Guqin Left Hand Techniques

Chùo 綽
Explanation: A finger of the left hand, before pressing down a string on the indicated spot, starts about 5cm. below (to the left) of that spot, and quickly glides to the right, till the place indicated is reached.

Zhù 注
Explanation: It is the opposite of Chùo. The movement starts about 5cm. above (to the right) of the indicated spot, and quickly glides to the left, till the place indicated is reached.

Jìn fù 進復 (advancing and returning)
Explanation: When a finger of the left hand presses down a string, and after the right hand has pulled the string, the left hand glides up to the right to a certain point indicated or to one pitch higher, then glides back to where it started

Tuì fù 退復 (backward and returning)
Explanation: Opposite of Jìn fù. When a finger of the left hand presses down a string, and after the right hand has pulled the string, the left hand glides down to the left to a certain point indicated or one pitch lower, then glides back to where it started.

Dài Qǐ 帶起
Explanation: This technique is particularly used for the ring finger of the left hand. After the left ring finger presses down a string, it plucks the string to create a Sǎn Yin. However, some ancient qin tabletures used "Dài qǐ" not just for the ring finger but for the thumb (as Zhua Qǐ) and middle finger as well.

Zhàng (to strike against) 撞
Explanation: When the left hand presses down a string, and then after the right hand has pulled the string, the left hand moves very quickly up (to the right) about 1/5 - 1/2 portion of to next Hui position, and quickly moves back to the spot indicated. The strength of moving up should be timid and fast and the down moving should be strong, solid and fast as well.

Shàng (ascending) 上
Explanation: While the right hand plucks the string that the left hand has pressed down, the left hand glides up to the spot that is indicated. The pressing and moving of the left hand should be solid so that it will create a very clear sound. If there is one ascending after another ascending, the notation will be "二上" (Èr Shàng , up twice). In Guqin tableture, only the final destination of Èr Shàng is indicated. So the player has to listen to the tone and move his or her finger up to a proper position for the first ascending tone. Each ascending tone is approximately one whole step, for example, Do- Re- Mi, or Re-Mi-Sol, or Mi- Sol- La, or Sol-La-Do, or La-Do-Re.

Shàng (ascending) 上
Explanation: While the right hand plucks the string that the left hand has pressed down, the left hand glides up to the spot that is indicated. The pressing and moving of the left hand should be solid so that it will create a very clear sound. If there is one ascending after another ascending, the notation will be "二上" (Èr Shàng , up twice). In Guqin tableture, only the final destination of Èr Shàng is indicated. So the player has to listen to the tone and move his or her finger up to a proper position for the first ascending tone. Each ascending tone is approximately one whole step, for example, Do- Re- Mi, or Re-Mi-Sol, or Mi- Sol- La, or Sol-La-Do, or La-Do-Re.

Qiā qǐ 掐起 Explanation: This technique is particularly used for the thumb of the left hand. After the thumb presses down a string (on the 8th Hui for example), the ring finger (or middle finger) presses down the same string at the next Hui (the 9th). Instead of using the right hand to pull the string, the thumb of the left hand pulls up the sting. Using the edge of the thumbnail to pull the sting up, at the same time the ring finger (or the middle finger) still presses down steadily.

Yǎn 罨 (to cover)
Explanation: This technique is mostly executed with the left hand thumb, that the thumb taps a string to produce a low, dull sound after the left ring finger pressed down the string. For example, when the left ring finger presses down the 3rd string on the 10th Hui, the left thumb taps the same string on the 9th Hui (while the left ring still presses down). and after tapping the string, the left thumb stays there steadily and does not move away.