In China, contemporary classical music often includes, along with classic  modes, Western sym-phonic forms that contrast with traditional Chinese instruments and musical structure.

One of the difficulties of melding traditional Chinese modality with Western music is the disparity between the respective scales. For example, the Gu Xian scale has 5 notes, and usually allows no accidentals (i.e. notes not established by the key signature).  The Western mode has a possible 12 notes, including accidentals (for example, sharps and flats in the key of C). 

Major and minor chords form the foundation of most Western music, and, including accidentals, six or more are possible in every key (plus diminished, augmented chords, 7ths, etc). But, from the Western perspective,  in the Gu Xian scale the only possible minor chord (e.g., with the scale starting on “C”) is C-Eb-G; and the only major chord is Eb-G-Bb.  Because traditional Chinese music is fundamentally single-line melodic, not harmonic, chords are largely irrelevant. But this makes using a Chinese scale when orchestrating multiple lines for a Western ensemble rather awkward.

In the Xīhú Suite, when a section is scored for both Chinese and Western instruments, I’ve often included accidentals in order to create a more stable harmonic foundation – again, for Western ears. 

Xīhú Suite Orchestration

The Chinese instruments include three woodwinds (Xiǎo, Bāwū, and Small Dizi), two percussion (Yángqín, Baeon), and one bowed string instrument (Èrhú).  I’ve described these instruments below.