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Content of Japanese Guqin Handbooks
Focus on perhaps the earliest, the Qin Handbook with Lyrics and Pronunciation
日本琴譜目錄 1
Hewen Zhuyin Qinpu, p.12  

Japanese qin players have published numerous handbooks over the years. Most of the important early ones are mentioned in Guqin Handbooks Published in Japan, with some information on later ones also given on that page. Included in Qinqu Jicheng Volume XII are reprints of three of the most important handbooks.

The three Japanese handbooks published in QQJC are as follows:

  1. 和文注音琴譜 Hewen Zhu(yin) Qinpu (Wabun Chuyin Kinpu), <1676   (Appendix I)
  2. &
  3. 東皋琴譜 Donggao Qinpu (Toko Kinpu), 1709?

Until 2016 my work on qin melodies in Japan was confined to the above volumes. However, in 2016 I acquired information about two other important sources:

The music in those two handbooks will be dicussed separately. Meanwhile, the present page outlines the contents of the three handbooks published in Volume XII of Qinqu Jicheng; this should then be compared against the details in the "Correct Toko Kinpu".

Because the three handbooks have considerable overlap in content, these contents are given here as three appendices on a single page rather than separately.  

Appendix I

Wabun Chuin Kinpu (?; <1676?)
Hewen Zhu(yin) Qinpu
Qinqu Jicheng, Vol. XII/167 - 241
"Qin Handbook with Lyrics and Pronunciation"

38 melodies (34-1st); all with lyrics, hence the title. Except for the Fusang cao, these were intended to represent the melodies 蔣興疇 Jiang Xingchou took from Hangzhou to Japan in 1676 (though the fact that it survived only in a later edition perhaps led to the inclusion of some extra pieces); there, as the monk 心越 Shin-etsu (and other names), he taught many students. Many handbooks following Shin-Etsu's tradition were published later in Japan, generally with the title Toko Kinpu.

The volume used for QQJC, now in the Shanghai Library, was brought from Japan around 1900 by Zhou Qingyun. It is a hand copy said at one time to have been in 桂川家藏 the collection of the Katsuragawa family.4 In QSCM (#321) Zhou Qingyun writes that 每譜前有桂川家藏印記 in front of each melody was the Katsuragawa family seal. The copy in QQJC has the seal marks only in front of a few of these.5 This brings up the question of whether Zhou may have made his own copy, or had someone make a copy, from the original.

Zha Fuxi in his preface ascribes the date of this collection to "before 1676". He also says that it was compiled by the monk Toko Etsu. This must be based on a belief that the melodies were brought to Japan by the Buddhist monk Jiang Xingchou when he arrived there from Hangzhou in 1676; in Japan he was known as Toko Etsu (also other names).

However, as the QQJC preface itself points out, in this handbook most of the melodies have indications that either Shin-Etsu himself or one of his students revised them.6 In addition, the handbook itself labels two of the melodies (#34 and #35) as 扶桑操 Fusang Cao, Japanese melodies (Fusang was an old name for Japan).7

The evidence suggesting that many of these melodies were at that time actively played in China is largely circumstantial. Although very few of them can be found in handbooks published in China, there were probably many qin songs that were sung but, though perhaps hand-copied, never published. And before Jiang Xingchou arrived in Japan and became Shin-Etsu, he was active as a qin player in both Nanjing and Hangzhou. Nanjing was a center of the so-called Jiang School, which emphasized qin melodies with lyrics.

Cipai (lyrics that use the structures of old ci poems)

Cipai deserve special mention here, as qin handbooks in Japan are unusual in their heavy use of lyrics in this poetic form (for more on this see Cipai and Qin Melodies). The titles of these melodies are generally the name of the cipai, with a subtitle referring to the specific theme of the lyrics. One would think that once one had devised a melody for lyrics that fit a cipai, one would then apply other lyrics to the same melody. However, there is no evidence that this was done. Instead, as with #22 and #23 there seems to be a tendency to make new melodies for the existing lyrics.

The following is a list of melodies here in Hewen Zhuyin Qinpu that have the names of cipai:

  1. #2. 清平樂 Qing Ping Yue (recording)
  2. #3. 浪淘沙 Lang Tao Sha (recording)
  3. #4. 東風齊著力 Dongfeng Qi Zhuo Li
  4. #14. 瑞鶴仙 Rui He Xian (subtitle: Zui Weng Ting)
  5. #15. 鳳凰台上憶吹簫 Fenghuangtaishang Yi Chui Xiao (recordings)
  6. #17. 鶴沖霄He Chong Xiao
  7. #18. 南浦月 Nan Pu Yue
  8. #22. 離別難 Libie Nan (#1) (recording)
  9. #23. 離別難 Libie Nan (#2)
  10. #26. 月當廳 Yue Dang Ting
  11. #27. 憶王孫 Yi Wangsun
  12. #29. 長相思 Chang Xiang Si (recording)
  13. #30. 相思曲 Xiang Si Qu (recordings of six versions)
  14. #28. 草堂唫 Cao Tang Yin (has four sections, all in different ci forms)

Sometimes a melody may have "詞 ci" in the title but not be classified as a cipai (e.g., Zhu Zhi Ci). In addition, a melody may have the name of a cipai but lyrics that do not follow its structure.

Melodies published in both China and Japan

So far I have found the following connections between the melodies published in Japan and melodies surviving in handbooks produced in China.

See also Yu Qiao Wenda and Yangguan Sandie under the Toko Kinpu.

    Table of Contents for Hewen Zhuyin Qinpu

  1. 調絃入弄 Tiaoxian Runong (XII/167)
    A beginner's piece; lyrics ("得道仙翁,得道陳摶仙翁....") and music unattributed;
    No commentary; related to Chinese versions also called
    Caoman Yin

    Gong Mode (宮音 Gong Yin)

  2. 清平樂 Qingping Yue; subtitle: 七夕 Qi Xi (7th night [of the 7th month]; XII/168)
    Qingping Yue is the name of a 詞牌 cipai with 46 characters (as here: 4,5;7,6. 6,6;6,6). For the version in Japanese handbooks the lyrics ("The magpie bridge forms....") by 孫蒼虬 Sun Cangqiu concern the legend of the cowherd and weaving girl (牛郎織女), as follows:

    凝眸斗渚迢遙,浮槎定擬今宵。誰識天涯此際,教人暗裏魂銷。   (translation)

  3. 浪淘沙 Lang Tao Sha (Waves Scouring the Sands); subtitle 懷舊 Huai Jiu (Yearning for the past; XII/169)
    Zha Guide 32/--/471: 1618 (only VIII/342 [1-string qin] and Japan [same lyrics, different music])
    Lyrics by 歐陽修 Ouyang Xiu begin "把酒祝東風,且共從容...." (cipai: [5,4;7;7,4.] x 2);

  4. 東風齊著力 Dongfeng Qi Zhuo Li (East Wind of Qi Exerts Strength); subtitle: 除夜 Chuye (New Year's Eve; XII/170)
    Zha Guide 34/--/502 only in Japan; 14827.323 name of a 詞牌
    cipai; not 東風齋著力 Dongfeng Zhai Zhuo Li
    Lyrics by 胡浩然 Hu Haoran (Song dynasty; included in 全宋詞)
    Second half seems to begin with a double slide left over from first half: mistake?


    4,4,4; 4,5; 6,7; 3,4,4.
    5,3,6; 4,5; 6,7; 3,4,4.

    Shang Mode (商音 Shang Yin)

  5. 三才引 San Cai Yin (XII/172)
    Zha Guide 25/208/502 has one other,
    1559 (no lyrics; unrelated melody)
    Lyrics are from from 中庸 Doctrine of the Mean, Chapter 26 (Legge, Confucius, Dover, p.420); see Wang Yiheng (?)


  6. 大哉引 Dazai Yin (XII/174)
    Zha Guide 34/--/502 only in Japan
    Lyrics are from 中庸 Doctrine of the Mean, Chapter 27 (Legge, Confucius, Dover, p.422); again see
    Wang Yiheng (?)


  7. 秋風辭 Qiu Feng Ci (XII/177)
    Zha Guide 34/260/503 lists it here and in 1840 (XXIII/347)
    See also below; "聖湖野樵訂 Edited by Seiko ...."(?)
    Lyrics are a poem in YFSJ (p.1180) attributed to 漢武帝 Han emperor Wudi (辭 not 詞)


  8. 歸去來辭 Gui Qu Lai Ci (XII/178)
    Zha Guide 13/145/251; main intro and translation at
    Lyrics by 陶淵明 Tao Yuanming; similar music to the common ones, but divided into sections as in Taigu Zhengyin Qinpu (Yangchun Tang Qinpu, 1611; VII/455)


  9. 子夜吳歌 Ziye Wu Ge (XII/185)
    Zha Guide 34/--/503; only in Japan
    Lyrics by 李青蓮 i.e., 李白 Li Bai.


  10. 幽澗泉 You Jian Quan (Secluded Cascading Spring; XII/186)
    Zha Guide 34/260/504: only Japan and the musically unrelated 1739 (XVIII/161)
    Lyrics by Li Bai;
    further detail.

  11. 久別離 Jiu Bieli (XII/188)
    Zha Guide 35/--/504: only in Japan; 122.23 jiu bie: long separated
    Same as Jiu Libie
    below; lyrics by Li Bai

    愁如回飆亂白雪。 (飆 here written 一 over 儿 with 百 inside plus 炎 at right)

  12. 醉翁操 Zui Weng Cao (XII/190)
    Zha Guide 16/--/362 醉翁亭 (also 醉翁吟, e.g,
    1539) lists various versions with differing music and sometimes differing lyrics (details)
    The lyrics of Sections 1 and 2 are, as in 1539, by Su Dongpo; Section 3

    1. 琅然清圓,誰彈響空山?

    2. 醉翁嘯詠,聲和流泉。

    3. 琴在手,月在天,

  13. 八聲甘州 Basheng Ganzhou; subtitle: 送人 Song Ren (Seeing off a Friend; XII/192)
    Zha Guide 35/--/504: only here; 甘州 Ganzhou is today called 張掖 Zhangye (Gansu province)
    Lyrics by
    Su Dongpo


    The opera Xi Xiang Ji has a song of this title but the structure seems to be different.

  14. 瑞鶴仙 Rui He Xian; subtitle: 醉翁亭 Zui Weng Ting (Old Toper's Pavilion; XII/194)
    Zha Guide 35/--/505: only here; Ruihe Xian (21606.133) is a cipai from a 周邦彥
    Zhou Bangyan Northern Song poem (compare Qiliang Fan as well as Ruilong Yin).
    The lyrics here are by 黃山谷 Huang Shan'gu (i.e., Huang Tingjian), retelling Ouyang Xiu's 醉翁亭記 Record of the Old Toper's Pavilion
    Although it reads like a narrative, it does follow a version of the ci pattern.


  15. 鳳凰台上憶吹簫 Fenghuangtaishang Yi Chui Xiao; subtitle: 離別 Li Bie (Departure; XII/196)
    43079.41: On Phoenix Terrace Recalling the Playing of a Flute; no mention of cipai
    Zha Guide 35/--/505: only here, adding "different from 1609" (Gui Yuan Cao), which has the same lyrics but a different melody
    The title is a cipai; the lyrics by 李易南, i.e., 李清照 Li Qingzhao (1084 - ca.1151), are about her absent lover:


  16. 太平引 Taiping Yin (XII/198)
    Zha Guide 35/--/505: only here; 5965.xxx; an
    old title
    The piece has two verses; both have 40 characters but their phrasing is different

    1. By 賀東山 He Dongshan (賀鑄 He Zhu 1052 - 1125; from his 豔聲歌 [太平時七首] Yan Sheng Ge [7 pieces from Taiping Shi]; compare Lu You):
    2. By 辛棄疾 Xin Qiji (d.1198); from his《昭君怨·長記瀟湘秋晚》 Zhaojun Yuan
      長記瀟湘秋晚,歌舞橘洲人散。走馬月明中,折芙蓉。今日西山南浦,畫棟珠簾雲雨。 風景不爭多,奈愁何。

  17. 鶴沖霄 He Chong Xiao (Cranes Pierce the Clouds; XII/200)
    Zha Guide 35/--/506, only in Japan; 48157.42 and 12/1145 have only 鶴沖天 He Chong Tian (see in
    1511): Cranes Pierce the Heavens
      (or A Crane Pierces the Heavens, i.e., a person becomes an immortal in the form of a crane);
    Lyrics, by 和凝 He Ning (3600.308; 10th c), are verse 2 of his poem in cipai 春光好 Chun Guang Hao
      (一名愁倚欄令; verse 1 had almost the same structure), as follows (from 全唐詩,卷893_29):

    春水無風無浪,春天半雨半晴。 紅粉相隨南浦晚,幾含情。

  18. 南浦月 Nan Pu Yue (XII/201)
    Zha Guide 35/--/506; only here; 2798.371 Nanpu only (south bank;
    cipai name; name of various rivers)
    Lyrics by 何籀 He Zhou (Bio/xxx; Song); in 四庫全書 under 點降脣 Dian Jiang Chun (49065.47: a cipai; see also Zha Guide). Lyrics here have same the structure as in 1682 (滴瀝新晴,高秋雲薄渾如削....) as well as in Cao Tang Yin #2, below. The opera Xi Xiang Ji has several songs of this title with shortened versions of the lyrical pattern. In Nan Pu Yue the lyrics are,

    (Compare structure of 點絳唇)
    鶯踏花翻,亂紅堆徑無人掃。 (鶯 is elsewhere written 鸎)

  19. 飛瓊吟 Fei Qiong Yin (XII/202)
    Zha Guide 24/203/506 has two, the other an unrelated melody from
    1559 with no lyrics
    The literal meaning of fei qiong is (water looking like pieces of) flying red jade. 44974.336 飛瓊 says Feiqiong is the name of a female immortal at the time of Han Wudi; the introduction in 1559 suggests the literal meaning is intended. Here, however, I am not sure how this connects to the musically unrelated present melody, which is set to lyrics from one of the Three Poems on Snow (雪三首 Xue San Shou) by 林和靖 Lin Heqing, i.e., 林逋 Lin Bu:


  20. 梅花 Mei Hua (also called 瑤芳引 Yao Fang Yin; XII/203)
    Further detail here including my recording together with the lyrics by Lin Bu.

    山園小梅 Shan Yuan Xiao Mei (How Plum Flowers Embarrass a Garden)

    眾芳搖落獨鮮妍,佔盡風情向小園。 (鮮 elsewhere 暄)

    (Listen also to Mei Shao Yue)

  21. 偶成 Ou Cheng (short for 秋日偶成 Qiuri Ou Cheng; XII/204)
    Zha Guide 35/--/507: only in Japan; 35: "即程頤詩 actually a poem by Cheng Yi" (should be Cheng Hao);
    Bio/2312: lived in 洛陽 Luoyang (
    Henan), with his brother Cheng Hao
    Lyrics are a poem by "程明道 Cheng Mingdao" (程顥 Cheng Hao; 1032 - 85; Bio/2313)
    Translation under Jing Guan Yin.


    An introduction to Jing Guan Yin quotes the second line of these lyrics.

    Yu Mode (羽音 Yu Yin)

  22. 離別難 Libie Nan (Parting is Such Sorrow); subtitle: "送蔣馭鹿遊建溪 (Seeing Jiang Yulu off to Jianxi; XII/205)
    Lyrics by 鄒訏士 Zou Xushi (鄒祇謨 Zou Zhimo); see also #23, #24 and #26. Further detail here, including alternate lyrics by Liu Yong. Zha 35/--/507: only in Japan.



  23. 離別難,又譜 Libie Nan #2; subtitle as above (XII/207)
    Zha 35/--/507 as above; further comment here.

    Lyrics as #22 but differences in the music.

  24. 華清引 Hua Qing Yin (XII/209)
    Zha Guide 35/--/508: only in Japan; 華清引 31910.208 only 華清 Hua Qing (man's name)
    Lyrics by 鄒訏士 Zou Xushi (鄒祇謨
    Zou Zhimo); see also #22, #23 and #26
    (Elsewhere the poem has the added comment "晏起 (評語:羡門雲,非玉台金屋人不解。")


  25. 霹靂引 Pili Yin (XII/210)
    Zha Guide 35/261/508: Only in Japan (261 has comments from four sources, not qinpu;
    Music is unrelated to the
    Pili Yin used for Feng Lei Yin
    Lyrics by 唐,沈佺期 Shen Quanqi (c.650-713) are in YFSJ:


  26. 月當廳 Yue Dang Ting; subtitle: 秋夜聞蟋蟀聲 (On an autumn evening hearing cricket sounds; XII/213)
    Zha Guide 35/--/508; only here; 14658.231:
    cipai; 調見「梅溪詞」(15223.178 book by 史達祖)
    Lyrics by 鄒訏士 Zou Xushi (鄒祇謨 Zou Zhimo; see #22, #23 and #24 above)


    Compare 史達祖 Shi Dazu (1163-1220):
    猶有老來印愁處,冷光應    念雪翻簪。空獨對、西風緊,弄一片桐陰。

    Original sources also have: 評語:阮亭云,淒淒切切,此潯陽江上琵琶也。文友亦有詞云「已曾貫滿半閒堂,重來叫破邯鄲枕。」

  27. 憶王孫 Yi Wangsun (XII/215)
    Zha Guide 35/--/509: only in Japan; 11558.1:
    cipai; 7,7,7.3,7.
    Lyrics by 秦少游 Qin Shaoyou (秦觀 Qin Guan, 1049 - 1100)
    [here the last 7 is repeated]);

    雨打梨花深閉門。   (This line written out again for the closing harmonic passage.)

  28. 草堂唫(吟)Cao Tang Yin (Thatched Cottage Intonation; XII/216; .pdf)
    Zha Guide 35/--/509: only here; 31629.173 etc. xxx
    The lyrics here are the same as those of the first four sections plus the first line of the fifth section, of the 10+1 section melody 梨雲春思 Li Yun Chun Si, which attributes them to 錢塘毛先舒 Mao Xianshu, who lived in Hangzhou when Jiang Xingchou was there.

    1. 鵲橋仙 Que Qiao Xian     (Magpie Bridge Immortal; ci structure [from 秦觀 Qin Guan?] unrelated to Qingping Yue)
    2. 點絳唇 Dian Jiang Chun           (ci structure same as that of Nan Pu Yue)
    3. 好事近 Hao Shi Jin (name of a cipai; compare this one by Fan Chengda)
    4. 畫堂春 Hua Tang Chun (name of a cipai; #4 in 1664; compare this one from 1687)
      Wei (coda)

  29. 長相思 Chang Xiang Si; subtitle 春閨 Chun Gui (Spring Chamber; XII/220; transcription)
    Zha Guide 35/--/510; as with #2 Qingping Yue, same lyrics as but different music from:
        1677 (XII/374), 1677 (XII/392) and 1802 (XVII/549); it is not in 1738 (?)
    Lyrics by 馮延巳 Feng Yansi (903? - 960; ICTCL) follow the cipai:


    春閨 Chun Gui has no connection with 春閨怨 Chun Gui Yuan.

  30. 相思曲 Xiang Si Qu (XII/221; recording and further comment)
    Zha Guide 26/215/408: 3rd of 5 with this title; same lyrics and music as in 1618; compare 1585
    Lyrics, which have no connection to those in YFSJ, are from a ghost story about Su Shi and a female qin player; for this reason they are generally attributed to Su Shi himself.


  31. 竹枝詞 Zhuzhi Ci (XII/222)
    Compare the
    Toko Kinpu version, which adds the instructions that the first two notes should be played in harmonics.
    Zha Guide 35/--/510: only in Japan; zhu zhi ci were (ABC) "ancient folk love poems" or "classical poems on local themes"
    26424.104 竹枝詞 references 劉禹錫 Liu Yuxi, but it has no mention of a cipai and does not quote any lyrics. 26424.103 竹枝 gives more detail, saying zhuzhi were poems in the Songs of Recent Times (近代曲辭 Jindai qu ci) section of Yuefu Shiji. Liu Yuxi lyrics of this title are indeed included in that section of Yuefu Shiji (see Folio 81).

    Two sets of those Liu Yuxi lyrics are set to a version of the present tablature in the book of transcriptions by Wang Di, and one these ("楊柳青青....") is sung on this modern recording. In fact, however, although all the Zhu Zhi lyrics in YFSJ seem to be 7x4, as here, the lyrics actually used in Japan are completely different, as follows:

    非商非羽聲吾伊,     Fēi shāng fēi yǔ shēng wú yī,   (吾伊 is the sound of reading)
        Without (the notes) shang or yu the sound is like reading;

    宛轉歌喉唱豔詞。     wǎn zhuǎn gē hóu chàng yàn cí.
        through the sinuous song line one sings beautiful lyrics.

    斷腸那何人不識,     Duàn cháng nà hé rén bù shí,
        As for heartbreak, who does not know it?

    一腔清韻有誰知。     yī qiāng qīng yùn yǒu shuí zhī.
        As for a clear melody, who does know it?

    The above lyrics are unattributed and I have not been able to find their source. The translation is tentative.

  32. 小操 Xiao Cao (XII/223)
    Zha Guide 35/--/511: only in Japan; "Little Melody"
    Lyrics unattributed

    嫌小人而踏高位,鶴有乘軒。 惡利口之覆邦家,雀能穿屋。

    Shangjiao Mode (商角音 Shangjiao Yin)

  33. 箕山操 Jishan Cao (XII/224)
    Zha Guide 35/--/511: only here; see comment under
    Dun Shi Cao
    Lyrics are unattributed but can be found in earlier sources such as #3 in the Qin Cao of Yang Weizhen. (N.B., baike.baidu.com specifies they are from Yang's 鐵崖樂府 Tiěyá Yuèfǔ.


    Shang Mode (商音 Shang Yin)

    扶桑操(之一) Fusang Cao
    ("Fusang" is an old name for Japan; the following three pieces do not sound Japanese, and this comment is thought to mean they were created by Shin-etsu in Japan itself. See also

  34. 熙春操 Xi Chun Cao (扶桑操 Fusang Cao #1; XII/225)
    Zha Guide: 35/--/511: only in Japan
    Lyrics unattributed;


  35. 思親引 Si Qin Yin (扶桑操 Fusang Cao #2; XII/227)
    Zha Guide: 35/--/512: only in Japan (no connection to 思親操
    Si Qin Cao)
    Lyrics unattributed


    Jiao Mode (角音 Jiao Yin)

  36. 安排曲 An Pai Qu (XII/228)
    Zha Guide 35/--/512: only in Japan; 7221.314 only an pai
    Lyrics "by a person of the Song dynasty" (compare 安分咏 An Fen Yong in 解人頤 Jie Ren Yi by 錢德蒼 Qian Decang [18th c.]) 功名大小,天已安排了,何用百般機巧。


    Ruibin Mode (蕤賓音 Ruibin Yin)

  37. 樂極吟 Le Ji Yin (XII/229)
    Zha Guide 24/201/384: see introduction at
    Yu Ge Diao
    Same Liu Zongyuan lyrics but melody is quite different


    Gong Mode (宮音 Gong Yin)

  38. 高山 Gao Shan (XII/230-41)
    Zha Guide 2/21/14; melody and lyrics similar to some of the
    versions published in China,

    The present version is in particular similar in music and lyrics to the only other version with lyrics, i.e., the one in Chongxiu Zhenchuan Qinpu (1585). Both have four sections, though in Japan the sections are not numbered. The lyrics amount to about 700 characters in all, beginning:

    懸崔削壁,天外雲間,蓬萊第一山.... (The entire Gao Shan lyrics can be seen on this .pdf file [146.5 KB]).


Appendix II

Meiwahon Toko Kinpu (Meiwa Toko Kinpu?; 1771)
Minghe Ben Donggao Qinpu
Qinqu Jicheng XII/245-59
Although Van Gulik says that Toko Kinpu has Japanese copies of pieces Shin-etsu (Toko Zenji) taught beginners, this might not have been completely true; Zha Fuxi mentions numerous editions. The earliest (1709) was not available for QQJC, so Zha Fuxi took two of the many later editions and appended them to Hewen Zhuyin Qinpu:

This edition was compiled in the 9th year of Meiwa, 1764 - 1772.

    Table of Contents

  1. 操縵 Cao Man (XII/248)
    Lyrics unattributed; same as
    Tiaoxian Runong

  2. 浪淘沙 Lang Tao Sha (XII/249)
    Lyrics by 歐陽修 Ouyang Xiu; also in

  3. 滄浪歌 Canglang Ge (XII/250)
    Lyrics (滄浪之水清兮....) by Qu Yuan; Zha Guide 39/--/552; no musical relation to
    Fan Canglang
    Also included below

  4. 鶴沖霄 He Chong Xiao (XII/250)
    Lyrics; also in

  5. 思親引 Si Qin Yin (XII/251)
    Lyrics; also in

  6. 子夜吳歌 Ziye Wu Ge (XII/252)
    Lyrics; same as 1676

  7. 秋風辭 Qiu Feng Ci (XII/252)
    See also
    1676 above

  8. 寄隱者 Ji Yinzhe (XII/254)
    Lyrics by 杜牧 Du Mu; also
    below; Zha Guide 40/--/553
    Wang Di #35, p.100 transcribes this as 送隱者 Song Yinzhe


  9. 南風歌 Nanfeng Ge (XII/254)
    Zhiyin; lyrics only 南風之薰兮,可以解吾民之慍兮。南風之時兮,可以阜吾民之財兮。
    Same as
    Nanxun Cao below; these lyrics were also in the musically unrelated Nan Feng Ge (1.B.)

  10. 竹枝詞 Zhuzhi Ci (XII/255)
    Lyrics; same lyrics and music as in
    1676 (with a correction)

  11. 憶王孫 Yi Wangsun (XII/255)
    Lyrics; same as

  12. 華清引 Hua Qing Yin (XII/256)
    Lyrics; also in

  13. 小操 Xiao Cao (XII/257)
    Lyrics; also in

  14. 長相思 Chang Xiang Si (XII/258)
    Lyrics; also in

  15. 陽關曲 Yangguan Qu (XII/258)
    Lyrics: only the four lines of Wang Wei's poem, thus a shorter version of the Yangguan Sandie


Appendix III

Ohara Shiro's Toko Kinpu (1898)
Dayuan Zhilang ben Donggao Qinpu
Qinqu Jicheng, XII/261-285
No further information as yet on Ohara Shiro

    Table of Contents

  1. 調絃入弄 Tiaoxian Runong (XII/263)
    Lyrics; also in

  2. 長相思 Chang Xiang Si (XII/263)
    Lyrics by 馮延已 Feng Yanyi (not in YFSJ 69, pp.990-5); also in

  3. 南熏操 Nanxun Cao (XII/263)
    Lyrics and music same as in Nanfeng Ge
    above but mode called shangyin

  4. 滄浪歌 Canglang Ge (XII/263)
    Lyrics; also in

  5. 梅花 Mei Hua (XII/264)
    Lyrics by
    Lin Bu; virtually identical to 1676

  6. 偶成 Ou Cheng (XII/264)
    Lyrics; same as

  7. 秋風辭 Qiu Feng Ci (XII/264)
    Same as
    1676 and 1772

  8. 熙春操 Xi Chun Cao (XII/265)
    Lyrics; also in

  9. 鳴鳳朝陽 Ming Feng Chaoyang (XII/265)
    Lyrics (丹鳳五色羽,其名為鳳凰....) unattributed (101.237xxx?)
    47641.102xxx; only here; not in Zha Guide; not related to

  10. 安排曲 Anpai Qu (XII/266)
    Lyrics; also in

  11. 子夜吳歌 Ziye Wu Ge (XII/266)
    Lyrics; also in 1676

  12. 相思曲 Xiang Si Qu (XII/266)
    Lyrics; also in

  13. 小操 Xiao Cao (XII/267)
    Lyrics; also in

  14. 東風齊著力 Dongfeng Qi Zhuo Li (XII/267)
    Lyrics; same as

  15. 久離別 Jiu Libie (XII/267)
    Lyrics; same as Jiu Bieli in

  16. 浪淘沙 Lang Tao Sha (XII/268)
    Lyrics by 歐陽修 Ouyang Xiu; also in

  17. 石交吟 Shi Jiao Yin (XII/268)
    Lyrics (相逢此地....); not in Zha Guide; only here

  18. 幽澗泉 You Jian Quan (XII/269)
    Lyrics; also in

  19. 醉翁操 Zui Weng Cao (XII/269)
    Lyrics; also in

  20. 三才引 Sancai Yin (XII/270)
    Lyrics; also in

  21. 寄隱者 Ji Yinzhe (XII/271)
    Lyrics; also in

  22. 清平樂 Qingping Yue (XII/271)
    Lyrics by 孫蒼虬 Sun Cangqiu (孫蒼虯? 7135.xxx); also in

  23. 大哉引 Dazai Yin (XII/272)
    Lyrics; same as

  24. 霹靂引 Pili Yin (XII/272)
    Lyrics; also in

  25. 離別難 Libie Nan (XII/273)
    Lyrics; also in
    1676 (2)

  26. 歸去來辭 Gui Qu Lai Ci (XII/274)
    Lyrics; also in

  27. 樂極吟 Leji Yin (XII/276)
    Lyrics; also in

  28. 思親引 Si Qin Yin (XII/276)
    Lyrics; also in

  29. 漁樵問答 Yu Qiao Wenda (XII/276)
    Lyrics; related to various
    Yu Qiao Wenda Chinese versions, especially the one dated 1589?
    Transcribed in Wang Di, Xian Ge Ya Yun #51, p.117.

  30. 陽關三疊 Yangguan Sandie (XII/280)
    Lyrics; related to the
    short Chinese version
    Transcribed in Wang Di, Xian Ge Ya Yun #50, p.116

  31. 猗蘭操 Yi Lan Cao (XII/281)
    Lyrics (習習谷風....) as section 1 of
    1511 and of 1618, but melody seems unlike any Chinese version

  32. 瑞鶴仙 Rui He Xian (XII/281)
    Lyrics; also in

  33. 夜座 Ye Zuo (XII/282)
    Only lyrics, no music

  34. 舟夜 Zhou Ye (XII/282)
    Only lyrics, no music

  35. 操縵引 Caoman Yin (XII/283)
    No lyrics, only music, but lyrics should be as in
    #1 above

Footnotes (Shorthand references are explained on a separate page)

1. 琴曲集成 Qinqu Jicheng (QQJC), Volume XII/165-381

2. Hewen Zhuyin Qinpu, p.1
From QQJC XII/207. This expanded version has pp. 207/208. The larger seal below the title of the first piece says, "桂川家臧 Katsuragawa Family Collection" (see below".

3. "Correct Toko Kinpu"
As yet I have only seen a photocopy of the Table of Contents.

4. Katsuragawa Family Collection (桂川家藏)
桂川月池 Katsuragawa Etchi (1751 - 1809), a doctor of Chinese medicine, was also a qin player. See Van Gulik, Lore, p.239.

5. Pieces with the Katsuragawa family seal
There are four: QQJC/XII/pp.167, 190, 205 and 220. The image at top shows p.167.

6. "訂正、校正"; it is not clear whether the revisions were to the melodies, to the lyrics, or to both.

7. A preliminary investigation suggests they are still in a Chinese style.

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