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Qinpu Zhengchuan
Handbook of the Correct Tradition 1
Compiled by Yang Jiasen 2 (see comment on lyrics 3)
琴譜正傳
楊嘉森輯
1547 / 1561

Table of Contents

  --  He Jian preface (II/385)
  --  Depictions: putting on strings / carrying the qin
  --  Depictions: finger techniques (333 pairs with associated poetic images)
  --  General qin glossary (63 terms w/their symbols [same as Wugang Qinpu])
  --  Essential study reporting in detail the qin symbols (II/398)

(51 right hand/32 left-hand techniques, many repeated from previous section;
28 non-standard tunings; 8 general symbols. Compare Fengxuan Xuanpin.)
  --  Required knowledge for qin play / Instructing beginners / Qin playing techniques
  --  Extra essay (by [Yang] Peiyan, dated 1561; II/399)

 
Folio One:

    Meihua essay and lyrics (II/401)
    Yang Chun essay and lyrics (II/403)

    (Gong Mode)

  1. 孤芳吟 Gufang Yin (3; Intonation on the Virtue of Solitude; not in 1546; II/406)
    "Shenpin Gong Yi"; (second of three: 1551 (identical) and 1557 (also identical) have commentary)

  2. Meihua Sannong (12*; Three Playings of "Plum Blossom"; this version not in 1546; II/406)
    (Quite different from #4 and from 1425)

  3. Shenpin Gong Yi (Celestial Air defining Gong [mode]; 1546, #1; II/410)
    神品宮意 (differs from 1425)

  4. Meihua Yin (10*; Prelude to "Plum Blossom" -- see #2; 1546, #2; II/410)
    Also called Meihua Sannong (but quite different from 1425 [and from #2 above])

  5. Yang Chun (13; Bright Spring; 1546, #3; II/413)
    Shenpin Gong Melody related to 1525; same as 龍門桃浪引 Longmen Taolang Yin)

  6. He Ming Jiugao (10*; Cranes Cry in the Nine Bends of the Marsh; 1546, #11; II/415)
    (See #8; quite different from 1425; usually included with shang mode pieces)

  7. Yuan He Shuang Qing (9*; Paired Clarity of Ape and Crane; 1546, #12; II/418)
    (Usually included with shang mode pieces; related to 1511)

     
    Folio Two:

    Wenjun Cao lyrics (II/420)
    Nan Feng Ge lyrics (II/420)
    Dao Yi Qu lyrics (II/421)
    Zhengzi Ge lyrics (II/421)
    Lüshuang Cao lyrics (II/421)
    Loushi Ming lyrics (II/422)
    Xiangfei Yuan lyrics (II/422)

  8. He Ming Jiugao (9*L; Cranes Cry in the Nine Bends of the Marsh; not in 1546; II/423)
    (See #6; quite different from 1425; usually included with shang mode pieces)

    (Shang Mode)

  9. Gui Qu Lai Ci (6L; Come Away Home Poem; 1546, #13; II/427)
    Shang mode (same lyrics but completely different melody from 1511)

  10. Yikuang Yin (3; Calmly Expansive Chant; 1546, #14; II/429)
    神品即懷古吟商調 Celestial Air; same as Huai Gu Yin; shang mode
    (1546 had the earliest known publication; see chart under the 1525 Huai Gu Yin)

    (Jiao Mode)

  11. Jiao Yi (Defining Jiao [mode]; 1546, #15; II/430)
    (similar to SPJY)

  12. Yu Feng Xing (8; Ride the Wind Action; 1546, #16; II/430)
    神品角曲 Shenpin Jiao Melody; by Mao Minzhong (like Liezi Yu Feng)

    Shangjiao Mode

  13. Shangjiao Yi (Defining Shangjiao [mode]; 1546, #17; II/432)
    (from 1425)

  14. Zhuang Zhou Meng Die (8; Zhuangzi's Butterfly Dream; 1546, #18; II/432)
    Shangjiao melody (from 1425)

  15. Zhi Yi (Defining Zhi [mode]; not in 1546; II/434)
    (See also #21; from 1425)

  16. Wen Wang Cao (10; Wen Wang's Melody; not in 1546; II/434)
    (Another version is #22; from <1491)

  17. Shishang Liu Quan (6; The Spring Flows over the Rocks; not in 1546II/437)
    (See 1525)

  18. Qingdu Yin (10; Clear City Prelude; 1546, #4; II/438)
    Shenpin Gong melody; also called Guanghan You (see #51); by (Mao) Minzhong
    Piaoweng edited it and Old Qiushan further revised it (from 1425)

  19. Chang Qing (9*; Long Clarity; 1546, #9; II/440)
    The first of Xi Kang's Four Melodies. It was especially 曉翁 Xiaoweng who grasped its meaning (from 1425)

  20. Yi Lan (11; Esteemed Orchid; 1546, #10; II/442)
    This melody is one that 超出 excels among celestial airs (from 1425)

  21. Shenpin Zhi Yi (Celestial Air Defining Zhi [mode]; 1546, #19; II/444)
    (see also #15; from 1425)

  22. Wen Wang Cao (8; Wen Wang's Melody; 1546, #20; II/444)
    the same as the melody Wen Wang Si Shi (see also #16; from <1491)

     
    Folio Three:

    Zhaojun essay and lyrics (II/446)

  23. Bin Feng Ge (20; Song for Airs of Bin; not in 1546; II/448)
    Second of 15, somewhat different from first, dated 1559 (as elsewhere, called Geng Ge)
    Bin Feng Ge has a Shi Jing reference)

  24. Shenpin Gushang Yi (Celestial Air Defining Old-Shang [mode]; 1546, #5; II/452)
    (from 1425)

  25. 奇品商意 Qipin Shang Yi (Marvelous Piece Defining Shang [mode]; 1546, #6; II/452)
    (Only here and 1546)

  26. Yasheng Cao (7; Proximate Sage Melody; 1546, #7; II/452)
    Also called Yan Hui (from 1511 [but shorter])

  27. Bai Xue (9; White Snow; 1546, #8; II/453)
    (from 1425 [two sections divided differently)

    Yu Mode

  28. He Wu Dongtian (3; Cranes Dance in Paradise; 1546, #25; II/455)
    Shenpin Yu Yi; said to be in Zixiadong Pu; Xiaoweng 詳刪 examined and edited it (see 1525)

  29. Shenpin Yu Yi (Celestial Air Defining Yu [mode]; 1546, #26; II/456)
    (from 1425)

  30. Zhi Zhao Fei (13; Pheasants Fly in the Morning; 1546, #27; II/456)
    妙品 Beautiful melody; yu mode (from 1425)

  31. Pei Lan (13; Fragrant Orchid; 1546, #28; II/459)
    Celestial air; yu melody (from 1539)

  32. Wu Ye Ti (9 [7*]; Crows Cry at Night; 1546, #29; II/462)
    Shenpin Yu melody (from 1425 [small differences])

    Fugu Mode

  33. Fugu Diao (Reviving-Ancient-Customs Tone; 1546, #30; II/464)
    (Discusses tuning [1 3 5 6 1 2 3] and not using 6th and 7th strings; also in 1525 and 1557)

  34. Nan Feng Chang (8; Southern Winds Rhapsody; II/464)
    5 strings; same music and marginal comments as
    1546 (from 1525 Yushun Si Qin, not its Nan Feng Chang)

  35. Huangzhong Yi (Defining Yellow Bell [mode]; 1546, #32; II/466)
    (Discusses tuning; same as Wu Yi [1 3 5 6 1 2 3 ]; see 1425)

  36. Zhaojun Yin (8*; Prelude of [Wang] Zhaojun; 1546, #33; II/466)
    Yellow Bell Melody (= Zhaojun Yuan aka Longshuo Cao [almost same])

     
    Folio Four:

    Yangguan lyrics (II/468)
    Feng Ru Song lyrics (II/468)

  37. Shenpin Qiliang Yi (Celestial Air Defining Qiliang [mode]; 1546, #34; II/469)
    Same as Chushang Yi: tighten 2nd and 5th strings (tuning 2 4 5 6 1 2 3 see 1425)

  38. Chu Ge (9*; Song of Chu; 1546, #35; II/469)
    Qiliang melody (from 1425 but seems closer to 1539)

  39. 弔屈原 Diao Qu Yuan (10; Mourning for Qu Yuan; not in 1546; II/472)
    (Related to <1491; see also next)

  40. Qu Yuan Wen Du (6; Qu Yuan Asks the Ferry[man]; 1546, #36; II/474)
    Qiliang melody (from <1491 [many diff.]; see also previous)

    Ruibin Mode

  41. Shenpin Ruibin Yi (Defining Ruibin [mode]; 1546, #37; II/475)
    Tighten the fifth string (identical to 1546)

  42. Xiao Xiang Shui Yun (10; Water and Clouds on the Xiao and Xiang; 1546, #38; II/475)
    Shenpin Ruibin melody, by Guo Chuwang (see also #56; from 1425)

    (The next two are shang mode, not ruibin)

  43. 斷金吟 Duan Jin Yin (3; Intonation of Cutting Through Metal; not in 1546; II/477)
    (18/176/--; this title only here and the versions in Taiyin Chuanxi and Taiyin Buyi;
    Mode named at end; closely related to Jiao Qi Yin

  44. Gujiao Xing (13; Old-Acquaintance Behavior; not in 1546; II/478)
    (earliest is the 1539 version)

    Qingshang Mode

  45. Miaopin Qingshang Yi (Beautiful Air in Qingshang Mode; 1546, #39; II/480)
    Tighten 2nd, 5th and 7th strings (tuning 6 1 2 3 5 6 1 );
    Only here, 1546 and 1589, but music is like 1525 Jiazhong Yi and 1551, Guxian Yi

  46. Shenpin Guxian Yi (Celestial Air Defining Guxian Mode; 1546, #40; II/480)
    (same tuning as #45; from 1425 [very similar])

  47. Feiming Yin (3; Chant of Calling Out While Flying; 1546, #41; II/480)
    (from 1425 [quite close])

  48. Qiu Hong (36*; Autumn Geese; 1546, #42; II/481)
    Tablature of Guo Chuwang; all the Xu masters 訂潤 revised and adorned it; qingshang melody
    (from 1425 [quite close], but no mention of Zhu Quan)

  49. Kechuang Yehua (8; Night Words at the Guest Window; not in 1546; II/486)
    (from 1511)

     
    Folio Five:

    Qiao Ge lyrics (II/486)

  50. Qingxu Yin (3; Chant of Clear Emptiness; not in 1546; II/492)
    ( = Xuan Mei)

  51. Guanghan You (10; Wandering in the Broad Coolness; not in 1546; II/492)
    (see also #18, Qingdu Yin; from 1425)

  52. Guan Ju (7; Osprey Cries; not in 1546; II/494)
    Yu Yi (see also #57; from <1491)

  53. Zepan Yin (4*; Chant from a Marshbank; not in 1546; II/497)
    (Qiliang mode; from 1425)

  54. Li Sao (18*; Falling into Grief; not in 1546; II/497)
    (Qiliang mode; from 1425)

  55. Jiuyi Yin (3; Jiuyi Chant [Chant of Nine Doubts Mountain, in Hunan]); not in 1546; II/500)
    (from Fan Canglang)

  56. Xiao Xiang Shui Yun (10; Water and Clouds on the Xiao and Xiang; not in 1546; II/501)
    (see also #42; from 1425)

  57. Guan Ju (8; Osprey Cries; 1546, #21; II/503)
    Zhi melody (see also #52; from <1491)

  58. Yu Hui Tushan (12; Emperor Yu's Meeting at Mount Tu; 1546, #22; II/504)
    Also called 上國琯光 Shan'guo Guan'guang (from 1425)

  59. Qiao Ge (11; Song of the Woodcutter; 1546, #23; II/506)
    Shenpin Zhi melody; by (Mao) Minzhong; also called Return to Woodcutting (歸樵 Gui Qiao);
    from 屢訂本 an often edited volume by the two old men Qiushan and Xiaoshan (from 1425 [small changes])

  60. Yu Ge (10*; Song of the Fisherman; 1546, #24; II/509)
    (Zhi mode); same as 山水綠 Shanshui Lü; in 1550 (?) from the 梅雪窩刪製 Meixuewo revision (see 1525)

     
    Folio Six:

    Xue Chuang Ye Hua lyrics (II/512)

  61. Chumu Yin (4; Shepherd's Chant; not in 1546; II/515)
    This title only here and 1559, but it is almost identical to Yin De (see also Qiujiang Yebo)

  62. 牧歌 Mu Ge (18; Shepherd's Song; not in 1546; II/515)
    (Zha 18/177/-- : second of 13 pu; 1st, in 1559, is virtually identical)

  63. Feng Lei Yin (8; Wind and Thunder Prelude; not in 1546; II/518)
    (from 1525)

  64. Chun Jiang (8; Spring River; not in 1546; II/520)
    (Related to but expanded from the earliest 春江曲 Chunjiang Qu)

  65. 盡善吟 Jin Shan Yin (2; Intonation on the Perfectly Good; not in 1546; II/521)
    18/--/-- : only here and 1559 (missing); musically related to the Wang Ji in 1425, 1539 and 1525
    See also Teng Liu Yin

  66. 簫韶九成,鳳凰來儀 Xiaoshao Jiucheng, Fenghuang Laiyi (23; Panpipes Play Shao Nine Times, and Phoenixes Attend; not in 1546; II/521)
    Zha 18/177/-- ; also: Fenghuang Laiyi and 神鳳引 Shenfeng Yin; more info under Shun
    Second of six pu (other five are 1559 [identical], 1602 [same], early Qing ["Shen Taishao pu"], >1802 and 1910)

  67. 清夜聞鍾 Qing Ye Wen Zhong (7; On a Clear Evening Hearing a Bell; not in 1546; II/525)
    Zha 18/178/--; second of 15 pu; "the same as Weeping Unicorn and Sad Phoenix" (first in 1559)
    18003.183 identifies this as a qin melody, adding a quote from the opera 西廂記 Xi Xiang Ji (see comment); see also Li Bai.
    Other commentary connects the story of this melody to that of Huo Lin, but there is no melodic connection; instead Qing Ye Wen Zhong seems to have a vague musical connection to Jiang Yue Bai.

  68. 扣角歌 Kou Jiao Ge (8; Knock-Horns Song; not in 1546; II/527)
    18/178/--; second of 7; first, in 1559, is identical; ends with "play the shangjiao modal prelude

  69. 秋風 Qiu Feng (12; Autumn Wind; not in 1546; II/528)
    18/178/--; four tablatures: here, 1525 (very similar), 1551 (almost same) and 1559 (identical)

  70. Goudeng Yin (3; Cage-Lantern Chant?; not in 1546; II/531)
    Like Tianfeng Huanpei and identical to 1559

  71. Xue Chuang Ye Hua (10; Night Words by a Snowy Window; not in 1546; II/531)
    7 pu from 1539

    Afterword by Huang Xian (II/533)

 
Footnotes (Shorthand references are explained on a separate page)

1. QQJC, II, pp.385 - 534.
(Return)

2. Perhaps also called 楊培庵 Yang Pei'an. The book combines the traditions of 黃獻 Huang Xian and 宋仕 Mr. Song (see preface)
(Return)

3. Lyrics in Qinpu Zhengchuan
Of the 71 melodies in this handbook, two have lyrics paired. In addition, there are lyrics for 14 more melodies. These are placed separately at the front of the respective mode section. Most of these lyrics can be found in earlier handbooks, where they are paired with the tablature. Here, though, for most of them there is no music, and for those that there is music, the lyrics have not been paired with the tablature. In fact, the lyrics do not seem match the melodies here that have the same titles.
(Return)

Return to the Qinpu Zhengchuan intro, to the annotated handbook list or to the Guqin ToC.