斗鑼（Dou Luo）
斗鑼與其它銅鑼類的制作材料基本相同，但鑼的形狀卻與其它銅鑼類截然不同，它的獨特之處在于鑼沿寬，鑼面和鑼沿均可演奏；斗鑼的定音一般在小字一組的f音，它的敲擊點不在鑼面中心，而是在鑼面下方的直徑三分之一處，這也是它的特點之一。這個敲擊落點所發出的聲音音色較為通松，擴散性也較強；這種敲擊落點的考究與西洋打擊樂器定音鼓的敲擊點相似，具有一定的理論根據。
Gong is basically made of the same material
as other gongs, but its shape is completely different from other gongs. It is
unique in that the edge of gong is wide, and both the surface and edge of gong
can be played. Generally, the tone of gong is set in the f1, and its striking
point is not in the center of the gong surface, but one third of the diameter
below the gong surface, which is also one of its characteristics.
潮州大鑼鼓（Chaozhou Daluogu）
潮州大鑼鼓是流行于廣東省潮、汕地區的吹打音樂。是從過去民間文化風俗“神游賽會”時演奏的音樂演變而來的。
潮州地區早期的神游音樂樂器較少，奏法也很簡單，一般是由四面鑼和兩幅大鈸演奏的純打擊樂，故稱“四鑼二鈸”；后加入嗩吶吹奏一般的詩譜，稱為“長形鑼鼓譜”；十九世紀下半葉起，采用了潮音正字的牌子音樂，并加上弦樂且增加了打擊樂器，即稱為“大鑼鼓”。
潮州大鼓的吹打合奏樂器很多，鑼鼓點也很豐富，變化多端。
Chaozhou gongs and drums are popular
percussion music in Chaozhou and Shantou areas of Guangdong Province.It evolved from the music played during the
past folk cultural custom " religious procession " ( Invite the idol
out of the temple to patrol the community).
There were few musical instruments of religious
procession in early Chaozhou, and the playing method was simple. Generally, it
was pure percussion music played by four gongs and two cymbals.After that, joining the suona and other wind
instruments. From the second half of the 19th century, “Chao Yin Zheng Zi”spoken parts(of a Chinese
opera) with local accent was
adopted, and strings and percussion instruments were added.
Chaozhou drum has many wind and percussion
instruments, and the rhythm of gongs and drums is also rich and varied.
潮州大鼓(Chao Zhou Drum)
鼓體形狀上大下小；它的最佳選材是上等杉木頭木質制作，因杉木接近根部的木質纖維軟硬度適中，韌性好，既能承受鼓皮的極強拉力，又使鼓的音色柔潤，能在較大程度上起到避免僵硬的鼓皮回彈的作用。鼓皮是用剛剝下的新鮮牛皮制作的，由于做這種鼓需要的牛皮要有一定的厚度，做成的鼓才能發出較豐滿的、具有個體獨特的音色，故所用牛皮具有的拉力強度極強。鼓的音高要求也必須達到f 1 或g1 ，如此，使 20英寸大的鼓面張力須達到相當強的緊張度。加上鼓體上大下小，發音反應較快，敲擊出來的聲音清晰悅耳、顆粒性較好，能適應演奏熱烈歡快的樂曲，也能適應演奏柔和抒情的音樂，剛柔相濟，音樂表現力極強。
The shape of the drum is big at the top and
small at the bottom; Its best material is made of top-grade Chinese fir wood.
Because the wood fiber near the root of Chinese fir has moderate hardness and
good toughness, it can not only bear the strong tension of the drum head, but
also make the timbre of the drum soft and smooth, which can play a role in
avoiding the rebound of stiff drum skin to a large extent. The drum head is made of freshly peeled
cowhide. Because the cowhide needed to make this kind of drum needs a certain
thickness, the drum made of it can give out a fuller and unique timbre, so the
used cowhide has a very strong tensile strength. The pitch requirement of the
drum must also reach f1 or g1, so that the tension of the 20-inch drum head
must reach quite strong tension. In addition, the upper part of the drum body
is mostly lower than the lower part, so that the pronunciation response is
faster, and the tapped sound is clear and pleasant, with good graininess. It
can adapt to playing warm and cheerful music, as well as soft and lyrical
music. It combines hardness with softness, and has strong musical expression.
蘇鑼（Su Luo）
蘇鑼的鑼面直徑更大，擴散性也更強，演奏的聲音更加寬廣。但它演奏的節奏點較模糊，不夠清晰，一般較少單獨演奏，是一種氣氛襯托演奏樂器。蘇鑼的音高定音一般在小字組的c音上，它也有兩個敲擊落點，能起著音色對比的作用，一般常在鑼正面的左方三分之一處， 而另一個敲擊點則在鑼正面上方的四分之一處，這個敲擊點演奏的音色清新、柔美。
Su Gong is larger in diameter, more diffuse
and plays with a wider sound. However, its rhythm is vague and unclear, and it
is seldom played alone, so it is a kind of musical instrument with atmosphere
as a foil. Su Gong's pitch is generally set on the C tone of the small print
group. It also has two striking points, which can play a role in tone contrast.
Generally, it is usually located at the left third of the front of the gong,
while the other striking point is located at the quarter above the front of the
gong. This striking point plays a fresh and soft tone.
深波（Shen Bo）
深波鑼是潮州大鑼鼓獨有的一種打擊樂器。它的最大特點是音高較低而且聲音厚度較厚，音色柔和、通松、飽滿，泛音值極長，具有極強的穿透力；是潮州大鑼鼓所有打擊樂器的低音樂器，其音響效果在樂隊中的作用相當于西洋管弦樂隊中的低音提琴。它的音高定音也在小字組的g音，演奏用的鑼槌也與眾不同，一般用白藤條夾住實心的大布團敲擊鑼面的中心，演奏方法必須右手敲擊，左手在鑼的反面中心制音，以此控制音符的泛音值。深波鑼的另一個敲擊點也在鑼沿，由于它的鑼沿比斗鑼的鑼沿寬度更寬、厚度更厚，故具有高尖的穿透力，敲擊鑼沿的音色接近鐘聲的音色，明亮、清脆。深波鑼是潮州大鑼鼓樂器中最具代表性的樂器之一。
亢鑼（Kang Luo）
潮州大鑼鼓樂器中的亢鑼的形狀與小京鑼相同，但音色卻截然不同，它的定音通常是小字一組的e
音。它既可單獨演奏，也可與蘇鑼合奏的，給蘇鑼的演奏起著音符顆粒性的補充和裝飾作用，增強蘇鑼演奏的節奏點感覺。亢鑼的音色高尖、清脆，發音靈敏，能演奏音符較密集、節奏型較復雜的樂句或鼓點，是大鑼鼓形式作品中小鑼镲樂句或鼓點演奏組合的主力樂器。
The Kang Luo in Chaozhou gongs and drums
has the same shape as Xiaojing Luo, but its timbre is completely different. Its
tone setting is usually the e1 sound. It can be played alone or in concert with
Su Luo, which plays a role in supplementing and decorating the notes of Su Luo's
performance, and enhances its sense of rhythm. Kang Luo has a sharp tone, crisp
sound, sensitive pronunciation, and can play phrases or drums with dense notes
and complex rhythms. It is the main instrument of the combination of small gong
cymbals or drums in the works of big gongs and drums.
音鐘（Bell）
同樣起著襯托、美化旋律作用的樂器中還有“音鐘”，該樂器的形狀及音色均與民族樂隊的碰鈴相同，但它與碰鈴不同的是：采用單鐘演奏，用小鐵棒擊奏。在潮州大鑼鼓的演奏中，它還起著協助掌板的作用。
Also playing the role of setting off and
beautifying the melody is the "peng-ling". The shape and timbre of
this instrument are the same as those of the national band, but it is different
from the touch bell in that it is played with a single bell and struck with a
small iron bar. In the performance of Chaozhou gongs and drums, it also plays a
role in assisting the palm board.
潮州镲類(Chaozhou cymbals)
潮州大鑼鼓所使用的镲類樂器也與其它民族民間樂種的鑼鼓樂镲類不同，它與京镲相比，潮州大鑼鼓的大、小镲中心的镲碗均較小，镲片厚度更薄，它的震動頻率密，擴散性極強，演奏效果接近民族管弦樂隊中的吊釵，但它與吊镲不同的是雙片拍擊，接觸面大，镲片的撞擊聲大，節奏鮮明， 具有較強的可塑性，能適應描寫多種樂曲和鼓點情緒的音樂形象。潮州镲的音高定音一般是小字一組的g音，便于與其它各種鑼類樂器的音高組合。
The cymbals used in Chaozhou gongs and drums are also different from those used in other ethnic folk music. Compared with Jing cymbals, the cymbals in Chaozhou gongs and drums and the cymbals in the center of small cymbals are all smaller, and the cymbals are thinner. Its vibration frequency is dense, its diffusion is extremely strong, and its performance effect is close to that of the hanging hairpin in the national orchestra, but it is similar to that of the hanging cymbals. Generally, the pitch of Chaozhou cymbals is set by G in small characters, which is convenient to combine with the pitches of other gong instruments.
參考資料 bibliography
1.中國音樂（季刊）2013年第2期 CHINESE MUSIC 《潮州大鑼鼓的樂器特色及應用》 作者：黃唯奇
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