A qin tutorial at 'Yinyinsh' - duitan (playing together with the teacher)

Further teaching was achieved through duitan, a traditional teaching practice in which the student played together with the teacher. Such practice was deemed necessary because the beat, volume, and fingering techniques of qin melodies cannot be fully recorded in or reproduced from qin tablature alone. By playing together with the teacher, a student finds it easier to observe and comprehend the unspoken details of a qin piece. This photo was taken in the 1970s and the student (left) in the photo is Lau Chor-wah.

A qin tutorial at 'Yinyinsh' - duitan (playing together with the teacher)

Further teaching was achieved through duitan, a traditional teaching practice in which the student played together with the teacher. Such practice was deemed necessary because the beat, volume, and fingering techniques of qin melodies cannot be fully recorded in or reproduced from qin tablature alone. By playing together with the teacher, a student finds it easier to observe and comprehend the unspoken details of a qin piece. This photo was taken in the 1970s and the student (left) in the photo is Lau Chor-wah.

A qin tutorial at 'Yinyinsh' - duitan (playing together with the teacher)

Further teaching was achieved through duitan, a traditional teaching practice in which the student played together with the teacher. Such practice was deemed necessary because the beat, volume, and fingering techniques of qin melodies cannot be fully recorded in or reproduced from qin tablature alone. By playing together with the teacher, a student finds it easier to observe and comprehend the unspoken details of a qin piece. This photo was taken in the 1970s and the student (left) in the photo is Lau Chor-wah.

A qin tutorial at 'Yinyinsh' - duitan (playing together with the teacher)

Further teaching was achieved through duitan, a traditional teaching practice in which the student played together with the teacher. Such practice was deemed necessary because the beat, volume, and fingering techniques of qin melodies cannot be fully recorded in or reproduced from qin tablature alone. By playing together with the teacher, a student finds it easier to observe and comprehend the unspoken details of a qin piece. This photo was taken in the 1970s and the student (left) in the photo is Lau Chor-wah.

A qin tutorial at 'Yinyinsh' - duitan (playing together with the teacher)

Further teaching was achieved through duitan, a traditional teaching practice in which the student played together with the teacher. Such practice was deemed necessary because the beat, volume, and fingering techniques of qin melodies cannot be fully recorded in or reproduced from qin tablature alone. By playing together with the teacher, a student finds it easier to observe and comprehend the unspoken details of a qin piece. This photo was taken in the 1970s and the student (left) in the photo is Lau Chor-wah.

A qin tutorial at 'Yinyinsh' - duitan (playing together with the teacher)

Further teaching was achieved through duitan, a traditional teaching practice in which the student played together with the teacher. Such practice was deemed necessary because the beat, volume, and fingering techniques of qin melodies cannot be fully recorded in or reproduced from qin tablature alone. By playing together with the teacher, a student finds it easier to observe and comprehend the unspoken details of a qin piece. This photo was taken in the 1970s and the student (left) in the photo is Lau Chor-wah.

A qin tutorial at 'Yinyinsh' - duitan (playing together with the teacher)

Further teaching was achieved through duitan, a traditional teaching practice in which the student played together with the teacher. Such practice was deemed necessary because the beat, volume, and fingering techniques of qin melodies cannot be fully recorded in or reproduced from qin tablature alone. By playing together with the teacher, a student finds it easier to observe and comprehend the unspoken details of a qin piece. This photo was taken in the 1970s and the student (left) in the photo is Lau Chor-wah.

A qin tutorial at 'Yinyinsh' - duitan (playing together with the teacher)

Further teaching was achieved through duitan, a traditional teaching practice in which the student played together with the teacher. Such practice was deemed necessary because the beat, volume, and fingering techniques of qin melodies cannot be fully recorded in or reproduced from qin tablature alone. By playing together with the teacher, a student finds it easier to observe and comprehend the unspoken details of a qin piece. This photo was taken in the 1970s and the student (left) in the photo is Lau Chor-wah.

A qin tutorial at 'Yinyinsh' - duitan (playing together with the teacher)

Further teaching was achieved through duitan, a traditional teaching practice in which the student played together with the teacher. Such practice was deemed necessary because the beat, volume, and fingering techniques of qin melodies cannot be fully recorded in or reproduced from qin tablature alone. By playing together with the teacher, a student finds it easier to observe and comprehend the unspoken details of a qin piece. This photo was taken in the 1970s and the student (left) in the photo is Lau Chor-wah.

A qin tutorial at 'Yinyinsh' - duitan (playing together with the teacher)

Further teaching was achieved through duitan, a traditional teaching practice in which the student played together with the teacher. Such practice was deemed necessary because the beat, volume, and fingering techniques of qin melodies cannot be fully recorded in or reproduced from qin tablature alone. By playing together with the teacher, a student finds it easier to observe and comprehend the unspoken details of a qin piece. This photo was taken in the 1970s and the student (left) in the photo is Lau Chor-wah.