| ba |  |
the number eight | |
| ban |  |
a term that has to do with keeping time; beat | |
| bianzhi | 
 |
in a pentatonic scale, the changed tone corresponding to the raised fourth degree of the scale | |
| Chaozhou | 
 |
region in eastern Guangdong Province that corresponds to the Shantou Metropolitan Region | |
| Chenghai | 
 |
a city within the Chaozhou or Shantou Metropolitan Region | |
| Chenghai Beicheng Laoren Xiehui |
 
 |
Northern Chenghai Seniors Association | |
| Chenghai Yixiang Chaojutuan |
 |
name of the Chaozhou opera troupe which Mr. Chen Naihuai joined in 1958 as a yangqin instrumentalist | |
| chi zitou | 
 |
pentatonic scale with re or the 2nd degree of the scale as the starting note | |
| cui |  |
literally, "to hurry," a technique of melodic ornamentation which involves adding melodic fillers and thus increasing the density of the notes occurring in between the space between those comprising the skeletal melody | |
| daban | 
|
one of a pair of hollow wooden blocks in the Chaozhou xianshi ensemble that are struck in order to mark the downbeats and keep time | |
| diao |  |
generic Chinese term for melodic mode | |
| diaoshi |
 |
modal form | |
| diaoti |
 |
modal structure exhibiting certain characteristic melodic properties | |
| diaoxing |
 |
modal characteristics | |
| er |  |
the number two | |
| ersipu |
 |
literally, "two-four" notation, an old form of notation traditionally used for writing down pieces in the Chaozhou xianshi repertoire | |
| erxian |
 |
a high-pitched two-string bowed lute that serves as the lead instrument in the Chaozhou xianshi ensemble | |
| fan |  |
to invert | |
| fanxian |
 |
a modal scale resulting from performing a melody a fourth up from the note it originally starts with in the qingsan qingliu mode, but without an accompanying shift in tonal assignations | |
| "Fen Hong Lian" | 
 |
"Red Lotus," the title of a piece in the Chaozhou xianshi repertoire | |
| "Fu De Ci" | 
 |
literally, "Chant of Auspiciousness and Morality," the title of a piece in the Chaozhou xianshi repertoire | |
| fuban | 
|
together with the daban, one of a pair of hollow wooden blocks in the Chaozhou xianshi ensemble that are struck in order to mark the downbeats and keep time | |
| gongche | 
|
one of the traditional Chinese notation systems. The term gongche corresponds to the names of two Chinese characters that are used to denote the third and second degrees of the seven-tone scale respectively | |
| Guangdong xiaoqu | 
 |
a genre of wind and string ensemble music indigenous to Guangdong (Canton) and surrounding areas in the Pearl River delta area of Guangdong Province | |
| "Hanyai Xishui" | 
 |
literally, "Jackdaws Playing in the Water," the name of a piece in the Chaozhou xianshi repertoire | |
| huowu | 
 |
literally, "live fifth" | |
| Kejia hanyue | 
  |
the string ensemble music native to the Kejia Chinese subculture located in the Meixian region in eastern Guangdong | |
| liu |  |
the number six | |
| "Liu Qing Niang" | 
 |
"Lady of the Green Willow"; the title of a piece in the Chaozhou xianshi repertoire | |
| "Liu Yao Jin" |
 |
"Gold Shaking in the Willows"; the title of a piece in the Chaozhou xianshi repertoire | |
| meihuaqin | 
 |
a Chinese plucked lute with a resonator in the scalloped shape of the petals of a plum blossom | |
| muban | 
|
a pair of clappers used to mark the strong beats per measure | |
| pipa | 
 |
a pear-shaped, fretted, 4-stringed plucked lute with a short neck | |
| qi |  |
the number seven | |
| qin | |
a Chinese seven-stringed zither | |
| qingsan qingliu | 
|
literally, "light third, light sixth," a modal scale consisting of seven tones in which the 3rd and 6th degrees function as structural tones while the raised 4th and the lowered 7th degrees function as ornamental tones if played at all | |
| qingsan zhongliu |
|
literally, "light third, heavy sixth," a modal scale consisting of seven tones in which the 3rd and the lowered 7th degrees function as structural tones while the raised 4th and 6th degrees function as ornamental tones if played at all | |
| qinqin | 
|
a four-stringed plucked lute with a short fretted neck and round resonating body | |
| qupai |
 |
literally, "labelled tune," refers to any one of the many stock melodies that serves as the basis of melodic variation in Chaozhou xianshi and other Chinese regional folk music genres | |
| ruan |  |
a four-stringed plucked lute with a long fretted neck and a round body | |
| san | |
the number three | |
| sanxian |
|
a three-stringed long-necked plucked lute with no frets | |
| si | |
the number four | |
| "Sige" |
| literally, "Pavilion of Grace and Bounty," the title of a piece in the Chaozhou xianshi repertoire. | |
| sizhu | 
 |
literally, "silk and bamboo," refers to an ensemble of soft-sounding wind and string instruments | |
| taoqu | 
|
melodies or variants of a melody organized in a suite form | |
| tiezhi fan | 
|
a modal scale resulting from performing a melody a fifth up from the note it originally starts with in the qingsan qingliu or the zhongsan zhongliu modes, but without an accompanying shift in tonal assignations | |
| tiezhi qingliu |
|
a modal scale resulting from performing a melody a fifth up from the note it originally starts with in the qingsan qingliu modes, but without an accompanying shift in tonal assignations | |
| tiezhi zhongliu |
| a modal scale resulting from performing a melody a fifth up from the note it originally starts with in the zhongsan zhongliu modes, but without an accompanying shift in tonal assignations | |
| tihu | 
 |
another name for the two-stringed fiddle, erhu | |
| touxian |
|
a two-stringed fiddle similar to the erxian, but shorter in length and higher pitched, that serves as the lead instrument in the wind and string ensemble of the Kejia Chinese subculture based in eastern Guangdong Province | |
| weidao | 
 |
flavor | |
| wu | |
the number five | |
| xiang wei | 
|
regional flavor | |
| xianshi |
 |
literally, "string poem," the name of the string ensemble music indigenous to the Chaozhou subculture based in eastern Guangdong Province | |
| yangqin | 
|
a hammered metal-string zither with a trapezoid-shaped box resonator and rows of strings arranged in two to three choirs of eight to ten courses, with two to four strings per course | |
| yehu | 
|
a two-stringed fiddle with a resonator made from a half-shell of a coconut, covered with a thin, flat wooden piece | |
| yifan | 
 |
a mode resulting from taking a piece in the zhongsan zhongliu mode, completely eliminating the third and sixth degrees of the scale and replacing them with a raised fourth and lowered seventh respectively. The name derives from the gongchi notation symbols yi and fan which correspond respectively to the "changed" fourth and seventh degrees or fa and ti | |
| "Yujian Lihua" | 
|
"Raindrops Falling on the Jasmine Flowers," the title of a piece in the Chaozhou xianshi repertoire | |
| zhegu | 
 |
a small single-headed or double-headed barrel drum about 12-18 cm. in height | |
| zheng |  |
a plucked board zither with 16 to 21 strings | |
| zhong | |
heavy | |
| zhongsan zhongliu |
|
literally, "heavy third, heavy sixth," a modal scale consisting of seven tones in which the raised 4th and lowered 7th degrees function as structural tones while the 3rd and 4th degrees function as ornamental tones if played at all | |
| zitou |
|
the note in the pentatonic scale series that begins a melody |
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