Diyingehu

The Diyingehu, also known as the bass gehu or beigehu, is a Chinese bowed string instrument belonging to the huqin family. It was developed in the 1950s by Yang Yusen to add depth to the lower registers of traditional Chinese orchestras. Often compared to the Western double bass, the Diyingehu serves a similar role in Chinese ensembles, providing the bass accompaniment in orchestral settings. This instrument was designed to bridge traditional Chinese musical sounds with Western orchestral demands, enriching the tonal variety and adaptability of Chinese folk and classical music ensembles.

History of the Diyingehu

The Diyingehu was developed in the 1950s by Chinese musician Yang Yusen (1926–1980), alongside its smaller counterpart, the gehu. The instrument was intended to fill the need for a low-register string instrument similar to the Western double bass within Chinese orchestras, allowing these ensembles to emulate the rich, full sound of Western symphonies while retaining the distinctive tonal qualities of Chinese instruments. In Chinese, the term “ge” means “revolutionary,” and “hu” is derived from the general term for Chinese bowed instruments, highlighting the innovative nature of this musical development.

Originally, the Diyingehu was celebrated for its potential to bring deeper, resonant tones to Chinese orchestras, especially as a complement to higher-pitched instruments like the erhu and pipa. However, by the late 20th century, the instrument’s popularity began to wane due to difficulties with maintaining consistent sound quality, particularly the python skin soundboard that was sensitive to humidity. As a result, many Chinese orchestras opted to use Western instruments like the double bass to fulfill the bass role, but the Diyingehu is still occasionally used in orchestras in regions such as Hong Kong and Taiwan.

Development and Design

The Diyingehu was derived from its predecessor, the gehu (革胡), which in turn was inspired by other traditional Chinese bowed instruments like the erhu. The Diyingehu features a significantly larger body compared to the gehu, making it comparable to a Western double bass in size and function.

The design of the Diyingehu incorporates a unique mix of Western and Chinese elements. It uses a resonator covered with python skin, a characteristic feature of many traditional Chinese string instruments. However, unlike typical members of the huqin family, the Diyingehu has its bridge resting on the body rather than directly on the skin, allowing it to produce a distinctive, rich timbre while still aiming to achieve adequate volume and projection suitable for orchestral use.

The Diyingehu has four strings, tuned like the Western double bass: E1 – A1 – D2 – G2. The instrument is larger and therefore has a low center of gravity, requiring musicians to either stand or sit on high chairs while playing. The tuning and role of the Diyingehu align closely with Western orchestral practices, making it a functional bridge between traditional Chinese folk music and modern symphonic requirements.

Sound and Acoustics

The Diyingehu produces a deep, resonant sound that blends the qualities of both Western and traditional Chinese instruments. The instrument’s sound table is made from python skin, which contributes to its unique tonal quality, characterized by a slightly percussive and woody texture. The vibrations from the strings are transmitted to the skin via an internal lever system that also rests on the body of the instrument. This method aims to replicate the natural resonance of traditional Chinese instruments while producing enough volume to complement larger orchestral settings.

Despite its innovative design, the Diyingehu’s tonal quality has often been regarded as inferior to the Western double bass in terms of consistency and richness. The use of python skin makes the soundboard particularly susceptible to changes in humidity, affecting the instrument’s tuning and sound quality. As a result, many orchestras find the Diyingehu to be somewhat challenging to maintain, contributing to its limited adoption.

Playing Technique

The playing technique of the Diyingehu is similar to that of the Western double bass. Due to its large size, musicians either stand or sit on elevated chairs while playing. The bow used with the Diyingehu is also similar to a double bass bow, and the musician employs similar techniques for producing sound, including bowing and pizzicato. The player places the instrument at an angle to allow comfortable bowing across all four strings, creating a robust, harmonic-rich bass tone that supports the rest of the ensemble.

Contemporary Use

Today, the Diyingehu is not widely used, primarily due to its complex maintenance requirements and the challenges associated with its sound production. The instrument’s reliance on a python skin soundboard makes it sensitive to environmental conditions, and its sound is often considered less powerful and resonant compared to the Western double bass. As a result, many orchestras have replaced the Diyingehu with the double bass, which offers greater stability and a more consistent tonal quality.

Nevertheless, the Diyingehu remains a fascinating fusion of Eastern and Western musical traditions, with a unique sound that reflects both the innovation of 20th-century Chinese instrument makers and the deep cultural heritage of traditional Chinese music. It is still used in some orchestras in Hong Kong and Taiwan, where its distinctive tone adds a unique flavor to Chinese folk and classical music performances.