A general term for glissandos played with the thumb swept away from the performer or the index finger swept toward the performer. These glissandos can be as short as 3 strings or as long as 10 strings, perhaps even more. If they are played with grown nails then the finger pad touches the strings as well as the nail.
The term used by zheng master Liang T’sai Ping for Huazhi 花指, above. As Liang Tsai Ping was one of the first and most engaged teachers of zheng to westerners, early foreign language sources have a higher likelihood of using this term. Ferguson offers the following specific names, most likely taken from Liang Tsai Ping’s teachings.
Alternative symbols:
A general term for cycles of glissandos played away from and toward the performer. Either direction can start. These glissando are typically traced in an oval pattern on the instrument and can be played with different pairs of fingers:
index then thumb
middle finger then thumb
middle then index fingers
Run the thumb across about 3 or four strings. Gestures can be towards or away from the performer. Liang Tsai Ping used the term Duǎn fú 短拂 for this technique as reported by Kao.
Alternative notation:
Run the index or middle finger over no more than four strings in a gesture toward the performer.
Run the thumb, index, or middle finger across 5 to 8 strings in a continuous, usually slow motion. Li yin can be played toward or away from the performer and is considered a subtype of Huazhi.
Kwok suggests some sources suggest using only 3 to 4 strings.
Run the thumb across several strings in a gesture away from the performer. As the thumb strikes the last string, use the middle finger to pluck a string one octave deeper with a closing motion. The string plucked with the middle finger may be bent to a different pitch. Essentially, this is a Fú followed by a Dà cuō, on one open and one bent string.
A technique using both hands to create overlapping fú to mimic the sound of flowing water. Run the index finger of one hand over about 5 strings in a gesture toward the performer. While the first hand is still playing, run the index finger of the second hand over a similar set of strings. This overlapping pattern is repeated several times, typically progressing toward the performer.
The tempo and volume of the fú increase as they approach the middle pitch of the instrument, then decrease as they reach the higher strings. Lee offers the synonym Liúshuǐ shēng 流水声 “Moving water sound” and the following subtypes. Descriptions are from Lee:
Dān shŏu liú shuǐ fú
One-handed liu shui fu.
Hùn hé liú shuǐ fú
Mixed direction liushui fu, with hand movement in both directions.
Shàng xíng liú shuǐ fú
Upwards liu shui fu, hand movement is toward the player.
Shuāng shŏu liú shuǐ fú
Two-handed liu shui fu.
Xià xíng liú shuǐ fú:
Downwards liu shui fu, hand movement away from player.
Place the index and middle fingers on two strings separated by an untouched string. The middle finger is farther away from the player. Run both fingers quickly over many strings in a gesture toward the player. If own nails are used, both the pads of the fingers and the nails touch the strings.
A huá fú played away from the performer. Place the index and middle fingers on two strings separated by an untouched string. The middle finger is farther away from the player. Run both fingers quickly over many strings in a gesture away from the player.
Run the thumb across many strings in a rapid gesture toward the player.
Use the left hand to play a glissando of three or more notes, typically while the right hand is playing other notes.
Run the thumb or middle finger across a complete pentatonic scale in a rapid gesture either away from or toward the player.
A “short” type of hua zhi described concisely by Lee. It is supposed to sound like an acciaccatura or group of grace notes. Lee writes that Jin fu yin is a “Near” form and Yuăn fú yīn is a “Far” form. No further information is giving.