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Extended Washing at Creekside 1
Qin settings for the ci pattern of this name 2
Tanpo Huan Xi Sha  
Edited 1682 setting of Tanpo Huan Xi Sha for qin 3        
A comment accompanying the qin tablature at right, published in the 1682 handbook Shuhuai Cao,4 says Ge Zhongshu5 added lyrics, called Nan Tian Yun,6 to tablature by Cheng Xiong of Yan Shan.7 It then identifies the lyrics as following the form of the ci pattern called Tanpo Huan Xi Sha. The origin of the melody is not certain, but its structure suggests it might just as well be used with the lyrics by Li Qingzhao given below. The melody was written for a tuning/mode called Wumei diao (further comment).

Although there are no direct settings for qin of the two sets of lyrics below, by Li Qingzhao, they are in this same ci form. They are given here to see how a melody applied to one set of lyrics can also be used on other lyrics, in this case much more famous ones. The 1682 melody could be sung with any of the three poems, but here they are also used to further consider whether any or all of the poems might also be recited, in spite of there being the pairable melody.

The setting for Li Qingzhao's lyrics, as with Ge Zhongshu's, is one note per character except for the two extra notes from the two slides in the first line of each poem. To read the seven characters phrases, give each syllable almost equal note values rather than trying to use the note values given for the qin setting (pause one beat at the end of each line so the 7 syllables become 8 beats per line). Also read the three character phrases within the 8 beat structure by using appropriate pauses.

Preface (XII/358)
None, only a brief comment that says "南田惲 / 格正叔填詞。 燕山程 雄頴庵諧譜 Nan Tian Yun are lyrics added by Ge Zhongshu; Cheng Xiong of Yan Shan added the tablature". This leaves open the possibility that Cheng took an existing melody and arranged it for qin.

Melody for the 1682 Tanpo Huan Xi Sha (Timings follow my recording 聽我的錄音; instrumental only)
To follow the lyrics while listening, open the music file in a separate window while reading these lyrics of each Li Qingzhao poem, or follow it while looking at the enlarged jpg of the original 1682 tablature, explained further below).

The melody is played twice, once for each of the two Li Qingzhao poems, with timings given, as follows:

    00.00 Added prelude, made from the final three notes, in harmonics
  1. 00.08
    揉破黃金萬點輕,剪成碧玉葉層層。風度精神如彥輔,      太鮮明。
    Róu pò huáng jīn wàn diǎn qīng, jiǎn chéng bì yù yè céng céng.
    Fēng dù jīng shén rú yàn fǔ,       tài xiān míng.

    Crushed gold, thousands of feather-light dots;
    Layer-cut into jade-green, leaves on leaves.
    Carried off with panache like that of Yan Fu (i.e., 樂廣 Yue Guang).

    梅蕊重重何俗甚,丁香千結苦粗生。熏透愁人千里夢,      卻無情。
    Méi ruǐ chóng chóng hé sú shén, dīng xiāng qiān jié kǔ cū shēng.
    Xūn tòu chóu rén qiān lǐ mèng,       què wú qíng.

    Plum petals piled layer upon layer are very vulgar;
    Lilacs in a thousand clusters are depressingly coarse.
    Their scent pervades the faraway dream of one who's sad --
    (Translation: Chang et.al, p.96.)

  2. 01.06 Repeat melody
    病起蕭蕭兩鬢華,臥看殘月上窗紗。豆蔻連梢煎熟水,      莫分茶。
    Bìng qǐ xiāo xiāo liǎng bìn huá, wò kàn cán yuè shàng chuāng shā.
    Dòu kòu lián shāo jiān shú shuǐ,       mò fēn chá.

    After my sickness / my temples have turned grey.
    I lie and watch the waning moon / Climb up the gauze window screen.
    I boil a drink of cardamom leaf tips
    Instead of tea.

    枕上詩書閒處好,門前風景雨來佳,終日向人多醞藉,      木犀花。
    Zhěn shàng shī shū jiān chù hǎo, mén qián fēng jǐng yǔ lái jiā,
    Zhōng rì xiàng rén duō yùn jí, mù xī huā.

    It is good to rest on my pillows / and write poetry.
    Before the door / Beautiful in wind, shadow and rain,
    All day (they) bend toward me, Delicate and subtle,
    The fragrant cassia blossoms.
    02.11 End
    (Translation: Rexroth and Chung, p.80 [word order modified in last two lines]).

Compare the original 1682 lyrics below.

Footnotes (Shorthand references are explained on a
separate page)

1. References for Extended Washing at Creekside (攤破浣溪沙 Tanpo Huan Xi Sha)
13333.xxx. Also translated as New Form of Washing at Creekside. "Extended", of course, means "extended version", referring to the three extra words

2. Ci form "Extended Washing at Creekside"
Comparing the 平仄 pingze structure of this "Extended" form suggests it gets its name from the three extra syllables at the end of each of the two lines:

    The extended Huan Xi Sha has the overall form (7+7+7+3) x 2. Chinese Wiki gives its pingze structure as follows: Meanwhile, the basic Huan Xi Sha ([7+7+7] x 2) has several pingze forms; one is:

Perhaps it is relevant here to ask, considering the Chinese fondness for couplets, how a musical setting might have been affected if the lyrics were considered as (7+7) x 3 rather than as (7+7+7) x 2. Here, however, my question along these lines is: with (7+7+7) might there ever be an inclination to consider this as (7+7) + 7 and give the third 7 the same length (or number of beats) as the (7+7), thus turning it into a musical couplet? Musically the third phrase might then be treated not as 7 but as 4+3, and a melody created in which the 4 has the same number of beats as the first 7, and the 3 has the same number of musical beats as the second 7? If this were done with Huan Xi Sha, then it could be sung to the present melody (as I have interpreted it) for "Extended Huan Xi Sha". One might then even see some logical connection between Huan XiSha and its extended form. And if it were played and/or sung freely, this structure could give it a sense of unity without it being obvious how that was done.

To experiment with this possibility, try to use the above melody for Tan Po Huan Xi Sha (again, 聽 open in a separate window) to sing (or recite) the following poem by Li Qingzhao in the form Huan Xi Sha. The full poem (but with the translation of last two lines of each verse somewhat modified from the version in Complete Poems, p. 21, On Spring) is as follows,

Xiǎo yuàn jiān chuāng chūn sè shēn, zhòng lián wèi juǎn yǐng chén chén,
yǐ lóu wú yǔ lǐ yáo qín.

I idle at the window In the small garden.
The spring colors are bright.
Inside, the curtains have not been raised
And the room is deep in shadow.
In my high chamber silently
I play my jade zither.

Yuǎn xiù chū shān cuī bó mù, xì fēng chuī yǔ nòng qīng yīn,
lí huā yù xiè kǒng nán jìn.

Far-off mountain caves spit clouds,
Hastening the coming of dusk.
A light breeze brings puffs of rain
And casts moving shadows on the ground.
The pear blossoms are now fading -
It is not possible to forbid this.

Using the extended melody, the third set of seven characters in each of the two lines in the original can be rendered as follows:

  1. The music to the words translated "In my high chamber silently" is all played on one pitch so it is easy to render "zhòng lián wèi juǎn" on four beats (e.g., either assign four characters to the cluster with 換鎖 [which requires 7 strokes, but in many qin settings would not necessarily be assigned seven characters] or change the 換鎖 to a 北鎖, which calls for 4 strokes. For "yǐng chén chén" there are just three strokes/notes already.
  2. The music to the words translated "The pear blossoms are now fading" is all played on four pitches (do re sol do, plus an octave of sol), so with a bit of adjustment to the fingering "xì fēng chuī yǔ" can also be done on four beats in almost as minimal a manner. For "nòng qīng yīn" there are again just three strokes/notes.

Although for me this works musically, by itself this cannot be considered as evidence that in the past anyone ever actually did it.

3. Image: Setting for qin of the song Tanpo Huan Xi Sha (XII/358)
The above tablature set the melody using a tuning called 無媒調 wumei diao, which is here described as fixed by tuning up the second and sixth strings from standard tuning; this tuning is also used for a melody published in 1618 called Baitou Yin. However, with no discernable change to the melody it can also be played using standard tuning (further comment). The necessary changes in fingering have been marked in red. Playing in harmonics the final three notes of each poem setting is the only other change.

4. 抒懷操 Shuhuai Cao (XII/358; 1682)
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

5. 格正叔 Ge Zhengshu
No further information.

6. 南田惲 Nan Tian Yun
2798.77 identifies Nantian as a place name but no mention of 南田惲 Nan Tian Yun. South Field Consulation? Its lyrics are as follows:

Xì xì dōng fēng fú liǔ sī, yī yī lián wài yuè hén dī.
Jiān lǐ yáo qín shēn yè jìng, zhuàn yān wēi.

Qíng zài shù shēng jiāng duàn chù, chén fēi yī qū wèi zhōng shí.
Shuí shì zhīyīn shuí jiě tīng, yǒu huāzhī.

Not yet translated.

7. 燕山程雄 Cheng Xiong of Yan Shan
頴庵 Ying'an was his style name. See further.

Return to Qin Poetry and Song or to the Guqin ToC.