The sanxian (or xianzi), having been passed down for generations, is one of China’s most traditional plucked stringed instruments. It gained cult status when it was introduced in Japan and the resultant variation samisen was created. Aptly named, the instrument has san (three) xian (strings).
Although the sanxian’s history seems long, little of it is recorded. The limited historical material, such as archaeological information and recorded works, cannot fully reflect its historical presence. Musicians and theorists still do not have a completely reliable history of the sanxian.
This lack of information seems to stem from the fact that for a long time, the instrument had no fixed shape or name, taking on different shapes in different regions and alternative names in various provinces. However, it was concluded that before the Liao Dynasty, the sanxian along with other plucked stringed instruments, was called the pipa, qin hanzi or qin pipa.
Like most other instruments in the Chinese orchestra, the sanxian was not spared reformation. The unreformed sanxian, suitable for quyi (song) accompaniment, was not considered capable of playing pieces of significant difficulty. The liberation of China saw sanxian musicians making changes to different aspects and parts of the instrument, including its shape, strings and bridge. A metal stand with a supporting board was also added, making the playing of the sanxian much easier. The first version of the reformed big sanxian was produced in 1980. A revision of the instrument followed in 1986, which made the instrument easier to play.
Today, the sanxian comprises the following parts: sound box of the instrument head) and tuning pegs. The instrument’s three strings are made of metal or nylon. The only plucked stringed instrument in the Chinese orchestra that uses a snake’s skin for a membrane, the sanxian’s sound is unique, individualistic and full of folk flavour. Unlike the pipa and ruan, the sanxian has a flat, fretless fingerboard. The left hand’s performing techniques and pitch accuracy are therefore not limited by frets, making the instrument more difficult to control. But as such, the sanxian easily supports numerous glissandos, making these inflections characteristic of the sanxian’s sound.
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