Guzheng is also known as han zheng,qin zheng,yao zheng and luan zheng.
（古筝又名汉筝、秦筝、瑶筝、鸾筝，是中国汉民族传统乐器中的筝乐器，属于弹拨乐器。）
It is one of the unique and important national Musical Instruments in China.
（它是中国独特的、重要的民族乐器之一。）
It has beautiful timbre,wide range of tones,rich playing skills,and quite strong expressive force.
（它的音色优美，音域宽广、演奏技巧丰富，具有相当强的表现力。）
Therefore it is deeply loved by the broad masses of the people.
（因此它深受广大人民群众的喜爱。）
Now there are also small guzheng,portable guzheng,mini guzheng,half zheng,new zheng and twelve-equal temperament transfer zheng.
（现在也出现了小古筝、便携式古筝、迷你古筝、半筝、新筝、十二平均律转调筝。）
扩展资料
古筝的统一规格为：1.63米，21弦。古筝的面板大多数采用河南兰考的桐木制造，框架为白松，筝首、尾、四周侧板有红木、老红木（缅酸枝）、金丝楠木、紫檀等名贵木材，古筝的音质取决于面板和琴弦，周边用料对古筝的音色略有改善。
以老红木、紫檀、金丝楠木为佳。早期到近代也有过12、13、18、23、25弦等，不同地区的筝又有多种定弦法，筝的新种类还有“蝶式筝”、“转调筝”等。
参考资料来源：百度百科-古筝
The guzheng,or gu zheng (Chinese： 古筝； pinyin: gǔzhēng) or zheng （筝） （gu- means "ancient"） is a traditional Chinese musical instrument. It belongs to the zither family of string instruments.The guzheng is the parent instrument of the Japanese koto,the Korean gayageum,and the Vietnamese đàn tranh.A modern guzhengThe guzheng should not to be confused with the guqin,another ancient Chinese zither but without bridges.DescriptionThe modern-day guzheng is a plucked,half-tube zither with movable bridges and 21 strings,although it can have anywhere from 15 to 25 strings (a customized version exists with more than 34 strings). The guzheng's strings were formerly made of twisted silk,though by the 20th century most players used metal strings (generally steel for the high strings and copper-wound steel for the bass strings). Since the mid-20th century most performers use steel strings flatwound with nylon.The guzheng has a large resonant cavity made from wu tong wood (Paulownia tomentosa). Other components may be made from other woods,usually for structural and decorative purposes.HistoryThe guzheng has existed since the Warring States Period and became especially popular during the Qin dynasty. The ancient guzheng had 12 strings,which gradually evolved into it current forms.Until 1961,the common guzheng had 18 strings. In 1961 Xu Zhengao together with Wang Xunzhi introduced the first 21-string guzheng after two years of research and development. In 1961,they also invented the "S-shaped" left string rest,which was quickly adopted by all guzheng makers and is still used today,whether in the shape of the letter "S","C",etc. The 21-string zheng is the most commonly used,but some traditional musicians still use the 16-string,especially along the southeastern coastal provinces of China and in Taiwan.The guzheng is tuned to a pentatonic scale,the 16-string zheng is tuned to give three complete octaves,while the 21-string zheng has four complete octaves.Playing styles and performersThere are many techniques used in the playing of the guzheng,including basic plucking actions (right or both hands) at the right portion and pressing actions at the left portion (by the left hand to produce pitch ornamentations and vibrato) as well as tremolo (right hand). These techniques of playing the guzheng can create sounds that can evoke the sense of a cascading waterfall,thunder and even the scenic countryside. Plucking is done mainly by the right hand with four plectra (picks) attached to the fingers. Advanced players may use picks attached to the fingers of both hands. Ancient picks were made of ivory and later also from tortoise shell.The guzheng's pentatonic scale is tuned to Do,Re,Mi,So and La,but Fa and Ti can also be produced by pressing the strings to the left of the bridges. Well known pieces for the instrument include Yu Zhou Chang Wan (Singing at night on fishing boat),Gao Shan Liu Shui (High mountains flowing water) and Han Gong Qiu Yue (Han palace autumn moon).Two broad playing styles (schools) can be identified as Northern and Southern,although many traditional regional styles still exist. The Northern styles is associated with Henan and Shandong while the Southern style is with the Chaozhou and Hakka regions of eastern Guangdong. Both Gao Shan Liu Shui (High mountains flowing water) and Han Gong Qiu Yue (Han palace autumn moon) are from the Shandong school,while Han ya xi shui (Winter Crows Playing in the Water) and Chu shui lian (Lotus Blossoms Emerging from the Water) are major pieces of the Chaozhou and Hakka repertories respectively.important players and teachers in the 20th century include; Wang Xunzhi (1899–1972) who popularized the Wulin zheng school centred in Hangzhou in Zhejiang,Lou Shuhua rearranged a traditional guzheng piece and named it Yu zhou chang wan,Liang Tsai-Ping (1911-2000) edited the first guzheng teaching manual Nizheng pu in 1938,Cao Dongfu (1898–1970) from Henan,Gao Zicheng (1918- ) and Zhao Yuzhai (1924- ) from Shandong; Su Wenxian (1907–71),Guo Ying (1914- ) and Lin Maogen (1929- ) from Chaozhou,the Hakka Luo Jiuxiang (1902–78),and Cao Zheng (1920-1998) who trained in the Henan school.Many new pieces have been composed since the 1950s which used new playing techniques such as the playing of harmony and counterpoint by the left hand. Pieces in this new style include Qing feng nian (Celebrating the Harvest,Zhao Yuzhai,1955),Zhan tai feng (Fighting the Typhoon,Wang Changyuan,1965) and the guzheng。
The guzheng,or gu zheng (Chinese： 古筝； pinyin: gǔzhēng) or zheng （筝） （gu- means "ancient"） is a traditional Chinese musical instrument. It belongs to the zither family of string instruments.The guzheng is the parent instrument of the Japanese koto,the Korean gayageum,and the Vietnamese đàn tranh. A modern guzhengThe guzheng should not to be confused with the guqin,another ancient Chinese zither but without bridges.Description The modern-day guzheng is a plucked,half-tube zither with movable bridges and 21 strings,although it can have anywhere from 15 to 25 strings (a customized version exists with more than 34 strings). The guzheng's strings were formerly made of twisted silk,though by the 20th century most players used metal strings (generally steel for the high strings and copper-wound steel for the bass strings). Since the mid-20th century most performers use steel strings flatwound with nylon.The guzheng has a large resonant cavity made from wu tong wood (Paulownia tomentosa). Other components may be made from other woods,usually for structural and decorative purposes.History The guzheng has existed since the Warring States Period and became especially popular during the Qin dynasty. The ancient guzheng had 12 strings,which gradually evolved into it current forms.Until 1961,the common guzheng had 18 strings. In 1961 Xu Zhengao together with Wang Xunzhi introduced the first 21-string guzheng after two years of research and development. In 1961,they also invented the "S-shaped" left string rest,which was quickly adopted by all guzheng makers and is still used today,whether in the shape of the letter "S","C",etc. The 21-string zheng is the most commonly used,but some traditional musicians still use the 16-string,especially along the southeastern coastal provinces of China and in Taiwan.The guzheng is tuned to a pentatonic scale,the 16-string zheng is tuned to give three complete octaves,while the 21-string zheng has four complete octaves.Playing styles and performers There are many techniques used in the playing of the guzheng,including basic plucking actions (right or both hands) at the right portion and pressing actions at the left portion (by the left hand to produce pitch ornamentations and vibrato) as well as tremolo (right hand). These techniques of playing the guzheng can create sounds that can evoke the sense of a cascading waterfall,thunder and even the scenic countryside. Plucking is done mainly by the right hand with four plectra (picks) attached to the fingers. Advanced players may use picks attached to the fingers of both hands. Ancient picks were made of ivory and later also from tortoise shell.The guzheng's pentatonic scale is tuned to Do,Re,Mi,So and La,but Fa and Ti can also be produced by pressing the strings to the left of the bridges. Well known pieces for the instrument include Yu Zhou Chang Wan (Singing at night on fishing boat),Gao Shan Liu Shui (High mountains flowing water) and Han Gong Qiu Yue (Han palace autumn moon).Two broad playing styles (schools) can be identified as Northern and Southern,although many traditional regional styles still exist. The Northern styles is associated with Henan and Shandong while the Southern style is with the Chaozhou and Hakka regions of eastern Guangdong. Both Gao Shan Liu Shui (High mountains flowing water) and Han Gong Qiu Yue (Han palace autumn moon) are from the Shandong school,while Han ya xi shui (Winter Crows Playing in the Water) and Chu shui lian (Lotus Blossoms Emerging from the Water) are major pieces of the Chaozhou and Hakka repertories respectively.important players and teachers in the 20th century include; Wang Xunzhi (1899–1972) who popularized the Wulin zheng school centred in Hangzhou in Zhejiang,Lou Shuhua rearranged a traditional guzheng piece and named it Yu zhou chang wan,Liang Tsai-Ping (1911-2000) edited the first guzheng teaching manual Nizheng pu in 1938,Cao Dongfu (1898–1970) from Henan,Gao Zicheng (1918- ) and Zhao Yuzhai (1924- ) from Shandong; Su Wenxian (1907–71),Guo Ying (1914- ) and Lin Maogen (1929- ) from Chaozhou,the Hakka Luo Jiuxiang (1902–78),and Cao Zheng (1920-1998) who trained in the Henan school.Many new pieces have been composed since the 1950s which used new playing techniques such as the playing of harmony and counterpoint by the left hand. Pieces in this new style include Qing feng nian (Celebrating the Harvest,Zhao Yuzhai,1955),Zhan tai feng (Fighting the Typhoon,Wang Changyuan,1965) and the guzheng。
听夜筝有感
---白居易
江州去日听筝夜，白发新生不愿闻。
如今格是头成雪，弹到天明亦任君。
高楼夜弹筝
---常建
高楼百馀尺，直上江水平。
明月照人苦，开帘弹玉筝。
山高猿狖急，天静鸿雁鸣。
曲度犹未终，东峰霞半生。
听筝
---李端
鸣筝金粟柱，素手玉房前。
欲得周郎顾，时时误拂弦。
听筝
---柳中庸
抽弦促柱听秦筝，无限秦人悲怨声。
似逐春风知柳态，如随啼鸟识花情。
谁家独夜愁灯影，何处空楼思月明。
更入几重离别恨，江南岐路洛阳城。
筝
---李峤
蒙恬芳轨设，游楚妙弹开。
新曲帐中发，清音指下来。
钿装模六律，柱列配三才。
莫听西秦奏，筝筝有剩哀。
有关古筝的诗 断虹落屏山，斜雁着行安。
钉铃双琢木，错落千珠拌。愁龙啼玉海，夜燕语雕阑。
只应桓叔夏，重起为君弹。---杨维桢《鸣筝曲》 秦筝吐绝调，玉柱扬清曲。
弦依高张断，声随妙指续。徒闻音绕梁，宁知颜如玉。
——梁/沈约：《咏筝》 鸣筝金粟柱，素手玉房前， 欲得周郎顾，时时误拂弦。——唐/李端：《听筝》 花脸云裘坐玉楼，十三弦里一时愁。
凭君向道休弹去，自尽江州司马头。----白居易《听崔七妓人筝》 蒙恬芳轨没，游楚妙弹开， 新曲帐中发，清音指下来。
钿装模六律，柱列配三才， 莫听西秦奏，筝筝有剩哀。——唐/李峤：《筝》 银筝夜久殷勤弄， 心怯空房不忍归。
——玉涯《秋夜曲 >《春日行》 ---李白 佳人当窗弄白日， 弦将手语弹鸣筝。春风吹落君王耳， 此曲乃是《升天行》。
---------------------------- 《京中客舍闻筝》 十二三弦共五音， 每声如截远人心。当时向秀闻邻笛， 不是离家岁月深。
*西子的诗* ----------------------------------- 遥望琼枝翠，春意暖欲燃。绿杨芳草路，飞红绣罗裙。
追忆飘摇雨，历历卿心扉。欲取名琴弹，送予知音赏。
纤指香凝弦上飞，声声柔情寄琴语。高山流水觅知音，谁伴婵娟曲中醉。
锦瑟无端五十弦， 一弦一柱思华年。庄行晓梦迷蝴蝶， 望帝春心托杜鹃。
--《锦瑟》李商隐 忽闻江上弄衰筝， 苦含情。遣谁听？ 烟敛云收， 依约是湘灵。
欲待曲终寻问取， 人不见， 数峰青。——苏轼《江城子》 蝶恋花 .晏几道 梦入江南烟水路， 行尽江南， 不与离人遇。
睡里销魂无说处， 觉来惆怅销魂误。欲尽此情书尺素， 浮雁沈鱼， 终了无凭据。
却倚缓弦歌别绪， 断肠移破秦筝柱。秦弦络络呈纤手， 宝雁斜飞三十九 ——贺方回 风鬟飞乱， 寒入秦筝雁 ——洪景伯 何人金屋， 巧啭歌莺， 慢调筝雁 ——赵虚斋 旧曲重寻， 移遍秦筝雁 ——晁次膺 菩萨蛮 哀筝一弄湘江曲， 声声写尽湘波绿。
纤指十三弦， 细将幽恨传。当筵秋水慢， 玉柱斜飞雁。
弹到断肠时， 山眉黛低。虞美人 曲阑干外天如水， 昨夜还曾倚， 初将明月比佳期。
长向月圆时候， 望人归。罗衣著破前香在， 旧意谁教改。
一春离恨懒调弦， 犹有两行闲泪， 宝筝前。夜筝 唐·白居易 紫袖红弦明月中， 自弹自感暗低容。
弦凝指咽声停处， 别有深情一万重。出帘仍有钿筝随， 见罢翻令恨识迟。
--卢纶《宴席赋得姚美人后筝歌》 弦危中妇瑟， 甲冷想夫筝。--李商隐《送千牛将军赴阙五十韵》 齐瑟弹东吟， 秦弦弄西音。
--李白《古风》之五十四 万松亭下清风满， 秦声一曲此时闻。--刘禹锡《伤秦妹行》 银筝夜久殷勤弄， 心怯空房不忍归。
--玉涯《秋夜曲》 筝声清脆迎君来， 胡乐哀柔送夫归。不见佳人身边伴， 仙韵难解相思泪。
-《相思》 端居正无绪， 那复发秦筝。--张九龄《听筝》 明月照人古， 开帘弹玉筝。
--常建《高楼夜弹筝》 宝筝钿剥阴尘覆， 锦帐看消画烛幽。--廖融《退宫妓》 清筝何缭绕， 度曲绿云垂。
--李白《邯郸南亭观妓》 何处哀筝随急管， 樱花永巷垂杨崖。--李商隐《无题四首》 多景楼上弹神曲， 欲断哀弦再三促。
江妃出听雾雨愁， 白浪翻空动浮玉。唤取吾家双凤槽， 遣作三峡孤猿号。
与君合奏芳春调， 啄木飞来霜树杪。--苏轼《甘露寺弹筝》 弹筝北窗下， 夜响清音愁。
张高弦易断， 心伤曲不道。--萧纲《弹筝 鸣筝金栗柱， 素手玉房前， 欲得周郎顾， 时时误拂弦。
--李端《听筝》 何处哀筝随急管， 樱花永巷垂杨崖。------李商隐《无题四首》 银甲弹冰五十弦，海门风急雁行偏。
故人情怨知多少，杨子江头月满船。------元.萨都刺《赠弹筝者》。
The koto is ancient ethnic Musical Instruments,structure the strings column by the panel YueShan string nail before tuning box full YueShan side panel with after the sound of string mouth bottom wear hole; Zheng shape is rectangle woodiness sound box,string frame zheng column (namely the wild goose column) can move freely,a string a sound,according to five scales is arranged,the first 25 string for the most in guzheng (points for zheng harp),has 13 tang string root,after six to 10 18 string string 21,at present the most commonly used a specification of the 21 string; Usually the model with S163 guzheng before-21,S representative S form YueShan,is the king of all with MiaoJinLin common invention,163 representative guzheng length 163 cm or so,21 representative guzheng string number 21 root
古筝是古老的民族乐器，结构由面板 雁柱 琴弦 前岳山 弦钉 调音盒 琴足 后岳山 侧板 出音口 底板 穿弦孔组成；筝的形制为长方形木质音箱，弦架 筝柱 （即雁柱）可以自由移动，一弦一音，按五声音阶排列，最早以25弦筝为最多（分瑟为筝），唐宋时有弦十三根，后增至十六根 十八弦 二十一弦等，目前最常用的规格为二十一弦；通常古筝的型号前用S163-21,S代表S形岳山，是王巽之与缪金林共同发明，163代表古筝长度是163厘米左右，21代表古筝弦数21根
噗~翻译机翻译的准不准不知道我英语废材
白居易 《夜筝》 紫袖红弦明月中，自弹自感闇低容。
弦凝指咽声停处，别有深情一万重。苏轼 《甘露寺弹筝》 多景楼上弹神曲，欲断哀弦再三促。
江妃出听雾雨愁，白浪翻空动浮玉。唤取吾家双凤槽，遣作三峡孤猿号。
与君合奏芳春调，啄木飞来霜树杪。李白 《春日行》 佳人当窗弄白日，弦将手语弹鸣筝。
春风吹落君王耳，此曲乃是升天行。白居易 《听夜筝有感》 江州去日听筝夜，白发新生不愿闻。
如今格是头成雪，弹到天明亦任君。杨巨源 《雪中听筝》 玉柱泠泠对寒雪，清商怨徵声何切。
谁怜楚客向隅时，一片愁心与弦绝。王湾 《观筝》 虚室有秦筝，筝新月复清。
弦多弄委曲，柱促语分明。晓怨凝繁手，春娇入曼声。
近来唯此乐，传得美人情。刘禹锡 《同留守王仆射各赋春中一物，从一韵至七》 莺。
能语，多情。春将半，天欲明。
始逢南陌，复集东城。林疏时见影，花密但闻声。
营中缘催短笛，楼上来定哀筝。千门万户垂杨里，百转如簧烟景晴。
刘禹锡《冬夜宴河中李相公中堂命筝歌送酒》 朗朗鹍鸡弦，华堂夜多思。帘外雪已深，座中人半醉。
翠蛾发清响，曲尽有馀意。酌我莫忧狂，老来无逸气。
顾况 《李湖州孺人弹筝歌》 武帝升天留法曲，凄情掩抑弦柱促。上阳宫人怨青苔，此夜想夫怜碧玉。
思妇高楼刺壁窥，愁猿叫月鹦呼儿。寸心十指有长短，妙入神处无人知。
独把梁州凡几拍，风沙对面胡秦隔。听中忘却前溪碧，醉后犹疑边草白。
吴融 《李周弹筝歌》 古人云，丝不如竹，竹不如肉。乃知此语未必然，李周弹筝听不足。
闻君七岁八岁时，五音六律皆生知。就中十三弦最妙，应宫出入年方少。
青骢惯走长楸日，几度承恩蒙急召。一字雁行斜御筵，锵金戛羽凌非烟。
始似五更残月里，凄凄切切清露蝉。又如石罅堆叶下，泠泠沥沥苍崖泉。
鸿门玉斗初向地，织女金梭飞上天。有时上苑繁花发，有时太液秋波阔。
当头独坐摐一声，满座好风生拂拂。天颜开，圣心悦，紫金白珠沾赐物。
出来无暇更还家，且上青楼醉明月。年将六十艺转精，自写梨园新曲声。
近来一事还惆怅，故里春荒烟草平。供奉供奉且听语，自昔兴衰看乐府。
只如伊州与梁州，尽是太平时歌舞。旦夕君王继此声，不要停弦泪如雨。
常建 《高楼夜弹筝》 高楼百馀尺，直上江水平。明月照人苦，开帘弹玉筝。
山高猿狖急，天静鸿雁鸣。曲度犹未终，东峰霞半生。
王昌龄 《听流人水调子》 孤舟微月对枫林，分付鸣筝与客心。岭色千重万重雨，断弦收与泪痕深。
萨都刺 《赠弹筝者》 银甲弹冰五十弦，海门风急雁行偏。故人情怨知多少，杨子江头月满船。
晏几道 《菩萨蛮》 哀筝一弄《湘江曲》，声声写尽湘波缘。纤指十三弦，细将幽恨传。
当筵秋水慢，玉柱叙飞雁。弹到断肠时，春山眉黛低。
断虹落屏山，斜雁着行安。钉铃双琢木，错落千珠拌。
愁龙啼玉海，夜燕语雕阑。只应桓叔夏，重起为君弹。
杨维桢 《鸣筝曲》 秦筝吐绝调，玉柱扬清曲。弦依高张断，声随妙指续。
徒闻音绕梁，宁知颜如玉。李端 《听筝》 花脸云裘坐玉楼，十三弦里一时愁。
凭君向道休弹去，自尽江州司马头。李白 《春日行》 佳人当窗弄白日，弦将手语弹鸣筝。
春风吹落君王耳，此曲乃是《升天行》。薛能 《京中客舍闻筝》 十二三弦共五音，每声如截远人心。
当时向秀闻邻笛，不是离家岁月深。李商隐《锦瑟》 忽闻江上弄衰筝，苦含情。
遣谁听？烟敛云收，依约是湘灵。欲待曲终寻问取，人不见，数峰青。
断虹落屏山，斜雁着行安。
钉铃双琢木，错落千珠拌。愁龙啼玉海，夜燕语雕阑。
只应桓叔夏，重起为君弹。---杨维桢《鸣筝曲》 秦筝吐绝调，玉柱扬清曲。
弦依高张断，声随妙指续。徒闻音绕梁，宁知颜如玉。
——梁/沈约：《咏筝》 鸣筝金粟柱，素手玉房前， 欲得周郎顾，时时误拂弦。——唐/李端：《听筝》 花脸云裘坐玉楼，十三弦里一时愁。
凭君向道休弹去，自尽江州司马头。----白居易《听崔七妓人筝》 蒙恬芳轨没，游楚妙弹开， 新曲帐中发，清音指下来。
钿装模六律，柱列配三才， 莫听西秦奏，筝筝有剩哀。——唐/李峤：《筝》 银筝夜久殷勤弄， 心怯空房不忍归。
——玉涯《秋夜曲>《春日行》 ---李白 佳人当窗弄白日， 弦将手语弹鸣筝。春风吹落君王耳， 此曲乃是《升天行》。
---------------------------- 《京中客舍闻筝》 十二三弦共五音， 每声如截远人心。当时向秀闻邻笛， 不是离家岁月深。
*西子的诗* ----------------------------------- 遥望琼枝翠，春意暖欲燃。绿杨芳草路，飞红绣罗裙。
追忆飘摇雨，历历卿心扉。欲取名琴弹，送予知音赏。
纤指香凝弦上飞，声声柔情寄琴语。高山流水觅知音，谁伴婵娟曲中醉。
锦瑟无端五十弦， 一弦一柱思华年。庄行晓梦迷蝴蝶， 望帝春心托杜鹃。
--《锦瑟》李商隐 忽闻江上弄衰筝， 苦含情。遣谁听？ 烟敛云收， 依约是湘灵。
欲待曲终寻问取， 人不见， 数峰青。——苏轼《江城子》 蝶恋花.晏几道 梦入江南烟水路， 行尽江南， 不与离人遇。
睡里销魂无说处， 觉来惆怅销魂误。欲尽此情书尺素， 浮雁沈鱼， 终了无凭据。
却倚缓弦歌别绪， 断肠移破秦筝柱。秦弦络络呈纤手， 宝雁斜飞三十九 ——贺方回 风鬟飞乱， 寒入秦筝雁 ——洪景伯 何人金屋， 巧啭歌莺， 慢调筝雁 ——赵虚斋 旧曲重寻， 移遍秦筝雁 ——晁次膺 菩萨蛮<宋.张先>哀筝一弄湘江曲， 声声写尽湘波绿。
纤指十三弦， 细将幽恨传。当筵秋水慢， 玉柱斜飞雁。
弹到断肠时， 山眉黛低。虞美人<宋.晏几道>曲阑干外天如水， 昨夜还曾倚， 初将明月比佳期。
长向月圆时候， 望人归。罗衣著破前香在， 旧意谁教改。
一春离恨懒调弦， 犹有两行闲泪， 宝筝前。夜筝唐·白居易 紫袖红弦明月中， 自弹自感暗低容。
弦凝指咽声停处， 别有深情一万重。出帘仍有钿筝随， 见罢翻令恨识迟。
--卢纶《宴席赋得姚美人后筝歌》 弦危中妇瑟， 甲冷想夫筝。--李商隐《送千牛将军赴阙五十韵》 齐瑟弹东吟， 秦弦弄西音。
--李白《古风》之五十四 万松亭下清风满， 秦声一曲此时闻。--刘禹锡《伤秦妹行》 银筝夜久殷勤弄， 心怯空房不忍归。
--玉涯《秋夜曲》 筝声清脆迎君来， 胡乐哀柔送夫归。不见佳人身边伴， 仙韵难解相思泪。
-《相思》 端居正无绪， 那复发秦筝。--张九龄《听筝》 明月照人古， 开帘弹玉筝。
--常建《高楼夜弹筝》 宝筝钿剥阴尘覆， 锦帐看消画烛幽。--廖融《退宫妓》 清筝何缭绕， 度曲绿云垂。
--李白《邯郸南亭观妓》 何处哀筝随急管， 樱花永巷垂杨崖。--李商隐《无题四首》 多景楼上弹神曲， 欲断哀弦再三促。
江妃出听雾雨愁， 白浪翻空动浮玉。唤取吾家双凤槽， 遣作三峡孤猿号。
与君合奏芳春调， 啄木飞来霜树杪。--苏轼《甘露寺弹筝》 弹筝北窗下， 夜响清音愁。
张高弦易断， 心伤曲不道。--萧纲《弹筝 鸣筝金栗柱， 素手玉房前， 欲得周郎顾， 时时误拂弦。
--李端《听筝》 何处哀筝随急管， 樱花永巷垂杨崖。------李商隐《无题四首》 银甲弹冰五十弦，海门风急雁行偏。
故人情怨知多少，杨子江头月满船。------元.萨都刺《赠弹筝者》。
句子：突然，一阵弦音腾空而起，飘忽不定，蜿蜒曲折，婉转流连。
冲上屋顶，飘向脚下，忽而高亢急促，余音绕梁。那是熟悉的古筝音。
它优柔飘渺，欲发欲收，回转之际却突然变得铿锵有力，抑扬顿挫。它能渗透每一个毛孔，流到人的心里。
文章：一、我最亲密的朋友要数我的古筝了。我每天都要弹它，我每天都要聆听它那美妙的琴声。
它是棕色的，琴头有许多美丽的图案，如，一只凤凰在在池塘上方飞舞。琴尾也有很多有意思的图案，如，两条龙在天空中来回盘旋，球不断被抛来抛去，在空中来回旋转，活象一幅漫画。
每次我弹奏着古典优雅的古筝乐曲时，那些图案仿佛都动起来了，向我表演着许多有趣的故事，如，凤凰在池塘上来回盘旋，它撒下了美妙的种子，荷花立刻开花了，并且永不凋谢，它是那样美丽，粉色的花瓣里有白色、黄色的莲蓬，它透出一种高贵、优雅的气质，它出淤泥而不染。每次看到这些生动的景象，我越弹越有劲。
有了它，我学习古筝的生活不再枯燥。轻轻一拨动它，它就回发出清脆的声音。
我爱我的古筝！ 二、“我从来不知道，古筝竟可以制造出那般声势浩大的美丽。
一块丝巾蒙住双眼，安静得可以分辨出风的声音.手指轻起，在琴弦间触动出第一丝乐律. 一个音符勾错，琴音，突变. 地平线下的国度，金乌，缓缓飞起。
”三、近来胸中压抑，无处发泄，聊发雅兴，欲往上岛咖啡散忧心。置身优雅的环境，品尝正宗的西餐，聆听绝美的音乐，想要忘掉愤懑，苦难和心伤。
这里果然与众不同！炫目的金黄色壁帘在灯光的映射下分外迷人，雍容的暗红色玫瑰在绿叶的陪衬下愈发浓艳，扑鼻的咖啡香，酒香，肉香，仿佛置身于美食圣地，温暖而满足。如果有美妙的音乐就更好了！ 突然，一阵弦音腾空而起，飘忽不定，蜿蜒曲折，婉转流连。
冲上屋顶，飘向脚下，忽而高亢急促，余音绕梁。那是熟悉的古筝音。
它优柔飘渺，欲发欲收，回转之际却突然变得铿锵有力，抑扬顿挫。它能渗透每一个毛孔，流到人的心里。
我甚至能想像到弹琴的女子，清面紫衣。我甚至能感受到她的指尖，纤细得如若无骨，悠然，舒缓地在琴弦间游走，乐自指发，而伤，由心生！ 第一口咖啡入口，我暗暗地，默默地难过。
在可闻而不可及的古筝声中，香醇的咖啡竟然那么苦，那么苦！ 琴声仍然继续，一曲罢，又接一曲，抚琴女不知疲倦地为我弹奏一曲又一曲的苍凉。可那毕竟是陌路人，不是我所熟悉的，梦中人。
我含泪饮下甘苦的咖啡，每一口都要停一下。咖啡的后饮是苦的，那苦在喉咙中纠缠不散，缠绵不休！我要等的，确是那古筝，而来的，却不是我要的筝！ 琴声势渐弱，音渐低，人倦了，琴也倦了。
窗外惨白的月，为何那么圆？哦，是啊，后天就是中秋了。中秋应是团圆的日子啊！今日的琴音，难道是对我的讽刺？今日的咖啡，难道是满怀的痛苦？我不明白，也不愿明白。
我起身，离开黑色的咖啡厅，转身隐入夜幕中。也许黑夜才是断肠人最终的归宿，只有黑夜，能懂得相思人的惆怅。
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