南管樂器介紹
拍板
檀木製品，五片串成，屬樂隊指揮地位。古代執拍板者稱為「樂正」，樂正必
須數「撩」按「拍」以掌握節奏，每逢拍拉擊板發聲。若是樂曲演唱時，則由
歌者執拍端坐；樂曲開始及結束時，執拍者當須站立，此時若有下一名歌者，
則須前來接拍，傳遞拍板時應粧重優雅，行禮如儀，此乃南管傳統倫理，充分
表現了中國禮樂之風。
Pai-pan(Clapper)
The pai-pan consists of five pieces of sandalwood used by the singer
to conduct the orchestra. When the music begins, the singer stands
up until it is in full swing. He then sits bolt uprght, singing and
conducting with the pai-pan, until near the end of the piece. when
he stands once again, to signal to the next singer to take over the
postition.
琵琶
南管琵琶與近代國樂使用的豎抱琵琶、或傳自西域的桿撥琵琶均不相同。南管
琵琶面板上有「四相」（琴頸上山形之物為相）「九品」（琴面上玳瑁片狀物
為品），彈奏時橫抱，琴體與人身保持近乎九十度平衡的姿勢，南管琵琶彈奏
技法質樸而嚴謹，與國樂琵琶之複雜華麗技巧大不相同。
Pipa(plucked string instrument)
The Nan-guan pipa resembles the ancient Chinese lute; it is made of
the same materials and its fingering technique is based on the same
principles. Unlike the more common Northern Chinese pipa, the body
of the Nan-guan Pipa held firmly between the chest and stomach in a
horizontal position. The pipa performer sits with the left leg
crossed over the right so that the knee is slightly raised, enabling
the instrument to be held securely. Using mainly the left index and
ring fingers, the musician applies pressure to the strings. The
right index finger is used to hammer and pluck, while the right
thumb nail is used to pluck and strum.
雙音
又名「雙鈴」、「雙鉦」，銅製無舌，兩手分執，演奏時在撩位或拍位的後半
拍互擊，音色力求柔和悠揚，如空谷迴響。
Shuang-yin(Two Bells)
The shuang-yin consists of two copper bells without clappers, one
held in each hand. They are struck together to make a bright.
resonating sound.
四塊
又名「四寶」，是四片兩端有節的竹片，左右手各執兩片，手臂運勁使竹片震
動互擊，發出細密如鳳鳥嘹嚦之聲，逢拍位雙手握重擊，其餘則按照琵琶指法
敲擊。
Ssu-kuai(Four Pieces)
Consisting of four pieces of bamboo, two held in each hand, the
ssu-Kuai used sometimes like castanets and sometimes struck together
to beat time. The ryhthm is the same as that of the pi-pa.
洞簫
簫身前五孔，後一孔，製作時選材嚴謹，非觸地端之竹不取，長度超過十目九
節則不用，與俗稱「尺八」規格不同。同簫的聲音綿長不斷，串聯琵琶指法，
添加裝飾音，構成優美的旋律。南管洞簫音色溫婉而悠揚，貴「清」忌「濁」
。
Tung-hsiao(Chinese Flute)
In Nan-guan music, the tung-hsiao sets the tune and pitch of the
peformance. It soft and harmonious sound can sustain for long
periods without a break; its main role is to support the pi-pa in
coordination with the san-hsien. During performance. the tung-hsiao
is free to improvise on the melody within a range of the octaves,
The pitch can be changed by using light. medium or heavy breath.
producing different melodies.
二絃
二絃和洞簫一樣均為旋律性樂器，且二絃有輔助洞簫延長氣韻的作用。南管二
絃與一般胡琴的形制、材質及演奏技法皆不同：它的兩根軫子在右邊，和胡琴
相反，卻和宋朝的「奚琴」同制，琴筒採林投樹果實製成，琴柱以竹頭為首，
柱身則有十二竹節。演奏時內線只能拉，外線空絃只能推，最忌推拉無序；弓
上馬尾鬆軟，發音如「笙」般凝煉而不尖銳，綿延而不軟弱。
Erh-hsien(Two Strings)
The erh-hsien complements and contrasts with tung-hsiao to support
the pipa. The tuning pegs of the erh-hsien are on the right side.
The instrument originated from a warrior culture: the bow used
between the two strings is made from horse-tail hairs.
三絃
直項長柄小圓腹，雙面蟒皮，形體與古時「秦琵琶」相似。音色圓厚低沈，恰
與琵琶的清脆鏗鏘音色形成互補之陰陽關係，其指法與琵琶相同，但在某些特
別的樂曲中，會使用獨特的指法或在琵琶之後半拍出聲，表現和聲效應。
San-hsien(Three Strings)
The san-hsien is a stringed instrument belonging to the bass family.
It played like the pi-pa. The fingrering is often the same as that
of pi-pa. Although san-hsien may take the lead in some songs. it
usually follows and supports the pi-pa.
響盞
銅製小鑼置於竹篦圈中，由左手執之，右手拿紙製小軟捶，上下晃動敲擊銅鑼
使其發出如磬一般清脆的聲音。演奏時隨琵琶指法敲擊，逢拍拉停頓，是唯一
可與琵琶捻指同時發音的金屬樂器。
Hsiang-chan(Cymbals)
Made from a piece of copper fixed in a bamboo shell, the hsiang-chan
is held in the left hand and struck with a flexible stick held in
the right hand. It makes a chiming sound and follows the pe-pa. It
is the only metal instrument that is played simultaneously with the
pi-pa.
叫鑼
又名「小叫」，由木魚與小鑼組合，左手食指掛住小鑼，拇指與中指執木魚，
右手執木片。演奏時拍拉擊木魚，撩的後半拍擊小鑼，同時手必須左右擺動，
使小鑼發出如鐘一般的洪亮的聲音。
Chiao-lo(Gong)
The chiao-lo combines a mu-yu and a small gong which are used like
castanets in the left hand. The right hand holds a flat stick that
used to beat a rhythm on mu-yu.
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