Chaoer
01 · Historical Records
In the Northern Song, the horse-tail huqin branched in its development into three string-tunings and five playing methods, namely the Chor perfect-fourth tuning, the Chahar perfect-fifth tuning and the Borjigin reverse-fourth tuning; and the Khorchin playing method, the Oirat playing method, the Chahar playing method with perfect-fifth tuning, and the solid-tone and harmonic playing methods of the horse-head fiddle tuned to the Borjigin way.
02 · Core Techniques & Process
Chor means resonance, and is also called "huwur". It is a traditional form of music performed on the chor, a unique Mongolian outer-bow string instrument of the same name. It is mainly transmitted in Tongliao City, Chifeng City, Hinggan League and Hohhot City of Inner Mongolia Autonomous Region, in Duerbote Mongol Autonomous County of Heilongjiang Province, in Qian Gorlos Mongol Autonomous County of Jilin Province, in Fuxin Mongol Autonomous County of Liaoning Province, and elsewhere. Its core area of transmission is Khorchin Left Wing Banner of Tongliao City. Early court chor had carved dragon heads, horse heads, deer heads and the like on the head of the instrument, and the body was about 3.5 to 4 chi in total length. The sound box is generally an inverted trapezoid, about 24 centimetres wide at the top, about 18 centimetres narrow at the bottom and about 28 centimetres long; there are also square, gourd-shaped, shovel-shaped and hexagonal forms. The sound box is made of high-quality timber and covered with calfskin, colt skin, deerskin or sheepskin, with a sound hole in the back. There is one tuning peg on each side, two bridges above and below, and both the strings and the bow hair are made of horse-tail hair. The string-to-hair proportion is 115 to 130 hairs: the right side gives the low register and the left side the high register. The traditional tuning is a fourth, that is A:D or G:C, and it is played by bowing the strings on the outside. Folk chor is comparatively simple in construction, and a straight neck is the common form. The playing method of the chor is rather special: compared with the horse-head fiddle, the chor presses the strings with the fingers, whereas the horse-head fiddle stops the strings from below. The chor presses the strings with the pads of the thumb, index, ring and little fingers, sounding both strings at once and maintaining a sustained bass. The solid and harmonic tones drawn from the two strings form highly varied chor harmony; during performance the fingers slide up and down, and there are also vibrato, pressing, shaking and string-striking ornaments and other techniques. Horse-tail huqin instruments of the chor type occupy a position comparable to the erhu and jinghu of the Central Plains. The chor has a small, soft volume, and a Mongolian knife is inserted diagonally into the vent of the bridge to adjust volume and timbre; its vibrato is broad and slow, steady and solid, alternating between solid and harmonic tones in a way that is unpredictable, producing rich and varied harmony with a soft, low, full, pleasant and stirring timbre. Historical records show that as early as the time of Genghis Khan the chor was already widely circulated. Whether at celebrations and wedding banquets, or at the grand Nadam, folk song singing, Uliger and the performance of heroic epics, the chor provided accompaniment. Its full, soft and slightly low timbre sets off the vast and desolate grassland, penetrating the heart and moving the soul. The Mongolian people use the chor to tell ancient legends, sing of the heavenly grassland, pour out the joys and sorrows of human separation and reunion, praise a happy life and express sweet love.
Chor perfect-fourth tuning
One of the three string-tunings into which the Northern Song horse-tail huqin branched in its development, the others being the Chahar perfect-fifth tuning and the Borjigin reverse-fourth tuning.
Chahar perfect-fifth tuning
One of the three string-tunings of the chor.
Borjigin reverse-fourth tuning
One of the three string-tunings of the chor.
Three performance schools
The Northern Song horse-tail huqin formed five playing methods in its development, among which the Khorchin playing method, the Oirat playing method and the Chahar playing method with perfect-fifth tuning each have their own characteristics.
Horse-head fiddle techniques
The other two playing methods are the solid-tone and harmonic playing methods of the horse-head fiddle tuned to the Borjigin way; the important difference between the two instruments is that the chor presses the strings while the horse-head fiddle stops the strings from below.
Finger-pad stopping and drone
The chor presses the strings with the pads of the thumb, index, ring and little fingers, sounding both strings at once and maintaining a sustained bass; this playing method clearly distinguishes it from the horse-head fiddle.
03 · Regional Records & Related Items
The chor of the Khorchin Left Wing Banner area is transmitted within families and from master to apprentice. The head of the instrument is carved with dragon heads, horse heads, deer heads and the like; the sound box is covered with calfskin, colt skin, deerskin or sheepskin; and both strings and bow hair are made of horse-tail hair. The solid and harmonic tones drawn from the two strings form highly varied chor harmony; during performance the fingers slide up and down, and there are also vibrato, pressing, shaking and string-striking ornaments and other techniques.
04 · Cultural Value & Contemporary Safeguarding
The chor records the culture and history of the Mongolian people. It has high research value in fields such as musicology and ethnology, and plays a positive role in promoting ethnic cultural exchange, strengthening social cohesion, maintaining the emotional ties of the community and enhancing cultural identity.
06 · Authoritative Sources & Bibliography
Sources
China Intangible Cultural Heritage Network (ihchina.cn)
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