For instance, Zha Fuxi and Wu Jinglüe spent many years living and teaching in Jiangnan before being relocated to Beijing for official duties.
Sichuan, as early as the Tang dynasty, was perceived as having qin play characterized by rushing, tumbling energy.
The modern form of the school was largely founded by Zhang Kongshan in the late 19th century; his inheritors have been very numerous.
As the Sichuan style fanned out into other areas of China (as it seemed to do rather successfully in the early 20th century), it became known as "Fanchuan", whose connotation is something like "Chuan – Everywhere".
For instance, many in Hong Kong studied from Cai Deyun, who has a very distinctive style ultimately derived from Sichuan.
From the early 20th century, as communication and travel within China improved as well as the adoption of modern musical teaching standards, a new conservatory style emerged.
Typically, this style can be identified by the very precise and pitch-accurate play on the qin involving subtle vibrato on most notes and very fast movement of the hand and fingers.
A number of masters (including Zhang Ziqian, Wei Zhongle, Shen Caonong, Gu Meigeng, and others) taught there in the 1950s, and Gong Yi has been the doyen since then.
The primary older masters contributing to the making of this style were Wu Jinglüe, Zha Fuxi, and Guan Pinghu.
Li Xiangting is of course known for being very hard and athletic in his playing; Wu Wenguang, while rather lighter, still has a more intense and serious tone than Gong Yi.