However, to be able to play in a free and leisurely manner, there are several requirements needed to be achieved first.
(The knowledge of playing techniques and music theories are the basic requirements, so I will omit that part and other than that Chén Yù-jiàn wrote as following-- )
No trouble with fingering movement.
More about Chén Yù-jiàn's analysis of good sound of Qin playing...
“A soft appearance yet with a solid and strong core as a hammer wrapped by cotton, that is the best sound. Even good player might not operate it perfectly. “
It is hard to translate exactly but I think it is the most essential part of how to use your energy to play qin.
“敦” (Dun) means “throwing,” “casting” or “to manage,” “to control,” I interpret it as the way you manage your energy from your body to your fingertips and to play qin.
There are several kinds of “dun” that Chén Yù-jiàn analyses. For example,
折腰敦(Zhé Yao Dun, bend waist or break waist) – I think it means that you are not ready yet, but you have moved your hands and fingers to touch the strings already. This is not good, because your energy will break and not float fluently and smoothly.
醉敦 (Zùe Dun, drunken)—You reached the hui position but with no energy or strength at all. This is the worst.
藏頭敦(Cán Tóu Dun, hide head)—Come and go without a trace. That is the best.
A Player who is not serious enough will not care about how to control his or her energy. Only by keeping it soft, one can find the infinite joy of qin playing.
My conclusion: Be Soft outside but solid inside, like practicing Taichi (Tài Jí Quán 太極拳).
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