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| You Lan home Intro Fingering Analysis Appended Melody List 附﹕曲名 | 錄音、五線譜 Transcriptions and Recordings 首頁 |
| 碣石調幽蘭 | Jieshidiao You Lan |
| 上野，東京國立博物館藏手稿 | A typed copy1 arranged phrase by phrase2 |
| Preface, then begin the original You Lan tablature3 |
（）﹕本譜沒有； 《》﹕本譜之說明；
【】﹕本譜本誤； 『』﹕於本譜行間小字。
碣石調幽蘭序。一名倚蘭
丘公字明，會稽人也。梁末隱於九疑山，妙絕楚調。於幽蘭一曲尤特精絕。以其 聲微而志遠，而不堪授人，以陳禎明三年授宜都王叔明。隨開皇十年於丹陽縣卒。（時？）年九十七。無子傳之，其聲遂簡耳。
幽蘭，第五
（一）耶臥中指 ⼎卞4 半寸許案商，食指、中指雙牽宮商。中指急下与拘俱下5 十三下一寸許。住。末商起。食指散緩半扶宮商。食指挑商。又半扶宮商。縱容下無名於十三外一寸許案商角，於商角即作兩半扶、挾挑聲。一句。
（二）緩々起。中指當十竪案商，緩々散歷羽徵。無名打商。食指挑徵。一句。
（三）大指當八案商，無名打商。食指散挑羽。無名當十一案宮，無名打宮，微吟。一句。
（四）大指當九案宮商，疾全扶宮商。移大指當八案商，無名打商。大指徐々抑上八上一寸許。急末。取聲。散打宮。無名當十案徵，食指挑徵，應。一句。
（五）無名不動，下大指當九案徵羽，卻轉徵羽。食指節過徵，大指急蹴徵上至八。掐徵起。無名不動，無名散打宮。食指挑徵，應。一句。
（六）無名不動，又下大指當九案徵，無名散打宮。（食指）挑徵。大指掐徵起。大指還當九案徵羽，急全扶徵羽。舉大指，屈無名當九十閒案文武，食指打文。
（ ）下大指當九案文，（食指）挑文。大指不動，又節歷武文，吟。無名散打宮徵。大指不動，食指挑文。中指、無名閒拘羽徵。（食指）挑文。無名散摘徵。食指歷武文。齪，煞。大指不動，急全扶文武。大指當八案武，食指挑武。大指緩抑上半寸許。一句。
（七）大指當八上一寸許案羽，食指打羽。大指卻退至八。還上蹴。取聲。大指附絃下當九案羽文，於羽文作兩半（扶）、挾挑聲。大指兩節抑文上至八、至七蹙。取餘聲。一句。
（八）無名當九案羽，大指當八亦案羽，無名打羽。大指掐羽起。無名當十案徵，大指當九案徵羽，即於徵羽作緩全扶。無名打徵。大指急蹙至八。掐徵起。無名疾退下十一。還上至十，住。（食指）散挑文，應。
（ ）無名摘徵。散歷武文。無名散打宮。無名打徵。食指散挑文。中指、無名閒拘徵羽。（食指）挑文。（無名）摘徵。歷、擘武文。齪，煞。一句。
（九）大指當九案徵羽，即於徵羽作緩全牽二聲。屈無名於十九閒案文武，食指打文。大指當九案文，食指便挑文。大指案（武文）不動，歷武文。無名散打宮、徵。食指挑文。中指、無名散閒拘徵羽。食指挑文。無名散摘徵。歷武文。齪，煞。大指案文武不動，急全扶文武。移大指當八案武，擘武。抑上半寸許。取聲。一句。大息。
（十）大指於九下半寸許案文武，食指打文。大指抑文上至九。大指不動，食指拘武。中指牽文武。無名著文，大指、無名附絃下當十、十一案文，無名打文。大指掐文起《掐文時節掐起》。無名不動，無名摘文。食指緩歷武文。申中指對案宮，無名打宮。食指挑文。大指當九十閒唈文。抑上至九。取餘聲。一句。
（十一）無名當十三外半寸許案羽以下三絃，食指打文。急全扶文武。（左）大指當十一打、掐武起。無名不動，半扶文武。中指、無名閒拘文羽。緩々曳無名上至十二。散打文，應。一句。小息。
（十二）無名散摘文。食指散歷武文。無名散打宮。中指當十案徵，即作前打徵、挑文、閒拘、挑、摘、歷、擘、齪，煞聲。一句。
（十三）大指當八案角徵，疾全扶角徵。疾抑上一寸許。取聲。一句。
（十四）大指當十上一寸許案角，無名當十一亦案角，無名打角。大指掐角起。中指當十竪案商，無名打商。散挑徵，應。大指當八案商，無名當九案宮商，食指挑商。大指掐起。無名不動，食指半扶宮商。大指當八案商，緩挑商。抑上半寸許。食指即打商。舉無名，大指案商不動，又節挑商、大指吟之。中指散打宮。牽過商。一句。
（十五）無名當十三下一寸許案宮商以下絃，大指當十二案商，食指挑商。大指掐起。無名不動，食指半扶宮商。中指即打宮。左無名拘宮起。無名又當舊處案宮以下絃，食指半扶宮商。無名不動，半扶角徵。閒拘角商。蠲角徵。
（ ）即下大指當十二案徵，食指蠲角徵。（無名不動，）大指漸々上至十、五度蠲之，先緩，後急。大指縮案徵羽，食指歷羽徵。無名散打宮。挑徵，應。一句。
拍之。大息。
（一）大指當九案徵，無名當十亦案徵，無名散打宮。食指挑徵。大指掐起。無名不動，無名散打宮。食指挑徵。（左）大指當九打徵。抑上至八。便案角徵，疾全扶角徵。大指當七八閒案徵，食指挑徵。大指抑上（七）。取聲。《抑上時輕指徐々上，末起。》覆汎七，蠲徵羽。一句。
（二）無名當八案文，中指牽過羽文。申中指對無名案徵，中指打徵。無名、中指皆不動，大指七八閒案文，食指挑文。大指掐文起。舉中指，無名不動，大指覆汎七，全扶徵羽。舉大指，無名仍不動，食指挑文。中指散牽羽過文。
（
）無名當八案羽文，大指當七八閒案文，蠲羽文。抑上大指至七。食指挑文。無名當七八閒案武，食指散牽文過武。大指當七案武，挑武。大指再臑（上）六七閒。取聲。一句。
（三）大指當七上二寸許案文武，急全扶文武。大指於六下一寸許案武，食指挑武。大指抑上過六。取聲。覆汎五，全扶文武。挑武。仰汎七，無名打羽。覆汎五，挑武，應。一句。
（四）仰汎三，中指打徵。覆汎二，中指打羽。仰汎三，中指打徵。打角。覆汎二，全扶徵羽。食指汎一，無名打角。覆汎二，挑羽。
（
）節全扶徵羽。食指打羽。仰汎三，食指打文，應。一句。
（五）覆汎二。半扶徵羽。中指、無名閒拘徵角。仰汎三，食指、中指閒拘徵角。
（
）覆汎三，緩全扶商角。食指歷徵角。大指擘徵。汎不動，緩全扶商角。歷徵角。半扶商角。中指、無名閒拘商宮。
（
）仰汎三，中指打角。覆汎二，中指打商。仰汎三，中指打徵。覆汎二，中指打角。覆汎三，疾全扶商角。歷徵角，半扶商角。閒拘商宮。散閒拘宮商。散擘文，應。一句。
（六）仰汎五，閒拘徵角。中指牽徵羽。覆汎四，無名打角。仰汎五，食指挑羽，應。覆汎五，疾全扶徵羽。挑羽。互汎五、六，無名打宮。食指挑羽，應。一句。
（七）大指四五閒案武，無名當五，汎文，齪文武。大指抑上豆許。食指挑武。舉無名，大指不動，中指牽過文武，打璅武，向四再臑。一句。小息。
（八）大指三四閒案文武，疾全扶文武。大指獨案武，食指挑、打武。散打羽。挑武，應。即蹙大指（至）三上豆許。取聲。大指四五閒案武。無名當五案武，食指挑武。大指与挑俱案（案⇾掩四五閒），散閒拘羽文。挑武。大指掐武起。
（
）大指當五六閒案文，食指打文。大指蹙至五下少許。大指即汎五，食指拘武。中指牽文武。大指當五上一寸許案武，食指挑武。大指緩蹙上兩豆許。取聲。一句。
（九）大指當五六閒案文，無名當六案文，食指打文。大指掐起。附絃下，大指當六七閒稍近七案文武，無名當七案文武，緩全扶文武。大指、無名不動，無名打文。急蹙大指上至六。掐起。取聲。無名不動，無名摘文。食指歷武文。申中指汎七，無名打宮。食指挑文，應。一句。
（十）上（屈）無名當六七閒案文武，食指牽文武。大指當六案武，食指、中指挑、牽文武。大指掐武起。無名不動，半扶文武。中指、無名閒拘文羽。食指挑武。
（
）下大指當六案武，（無名不動，）蠲文武。大指徐抑上豆許。大指附絃下七八閒案文，急發刺文。上大指六七閒案文武，蠲文武。下大指七八閒，無名當八同案文，中指打文。大指掐文起。下中指對無名案徵，無名不動，無名打徵。
（
）大指還【六】七八閒案文，食指挑文。大指掐起。舉中指，無名不動，大指汎七，急全扶徵羽。挑文。中指牽過羽文。舉無名，大指當七八閒案文，蠲羽文。徐々抑上至七。食指挑文，應。一句。
（十一）大指當八案羽已下，無名當九案角已下，急發刺羽，應。食指牽羽文。挑武。急全扶羽文。無名打羽。大指掐羽起。無名不動，半扶徵羽。中指、無名閒拘徵角。（取聲。）
（
）食指牽徵羽。下大指（當九）案【徵】（羽）已下，食指挑羽，應。食指又牽羽文。歷武文。食指牽羽文。中指打羽。大指掐羽起。食指挑羽。中指牽徵羽。（取聲。）
（
）大指縮案文武，蠲文武。大指徐々抑上八上一寸許。大指獨案武，挑武。中指牽過文武。大指不動，三璅武。大指向七，再臑。又抑上六七間。取聲。
（
）大指便案文武，全扶文武。縮大指唯案武，挑、打武。無名散打徵。食指挑武，應大指抑武上六上半寸。取餘聲。一句。
（十二）無名從第七作勢案羽，急下過十三下一寸許，全扶羽文。無名打羽。（左）無名拘羽起。
（
）散半扶徵羽。挑羽。又半扶徵羽。無名當十三下案羽以下，即作兩半（扶）、挾挑聲。無名不動，食指歷武文。
（
）（►）無名散打商。食指挑文。食指彈文。無名打商。食指拘文（◀）。(︎從►）《凡三遍作》。
（
）又彈文。無名打商。食指挑文。中指、無名散閒拘角商。食指挑文。無名散摘商。食指歷武文。無名散打商。食指挑文，應。大指擘武。一句。
（十三）無名十三下半寸許案徵，疾發刺徵。大指當十一案文武，歷武文。大指擘武。大指徐抑上至十。取聲。一句。
（十四）舉大指，無名十三外一寸許案羽已下，食指節全扶文武。（左）大指當十一打、掐武起。取聲。食指半扶文武。中指、無名閒拘文羽。曳無名上至十二。一句。
（十五）無名散打文。摘文。散歷武文。無名散打宮。中指當十案徵，無名打徵。食指散挑文。中指、無名閒拘羽徵。食指挑文。無名摘徵。食指散歷武文。齪，煞。一句。
（十六）無名當十三下少許案文武羽，拘半扶文武。大指當十一唈武。抑上至十。取聲。
（
）舉大指，無名打羽。（左）無名拘羽起。中指當十三下少許案角，中指牽角徵。無名當十三案角徵，大指當十一案徵，挑徵。大指掐徵起。無名不動，即半扶角徵。又下大指當十一，三璅徵《緩璅之》。徐抑上至十。前後齪宮徵。一句。
（十七）大指附絃下至十一案商角，無名當十三下半寸許案宮商角，拘半扶商角。無名打商。大指掐商起。齪宮商。中指仍打宮。（左）無名拘宮起。無名還下本處，蠲宮商。即半扶（角徵）。閒拘【徵？】角商。即蠲角徵。（無名不動，）
（
）大指當十二案徵。蠲角徵。《五度蠲之。初緩，後急。》大指隨蠲上至十。便案徵羽，歷羽徵。前後齪宮徵。一句。
拍之。大息。
（
）仰汎十二，食指打羽。覆汎十一，食指打文。無名仰汎十二不動，半扶、閒拘羽徵角。覆汎十，挑文。仰汎十，歷武文。半扶羽文。
（
）閒拘羽徵。覆汎九，挑文。覆汎十，中指、無名閒拘徵羽。無名仍牽羽文。食指歷武文。舉大指，無名汎十一，前後齪角文。仰汎不動，中指打徵。
（
）覆汎十，中指打羽。大指汎不動，即於羽徵角作挑閒拘、轉指聲。歷文羽。互汎十、十一，即前後齪角羽。又齪徵文，應。一句。
（二）覆汎九，閒拘徵角。疾全扶徵羽。仰汎十一，閒拘徵角。仰汎十二，中指打羽。無名還汎十一，中指節打徵角。
（
）仰汎不動，歷徵角。即半扶、閒拘角商宮。覆汎九，作前閒拘角徵、疾全扶徵羽聲。一句。
（三）無名當八案羽文，大指當七八閒唯案文，蠲羽文。大指隨蠲上至七。食指即挑、打文。大指不動，食指仍當七案宮，前後齪宮文。大指不動，打璅文。大指附絃上六七閒
（
）（大指）案文，食指打文。大指再臑文至六。取聲。大指還本處仍案文武，疾全扶文武。大指還至六唯案武，挑武。大指徐抑武上五六閒。末起。
（
）即覆汎五，【】疾全扶文武。挑武，應。食指汎四，無名打羽。無名汎五，食指挑武，應。覆汎二，蠲徵羽。仰汎五，閒拘角徵。即疾全扶徵羽。食指汎三，無名打商。無名汎五，食指挑羽，應。一句。
（四）無名當五案文，大指五上半寸許案武，蠲文武。大指隨蠲上又半寸許。即挑、打武。大指唯案武，無名汎五，前後齪角武。打璅武。大指附絃上至四。
（
）打武。再臑於三四閒。仍并案文武，急全扶文武。大指放文，案武，食指挑、打武。無名汎五，前後齪羽武。大指蹙上至三。
（
）（無名）仰汎二，急全扶文武。覆汎一，食指歷文羽。無名汎四，大指汎二，前後齪羽武。覆汎三，閒拘武文。仰汎四，閒拘武文。覆汎二，節全扶徵羽。汎不動，食指打羽。仰汎三，食指打文。一句。
（五）大指附絃下至八案武，無名當九亦案武，挑閒拘武文羽。大指掐武起。無名附絃下當十一唯案武，挑閒拘武文羽。大指當九掩武。取聲。大指附絃下當十一唯案武，無名當十三下同案武，作前挑閒拘武文羽聲。大指掐武起。舉無名，散閒拘文武。下無名當十三下案文武，全扶文武。
（
）（左）大指當十一打、掐武起。無名不動，即全扶文武。挑、齪武羽。大指當十一案武，食指挑武。一句。
（六）應前。無名（當十三下）案羽，無名打羽。（左）無名拘羽起。於徵羽散兩半（扶）、挾挑聲。無名當十三下少許案羽文，兩半（扶）、挾挑聲。
（
）（無名不動）食指歷武文。無名散打商。散打徵。挑閒拘（羽徵）。挑（文）、轉指（羽徵）、又挑（文）；於文羽徵作之。
（
）無名案不動，節全扶文武。（左）大指當十一打、掐武起。即半扶、閒拘武文羽。無名徐曳上至十二。取聲。
（
）（舉無名，無名散打、摘文。歷武文。無名散打宮。中指當十案徵，乃打徵。挑文。閒拘徵羽。挑文。摘徵。歷武文。齪，煞。一句。
（七）無名當十三下少許案羽已下，拘半扶武文。大指當十一掩武。抑上至十。取聲。
（
）無名打羽。（左）無名拘羽起。中指當十三下少許案角，中指牽角徵。無名當十三案角，大指當十一案徵，挑徵。大指掐徵起。無名不動，即半扶角徵。下大指當十一案徵，緩三璅徵。大指隨璅徐抑上至十。前後齪宮徵。一句。
（八）大指附絃下至十一案商角，拘半扶商角。大指兩節抑角上至九。取聲。
（
）大指還當十一案宮已下四絃，食指節歷徵角。大指吟。食指半扶商角。中指、無名閒拘宮商。又逆閒拘宮商。舉大指，散閒拘宮商。急下大指當十一打宮。取餘聲。
（
）下無名十三外半寸許案商角徵（不動），大指當十一案徵，挑徵。大指掐徵起。食指半扶、閒拘徵角商。即蠲角徵。
（
）（大指當十一（二？）案徵。蠲角徵。《五度蠲之。初緩，後急。》大指隨蠲上至十。縮案徵羽。歷羽徵。前後齪宮徵。一句。
拍之。
（一）食指汎八，無名打徵。無名汎九，食指挑武，應。覆汎九，疾全扶文武。挑武，應。食指汎八，無名打文。互汎十、九，前後齪羽武。舉大指，無名不動，無名打文。大指汎九，於文武羽半扶。疾『間拘聲。舉大指，無名汎十，』齪宮羽。一句。
（二）覆汎九，食（指）打羽。無名打商。散挑羽，應。『舉大指，無名汎九，於徵角羽作疾間拘、半扶聲。無名、大指互汎八、九，牽羽文。舉大指，（無）名不動，半扶徵羽。疾間拘徵角。食指打羽。（取聲。）
（
）（舉無名，大指汎八，食指挑羽。互汎八、九，齪商徵。散打羽。大指當八案武，無名汎九，食指兩蠲文武。大指掐武起。無名不動，於文武羽作半扶、疾間拘聲。（取聲。）
（
）（大指汎九，間拘徵角。半扶徵羽。互汎九、十，齪角羽。舉無名，大指不動。全扶徵羽。挑羽。』無名汎十一，無名打宮。大指汎九，挑羽，應。一句。
（三）食指汎八，無名打徵。無名汎十，挑文，應。仍擘武。無名汎十一，食指打文。無名汎十二，全扶文武。即挑武，應。互汎十二、十三，前後齪羽武。無名當暗徽，無名便打文。一句。《暗徽﹕逸徽是也》
（四）（無名）仰汎十二，卻轉武文。食指仍歷（武？）至徽。緩全扶角徵。無名節打角。疾全扶徵羽。互汎十一、十二，食指牽羽文。（取聲。）
（
）（無名）仰汎十二，半扶徵羽。閒拘角徵。互汎十、十一，中指牽徵羽。覆汎十，作前挑閒拘、轉指聲。歷文羽。互汎十、十二，前後齪商羽。仍仰汎十二，食指挑羽，應。一句。
（五）食指、大指具汎十二，大指、中指齊撮商武。又撮宮文。食指、大指移汎十一，亦齊撮商武。又撮宮文。食指、大指移汎十，亦齊撮商武。又撮宮文。食指、大指移汎十一，齊撮『商武。移汎十，齊撮商武。又移汎十一，齊撮』宮文。又撮商武。又（齊）撮宮文。《丘公云﹕自齊撮以下有若仙聲。》
（
）無名當十案徽羽，閒拘徵羽。大指當九亦案徵羽，疾全扶徵羽
（
）。仰汎十一，無名打商。覆汎九，挑羽。仰汎十一，無名打徵。覆汎七，挑文，應。覆汎不動，食指歷武文。食指對汎宮，無名打宮。食指挑文，應。一句。小息。
（六）無名當八案徵羽文，半扶羽文。（左）大指當七八閒打文。取聲，仍緩蹙上至七。
（
）還下舊處案文，半扶羽文。（左）大指三掐文起，《兩掐當中，一掐當七。》（取聲。）
（
）（無名不動），半扶羽文。仍閒拘羽徵。
（
）無名當九案角以下，閒拘徵角。急全扶徵羽。無名當八案羽已下，半扶羽文。（左）大指於七八閒打文。取聲。仍蠲羽文。
（
）無名不動，大指隨蠲抑上至七。《凡五度蠲之。初緩，後急。》食指打文。大指不動，食指對大指汎宮。無名打宮、挑文。又齊齪宮文。一句。
拍之
碣石調幽蘭第五
（第二段）
（第三段）
覆汎十，疾全扶羽文。仰汎十一，疾全扶羽文。互汎十二、十三，打角，挑羽。大指覆汎十二不動，疾全扶徵羽。
（第四段）
此弄宜緩，消息彈之
| End of the original You Lan scroll (from phase 6) 6 |
楚調 千金調 胡笳調 感神調
楚明光 鳳歸林 白雪 易水 幽蘭
遊春 淥水 幽居 坐愁 秋思
長清 短清 長側 短側
上上舞 下上舞 上間絃 下間絃
登隴 望秦 竹吟風 哀松路 悲漢月
辭漢 跨鞍 望鄉 奔雲 入林
華舜十遊 史明五弄 董揩五弄
鳳翅五路 流波 雙流 三挾流泉 石上流泉
蛾眉 悲風拂隴頭 風入松 遊弦 楚客吟秋風
東武太山 招賢 反顧 閑居樂 鳳遊園 蜀側
古側 龍吟 千金清 屈原歎 烏夜啼 瑟調
廣陵止息 楚妃歎
Footnotes (Shorthand references are explained on a
separate page)
|
1. Typed copy |
You Lan scroll: marked as well as punctuated
(copied from 琴府 Qin Fu, p.3; expand) |
The following marks are used to explain changes made from the original to this typed version:
- （ ）﹕本譜沒有 not in original (includes sectioning according to my interpretation)
- 《》﹕本譜之說明 explanations made in the original tablature (usually written in smaller characters)
- 【】﹕本譜本誤； mistakes in original (corrections are usually mine)
- 『』﹕於本譜行間小字 interlineal writings (in three places)
- ， (comma) and 。 (period/full stop): these together separate fingering techniques
Regarding the last item, a simple form of useful punctuation is shown in the illustration at right (expand), said to have come from the version in Guyi Congshu; I am not sure who added the punctuation: there were none in the Japanese copies such as the Kojima tracing copy from the Edo period. The ones at right are simple markers separating the elements of each fingering action, first showing a left finger placement then the related/concurrent right finger action. (There are also left finger and right finger actions alone). The present typed copy largely follows these divisions, except that individual left finger actions or placements (indicating which finger goes in what position[s]) end with commas, while the right finger actions (which also indicate which finger and which string to use) end with periods.
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2.
You Lan original text, phrase by phrase （more under
Overall structure)
As can be seen in the image of the original scroll linked at top, the text was written continuously except for the fact that the four individual movements each start on a new line and end with the words "拍之 pai zhi" plus (for Movements 1 and 2 only) "大息 da xi": big rest. Although the original manuscript marked off phrases within each movement with the words "一句 one phrase", it is almost certain that there could or should have been many more such phrase markings.
In contrast, the arrangement and punctuation in this typed version has been done as follows,
- Whereas the original copy arrangeds its "句 phrases" continuously and does not number them, here they each begin on a separate line and are numbered, as follows:
（一）....一句。
（二）....一句。 - In order to make clear my understanding that many of these phrases should be further subdivided (surviving early Ming tablature also often omits some or all of the phrasing indications), in the above copy these further subdivisions each begin a new line and are marked as follows:
（ ）....。 - Thus, a study of my understanding of the actual phrase structure, as also outlined here, shows that in some areas every phrase seems to be clearly indicated; in other places a phrase or passage will be repeated, but with some of the punctuation missing
As an example of the last point, Movement 1 seems to be almost fully punctuated except perhaps for two quite obvious places. The first is the first occurrence of the very strong phase of octaves on C (second part of Phrase 8), but then it is clearly indicated in its second occurrence (Phrase 12). The second example is from the four part closing. Each Movement ends with a similar closing, usually in four related phrases. The first phrase of the Movement 1 closing (Phrase 13) ends with "取聲，一句", i.e., "get a sound (hold the sound?); one phrase"; the first phrase of the Movements 2 and 3 closings instead each end with only "取聲 qu sheng" hold the sound", while the corresponding phrase in opening the Movement 4 closing has no phrase ending indication. Perhaps by this time it is assumed the player will know the phrase ends there, and so it was omitted or forgotten. Likewise, perhaps the last phrase of all four closings, the one most clearly a separate unit (it has the microtonal ascent to C), is not given separate punctuation: is it that this is so obvious that such punctuation was not considered necessary?
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3.
Original manuscript
See also the complete original
manuscript in the Japan National Museum, Ueno. The image above shows the overall title, the preface, another title, then the first four 句 phrases of the original tablature.
As can be seen there, the score is generally written very clearly. However, th interpretations of some of the original characters are open to question. The added marks above provided some guidelines for this. In addition, this Appendix explains most of these terms. Important differences from modern practise include such old forms for common characters as 汎 instead of 泛, and 案 instead of 安.
Other terms in need of further explanation abound. For example, where in the copied tablature I have "wai" (written as the right half of "外"), 13.1 underneath this means that the original says 十三下半寸 or 十三外半寸, whereas if it says 13.2 the original says 十三下一寸 or 十三外一寸. One can also find 十三下少許 but there are only two occasions (outside of harmonics) where 十三 is given by itself, both marked in my transcription by ! (see phrase 16 of the 2nd Movement [measure 208] and phrase 7 of the 3rd Movement [measure 303]). Nowhere does there seem to be any explanation of these distinctions, if so they are: modern transcriptions usually drop them, giving only 外 or perhaps 13.1.
In studying this one should also consult the versions published by 楊宗稷 Yang Zongji in his 琴學叢書 Qin Xue Congshu. Yang wrote considerable commentary, but none of it included more detailed phrasing than that expressed by "一句 yi ju", mentioned above.
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4.
Unclear character in the first phrase
⼎卞 is usually interpreted 十上, but the manuscript here was damaged. My initial interpretation was that, the first note is a dissonance played between the 9th and 10th position; later I changed to interpret it as 八上 (7.6), an octave. See also next as well as this further explanation.
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5.
中指急下与拘俱下十三下一寸許。
This is also puzzling. Today "拘" indicates a right hand "hook" inwards by the middle finger; its difference from 牽 qian (pull) is not clear. Could "与拘俱下"? mean "With the hook 俱下 quickly slide all the way down?" In other words, does it mean you start to slide down exactly as you are doing the second of the "雙牽 paired pulls"? (There is no such instruction with the apparently similar long slide after "作勢 zuo shi at the beginning of II.12 (m.171). The only other mention of 俱, at II.8 (mm.123-124), is "与挑俱案: here 案 seems to mean 罨 so the instructions are "while you still have sound from the right index finger pluck, press down the thumb (precise position not indicated).
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6.
End of the original You Lan scroll
The last phrase of the tablature begins just below the middle of the first column (on right). There is then the afterword and melody list. The added text at the bottom began at "『舉大指" in the second phrase of the last movement. This added text is discussed .
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7.
Song titles
Grouped without commentary or explanation, as at the end of the original. See also the annotated list.
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Return to the You Lan introduction or to the Guqin ToC.