingering. Wumen's chuo, notes are concise and lively, without excessive dragging; the light and deep plucked thorns and voodoo have a unique literati style, with free and easy waving, meaningful rhythm, and no noise.