This book, held by the Beijing Library, is a Ming Dynasty edition without an identified compiler. It is supposed to have two volumes, but only the remnants of the first volume are currently preserved, and there is no preface at the beginning of the book. According to the Newly Published Taiyin Daquanji a preface by Zhu Quan dates it to the Gui Si year of Yongle (1422 AD), stating that this Taigu Yiyin was originally compiled by the Song Dynasty's Tian Zhiweng and consisted of three volumes. During the Jiading period of the Southern Song Dynasty, Yang Zuyun renamed it Qinyuan Xuzhi and presented it to the court. During the Yongle period of the Ming Dynasty, Zhu Quan acquired it in Tuyang. Later, upon reaching Jiangyou, he based his revisions on several different versions he obtained, re-editing it into two volumes with the same name Taigu Yiyin.

The existing remnants of Taigu Yiyin precisely correspond to these two volumes. In the section titled "Ten Friends of the Qintan" the two characters "Yao Xian" do not appear. From these points, it is possible that this book is a revised edition by Zhu Quan himself. However, the editorial style of this book is extremely unrigorous; for example, there is an irrelevant insertion of a segment concerning the finger techniques of Tang Dynasty’s Zhao Yeli between the diagrams of the "Qin Bei Zhidu" and the "Qin Ben Zhi Qi Fa Xiang" (QQJC I/31-32). This material is not found in the table of contents at the beginning of the book. Such disorganised compilation methods are unlikely to have originated from the hands of the renowned scholar Zhu Quan. According to Yuan Junzhe's Taiyin Daquanji Inscriptions, when discussing the source texts upon which it is based, he only refers to it as the "recently referred Taigu Yiyin," without specifying that Zhu Quan is the compiler. This suggests that the book may have originated from a book seller.

The value of this book lies in the fact that it is the earliest surviving version of Taigu Yiyin. From its table of contents, (the complete version) preserved numerous pieces of music and scores from the late Tang Dynasty that have long since been lost, such as the piece "Golden Oriole" found in the Shilin Guangji, as well as the left-hand notation explanations for finger techniques of 22 patterns. These hold significant value for studying the origins and development of Taiyin Daquanji and for distinguishing the authenticity of historical sources.

四 太古遺音

北京圖書館藏，明刊本，不著编撰人。此書應有上下兩卷，現僅存上卷殘本，書前無序文。據《新刊太音大全集》載朱權永樂癸巳（公元一四二二年）序稱：《太古遺音》原爲宋田芝翁所輯，計有三卷。南宋嘉定間楊祖雲更名 《琴苑須知》，献之於朝。明永樂間，朱權得之於涂陽。後至江右，根據得到的幾種不同的版本、重加校正、「無益者損之，脱落者補之，定爲二卷，仍名日《太古遺音》」。現存《太古遗音）殘本恰好也是二卷，「琴壇十友」一目之前無「耀仙」兩字。如從這兩點來看，此書有可能是朱權的改编本。但此書編輯體例極不嚴謹，如「琴背制度」與「琴本制起法象」之間，無故夾人了一段唐趙耶利的指法材料。此材料不見於書前目錄。這種編排上雜亂無章的作法、很相信會出自名儒朱權之手。按袁均哲《太音大全集題辭》談到它所根據的母本時，也衹說「近代所謂《太古遺音集》」，並未指明該書編者是朱權。由此推測，此書有可能出自書賈之手。

此書的可貴之處，在於它是現存《太古遺音》中最早的版本。從其目 來看，它保存了不少早已散佚的唐末琴書、琴譜。如見於《事林廣記》的《黄鶯吟）等曲、拿手勢形法象》左手部分二十二條的記绿，等等。這些對於研究（太音大全集》1書的來龍去脈，對於鑒别史料的真偽，都有相當重要的價值。