The playing techniques of guzheng are rich and varied, and different techniques produce different sound effects and musical emotions. General routine techniques are characterized by agility, restlessness, motivation, and various emotions such as climbing peaks.

arpeggio

Arpeggio is one of the characteristic techniques of the guzheng. Its sound pattern is gorgeous, and it is often used to express the scene of the babbling of the stream, the layers of waves, the recovery of all things, and the fullness of spring.

The arpeggio structure of the first beat of the piece is in the form of a fifth and a fourth interval and two major second intervals superimposed, arranged according to the interval relationship in the national pentatonic, and the sound effect is very harmonious. The second arpeggio, the interval is constructed on the basis of the major sixth. In playing, first of all, the bass of each group of arpeggios can be played with little fingers to form a soft tone, and the rest of the nails should be played slowly with the fingertips standing and slightly tense. The dynamics of the last two groups of arpeggios vary, the first group is slightly emphasized with medium and weak dynamics, and the second group is more weakly portrayed, depicting the scene of spring plants breaking out of the ground and flowers budding.

portamento

Portamento is famous for its full charm and the characteristics of rhyme complement. It can be mellow and lingering as well as strong and brave. In "Cang Yin Ge", the portamento is built in a long line composed of a pentatonic scale, and the finger-shaking music enriches the melody with the technique of slow sliding, which is full of singing and lyricism. Then, it is handled with fast sliding, one step in place, vividly highlighting the praise of spring and the praise of life. Pitch is very important in the performance process. It is necessary to accurately slide out the interval relationship between the sophomore and the minor third. During continuous portamento, changing the strings with the left hand reflects agile, fast connection, compact and stable control of the accuracy of the rhythm, and makes the melody with singing quality. The lines are clearly presented.

slap the body

The technique of slapping the body is mainly used to imitate the acoustics of percussion. In this song, the performer can use the palm to slap the piano case and the bottom plate of the piano body, which is shocking and loud; also can use the prosthetic armour to hit or buckle the piano body, which is crisp and pleasing to the ear. The composition of the middle tone pattern is an eighth note with a triplet, an eighth note with a rest, and a quarter note. These notes use the techniques of slapping the body of the piano including: "slap on the upper part of the piano case with the palm of your hand" "use the The palm of the hand strikes on the right side of the piano case" and "hitting the head of the headstock with the round fingers of the prosthetic nail". In the actual performance, in order to accurately express the actual sound effect, when the prosthesis hits the piano body, it is necessary to close the two, three, and four fingers to hit the piano box, and then use the four, three, and two prosthetic fingertips to play the piano in turn. cover, and then tap the right side of the piano box, the sound is short and powerful, and the sound is crisp, so that people can clearly distinguish the percussion sound of three different timbres in rapid succession.