According to the "Historical Records: Biography of Li Si", Li Si admonished Qin Shi Huang's book, saying: "The man who strikes the urn and knocks the fou, plays the zheng and beats the scorpion, and sings and whines, and delights the ears and eyes, is the true voice of Qin." As early as more than 200 BC Years ago, Shaanxi Qinzheng was widely circulated in the court and the people. But in the process of its spread, it was once lost in history. The Shaanxi zheng songs that are circulating now are all developed and matured by extracting nutrients from local folk music.

Over the years, under the guidance of the academic ideology of "Qinzheng Returns to Qin", professional zheng players in Shaanxi have performed Xi'an drum music in the form of local opera Qin Opera, Yi Huan, Wanwan Opera and shaped instrumental music, as well as folk songs, rap forms Daoqing, Yulin ditty He has excavated, sorted out and adapted various kinds of music, and created a large number of Shaanxi zheng pieces.

The technology of Shaanxi zheng music is based on the long-term study, inheritance and reference of foreign zheng music, and according to the characteristics of Shaanxi local music style, the advantages of various zheng techniques have been adopted, forming such as pressing the strings with the big finger of the left hand and pressing the string with the big finger of the right hand. The unique performance techniques of Shaanxi zheng music, such as the joint long shake. Shaanxi zheng music has both the ups and downs of Qin Opera music, the tragic and majestic momentum of the "heroic song"; there is also the sobbing, lingering, euphemistic and poignant "desolate tone" of Wanwanqiang music; There are also the secluded and ethereal "five clouds ascending the sky", "big Buddha ascending the temple" and "you moon palace" related to the monks, temples and Taoist temples. The types of operas and music involved in Shaanxi zheng are numerous and complex, with rich musical forms and various styles and colors.

In these Shaanxi zheng music, the ancient Yan music art tradition is preserved. There are rich rotations, modes, scales, and rhythms, forming the unique artistic style of Shaanxi Zhengqu. Among them, there are characteristic sounds such as micro-rising FA and micro-falling SI generated by the two-change tone to understand or play. Or use "Happy Sound" and "Bitter Sound" to be equivalent to "Light Sanliu" and "Heavy Sanliu" in Chao music. "Huanyin" and "Bitterness" are regarded as terms that have the same sign and meaning as Chaozhou Zhengqu. It can only be said that it roughly captures part of the style of Shaanxi zheng music, but it does not and cannot possibly include all the styles and colors of Shaanxi zheng music. In actual performance, the style and color of Shaanxi zheng music is a complex problem, and the key to this complex problem lies in the mode and scale of the music.

Folk opera artists in Shaanxi call the change of tone and color due to the change of mode, tone and scale as "bitter tone" (also known as crying tone and soft tone). This tune mostly uses FA and SI. Another kind is called "Huan Yin" (also known as Hua Yin, Hard Sound), this kind of tune mostly uses MI and LA tones. But when "Huanyin" also often uses FA and SI, it does not change its inherent tonal color at all. "This is because the scales of the happy and bitter cavities are different: the actual pitches of the two tones FA and SI are different in different cavities, resulting in a series of changes in certain interval relationships, sound sequence combinations, etc. As a result...the Huanyin and Kuyin tunes each have a complete set of Banqiang music, which constitute the two major systems of Qinqiang."

"Happy Sound" and "Bitter Sound" are the most incisive and wise generalization and sensibility of Shaanxi opera artists on the changes of style and color due to the wandering changes of the two-change sounds and the changes of the modes and scales in various plate styles, singing styles and qupai music. know. Artists in the long-term artistic practice, through the master's dictation, hearing and seeing for a long time, according to these terms, they can sing and play all kinds of boards that are sometimes erratic, sometimes solid and stable, and authentic in style. 's song card. However, "Huan Yin" and "Bitter Yin" are opera-oriented, and they play a role in reminding actors and bands what tone to use to sing and perform in Qin Opera and other operas. In addition to Qinqiang, Meiquyuqiang, and Wanwanqiang, such as A Gongqiang, Longdong Daoqing, and "bitter skin" in Sichuan Opera, the "bitter endowment" in Yunnan Opera all have the same nature and meaning as "bitter tone". In other music in Shaanxi (such as Xi'an drum music and folk songs, which are closely related to zheng music), the tune is first determined from the score and then played. For example, "Liu Qingniang" (live three-five tune), "Cold Duck Playing in the Water" (heavy six tune). Whether it is the archetypal opera arias excavated and organized or the zheng tunes adapted and created, Shaanxi zheng music does not clearly attribute the tone to the concept of "happy sound" and "bitter sound". If the music does not indicate the specific pitch of the second tone. I don't know if it is a slight drop of SI, in-situ SI, or a slight increase of FA, in-situ FA, which will cause great confusion to the performer. As a result, it is easy to cause an inaccurate view of taking micro-rising FA and micro-falling SI as the style standard of Shaanxi zheng music, or it is difficult to determine the specific pitch of the two-changing tone, and it is difficult to grasp the difficulty of pressing the string.

In recent years, Shaanxi zheng music has been widely used in teaching materials through the publicity of radio, CD and other media. However, in our performance and teaching, or in performances and exchanges in foreign countries, and even in university classrooms, we basically still use oral transmission or use the terms of opera artists to explain music, and we must first figure out what is "Happy Sound", "Bitter Sound". Practice has proved that this teaching method has a significant effect on improving the learning effect of local students and students who have the conditions to come to Shaanxi; however, the learning of foreign and overseas students is too limited. Therefore, in our performance and teaching, how to incorporate these practical experiences into a more standardized and scientific system is indeed a question worth exploring. The author believes that understanding and using traditional Chinese musical theories such as modes and scales is an effective way to master the style of Shaanxi zheng music.

Since ancient times, in the process of music practice in various periods, places and ethnic groups in my country, the traditional music theory has had a highly brilliant development. The predecessors and people today have already incorporated the ancient scales, new scales, Yanyue scales, and neutral scales into the theoretical system of the entire Chinese national music science. These four scales are widely found in Shaanxi local music and Shaanxi zheng music that is currently circulating.

As early as "Lv's Spring and Autumn Period Ji Xiahong", "the order of the rhythm is recorded in the rhythm chapter", which is the "ancient scale" or "old scale", which is the so-called "elegant music scale" in modern times.