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Zha Nian Qin has been widely disseminated and took a long time in Tibet, which is the most representative plucked instruments of Tibetan. It formed a variety of performance styles in different parts of Tibet, and applied in a number of musical genres. After the founding of new China, many scholars have been improved and added them to the National Orchestra, then promoted the performance of Zha Nian Qin. But so far, we still has some work space in studying of Zha Nian Qin.It shows in the following aspects:1.As the range of the existing Zha Nian Qin is small and the expressive force of solo music is very limited, it is often used as the bass accompaniment.2.The players basically concentrate in low-to-bit performance when they play Zha Nian Qin, which is undoubtedly a kind of waste for the instruments with bigger effective chord length. It also results in the status that the performance methods of Zha Nian Qin are not rich.3.The sound attenuation speed of Zha Nian Qin is fast that it is not suitable to perform the melodies. However, lots of Tibetan musical genres are of strong melodic. It is a good thing not only for Zha Nian Qin and Tibetan music but also for Tibetan culture, if these musical genres could be played by the improved instruments of the native Tibetans, 4.From the production point view, Zha Nian Qin in Tibetan areas has no fixed set of production standard let alone the related production blueprint. It is of strong arbitrariness form design to size, which concerned with the teaching methods of oral teaching inspires true understanding.5.After the author has collected folk songs, he knows that many Zha Nian Qin makers in Tibetan areas can not play(most of them are carpenters). The unprofessional makers are also a vital reason that causes the disunity of Zha Nian Qin size.The main contents of this paper is to propose a set of scientific theory to support the improved method of Zha Nian Qin:In improved shape aspects, drawing on the past-made Zha Nian Qin theory and Western violin theory, sorting out the specifications of improved drawings, and in the improvement process, in appearance which is possibly close to the traditional aesthetics of Tibetan.In the functional improvement, trying to make this kind of improvement has been greatly improved in rangećtone, as well as making a good feel system, then giving full play into the high positions of Zha Nian Qin. And in the original skills, drawing the new playing method from the other instruments, which can be able to adapt to more music and musical genres. We hope that the improved Zha Nian Qin concept, whether Tibetan or other ethnic groups can be well accepted, and also can attract more composers go for it "tailor-made" as well as to create music.
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