Ruan (instrument)

The ''ruan'' () is a traditional Chinese plucked string instrument. It is a lute with a fretted neck, a circular body, and four strings. Its four strings were formerly made of silk but since the 20th century they have been made of steel (flatwound for the lower strings). The modern ''ruan'' has 24 frets with 12 semitones on each string, which has greatly expanded its range from a previous 13 frets. The frets are commonly made of ivory or in recent times of metal mounted on wood. The metal frets produce a brighter tone as compared to the ivory frets. It is sometimes called ''ruanqin'', particularly in Taiwan.

Sizes

The ruan comes in a family of five sizes:

*soprano: ''gaoyinruan'' (高音阮, lit. "high pitched ''ruan''"; tuning: G3-D4-G4-D5)
*alto: ''xiaoruan'' (小阮, lit. "small ''ruan''"; tuning: D3-A3-D4-A4)
*tenor: ''zhongruan'' (中阮, lit. "medium ''ruan''"; tuning: G2-D3-G3-D4)
* bass: ''daruan'' (大阮, lit. "large ''ruan''"; tuning: D2-A2-D3-A3)
* contrabass: ''diyinruan'' (低音阮, lit. "low pitched ''ruan''"; tuning: G1-D2-G2-D3)

The ''ruan'' is now most commonly used in Chinese opera and the Chinese orchestra, where it belongs to the plucked string (弹拨乐 or chordophone) section.

Playing techniques and usage

The instrument can be played using a plectrum similar to a guitar pick (formerly made of animal horn, but today often plastic), or using a set of two or five acrylic nails that are affixed to the fingers with adhesive tape. Mainstream ''ruan'' players use plectrums, though there are some schools which teach the fingernail technique, similar to that of the '' pipa''. ''Pipa'' players who play ''ruan'' as a second instrument also often use their fingernails. Plectrums produce a louder and more clear tone, while fingernails allow the performance of polyphonic solo music. The instrument produces a mellow tone.

In Chinese orchestras, only the ''zhongruan'' and ''daruan'' are commonly used, to fill in the tenor and bass section of the plucked string section. Occasionally the ''gaoyinruan'' is used to substitute the high-pitched ''liuqin''.

''Daruan'' soloists generally use the D-A-D-A tuning, as it allows for the easy performance of diatonic chords. Some orchestral players tune to C-G-D-A, which is exactly the same as cello tuning. The advantage of using C-G-D-A in orchestras is so that the ''daruan'' can easily double the cello part.

A ''ruan'' ensemble (重奏) consists of two or more members of the ''ruan'' family, for instance, an ensemble of the ''xiaoruan'', ''zhongruan'' and ''daruan''. The wide range covered by the ''ruan'', its easily blended tone quality, and the variety of soprano, alto, tenor, bass, and contrabass instruments all make ''ruan'' ensembles very effective in playing polyphonic music.

History

''Ruan'' may have a history of over 2,000 years, the earliest form may be the ''qin pipa'' (秦琵琶), which was then developed into ''ruanxian'' (named after Ruan Xian, 阮咸), shortened to ''ruan'' (阮). In old Chinese texts from the Han to the Tang dynasty, the term '' pipa'' was used as a generic term for a number plucked chordophones, including ''ruan'', therefore does not necessarily mean the same as the modern usage of ''pipa'' which refers only to the pear-shaped instrument. According to the ''Pipa Annals'' 《琵琶赋》 by Fu Xuan (傅玄) of the Western Jin Dynasty, the ''pipa'' was designed after revision of other Chinese plucked string instruments of the day such as the Chinese zither, ''zheng'' (筝) and '' zhu'' (筑), or ''konghou'' (箜篌), the Chinese harp. However, it is believed that ''ruan'' may have been descended from an instrument called ''xiantao'' (弦鼗) which was constructed by labourers on the Great Wall of China during the late Qin Dynasty (hence the name ''Qin pipa'') using strings stretched over a pellet drum. 《琵琶錄》
''Records of Pipa'' by Duan Anjie (段安節)] citing Du Zhi of Jin Dynasty (265–420), Jin Dynasty. Original text: 樂錄雲，琵琶本出於弦鼗。而杜摯以為秦之末世，苦於長城之役。百姓弦鼗而鼓之 Translation: According to Yuelu, ''pipa'' originated from ''xiantao''. Du Zhi thought that towards the end of Qin Dynasty, people who suffered as forced labourers on the Great Wall, played it using strings on a drum with handle. (Note that for the word ''xiantao'', ''xian'' means string, ''tao'' means pellet drum, one common form of this drum is a flat round drum with a handle, a form that has some resemblance to Ruan.)

The antecedent of ''ruan'' in the Qin Dynasty (221 BC - 206 BC), i.e. the ''Qin pipa'', had a long, straight neck with a round sound box in contrast to the pear-shape of ''pipa'' of later dynasties. The name of "pipa" is associated with "tantiao" (彈挑), a right hand techniques of playing a plucked string instrument. "Pi" (琵), which means "tan" (彈), is the downward movement of plucking the string. "Pa" (琶), which means "tiao" (挑), is the upward movement of plucking the string.

The present name of the ''Qin pipa'', which is "''ruan''", was not given until the Tang Dynasty (8th century). During the reign of Empress Wu Zetian (武則天) (about 684-704 AD), a copper instrument that looked like the ''Qin pipa'' was discovered in an ancient tomb in Sichuan (四川). It had 13 frets and a round sound box. It was believed that it was the instrument which the Eastern Jin (東晉) musician Ruan Xian (阮咸) loved to play.Shen, Sin-Yan (1991). ''Chinese Music and Orchestration: A Primer on Principles and Practice'', p. 108. Chinese Music Society of North America, Woodridge. October 19, 2009. Ruan Xian was a scholar in the Three Kingdoms Eastern Jin (三國東晉) Dynasty period (3rd century). He and other six scholars disliked the corruption government, so they gathered in a bamboo grove in Shanyang (山陽, now in Henan ��南province). They drank, wrote poems, played music and enjoyed the simple life. The group was known as the Seven Sages of the Bamboo Grove (竹林七賢). Since Ruan Xian was an expert and famous in playing an instrument that looked like the ''Qin pipa'', the instrument was named after him as ''ruanxian'' (阮咸) when the copper ''Qin pipa'' was found in a tomb during the Tang Dynasty. Today it is shortened to ''ruan'' (阮).

Also during the Tang Dynasty, a ''ruanxian'' was brought to Japan from China. Now this ''ruanxian'' is still stored in Shosoin of the Nara National Museum in Japan. The ''ruanxian'' was made of red sandalwood and decorated with mother of pearl inlay. The ancient ''ruanxian'' shows that the look of today's ''ruan'' has not changed much since the 8th century.

Nowadays, although the ''ruan'' was never as popular as the ''pipa'', the ''ruan'' has been divided into several smaller and better-known instruments within the recent few centuries, such as ''yueqin'' ("moon" lute, 月琴) and ''qinqin'' (Qin ynastylute, 秦琴) . The short-necked ''yueqin'', with no sound holes, is now used primarily in Beijing opera accompaniment. The long-necked ''qinqin'' is a member of both Cantonese (廣東) and Chaozhou (潮州) ensembles.

The famed Tang poet Bai Juyi (白居易) once penned a poem about the ''ruan'', entitled "Having a Little Drink and Listening to the Ruanxian with the Deputy Minister of Linghu" 《和令狐仆射小饮听阮咸》 (He Linghu Puye Xiao Yin Ting Ruanxian):

《和令狐仆射小饮听阮咸》
Having a Little Drink and Listening to the Ruanxian with the Deputy Minister of Linghu
(He Linghu Puye Xiao Yin Ting Ruanxian)
作者：白居易（唐）
by Bai Juyi (Tang Dynasty, 772-846)

:掩抑复凄清，非琴不是筝。
:Gloom and melancholy compounded with misery and desolation;
:It's not a ''qin'', and neither is it a ''zheng''.
:还弹乐府曲，别占阮家名。
:It still plays ''yuefu'' songs,
:And also bears the Ruan family name.
:古调何人识，初闻满座惊。
:Of ancient melodies, who odayknows them?
: etupon first listen, all those in attendance are left in awe.
:落盘珠历历，摇佩玉琤琤。
:Pearls fall on a platter, one by one;
:Shaken pendants of jade jangle.
:似劝杯中物，如含林下情。
:As if to urge isteners to drainthe contents of their winecups,
:Or to harbor emotions uch as one might feel while lyingbeneath a grove f flowering plum trees
:时移音律改，岂是昔时声。
:As the times change, so too does music;
:Can this be the sound of former times?

Ruan and Pipa

A small ''pipa'' was found in murals of tombs in Liaoning (遼寧) province in northeastern China. The date of these tombs is about late Eastern Han (東漢) or Wei (魏) period (220-265 AD). However, the pear-shaped ''pipa'' was not brought to China from Dunhuang (敦煌, now in northwestern China) until the Northern Wei period (386-524 AD) when ancient China traded with the western countries through the Silk Road (絲綢之路). Evidence was shown on the Dunhuang Caves frescoes that the frescoes contain a large number of pipa, and they date to 4th to 5th century.Shen, Sin-Yan (1991). ''Chinese Music and Orchestration: A Primer on Principles and Practice'', p. 109. Chinese Music Society of North America, Woodridge. October 19, 2009.

During the Han period (206 BC-220 AD), Lady Wang Zhaojun (王昭君, known as one of the Four Beauties ��大美人in ancient China) departed mainland to the west and married the Grand Khan of the Huns. The marriage was meant to maintain peace between the two ancient countries. On her way to the west, she carried a ''pipa'' on the horse. Looking back today, her ''pipa'' must have been a ruan-type instrument with a round sound box, since the pear-shaped ''pipa'' was not brought to China until the Northern Wei Dynasty after the Han Dynasty. However, in almost all the portraits and dramas, Lady Zhaojun's ''pipa'' is displayed inaccurately. The ''pipa'' is usually shown with a pear-shaped sound box (as in today's ''pipa''), rather than a round sound box.

Note that the frets on all Chinese lutes are high so that the fingers never touch the actual body—distinctively different from western fretted instruments. This allows for a greater control over timbre and intonation than their western counterparts, but makes chordal playing more difficult.

''Laruan'' (bowed ''ruan'')

In addition to the plucked ''ruan'' instruments mentioned above, there also exist a family of bowed string instruments called '' lāruǎn'' and '' dalaruan'' (literally "bowed ''ruan''" and "large bowed ''ruan''"). Both are bowed bass register instruments designed as alternatives to the ''gehu'' and ''diyingehu'' in large orchestras of Chinese traditional instruments. These instruments correspond to the cello and double bass in range. Chinese orchestras currently using the ''laruan'' and ''dalaruan'' include the China National Traditional Orchestra and Central Broadcasting National Orchestra, the latter formerly conducted by the late maestro Peng Xiuwen (彭修文).

Repertoire

A famous work in the zhongruan repertoire is the ''zhongruan'' concerto "Reminiscences of Yunnan" 《云南回忆》 by Liu Xing (刘星, b. China, 1962), the first full-scale concerto for the ''zhongruan'' and the Chinese orchestra. This work finally established the ''zhongruan'' as an instrument capable of playing solo with the Chinese orchestra.

Some works for the ''ruan'':

*《满江红》 Red Fills the River - ''zhongruan'' concerto
*《汉琵琶情》 Love of the Han Pipa - ''zhongruan'' concerto
*《玉关引》 Narration of Yuguan - ''ruan'' quartet
*《山韵》 Mountain Tune - ''zhongruan'' concerto
*《塞外音诗》 Sound Poem Beyond The Great Wall- ''zhongruan'' concerto
*《泼水节》The Water Festival- ''Ruan'' Tecerto
*《睡莲》 Water Lilies- ''zhongruan'' solo
*《火把节之夜》 Night of the Torch Festival- ''zhongruan'' solo 吴俊生
- Fernwood "Nightingale"
*《翠华山的传说》

Some of Lin Jiliang's compositions for the ruan:
*《石头韵》
*《凤凰花开》 Flowers Open in Fenghuan
Translation from MDBG.net
*《满江红》
*《侗歌》
*《草原抒怀》
*《牧马人之歌》
*《石林夜曲》

Some of Liu Xing's compositions for the ruan:

*《云南回忆》 Reminiscences of Yunnan, ''zhongruan'' concerto
*《第二中阮协奏曲》Second Zhongruan Concerto
*《山歌》, ''zhongruan'' solo
*《月光》, ''zhongruan'' solo
*《孤芳自赏》, ''zhongruan'' solo
*《天地之间》, ''zhongruan'' solo
*《第六号-异想天开》, ''zhongruan'' duet
*《第七号- 夜长梦多》, ''zhongruan'' solo
*《第十一号-心不在焉》, ''zhongruan'' solo
*《流连忘返》, ''zhongruan'' solo
*《随心所欲》, ''zhongruan'' solo
*《回心转意》, ''zhongruan'' solo
*《来日方长》, ''zhongruan'' solo
*《无所事事》, ''zhongruan'' solo
*《水到渠成》, ''zhongruan'' solo
*《心旷神怡》, ''zhongruan'' solo

Some of Ning Yong's compositions for the ruan:

*《拍鼓翔龙》 Flying Dragons in Drum Beats, ''zhongruan'' solo (composed with Lin Jiliang)
*《丝路驼铃》 Camel Bells on the Silk Road, ''zhongruan''/ ''daruan'' solo
*《篮关雪》 Snow at Lan Guan, ''zhongruan'' solo
*《终南古韵》 Ancient Tune of Zhongnan, ''zhongruan''/ ''daruan'' solo
*《望秦川》 ''zhongruan'' solo

Notable players and composers

*Cui Jun Miao (崔军淼)
*Ding Xiaoyan (丁晓燕)
*Fei Jian Rong(费剑蓉)
*Feng Mantian (冯满天)
*Lin Jiliang (林吉良)
*Liu Bo (刘波)
*Liu Xing (刘星)
*Miao Xiaoyun (苗晓芸)
*Ning Yong (宁勇)
*Ruan Shi Chun (阮仕春)
*Shen Fei (沈非)
*Su Handa (苏涵达)
*Tan Su-Min, Clara(陈素敏)
*Wang Zhong Bing (王仲丙)
*Wei Wei(魏蔚)
*Wei Yuru (魏育茹)
*Wu Qiang (吴强)
*Xu Yang (徐阳)
*Zhang Rong Hui (张蓉晖)

Makers

Beijing

*Hsinghai (星海)

Shanghai

*Dunhuang (敦煌)

Suzhou

*Huqiu (虎丘)

See also

*Zhongruan
*Đàn nguyệt

References

External links

More information

Seven Sages of the Bamboo Grove
at MelodyofChina.com

in traditional Chinese
Ruan Yahoo Group
(fifth, sixth, and seventh rows)

Listening

{{Authority control

Chinese musical instruments
Necked lutes

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