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SFGQP ToC (1687)   /   Qin Ci     Qin songs     listen 聽   網站目錄
Water Tune Prelude
Qin settings for the ci pattern of this name 2
 
水調歌頭1
Shui Diao Ge Tou  
Shui Diao Ge Tou set for qin in shang mode (1687) 3      
The right side of the image at right, a page from the 1687 handbook Songsheng Cao,4 begins with lyrics identifying it as following a ci pattern called Shui Diao Ge Tou. The comments below this title further identify this particular setting only as Shang Yin, the name of the musical mode.5 It then attributes the lyrics to Hong Yunlai.6 The left side of the page repeats the identifier Shang Yin then says that the tablature is by Cheng Xiong, (style name) Yin Yan.7 The origin of the melody is not certain, but its structure suggests it might just as well be used with the famous lyrics by Su Dongpo (Su Shi) given below.

The cipai called Shui Diao Ge Tou has 95-characters. At least four settings of lyrics in the form of this cipai survive in old qin tablature.9 Today this cipai is probably best known through the popular song by Teresa Teng (Deng Lijun) using the Su Dongpo lyrics.10

 
Preface (XII/358)
The only tablature with a preface is the one-string setting dated
1618. Otherwise there are only brief statements naming the author of the lyrics, arranger/creator of the music, and subtitle/mode of the musical setting. For the Shang Yin version of 1687 shown above the creator of the lyrics is said to be Hong Yunlai and the musical setting by Cheng Xiong himself. However, this latter statement leaves open the possibility that Cheng took an existing melody/song and arranged it for qin.

 
Music (XII/358; solo instrumental recording 聽我的錄音; 1.49)
This music can be applied to any of the Shui Diao Ge Tou lyrics given here (open the mp3 file in a separate window).

Lyrics
The original lyrics for the tablature at top, plus those from 1682, are copied and punctuated
below (comment). Here, however, the music resulting from this tablature is applied to the Shui Diao Ge Tou lyrics by Su Shi (Su Dongpo). These lyrics are perhaps the most famous ones in this form. As indicated here, this was one of the poems Su Shi wrote during Mid-Autumn. Another one is discussed under the melody Mid Autumn Moon.

Application of the music to lyrics by Su Shi 11 (Timings follow my recording with voice 聽我的錄音)
Translation is by 裘小龍 Qiu Xiaolong (Wiki), with minor re-alignment. To follow the lyrics while listening, open the music file in a separate window while reading these lyrics of the Su Dongpo poem (or any lyrics following this form). Alternatively, listen while looking at the enlarged jpg of the original 1687 tablature.

00.00 Closing harmonics played as a prelude:

00.09
明月幾時有,         把酒問青天。
Míng yuè jǐ shí yǒu, bǎ jiǔ wèn qīng tiān.
When will the moon be clear and bright?
      With a cup of wine in my hand, I ask the clear sky.

不知天上宮闕,         今夕是何年。
Bù zhī tiān shàng gōng jué, jīn xī shì hé nián.
In the heavens on this night,
      I wonder what season it would be?

我欲乘風歸去,         又恐瓊樓玉宇,       高處不勝寒。
Wǒ yù chéng fēng guī qù, yòu kǒng qióng lóu yù yǔ, gāo chù bù shèng hán.
I'd like to ride the wind to fly home.
      Yet I fear the crystal and jade mansions
      are much too high and cold for me.

起舞弄清影,         何似在人間。
Qǐ wǔ nòng qīng yǐng, hé sì zài rén jiān.
Dancing with my moonlit shadow,
      It does not seem like the human world.

01.01
轉朱閣,         低綺戶,         照無眠。
Zhuǎn zhū gé, dī qǐ hù, zhào wú mián.
The moon rounds the red mansion,
      Stoops to silk-pad doors,
      Shines upon the sleepless,

不應有恨,         何事    長向別時圓。
Bù yìng yǒu hèn, hé shì   zhǎng xiàng bié shí yuán.
Bearing no grudge,
      Why does the moon tend to be full when people are apart?

人有悲歡離合,        月有陰晴圓缺,        此事古難全。
Rén yǒu bēi huān lí hé, yuè yǒu yīn qíng yuán quē, cǐ shì gǔ nán quán.
People experience sorrow, joy, separation and reunion,
      The moon may be dim or bright, round or crescent shaped,
      This imperfection has been going on since the beginning of time.

但願人長久,        千里共嬋娟。
Dàn yuàn rén cháng jiǔ, qiān lǐ gòng chán juān.
May we all be blessed with longevity,
      Though thousands of miles apart, we are still able to share the beauty of the moon together.

02.00

 
Footnotes (Shorthand references are explained on a separate page)

1. References for Water Tune Prelude (水調歌頭 Shui Diao Ge Tou) (Wiki)

"頭 tou", literally "head" or "beginning", does not necessarily have a formal meaning such as "prelude".
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2. Ci form "Shuidiao Getou"
This ci form has 95 characters divided into two sections of four lines each, eight rhyming lines in all. The structure by character count is as follows:

5+5
4+7 (or 6+5)
6+6+5
5+5

3+3+3
6+5 (or 4+7)
6+6+5
5+5

The 平仄 pingze structure is said to be as follows:

仄仄平平仄,仄仄仄平平。
平平仄仄平仄,仄仄仄平平(上六下五或上四下七)。
仄仄平平仄仄,仄仄平平仄仄,仄仄仄平平。
仄仄平平仄,仄仄仄平平。

仄平仄,平仄仄,仄平平。
平平仄仄,平仄仄仄仄平平(上六下五或上四下七,又或作仄仄平平仄仄,仄仄仄平平)。
仄仄平平仄仄,仄仄平平仄仄,仄仄仄平平。
仄仄平平仄,仄仄仄平平。

The bracketed comments discuss the two ways of dividing the second line of each section (further below).
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3. Image: Setting for qin of the Shang Yin song following the pattern Shui Diao Ge Tou (XII/358)
Note that, although there is no punctuation in either the lyrics or the tablature, this is not a major problem: the punctuation of the lyrics follows the ci pattern, the tablature also follows a well-known pattern. However, there are three issues worthy of special mention:

In 2017 I reconstructed the above Shang Yin melody, but generally pair it with the Shui Diao Ge Tou lyrics by Su Shi. However, the logic of the three adjustments mentioned here is still followed when pairing these or any other lyrics to this tablature.
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4. 松聲操 Songsheng Cao (XII/358; 1687)
As with the pieces in Shuhuai Cao, most of the poems in this handbook apparently were written in honor of, perhaps praising, Cheng Xiong (see below). Many, if not most, also use a ci form (玉樓春 Yu Lou Chun, 風入松 Feng Ru Song, 高山流水 Gao Shan Liu Shui, 水調歌頭 Shui Diao Ge Tou, 千秋歲引 Qian Qiu Sui Yin, 滿江紅 Man Jiang Hong, etc.). Search 讀古詩詞網
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5. 商音 Shang Yin; tuning 2 3 5 6 7 2 3 ? (compare shang mode)
If calling the mode here "shang" is based on the actual melody, then quite likely came from considering the tuning as 5 6 1 2 3 5 6. The primary tonal center is the open fourth string so here it would be 2: the note shang.

However, it also seems quite possible that this piece is called "shang yin" not for any musical reason but because of the ancient reference quoted above saying Shui Diao Ge Tou was a Yue Fu shangdiao melody. Because if "shang mode" was intended actually to describe the mode of the present melody, it would suggest that the understanding of mode at that time was different from what I understand of modes in the Ming dynasty qin repertoire as described here under Modality in early Ming qin tablature. This footnote there shows how a fundamental part of my understanding comes from the way a traditional Chinese musician would sing the melody in solfeggio (1 = do; 2 = re, etc.). By naming the notes following that practice I have usually been able to predict how the mode of any Ming dynasty qin melody I hear will be classified. Later nomenclature for modes does not seem to fit any such logic

The relative tuning given above, 2 3 5 6 7 2 3, is based on this understanding, and what it seems to show is that the consideration of mode was changing by the time this handbook was published (early Qing dynasty). What singing the notes solfeggio here means is that the notes actually played fit into a relative scale of 6 7 1 2 3 5 6 and the primary tonal centers are 6 (equivalent to the open 4th string) and 3 (open second string). The melody thus uses a minor hexatonic scale based on 6, making its modality quite similar to that of Ming dynasty melodies in yu mode. However, people at that time would not be likely to call it such because all Ming melodies said to be in yu mode had had their relative tuning considered as 5 6 1 2 3 5 6. Perhaps, then, zhi mode might be appropriate: the relative tuning would then be considered as 1 2 4 5 6 1 2, the scale as 5 6 7b 1 2 4 5 and the primary tonal centers as 5 and 2. Such an interpretation might be supported by the fact that Shui Diao Ge Tou seems to pair well musically with the 1525 zhi mode version of Yu Ge: the flatted 7th gives Shui Diao Ge Tou more of a "minor" flavor, but Yu Ge also sometimes flats its 7s. Of course for such a pairing to work from a literary standpoint it might be better to find Shui Diao Ge Tou lyrics connected to the literati view of fishing.

In any case, the ending on the open first and sixth strings is quite startling: more in tune with the established modal feeling would be to end on the open fourth string. This sudden switch, however, is not completely uncommon. Perhaps it follows a belief that all pieces should end on a certain note, no matter what.
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6. 洪雲來茂公 Hong Yunlai (style name) Mao Gong
From 錢塘 Qiantang (Hangzhou); as yet no further information.
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7. 程雄 Cheng Xiong, style name 隱庵 Yin'an
Cheng Xiong was from 燕山 Yan Shan; another style name was 頴庵 Ying'an. See further.
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9. Tracing settings of 水調歌頭 Shui Diao Ge Tou
Zha Guide 32/244/470 has six entries with this title, but two are duplicates, so there are actually four melodies for the three sets of lyrics; all lyrics fit into the same ci pattern. The six are as follows:

  1. Lixing Yuanya (1618; QQJC VIII/337)
    The lyrics are those of Su Shi given just above; the melody is one of the handbook's 5 melodies for one-string qin. A preliminary attempt at playing it did not reveal the key to making it as interesting as the other settings.

    Commentary in Li Xing Yuan Ya (see 琴之界; compare below) is:

    蘇東坡丙辰中秋作水調歌,兼懷弟子由者也。都下傳唱,呈錄神宗。至又恐瓊樓云云,上曰,蘇軾終是愛君,量移汝州。
    Not yet translated

  2. Shu Huai Cao (1682 [1]; XII/342)
    "宮音 Gong Yin"; "lyrics added by 溶秋岳 Rong Qiuyue" 鐵篴老仙去,無復採花舡。
    剛存湖角煙靄,夕照助蒼然。
    晞髮橫觥旅舍,恰得提嵇挈阮,古意滿朱弦。
    象板不須奏,大雅正當前。

    靑冥處,無人會,調空傳。
    一切浮華剝盡,高對逸人眠。
    攜到蜀都眉黛,又拜漢家官爵,此福恐難全。
    曲罷且危坐,靑雪舞翩𦒘。

  3. Shu Huai Cao (1682 [2]; XII/363)
    "徵音 Zhi Yin"; "lyrics added by 錢塘洪雲來 Hong Yunlai of Qiantang" 君山已不作,獻曲久無人。
    忽看靑雀,飛舞天際攪行雲。
    寂寂幽蘭九畹,自向冷冷弦上,抑按發淸芬。
    無那知音少,綠綺沒紅麈。

    聽曲罷,雙淚落,欲霑巾。
    半生潦倒不偶,空自立齊門。
    何似松風山月,與爾披襟長嘯,一醉忘冬春。
    試問鍾期死,那處可招魂。

  4. Song Sheng Cao (1682 [1]; XII/376)
    Seems to be the same as 1682 #1

  5. Song Sheng Cao (1682 [2]; XII/379)
    Same lyrics as 1682 #2 but different music; mode is "商音 Shang Yin"; at present this is my preferred melody: I have transcribed my interpretation and am applying it to the Su Shi lyrics as outlined above.

  6. Ziyuantang Qinpu (1802; XVII/540)
    Seems to be same as 1682 #1, but lyrics are paired instead of at end

None are yet reconstructed here.
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10. Popular song by Teresa Teng (鄧麗君 Deng Lijun) (Wiki)
This setting of Su Dongpo's Shui DIao Ge Tou was composed in 1983 by 梁弘誌 Liang Hongzhi with the title "但願人長久 Danyuan ren changjiu" ("Wishing We Last Forever" or "Always Faithful"). It can be found in many places on the internet including, currently, here.

It is interesting here to see how Liang structures his music around the 95-character ci pattern. Following the rhyme scheme the ci lyrics are in eight lines divided into two four-line sections of two couplets each; the third line of each section has three phrases, the others have two. Liang, however, moves the third phrase of each third line into the fourth line. Although this violates the rhyme scheme, it allows him to use a basic melody for the first two lines that is largely repeated in lines 3 and 4, where it is extended with the extra phrase. The melody of lines 5 and 6 is somewhat different but lines 7 and 8 are like 3 and 4. This structure, which can be called A A B A, gives the melody an easily recognized coherence. The rhythm is a slow rubato 4x4 throughout.

For my reconstruction of the 1687 melody I found that the slow rubato 4x4 works very well throughout. However, old qin melodies rarely if ever have sections where new lyrics are introduced through a repeated melody and the 1687 setting also does not do that. Instead, in its first four-line section the melody of the second and third phrases of line 3 are basically repeated to form line four. In the second section lines seven and eight have no such repetition, but it still feels natural to follow the rhythm suggested in lines three and four. Thus n both case, even if one were willing to sacrifice the rhyme scheme in order to structure the phrasing like Liang's, the music does not allow one to assign only two phrases to line three
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11. Lyrics by Su Shi
Su Shi also wrote a preface to his poem, translated by Qiu Xiaolong as follows:

丙辰中秋,歡飲達旦,大醉,作此篇,兼懷子由。
Mid-autumn of the Bing Chen year / Having been drinking happily over night / I'm drunk / So I write this poem / Remembering my brother, Zi You

Links to more of Qiu Xiaolong's translations can be found here.
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