This title, as well as Shenpin Gu Shangyi, Shang Yi and Shang Diao, include a number of melodies intended to introduce characteristics of shang mode, or in some cases the modal characteristics of the pieces following it. These range from those almost identical to the one here, to ones that are seemingly unrelated.⁴

In Shen Qi Mi Pu the mode with the largest number of melodies is shang mode. These melodies are as follows:

1. Shenpin Shang Yi
2. Shenpin Gu Shang Yi
3. Kai Gu (Sigh for Antiquity)
4. Wang Ji (No Ulterior Motives)
5. Yin De (Hidden Virtue)
6. Guanghan Qiu (Autumn in a Lunar Palace)
7. Tianfeng Huanpei (Jade Pendants in a Heavenly Breeze)
8. Shen You Liuhe (Spirit Roaming the Universe)
9. Chang Qing (Long Clarity)
10. Duan Qing (Short Clarity)
11. Bai Xue (White Snow)
12. He Ming Jiugao (Cranes Cry in the Nine Marshpools)
13. Yi Lan (Flourishing Orchid)

In addition, shang mode melodies I have studied from other handbooks include:

1. Xiangfei Yuan (Lament of the Xiang River Concubines)
2. Gui Qu Lai Ci (Come Away Home)
3. Yuan He Shuang Qing (Paired Clarity of Gibbon and Crane)
4. Fenglei Yin (Wind and Thunder Prelude)
5. Gujiao Xing (Going with Old Style Relations)
6. Kai Gu (Sigh for Antiquity)
7. Chun Jiang (Spring River)
8. Yanyi Ge (Doorbar Song)
9. Xing Tan (Apricot Tree Forum)
10. Xue Chuang Ye Hua (Evening Talk by a Snowy Window)
11. Meishao Yue (Moon Atop a Plum Tree)
12. Mozi Bei Ge (Mozi Sings with Feeling)

Modal characteristics of the shang mode can be examined in at least two quite different ways: learning characteristics that have or might theoretically be attributed to a shang mode; and observing the actual musical characteristics of melodies listed under shang mode, such as the above. Theoretical observations in Chinese sources have to do more with philosophy than direct observations of music. From, for example, the Discussion of strings we can see that the association of shang with autumn can be found in the lyrics of some shang modal preludes, as well as in the themes of some melodies. From a musical standpoint, though, it would seem more helpful to focus, as here, on direct observation.

As can be seen from the modal chart, surviving qin melodies up through the middle Ming dynasty seem all to have primary tonal centers and secondary tonal centers, the latter generally a fifth above the former. Gong mode has gong (1) as the primary tonal center and 5 as the secondary center. Zhi mode has zhi (5) primary, 2 as secondary. Yu mode has yu (6) as primary, 3 as secondary. Since the music is largely pentatonic it is not surprising that there seems to be no jiao mode following this pattern, as a fifth up from jiao (3) is 7, a non-pentatonic tone. However, shang mode does not have this problem, and it seems logical that shang mode melodies should have shang (2) as the primary note, with 6 secondary. However, standard tuning shang mode pieces do not have this characteristic. This modal characteristic is found only in qiliang mode pieces and perhaps some ruibin mode pieces. These two modes both use raised fifth string tunings, and most of their melodies seem to be associated with the region of Chu (now Hunan province and perhaps Hubei).

Of particular interest in this regard is that fact that shang mode was connected in the Song dynasty to the famous qin player Guo Chuwang (see in QSCB, Chapter 6a3). Guo was apparently very fond of the Chu region (around Hunan), and melodies related to Chu often use a raised fifth tuning, especially ruibin and qiliang modes. For some of these the mode is called chushang: were these melodies, with their tonal centers on shang, the true shang mode melodies?⁵

Although some theoretical documents may say shang mode melodies should have shang as the main note, to my knowledge no early Ming handbooks connect such a mode to the raised fifth tunings, their shang mode melodies always being associated with standard tuning. None of these has shang as a tonal center.

The main musical characteristics of shang mode melodies published in the earlier Ming dynasty handbooks are thus as follows:

1. The main tonal center is gong (1; do), but whereas in gong mode the note gong is played on the open third string (called the jiao string), in shang mode the note gong is played on the open first string (called the gong string). This means in general that the open third string is avoided because it would be fa (4), not part of the standard pentatonic scale. Zhi mode melodies often have a similar characteristic.
2. Whereas in gong mode the secondary tonal center is only zhi (5, sol) in shang mode there are usually two secondary tonal centers, shang (2; re) as well as zhi.
3. In many shang mode melodies phrases end with the note shang "resolving" down to gong.
4. A particularly interesting characteristic of early shang mode melodies is the common tendency of the third above the main tonal center (i.e., 1) often to be flatted (i.e., 3^b) instead of being a whole-tones third (here 3♮). This is discussed further in Modality in early Ming qin tablature,⁶ It may be significant that a flatted third could also be called a sharpened second, i.e., a sharpened shang.⁷

There are no melodies in Shen Qi Mi Pu Folio One said to be in shang mode:⁸ all are in Folio Two. Here, in addition to the two modal preludes, Shen Qi Mi Pu has 11 melodies in shang mode.

Dictionaries generally associate the shang mode with sad melodies, but that doesn't seem an apt category for many of the melodies here.

It seems that shang is the most popular mode in Shen Qi Mi Pu Folio Two, which has 20 pieces divided into five modes, with shang mode having 11 of them. Song dynasty sources say that the wealthy music connoisseur Yang Zuan of Hangzhou was particularly impressed by the shang mode pieces which his in-house qin teacher Liu Zhifang had learned from the famous qin player Guo Chuwang and then taught to Mao Minzhong, and so Yang also told his other house guest Xu Tianmin to study these pieces.

Perhaps when Yang Zuan compiled his now-lost Song dynasty Zixiadong Pu⁹ (Handbook of the Grotto in the Rosy Clouds) he included a relatively large number of qin pieces in this mode. If so, this could support the theory that there is a connection between the music in SQMP (especially Folios II and III) and this Hangzhou school of qin play.¹⁰

Several early shang modal preludes have lyrics, and some of these lyrics also fit or almost fit other shang preludes following the normal pairing method of that time. To put it another way: it would be easy to adapt these lyrics so that they do fit almost any of the shang modal preludes. Such lyrics are included, with further discussion, under the Taigu Yiyin melody Gu Qiu Feng.¹¹

 
No original preface¹²

 
Music
One section

(00.53) -- harmonics
(01.03) -- Modal prelude ends

Go to the Shen Qi Mi Pu ToC or to the GuqinToC.

 
Footnotes (Shorthand references are explained on a separate page)

1. Shang mode (商調 shang diao) references
3834.157 商調 says 樂曲之一 it is (the name of) a music piece. Shang mode was apparently used for sad songs; it is also connected to autumn. See also .145 商頌 Shang song and .149 商歌 Shang ge. (商 Shang ("commerce, converse") was the name of an ancient state.)
(Return)

2. Shang mode (商調 shang diao) characteristics
Standard tuning may also be considered as 5 6 1 2 3 5 6. For more on modes, see Modality in Early Ming Qin Tablature.
(Return)

4. Tracing various Shang modal preludes
See the appendix below. This covers the following entries from Zha Fuxi's Guide:

Alternate titles are listed as:

Some of these have lyrics; these are discussed in a footnote to Gu Qiu Feng.
(Return)

5. See also the discussion of Xiao Xiang Shui Yun in QSCB, Chapter 6b1-3.
(Return)

6. In addition to Modality in Early Ming Qin Tablature, see also the related Qin Tunings, some theoretical concepts.
(Return)

7. Sharpened shang (升商 sheng shang: 升2?)
Since few commentators have noted this changed note in their analyses of modes, it is perhaps not surprising that there seems to be no discussion of the possibility that this note was considered a sharpened shang.
(Return)

8. Shen Qi Mi Pu Folio One melodies are all said to be in gong mode. Note, however, that Gufeng Cao seems more characteristic of melodies in yu mode.
(Return)

9. Handbook of the Rosy Haze Grotto (紫霞洞譜 Zixiadong Pu)
See further information under Shen Qi Mi Pu: a General Introduction.
(Return)

10. Hangzhou as a primary source for Shen Qi Mi Pu melodies
This connection is explored in the program Music from the Time of Marco Polo.
(Return)

11. Lyrics for shang modal preludes
Zha Guide indexes these preludes under various titles (see above). Where they have lyrics they are mostly on the theme of autumn winds and begin either "秋風清 Qiu feng qing" or "秋風生 Qiu feng sheng"; here the lyrics are collected in a footnote under the 1511 Gu Qiu Feng, which has the earliest version actually paired to tablature. The lyrics of the modal preludes generally are not related to either the well-known Yuefu Shiji poem 秋風辭 Qiufeng Ci (Autumn Wind Lyrics; q.v.) or the 秋風詞 Qiufeng Ci of Li Bai, used with the Mei'an school melody of this name.

As for applying some of these lyrics to shang mode preludes that have none, following the normal pairing method of that time, note that the lyrics for the Shang Yi of Xilutang Qintong (1525) and the Gu Qiu Feng of Taigu Yiyin, which are almost identical to each other, can almost be paired to the tablature of such purely melodic modal preludes as those in Taiyin Daquanji and Shen Qi Mi Pu.
(Return)

12. {Preface
Although SQMP modal preludes have no prefaces, those in Zheyin Shizi Qinpu (which all have identical music) do. Those in Zheyin are almost identical to those in Chongxiu Zhenchuan Qinpu (1585), and so the latter can be used to reconstruct the former when they are missing. Thus the preface to the shang modal prelude was probably as follows:

Not yet translated.
(Return)

 
Appendix: Chart Tracing 神品商意 Shenpin Shang Yi
Traces several shang mode titles, as indicated above
(With links to staff notation for first 10 melodies (combined .pdf; [updated 8 March 2012])

琴譜     (year; QQJC Vol/page)	Further information (QQJC = 琴曲集成 Qinqu Jicheng; QF = 琴府 Qin Fu)
1.  太音大全集   (staff)       (Song/Yuan; I/92)	商意 Shang Yi; several later preludes are related quite closely. Melody begins on 2; tonal centers are mainly on 2, 5 and 1; numerous 3bs as well as 3♮s; body and harmonic coda end on 1
2.  事林廣記   (staff)       (Song/Yuan; I/12)	商調 Shang Diao; longer, no harmonic coda, and quite different from all other shang preludes, but modal characteristics as above, again beginning on 2 and including 3bs
3.  神奇秘譜   (staff)       (1425; I/124)	神品商意 Shenpin Shang Yi; seems to be modified version of #1 above; Still has 3bs and same modal characteristics
3a.  神奇秘譜   (staff)       (1425; I/124)	神品古商意 Shenpin Gu Shang Yi; melody quite different from previous ones; However, still has 3bs (also two 7bs and one 5#) and same modal characteristics
浙音釋字琴譜       (<1491; I/--)	Either missing or was never a part of it (see argument: lyrics of 1585 do not fit either 1425 melody using the normal pairing method; closest fit seems to be those of 1525 #2 to 1425 #1)
4. 太古遺音   (staff)       (1511; I/300)	古秋風 Gu Qiu Feng; stands alone at end of Song dynasty section, with no mention of being a modal prelude, but lyrics are virtally identical to 1525 Shang Yi #2, and can almost be applied to 1425 #1, to which its melody is closely related; has 4, 7 and 7b but no 3b
5. 西麓堂琴統   (staff)       (1525; III/80)	商意 Shang Yi; closely related to 1425 Shenpin Gu Shang Yi; similar modal characteristics but no 3b; no punctuation
5a. 西麓堂琴統   (staff)       (1525; III/90)	商意 Shang Yi; its "Autumn Wind lyrics" are almost identical to those of 1511 Gu Qiu Feng and is similarly related to 1425 #1; again no 3b
6. 風宣玄品   (staff)       (1539; II/102)	神品商意 Shenpin Shang Yi; another variant of 1425 Shenpin Shang Yi; similar tonal centers, but no 3bs; twice has 7, once has 4
7. 梧岡琴譜   (staff)       (1546; I/384)	神品古商意 Shenpin Gu Shang Yi; very similar to 1425 Gu Shang Yi: same modal characteristics, though only one 3b (near end of body of melody)
7a. 梧岡琴譜   (staff)       (1546; I/384)	奇品商意 Qipin Shang Yi; quite similar to 1425 Shenpin Shang Yi: same tonal centers; no 3b but two 5#s
8. 琴譜正傳       (1561; II/448)	神品古商意 Shenpin Gu Shang Yi; Identical to 1546
8a. 琴譜正傳       (1561; II/448)	奇品商意 Qipin Shang Yi; Identical to 1546
9. 步虛僊琴譜       (1556; III/--)	古商意 Gu Shang Yi; #6 in Folio I of facsimile edition; a variant on the earlier versions of Gushang Yi
10. 太音傳習       (1552-61; IV/59)	商意 Shang Yi; related to 1425 #1; Similar modal characteristics but no 3b
11. 太音補遺       (1557; III/322)	商意 Shang Yi (but ToC has 商意考 Shang Yi Kao) Very similar to 1546 Qipin Shang Yi
12. 龍湖琴譜       (1571; 琴府/231)	神品商意 Shenpin Shang Yi; lyrics like 1585 Shang Yi #2
13. 五音琴譜       (1579; IV/202)	神品商意 Shenpin Shang Yi; Seems to include 3b
14. 新刊正文對音       捷要 (1573; --)	See in ToC: as 1585 #1? (Does not have 1585 #2)
14a. 重修真傳琴譜       (1585; IV/351)	商意 Shang Yi; lyrics Quite different; no 3b
14b. 重修真傳琴譜       (1585; IV/377)	商意 Shang Yi; lyrics Quite different again; no 3b
15. 玉梧琴譜       (1589; VI/20)	神品商意 Shenpin Shang Yi; 7b but no 3b
16. 真傳正宗琴譜       (1589; VII/63)	商意考 Shang Yi Kao; lyrics like 1585 but with some insertions No 3b
17. 琴書大全       (1590; V/487)	神品商意 Shenpin Shang Yi; Compare 1589; no 3b
18. 文會堂琴譜       (1596; VI/194)	開指魯商意 Kaizhi Lushang Yi; No 3b
18. 文會堂琴譜       (1596; VI/194)	商意 Shang Yi; No 3b but has other non-pentatonic notes
19. 綠綺新聲       (1597; VII/10)	商意 Shang Yi; Lyrics begin like 1585, but are quite a bit longer; music seems like new composition; no 3b.
20. 藏春塢琴譜       (1602; VI/314)	神品商意 Shenpin Shang Yi; No 3b; identical to 1589
21. 三才圖會續集       (1607; VI/464)	商意 Shang Yi; Lyrics same as 1585: music also seems same
22. 陽春堂琴譜       (1611; VII/367)	商意 Shang Yi Very similar to 1546
23. 琴適       (1611; VIII/17)	商意 Shang Yi  lyrics; identical to 1597 No 3b
24. 樂仙琴譜       (1623; VIII/360)	古商意 Gu Shang Yi; ToC (VIII/346) has 商意考 Shang Yi Kao; lyrics; no 3b
25. 義軒琴經       (late Ming; see IX/408)	商意 Shang Yi; seems to be missing
26. 琴苑新傳全編       (1670; XI/326)	神品商意 Shenpin Shang Yi Almost like 1425; perhaps one 3b
26a. 琴苑新傳全編       (1670; XI/326)	神品古商意 Shenpin Gu Shang Yi Almost like 1425, including 3b
27. 天聞閣琴譜       (1876)	商意初調 Shangyi Chudiao (see comment) New unrelated melody

Return to the top, to the Shen Qi Mi Pu ToC, or to the Guqin ToC.