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Qin as
Qin in
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Analysis History Ideo-
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63. Calling Out in Flight
- guxian mode:2 (tighten 2nd/5th/7th strings: 6 1 2 3 5 6 1)
飛鳴吟 1
Fei Ming Yin 3 

Feiming Yin was quite a popular title during the Ming dynasty, surviving in 16 handbooks to 1623; afterwards it is found only in 1670, 1691 and 1876 (a copy of 1691).4 The first nine handbooks to 1561 and three of the next six to 1602 the melodies are all very similar and always precede Qiu Hong. However, in 1579 Wuyin Qinpu introduced a longer and quite modified version of Feiming Yin, not accompanied by Qiu Hong, then 1609 did the same, adding lyrics. The melodies in the four later handbooks seem more related to these longer versions than to the earlier ones.

Zhu Quan says the creator of this melody is unknown; to this the editor of Zheyin Shizi Qinpu (supposedly Zhu Quan's grandson Zhu Dianpei) adds that Zhu Quan himself repaired it. It is thus not clear why the entry in Yuwu Qinpu (1589) attributes it to the famous Guo Chuwang (Guo Mian) of the Song dynasty.

The reference in the preface to visiting (being a guest in) the south is said to be an allusion to the Song court having been forced to move south from Kaifeng to Hangzhou by the northern Jin kingdom. This allusion was also popular with other regimes which felt they were separate from their rightful homeland, as well as with individuals away from home. The later piece Pingsha Luo Yan is said also to contain this allusion.

There are no other recordings.

Original Preface 5

The Emaciated Immortal says

it is not known who wrote this piece, but what the piece concerns is speaking of the wild goose as an animal who, knowing that autumn (is arriving), visits the south. It cries out to the Milky Way, and flies through the clouds for 10,000 li, soaring over the four seas. How great its determination is! So (the melody) embellishes this event while describing it.

Three sections; titles from Zheyin Shizi Qinpu

(00.00) 1. Knowing autumn
(00.52) 2. Bursting through the clouds
(01.35) 3. Visiting the south
(01.58) -- harmonics
(02.09) -- Piece ends

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Footnotes (Shorthand references are explained on a separate page)

1. Feiming Yin
飛鳴吟 44974.237 飛鳴 flying while calling. Gives poetic references in Wen Xuan (Pan Yue 潘岳 Pheasant Shooting Rhapsody) and Su Dongpo Hou Chibi Fu.

2. Guxian mode
For details see Shenpin Guxian Yi

3. Image
None yet selected.

4. Tracing Feiming Yin
See chart below, based largely on Zha Guide 10/101/156

5. Original Preface
Included elsewhere

6. Original section titles
The Chinese titles are: 1. 知秋; 2. 決雲; 3. 南賓

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Appendix: Chart Tracing 飛鳴吟 Feiming Yin
Further comment
above; based mainly on Zha Fuxi's Guide, 10/101/156.

    (year; QQJC Vol/page)
Further information
(QQJC = 琴曲集成 Qinqu Jicheng; QF = 琴府 Qin Fu)
  1.  神奇秘譜
      (1425; I/176 [here])
3; prelude to Qiu Hong
Preface says it is not known who created this melody
  2.  浙音釋字琴譜
      (<1491; I/235)
3TL; same as 1425 but adds section titles and lyrics (in Chinese)
Preface quotes 1425; under the title it says "臞仙補 fixed up by Quxian" (Zhu Quan)
  3. 西麓堂琴統
      (1525; III/197)
3; precedes QH but slightly different
Sections aligned differently: S3 begins right after S2 harmonics end
  4. 風宣玄品
      (1539; II/307)
3; same as 1425; precedes QH
  5. 梧岡琴譜
      (1546; I/458)
3; another modification from 1425; precedes QH
Sections divided as in 1525
  6. 步虛僊琴譜
      (1556; #52)
3; almost same as 1425; precede QH
  7. 太音傳習
      (1552; IV/159)
3; like 1425; precedes QH
  8. 太音補遺
      (1557; III/405)
3; almost same as 1552 & 1425; precedes QH
  9. 琴譜正傳
      (1561; II/480)
3; same as 1546; precedes QH
10. 五音琴譜
      (1579; IV/256)
4; related but quite different; harmonics are 2nd half of S1;
No Qiu Hong: it is the last piece in the book, in an appendix
11. 玉梧琴譜
      (1589; VI/97)
3; same as 1546
Attributes Guo Chuwang
    . 真傳正宗琴譜
      (1589; VII/xxx
Not included; see 1609
12 真傳正宗琴譜
      (1609; VII/225)
8; qingshang mode; preface mentions Qiu Hong but melody not there;
Lyrics (天道推遷多反復,嗟呼,汽運....) very different from 1491
13. 琴書大全
      (1590; V/529)
3; follows Miaopin Qingshang Yi but seems to be a copy of 1546; precedes QH
14. 文會堂琴譜
      (1596; VI/280)
6; precedes QH but expanded much from earlier FMY versions
Changes seem different from those in other expanded versions
15. 藏春塢琴譜
      (1602; VI/450)
3; copy of 1589; also precedes QH
16. 樂仙琴譜
      (1623; VIII/416)
6; GX; quite different (compare 1579 and 1609); no Qiu Hong;
Preface same as 1609
17. 琴苑新傳全編
      (1670; XI/452)
6; GX; seems related to 1623 but precedes QH
Preface mentions autumn geese
18. 德音堂琴譜
      (1691; XII/597)
6; GX; again seems like 1623; no QH
19. 天聞閣琴譜
      (1876; XXV/595)
" = 1691"

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