"Meditative Melody" is a qin piece created by Cheng Gongliang in 2005 based on Indian music material. Part of the material comes from songs such as "A Letter" and "A Thousand Wishes" sung by Chakjit Singh in India. The melody of Indian music is clear and continuous, like a complaint. Like the guqin, its music places a strong emphasis on change. As contemporary Indian music master Ravi Shankar said, "The progression from one note to another is often not a straight line, but a delicate and ingenious movement."

The qin music emphasizes the melody, and emphasizes the delicate and changeable rhythm changes combined with the melody. Think deep inside your heart, think, contemplate. The content of contemplation is always the major topic of life: historical, philosophical, religious, life care, emotional love and hate...  

In the East, Indian music has always attached importance to the expression of melody. It also pays attention to the rhythm of the retouched melody, and these melodious tunes are vigorously carried out against the background of the percussion rhythm. However, what is more characteristic of traditional Chinese music is the use of a lot of rhyme rather than melody. This is true whether it is vocal music directly related to language or instrumental music that is not directly related to language. The appearance of a sound has a sound and a rhyme, and the expression of the rhythm has all kinds of subtle changes.

As far as guqin music is concerned, the fingering of "head" at the moment of reappearance will be expressed with fingerings such as "chuo", "note", "mouse", "calling"; after the sound appears, its "belly", "tail" "It may also go through long or short subtle twists and turns, which is "rhyme". In the fingering, the fingerings such as "yin", "猱", "up and down advance and retreat", "bump", "dang" are used to express, and after the expression, the next sound appears.

The state embodied in "Meditative Melody": It is usually more obvious and complete in the overtone passages with sound and no rhyme. The melody of the qin music mostly retreats behind the complicated changes in rhythm, in the combination of scattered, pressed and pan different timbres. The expression of the melody line is vividly expressed in different timbres or high and low octaves. In the process of presenting the musical tones of the qin music, the "sound" and the subsequent "rhyme" (hand rhythm) quickly become weaker with the prolongation of the time value, and are even so weak that they are covered up by the friction sound of the fingers and the surface of the strings; The sound, rhyme and the volume of the rhythm that follow are several times or even dozens of times different.

The lyrical function of the melody, that is, the expression of its affectionate humanity and passion, is beyond the reach of other musical elements. When interpreting traditional qin music, I do not stick to the rational and self-restrained playing method of the previous generation of qin artists, but express my inner emotions in soft and passionate playing. Therefore, my playing pursues the expression of the melody of the qin music while pursuing the subtle changes in the rhythm, and strives to show the original melody beauty of traditional emotions.