TorGuqin Events for May 2012

May is Asian Heritage Month in Canada, and TorGuqin is happy to announce a series of public events in celebration of Chinese and Asian heritage for the appreciation of its fine cultural arts. Be sure to follow us and our exciting programming all around Toronto and the GTA!

All events are Free of admission.

1. (TorGuqin internal) Reception yaji for Liu Fang, Pipa Soloist

Toronto musicians welcome Montreal Pipa virtuoso Liu Fang to the city, where she will be performing in the George Ignatieff Theatre at UofT St. George Campus on Saturday, May 19th. As a friend of Chinese music, Liu has long appreciated the profound sounds of the qin, and we are eagerly looking forward a friendly evening to in sharing music and stories.

Date: Sunday, May 20, 2012
Location: Esther Zhang’s home/study
RSVP: Closed event

2. History of Chinese Clothing Seminar @ Agincourt Public Library

Why do ancient Chinese dress look so different with the modern ones? How do the Chinese use their clothing to represent the world? Are they always made of big silk sleeves?

Come learn about Hanfu, the REAL Chinese traditional clothing, at a special Asian Heritage Month seminar at Agincourt Public Library, presented by Juni Yeung of the Toronto Guqin Society! From its history to its different design types, you will also learn basics on how to make some of its most representative styles!

Date: Friday, May 25, 2012
Time: 11:30AM – 12 Noon (Please be on time)
Location: Agincourt Public Library, 15 Bonis Ave., Toronto, ON (Near Birchmount/Sheppard)
RSVP: Feel free to drop by!

** Addendum: Be sure to also check out Esther Zhang and the Toronto Ya-Yue Centre’s performances from 12-1PM as well! **

3. Guqin, Qin Song, and Kunqu Performance @ Carassauga 2012 China Pavilion

Carassauga Festival is the annual largest showcase of cultures which make up the diversity in the city of Mississauga. Experience 3 days and nights of exquisite cuisine, dance, and ethnic arts and crafts.

Toronto Guqin Society and the newly-formed Toronto Ya-Yue Art Center will be showcasing a 2-hour panel on various musical forms, taking everyone on an unforgettable cruise of the Chinese scene, from the ceremonial music of Imperial Courts and Confucius Temples, to the qin music in the gardens of literati scholars, to the pavilions of opera theatres and folk music in tea-houses!

Date: Saturday, May 26, 2012
Time: 10:00 PM to 11:30PM
Location: Franck McKechnie Community Centre, 310 Bristol Road East (Between Hurontario St. and Kennedy Rd.)
(Carassauga Shuttle Buses stop at this pavilion)
RSVP: Feel free to drop by, be on time!
Cost: Our show is free to the public. Costs may apply for shuttle buses, food etc.

Qin-strumming Etiquette, from Xilutang Qintong

Fuqin Jue 《撫琴訣》
(Rules of Qin-Strumming)

By Wang Zhi, in Xilutang Qintong (1549), Folio IV;
Translated by Juni Yeung

Original Source of Fuqin Jue from Xilutang Qintong, Folio IV.

 

When playing the qin, regardless of whether there are people nearby, one must play as if facing your elders. Placing the qin to the front of you, the body must be upright, your energies and spirits at peace and settled.

Collect your heart and cut off all worries, focus on your emotions and intentions.

Fingers do not give false strikes, and strings do not give false rings.

One does not look at the right hand, but only listen to its sounds.

The eyes do not look elsewhere, nor the ears listen to anything else.

When the heart does not think other thoughts, that is when one achieves the meaning of the qin. It is essential to recognize the sentencing and phrasing of rhythm, while there mustn’t be too many pauses or stops. Li Mian [Tang era, 717-788CE] noted, “Yin [vibratos] and stops are well-measured, while slowness and speed are orderly. Hurriedly, but not messy. Leisurely, but not stopping. Neither hurriedly or leisurely, like drifting clouds and flowing water. This is the crucial essence.”

Use of fingers must include both flesh and nail, in order to give a crisp sound. Too much nail and the sound is scorched. Too much flesh and the tone is convoluted. Both left and right hands cannot over-exaggerate.

There are three types of sound on the qin: First is san (open), second is an (pressed), third is fan (harmonics). Each pluck is like breaking the strings but the fingers pluck shallowly. Pressing the strings into the wood are to be firm but strength cannot be seen. Fan sounds are to be played near the bridge, lightly touching the string where the hui marker is with a brief point [of the fingertip], and its sound shall be clear and rounded.

If the body wavers and the neck twists often, pandering left and right, looking up and down, or if the facial expressions change, it is as if one is ashamed.

Or, if one’s eyesight scurries about, panting in with heavy breath, without regulation in advances and retreats, with a lax spirit or form, it will reflect itself in form of sound. Although the fingerings are right, the resonances of the sound will be messy and it cannot conform to the Five [proper] Sounds.

Not tuning the strings properly, playing heavily when it should be played lightly, or playing quick when it should be slow – all of these are major diseases [faults] to playing.

The rule of playing the qin, is to be simple and clean. It is not in asking for one as a person to be calm, but in one’s hands. The throbbing of the fingers is called being raucous, while being concise, lightly-treading on a steady pace is called being calm.

It is unnecessary to wobble the [left] finger outside of the sound. Let the proper sound be harmonious and smooth, and that will be good.

For the Junzi [Superior Person] of antiquity creates [regulates] to the causes of matters, he attenuates himself to pleasuring the mind, or describes his heart with irony, or expresses his lone resentment to transmit his ambitions. Hence it [i.e. the music] is able to focus the essence of sincerity, and move the spirits and gods.

One may only know three or five etudes, but refine it to the limits of excellence. However students of our day, perceive ability by sheer quantity. Hence the idiom “Sheer quantity leads to lack of quality. Quality leads to less quantity.” May the Junzi who understands true sound [i.e. friends] pay attention to this.

Here we have the rules of playing qin. What is difficult to procure are the scores to the music, for they must be requested to be passed down from the masters. Furthermore, fingerings and rhythm cannot be exhaustively detailed in the work of writing, so when facing a manuscript to play, we often only get its sound, but its profound intricacies in tempo and rhythm are forgone. This is like having rough measuring tools – you have the drawn shapes, but it lacks the precision that fine tools give.

In more prosaic terms, any given piece can be roughly divided into three sections: First slow, then tense, and finally slack. From slow to tense to stop forms the motif to a piece of music.

Often times there are indications of “do two times from mark.” (從勾二作) Play through it plainly the first time, to finish off the motif from the last sentence. Pause, and in the second play-through, play it strongly. From playing strong and then easing gradually and finishing with a powerful strike-in, forms the continuation to the sounds afterward. One must make the front and back relate with each other, clearly differentiating the beginning from the end.

Another example is the “Perform three times with spaced gou.” (三作間勾, i.e. Da-jiangou) First play the two sounds, pause, then respond to the previous section with four sounds, and finish off with one powerful strike-in.

A nine-tone long chain (chang-suo, ) involves playing two sounds, pause, and finish off with seven strong notes. This induces rise and fall at the front and back, connecting the motifs by arteries and veins, leaving its resonance drifting as if fading but still slowly progressing, and then a jolt at the end.

From slow to tense, and from tense to leisurely, if control of fastness and slowness is appropriate, and yin [vibratos] and stops do not lose their degree, then naturally the strings will resonate with clear rings. Sounds should preferably be clear, aim for simple and calm, and must not be messy. This is how an elegant, antiquated motif of profound emptiness is.

And this is why the intricacies are so hard to attain for manuscripts then and now. So for those self-studying the qin, and have yet to receive transmission from a master, it is best to focus your mind and dedication and ponder on these words. Follow the fingerings according to the manuscript to the hands, meticulously and slowly, accumulate one sound onto the next, section unto section. After days and months of practice, the heart and intention will connect, and the hands will automatically do its job. Then, you will naturally attain mastery as the ancients have.

As proverb has it: “When practice is perfected, it is the same.” [Doctrine of the Mean, 20]  The act of strumming the qin is precious in its accumulated progress, as prolonged experience leads to expertise. If one is eager and greedy for more, wanting for speed leads to one unable to arrive at the destination and all is then for naught, which must be avoided. I shall leave the essay on this note for students of the future to read, to dispel their anxious doubts. More

Recap: Some of TorGuqin’s Activities since Chinese New Year 4710

Before entering the main article, please note that there is an art exhibition and guqin demonstration by Esther Zhang, a local Chinese artist and qin player the coming Saturday, April 14, 2012 at 3PM. Please visit http://www.facebook.com/#!/events/303925063012798/ for more details.

***

Over the years, TorGuqin has posted many event announcements on the website regarding its activities — meetings, gatherings, demonstrations, performances…and it is only intermittently that pictures or reports are posted back. Does this mean that it didn’t take place?

Far from it.

Recently, we actually have been in more activities than described on our website (and Facebook event pages), to which thanks to Yanyan Zhu, we are now able to record our events on HD digital video in addition to our paper records of our gatherings and events. Since February 2012, TorGuqin members have performed in the Evergreen Farmer’s Market, given lectures on the qin and Chinese drama at the University of Toronto, received Dr. Keren Li from Nanjing, as well as Dr. Yip Mingmei from New York as an honoured guest to our gatherings.

If a picture is worth a thousand words, then the word count of the following would be beyond millions.

More

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