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The 'dizi' (), is a Chinese transverse flute. It is also sometimes known as the ''di'' () or ''hengdi'' (), and has varieties including the ''qudi'' () and ''bangdi'' ().
These names are likely to have multiple spellings, too, depending on the transliteration used to convert from Chinese names. Nonetheless, ''dizi'' seems to be the most common name (and written form) used in the West.
The ''dizi'' is a major Chinese musical instrument, and is widely used in many genres of Chinese folk music, as well as Chinese opera, and the modern Chinese orchestra. Traditionally, the ''dizi'' has also been popular among the Chinese common people, and it is simple to make and easy to carry.^[1]

Most ''dizi'' are made of bamboo, which explains why ''dizi'' are sometimes known by simple names such as "Chinese bamboo flute." However, "bamboo" is perhaps more of a Chinese instrument classification like "woodwind" in the West.
Although bamboo is the common material for the ''dizi'', it is also possible to find ''dizi'' made from other kinds of kinds of wood, or even from stone. Jade ''dizi'' (or ''yudi'', 玉笛) are popular among both collectors interested in the almost magical beauty of jade ''dizi'', and among professional players who seek an instrument with look that matches the quality of their renditions. But jade may not be the best material for ''dizi'' since, as with metal, jade may not be so tonally responsive, unlike bamboo which is more resonant.
The ''dizi'' is not the only bamboo flute of China, although it is certainly distinctive. Other Chinese bamboo wind instruments include the vertical end-blown xiao, the guanzi (double reed), the koudi, and the bawu (free reed).

Contents

Membrane

Techniques

Origins

Styles

Performers

Notes

Reference

See also

Membrane

Whereas most simple flutes have only a blowing hole (known as ''chui kong'' in Chinese) and finger-holes, the ''dizi'' has very different additional hole, called a ''mo kong'' (膜孔), between the embouchure and finger-holes. A special membrane called ''dimo'' (, lit. "''di'' membrane"), made from an almost tissue-like shaving of reed, is made taut and glued over this hole, traditionally with a substance called ejiao. Garlic juice or glue sticks may also be used to adhere the ''dimo''. This application process, in which fine wrinkles are created in the centre of the ''dimo'' to create a penetrating buzzy timbre, is an art form in itself.
The ''dimo'' covered ''mokong'' has a distinctive resonating effect on the sound produced by the ''dizi'', making it brighter and louder, and adding harmonics to give the final tone a buzzing, nasal quality. ''Dizi'' have a relatively large range, covering about two-and-a-quarter octaves.

Techniques

''Dizi'' are often played using various "advanced" techniques, such as circular breathing, slides, popped notes, harmonics, "flying finger" trills, multiphonics, fluttertonguing, and double-tonguing. Most professional players have a set of seven ''dizi'', each in a different key (and size). Additionally, master players and those seeking distinctive sounds such as birdsong may use extremely small or very large ''dizi''.

Origins

There are many suggestions for the source of ''dizi''. While some suggest that the Yellow Emperor ordered his government official to make the bamboo musical instrument, others believe that ''dizi'' was imported into China during the Han Dynasty (206 BC-220 AD).
Recently, archaeologists have discovered evidence suggesting that the simple transverse flutes (though without the distinctive ''mokong'' of the ''dizi'') have been present in China for over 9,000 years. Fragments of bone flutes from this period are still playable today, and are remarkably similar to modern versions in terms of hole placement, etc, found at Jiahu site. These flutes share common features of other simple flutes from cultures all around the world, including the ''ney'', an end-blown cane flute which was depicted in Egyptian paintings and stone carvings. In fact, recent archeological discoveries in Africa suggest that the history of such flutes may date back a very long way in human history indeed.
The first written record of the membrane (''dimo'') dates from the 12th century. On traditional ''dizi'' the finger-holes are spaced approximately equidistantly, which produces a temperament of mixed whole-tone and three-quarter-tone intervals. During the middle of the 20th century ''dizi'' makers began to change the finger hole placements to allow for playing in equal temperament, as demanded by new musical developments and compositions, although traditional ''dizi'' continue to be used for purposes such as ''kunqu'' accompaniment. A fully chromatic version of the ''dizi'', called xindi.

Styles

Contemporary ''dizi'' styles based on the professional conservatory repertory are divided into two: Northern and Southern, each style having different preferences in ''dizi'' and playing techniques. In Northern China, for example, the bangdi is used to accompany Bangzi opera, with a sound that is bright and vigorous. In Southern China, the qudi accompanies Kunqu opera and is used in music such as ''Jiangnan Sizhu'', has a more mellow, lyrical tone.

Performers

Major ''dizi'' performers of the 20th century who have contributed to ''dizi'' playing in the new conservatory professional concert repertory, often based on or adapted from regional folk styles, include Feng Zicun, Liu Guanyue, Lu Chunling and Zhao Songting.
'Feng Zicun' (冯子存，1904-1987) was born in Yangyuan, Hebei province. Of humble origins, Feng had established himself as a folk musician by the time of the founding of the People’s Republic of China, playing the ''dizi'' as well as the four-string fiddle ''sihu'' in local song and dance groups, folksongs and stilt dances. He also introduced ''errentai'', the local opera of inner Mongolia, to Hebei after spending four years there as a musician in the 1920s.
In 1953, Feng was appointed to the state-supported Central Song and Dance Ensemble in Beijing as ''dizi'' soloist, and accepted a teaching post at the China Conservatory of Music (Beijing) in 1964.
Feng adapted traditional folk ensemble pieces into dizi solos, such as ''Xi xiang feng'' (Happy Reunion), ''Wu bangzi'' (Five Clappers), contributing to the new Chinese conservatory curricula in traditional instrument performance. Feng’s style, virtuosic and lively, has been known as representative of the folk musical traditions of northern China.
'Liu Guanyue' (刘管乐，1918- ) was born in An'guo county, Hebei. Born to a poor peasant family, Liu was a professional folk musician who had earned a meagre living playing the ''guanzi'', ''suona'', and ''dizi'' in rural ritual ensembles before becoming a soloist in the Tianjin Song-and-Dance Ensemble ''(Tianjin gewutuan)'' in 1952.
Liu together with Feng Zicun are said to be representatives of the Northern ''dizi'' style. His pieces, including ''Yin zhong niao'' (Birds in the Shade), ''He ping ge'' (Doves of Peace) and ''Gu xiang'' (Old Home village) have become part of the new conservatory professional concert repertory.
'Lu Chunling' (陆春龄，1921- ) was born in Shanghai. In pre-1949 Shanghai, Lu worked a trishaw driver, but was also an amateur musician, performing the Jiangnan sizhu folk ensemble repertory. In 1952, Lu became ''dizi'' soloist with the Shanghai folk Ensemble ''(Shanghai minzu yuetuan)'', and also at the Shanghai Opera Company ''(Shanghai geju yuan)'' from 1971 to 1976. In 1957 he taught at the Shanghai Conservatory of Music, and became Associate Professor in 1978.
Lu has performed in many countries as well as throughout China and has made many recordings. His ''dizi'' playing style has become representative of the Jiangnan ''dizi'' tradition in general. He is well known as a longtime member of the famous ''Jiangnan sizhu'' music performance quartet consisting of Zhou Hao, Zhou Hui, and Ma Shenglong. His compositions include ''Jinxi'' (Today and Yesterday).
'Zhao Songting' (，1924- ) was born in Dongyang county, Zhejiang. Zhao had trained as a teacher in Zhejiang, and had studied law, Chinese and Western music in Shanghai. In the 1940s he worked as a music teacher in Zhejiang, and became the ''dizi'' soloist in the Zhejiang Song and Dance Ensemble ''(Zhejiang Sheng Gewutuan)'' in 1956. He also taught at the Shanghai Conservatory of Music and the Zhejiang College of Arts ''(Zhejiang sheng yishu xuexiao)''.
Because of his midle class background, Zhao had suffered in the political campaigns of the 1950s and 1960s and was not allowed to perform, instead he taught many students who went on to become leading professional ''dizi'' players, and to refine ''dizi'' design. He has been reinstated in his former positions since 1976.
Zhao's compositions include ''San wu qi'' (Three-Five-Seven), which is based on a melody from ''wuju'' (Zhejiang traditional opera).

Notes

1. This is in contrast to the ''xiao'', a vertical bamboo flute which has historically been favored by scholars and the upper classes.

Reference

★ ''New Grove Dictionary of Music and Musicians'', second edition, edited by Stanley Sadie and John Tyrrell (London, 2001).

See also

★ Chinese flutes

★ Traditional Chinese musical instruments

★ Koudi

★ Music of China