1.b.  In the manner of a crane dancing as a result of being startled by a breeze

1.a.  Right hand thumb 11

Xing says: From myriad cavities there is furious howling. There is a crane on the ridge (or house beam). It stands by itself, with its awesome physique. It is about to fly off, about to soar. Suddenly it cries out, startling people (in the area). The sound is mournful and fully developed.

擘 Pi/bo (tear/thumb; compare 劈 pi) in tablature is written 尸 托 Tuo (drag) in tablature is written 乇 Pushing the thumb outwards from the body (or "inward"?), using half fingernail and half flesh is called bo (or bai). (The same, but) pulling the thumb inward (or "outward"?) is called tuo. Whenever utilizing a finger towards the body it is called "inward"; if towards the studs it is called "outward". All the examples use this terminology.

2.b.  In the manner of a visiting wild goose grasping a rush plant	2.a.  Right hand thumb and forefinger
Xing says: The cool autumn breezes suddenly arrive. The wild brown goose arrives as a guest. It grasps a rush plant (and seems to be heading) to the south. It seems to be going there relying on 仁 ren (which is supposed to exist in the south.) It can avoid going through the passes (in the Great Wall, which others cannot do) and abandon (the stick?). He transmits his sad sound, which moves people	捻 Nian (pinch/snap) in tablature is written 念 nian : Use two fingers to pinch and lift a string. When you let go, there will be a (snap-like) sound called nian. (This sound is said to imitate that of a string breaking, especially when occuring at the end of a melody [examples 1 & 2, but compare 3]).

3.b.  Cranes call out in the shade

3.a.  Right hand forefinger

Xing says: Cranes Crying in Nine Bends of the Marsh. * The sound can be heard throughout the wilds. The light sound luo luo, Is a natural equivalent of "elegant music". Simply let your fingers fly in order to attain this image. Realize the height and peaceful solitude in the melody.     (* Refers to the Shi Jing quote, not the melody.)

抹 Mo (rub) in tablature is written 木 Pulling the forefinger inwards across a string is called mo. 歷 Li (pass across) in tablature is written 厂 Pushing the forefinger outward across string(s) is called li (often for multiple strings: compare tiao). 拂 Fu (brush off) in tablature is written 弗 From the 1st string playing a series of mo through to the 7th string is called fu. 度 Du (cross) in tablature is written 广 A light fu is called du. 擂 Lei (beat; sometimes 播 bo: shake) in tablature is written 雷 (番) or written 袞 (the latter is for 滾 gun, as in 滾拂 gunfu); From the 7th string li to the 1st string as one sound; this is also called bo.

4.b.  In the manner of the crane-like wild jungle fowl calling and dancing

4.a.  Right hand forefinger, middle finger and ring finger

Xing says: In the desert, people are at peace, the jungle fowl wanders freely. It cries out and thus stretches his throat, It dances now, spreading his wings. Wanting to know how this is related to the sound of the music, (we must) understand deeply the swift nature of the steps of this dance.

鎖 Suo (chain) in tablature is written 巛 The forefinger does a tiao, mo and tiao, connecting 3 sounds in all; it's called suo (now usually mo-gou-ti). 反鎖 Fansuo (reverse chain) is written 反巛 First ti the middle finger, then tiao and mo the forefinger; this is called fansuo, and also called dao (overturned) suo. 短鎖 Duansuo (short chain) is written 矢巛 first execute the tiao and mo, then (these) two sounds again, then connect with the triple sounds (suo), making 7 sounds in all. 長鎖 Changsuo (long chain) is written 長巛 : first tiao mo, then 4 sounds, (repeat twice?), then connect with 3 sounds (suo). (now usually mo-tiao gou-ti da-zhai + suo) 換指鎖 Huanzhisuo (change fingers chain) is written (see above)旨巛 First da the ring finger, gou and ti the middle finger, then tiao and mo the forefinger, then do a fan suo. The rhythm is the sound of changsuo.

5.b.  In the manner of a lone duck turning his head towards the flock

5.a.  Right hand middle finger

Xing says: The lone duck turns its head towards the flock, It flies and cries out in the distance. One can sympathize with this solitary figure, How much the hunter admires this bird! Using the purple haze to (hide as they) fly together, they fly around again and again in circles as they look downwards.

勾 Gou (hook) in tablature is written ⼓ (see above) . 踢 Ti (scrape off) in tablature is written (see above) . 勾踢 Gouti in tablature is written (see above) Pulling the middle finger in across the string is called gou. Pushing the middle finger out across the string is called ti. Pulling out and pushing back as a pair is called gouti. 袞 Gun (should be 滾 roll/boil; 袞 is a tablature form): a connected ti on three or four strings is called gun. (See also #3 above; gun is often performed with the ring finger: see zhai.)

6.b.  In the manner of a dragon gripping the clouds

6.a.  Right hand thumb and middle finger

Xing says: The clouds have a dragon amongst them,     It cannot be confined to a pond. Its head and its horns are lofty and dignified,     The changes it goes through are many. The position is a "correct nine five",     Time is appropriate for exaltation. It seizes (the clouds?) and rises,     As though held together, the clouds all follow. it.

齊撮 Qicuo (evenly pinch) is written "(see image)" or "早" (as here) If you squeeze the 1st string together with the 6th string evenly as one sound it is called qicuo (repeated with different fingers in #7) 齪捉 Chuozhuo (grate and grasp) is written 足 Although rare, this figure is used the same way as qicuo. (some pieces in Shen Qi Mi Pu have it; You Lan distinguishes chuo from cuo based on distance between strings) *See also taocuo (in connection with duian.

7.b.  In the style of a praying mantis grabbing a cicada.

7.a.  Right hand forefinger and ring finger

Xing says: The cicada's nature is that it is solitary and untainted (by the ordinary). It's lengthy call expresses its own gaiety. The praying mantis vigorously extends its arms. With each step it takes forward, the cicada takes a step backwards. It is also said, The performance of qicuo followed by fancuo is very much like these movements. (See Cai Yong for a well-known cicada and praying mantis story.)

齊撮 Qicuo (evenly pinch [repeats #6 but with different fingers]) 反撮 Fancuo (unpinch) is written 反早 If the cuo is being performed on the 3rd and 5th strings, then the thumb pushes out (together with the) forefinger (as it) does a tiao on the 5th string. (At the same time) the ring finger performs a da (#14) on the 3rd string, making one combined sound. After this sound the thumb and ring finger will come together on the 4th string. As for fancuo, (if still on the 3rd and 5th strings) the 2nd finger performs mo on the 5th string and the ring finger does da on the 3rd string, making one sound.

8.b.  In the style of a crab walking 12

8.a.  Right hand forefinger, middle finger and ring finger

Xing says: Crabs seem to come together then separate. Its natural temperament becomes apparent. It is soft on the inside and hard on the outside. At the rice-eating grub it rises up and stares. You can see the style it uses of turning up and down as it walks. This resembles the sentiments of the movements lun and li. [Yin shi:] "Rice eating grub" (dict.: mao) sounds like "try" (dict.: mou/wu). "Stares" (dict.: deng/cheng) sounds like "stretch out" (cheng); (it means) directly look at the form.

輪 Lun (revolving) in tablature is written (see above; also: 冂). Flex the three fingers and hold them in the vicinity of the 3rd and 4th stud. Then perform in succession zhai, ti and then li on one string. This is called lun. If the tablature says "lunli the 7th and 6th strings", this means first to lun the 7th then li the 6th. 倒輪 Daolun (overturned revolving) is written (see above). Use three fingers to quickly mo, gou then da one string. This is called daolun.

9.b.  In the manner of a shaking a chain and ringing its bells

9.a.  Right hand ring finger, middle finger and forefinger

Xing says: A group of bells suspended from a rope.     [Yin shi:] "Suspended" sounds like "folio" (juan). It means hang. The hand is drawn in to shake them. Together they ring out qiang qiang. They ring together as if being played in unison. Merely obtain this appearance in order likewise to shake the string. (The sound) naturally flows high and low, while extending outward to a great distance.

索鈴 Suoling (roped bells*) in tablature is see above or 糸令 If you use the left thumb at the 7th stud pressed down** on the 7th, 6th and 5th strings, then do a lun going over everywhere, this is called suoling.   * VG: name of a music instrument, but 27927.xxx. ** "pressed down" (an): VG says suoling should be played as harmonics (fan), but the earliest example I have found, in 1525, uses an). The reference to lun is confusing: could it be a gun (see under gou) somehow repeated?

10.b.  In the manner of water from a spring                                               cascading in a deep valley

10.a.  Right hand forefinger and middle finger 13           (the explanations below are separated line by line)

Xing says: The empty valley is deep and serene. The cold spring rushes down. Bubbling-bubbling it hits the rocks. Splash-splash cry the water pellets.     [Yin shi:] "Splash" sounds like "dart" (jian). Realize the sound according to this example. The die (duplicating) finger techniques all seem to be quite resembling this.

分㳙 Fenjuan (split clarify) is notated 分厶 . First mo then gou, putting the fingers down in the shape of 八 and it's called 厶 juan. 㳙 is written 厶 . 蠲 Juan (clarify) in tablature is written (see above *). 疊 Die (duplicate, repeat; the 田 on top can be written 厶) three fingers, pulling the string in as one sound; (also) written 厶 . 倚㳙 Yijuan (leaning clarify) is written 厶奇 (in GLS Kaizhi?) 半㳙 Banjuan (half clarify) is written 半奇 . First mo the forefinger; the middle finger then stops the string; there is only a little sound. This is called yijuan or banjuan; others are like this. 覆㳙 Fujuan (repeat clarify) is written 复厶 (or) 反厶. First gou then ti the middle finger, then mo tiao the forefinger as one sound; this is called fanjuan. 双㳙 Shuangjuan (paired clarify) is written 双厶 . 連㳙 Lianjuan (connected clarify) is written 車厶 . 疊㳙 Diejuan (duplicate clarify) is written 田厶 . First mo then gou; do it quickly, clearly distinguishing two sounds. This is called shuangjuan; it is also called lianjuan, and diejuan is the same.

11.b.  In the manner of wind sending of light clouds

11.a.  Right hand forefinger and middle finger

Xing says: Ranran rongrong, a lot of vapor is gathered in order to form (the clouds). Then they rise up in abundance. Their manner is that they will follow the slightest breeze. One should make an example of the resemblance of the fingers' movements to the clouds. Do not make the sound too heavily.

半扶 Banfu (half sustain) is written 半夫 . The forefinger and middle finger, unequal in height, are pulled inward across two strings, making one (continuous) sound; this is called banfu. 全扶 Quanfu (fully sustain) is written (see above) * The forefinger and middle finger combined are pulled inward across two strings, making one (continuous) sound; this is called quanfu. (* Transl: This technique seems to be quite similar to juan. Wuzhizhai Qinpu says it is the opposite of lun.)

12.b.  In the manner of the male and female phoenixes calling together

12.a.  Right hand forefinger and middle finger

Xing says: The (female) phoenix flies about the high sentry posts                (in the mountains); The (male) phoenix wanders through layer after layer of cliffs. The cries they make together are of a similar nature: "Yongyong jiejie". (In the same way you should) grip the two strings and pull them at the same moment. If it resembles this sound, it will be harmonious.

圓摟 Yuanlou (round embrace) is written (see above). 爰摟 Yuanlou (leading embrace) is written 爰 ( 婁 ?) If, for example, you used the forefinger to execute mo on the 5th string, then with the middle finger you gou the 4th string (then with the forefinger mo or tiao the sixth string*), playing them evenly and clearly, making one sound, this is called "yuanlou". It is the same as what is called in Xi Kang's Rhapsody "pilou" (** 批摟 but 批 is written 媲 with 女 on the left replaced by 手: see 6/804). (*  added by the translator to correspond with tablature as found in SQMP, etc.) (** VG, p. 104, says no one knows the meaning of this figure [actually written loupi] plus the following one, 擽捋 luelo.)

13.b.  In the manner of a fish shaking its tail as it swims

13.a.  Right hand forefinger and middle finger

Xing says: Thunder and rain act as explanations. The waves are stirred, froth is aroused.     [Yin shi:] "Froth" sounds like "rub" (mo) A fish is about to metamorphose (?). It shakes its tail back and forth , splashing the water.     [Yin shi:] "Shakes" sounds like "tune" (diao). Using this as an example will bring out the right style. Join the fingers together and whirl them quickly. [Yin shi:] "Quickly" (瞥 pie) sounds like "inclined" (偏 pian), entering tone.

撥剌 Bola* (shake and slash) is written (see above) [Yin shi:] "Slash" sounds like "door screen" (闌 lan, entering tone). Two fingers together going out across a string is called bo. Two fingers together coming back in across a string is called la. Doing both the going out and coming in is called bola. (* Transl: bola is also called 撥刺/潑刺 boci/poci [shake/splash and stab]. Because of the quality of printing, the characters 剌 la and 刺 ci are not distinguishable from each other.) ([TKW86:] QFTGYY has only "Two fingers together go out across a string... bo." The Zhu volume has almost the same as the Yuan volume. Qin handbooks prior to the Ming dynasty talk of two ways of doing bola, one with two fingers, one with three. Although here this book mentions the two finger method, in the illustration one can clearly distinguish three fingers.)

14.b.  In the manner of the shangyang bird, tapping and dancing

14.a.  Right hand ring finger

Xing says: There is a bird that only has one foot. It is a smart bird that can predict rain. When the skies are about to pour down in a long, heavy rain, (the bird) rouses up his feathers, taps, and dances. Bend the ring finger as you approach the string. They are all investigating irregularities as they lift their wings.

打 Da, in tablature written 丁 (see also #15) 摘 Zhai, in tablature written (see above) 打摘 Dazhai, in tablature written (see above) Pulling the string inward is called da. Pushing the string outward is called zhai. Together pushing then pulling is called dazhai. (Transl: earlier explanations of da do not specify the finger. But note that here, although the finger is not mentioned, at left the finger is called 名指 mingzhi, short for 無名指 wuming zhi [no-name finger, i.e., ring finger], and the illustration above shows the ring finger executing the stroke.)

15.b.  In the manner of a supernatural tortoise coming out of the water

15.a.  Right hand forefinger and ring finger

Xing says: On its back a diagram is drawn out. When it walks one (step), it supports nine. It is about to hunch up its shoulders, and must raise up its head.     [Yin shi:] This means raising high, lifting its head. This (hunching and raising) should be compared to the motions tiao and da. It provides evidence that the former ancients were not improper.

打 Da (hit) in tablature is written 丁 (see also #14) 挑 Tiao (picking out/arousing) is written (compare li, now usually for multiple strings) Pull the thumb to stabilize the forefinger, which pushes the string outwards; this is called da. If the ring finger also does a da, it is called tiaoda. 打員 Dayuan (hitting in a circle: should be 打圓) is written 丁員 or (see above) For example, tiao the 6th string, da the 3rd; connect three tiao and also connect three gou:* altogether it is six sounds, at first slow then quick. Two sounds make one phrase. First play a phrase, then duplicate it three times. (* Transl: all three versions are different here, none making sense to me. My interpretation is 連作三挑 [instead of 絃]，連作三勾 [others have 句], allowing the sequence to be, as is commonly understood, 挑六、勾三，挑六、勾三，挑六、勾三.)

16.b.  In the manner of a sea dragon intoning  (compare water dragon intoning)

16.a.  Right hand forefinger and middle finger

Xing says: The dragon lives in a cave dwelling. On a peaceful night it lets out a long cry. It is like gold and like jade. This is the best of all sounds. How can (the dragon) be compared with a supernatural being? Rather, in a hidden way it unites with the heart of the qin. [Yin shi:] "Hidden" means "secret". "Unites" means "harmonizes". (If) something "in a hidden way unites", (in fact it) secretly harmonizes.

小閒勾 Xiao Jian'gou (short divided hook) is written (see above) or (also see above) If you dayuan a stopped 3rd and open 6th string, then gou the 4th, da the 3rd and tiao the 6th, it is called jian'gou; if there is no dayuan, then it is no jian'gou, but simply gou and da. 大閒勾 Da Jian'gou* (long divided hook) is written (see above) After doing a dayuan, gou the open fourth, da the third and fourth, gou the third (again), tiao the open sixth, it is called da jian'gou. (* Transl: For da jian'gou, QFTGYY has only, "If (the dayuan?) has one sound (i.e., one phrase of the dayuan?) it is called xiao jian'gou; with two sounds it is called da jian'gou.

17.b.  In the manner of a hungry raven pecking at the snow

17.a.  Right hand forefinger, middle finger and ring finger

Xing says: Here there is a flock of birds, there footprints. There is nothing blacker than the crow. They are hungry and peck at the snow. The flavor is not moist. Accordingly if more than lightly playing... its manner is empty and slow.(?)

單彈 Dantan (single play) in tablature is written (see above) Hooking the thumb around the forefinger, then plucking outwards with this one finger is called dantan. 雙彈 Shuangtan (double play) in tablature is written (see above) Using the thumb to hook around the forefinger and middle fingers, then one by one plucking the (same) string outwards with (the two fingers), is called shuangtan. 三彈 Santan (triple play) in tablature is written (see above) Hook the thumb around the index, middle and ring fingers, then one by one pluck outwards on the string. This is called santan.

18.b.  In the manner of the supernatural phoenix grasping a letter in its mouth	18.a.  Left hand thumb
Xing says: Behold the phoenix. When it feels someone has virtue, it seems to arrive with a letter in its mouth. Its appearance signifies good luck. The thumb is pressed down and the forefinger turned over. The others imitate this.	按 An (press down; compare #s 22, 23 and 24, which refer to different fingers) in tablature is written 女 Use half flesh and half fingernail in pressing down on the string, as if trying to push right into the wood. Press down with unsuppressable force. If the thumb is pressed down near the 9th stud, the tablature is 大九. All others follow this example.

19.b.  In the manner of a howling gibbon climbing a tree

19.a.  Left hand thumb

Xing says: Look at that howling gibbon. It is trying to climb up a tall tree. It wants to go up, but cannot. It seems to go little by little. Heavily put the fingers into a small place, desiring marvelous speed in coming and going (on the string, as up and down the tree).

猱 Nao (gibbon)14 in tablature is written 犭 Press down the thumb and take advantage of the sound (from plucking the string) by pulling out (towards?) the studs a little bit. Quickly return from (?) the stud to attain this sound. It is written nao because it resembles a gibbon climbing a tree, grasping on in order to climb, and crying out. [Yinshi:] Nao sounds like "clamor" (呶 nao); it is a kind of 猿 gibbon. 微猱 Weinao (small nao) is written 山犭 細猱 Xi'nao (fine nao) is written 幺犭 敦 Dun (esteem) is written 亨; it's the same as weinao. 畜猱 Chu'nao (restrained nao) is written 玄犭. It's a coming and going nao. Words cannot describe chu (nao) very completely. (Transl: I have never seen it used.)

20.b.  In the manner of an echo from an empty valley

20.a.  Left hand thumb

Xing says: The long whistling noise begins. Right away it causes vibrations in the woods and in the foothills. Whatever the sound is, that sound replies back, here in the empty valley. So it is when the ring finger is pressed down and the thumb executes a yan. You want these sounds to continue mutually (i.e., the resonance to continue?). [Yin shi:] "Foothill" sounds like "deer" (lu); it means the foot of a hill.

罨 Yan (net, extend net, cover) in tablature is written 內 or 奄 or 电. First place the ring finger (for example) near the 10th position, then use the thumb to (cover as with a) "net" the 9th position, making a sound; this is called yan. Others are all the same (as in this position). [Yin shi:] "Net" (dict.: yan) is pronounced as 庵 "an" ("hut", but people today say "yan"), entering tone. (Transl: My teacher said that with yan the thumb should be put down firmly but gently, avoiding the slapping sound one often hears, particularly from beginners.)

21.b.  In the manner of a solitary bird pecking on a tree

21.a.  Left hand thumb

Xing says: The solitary bird avoids people. It goes around the tree chirping. It looks for grubs, stripping (the bark off the tree with its) pecking. Its sound is knock-knock. Make the sound xuyan according to this example. The resulting sound is like that tapping. [Yin shi:] "Grub" sounds like "jealous" (du). It is a wood bug. "Knock" (丁 usually ding but the dictionary also gives zheng) sounds like "wrangle" (爭 zheng).

虛罨 Xuyan (empty covering) is written (see above). Don't pluck (with the right hand) and don't set down (the ring finger as in the previous technique). Simply yan the string with the thumb, producing this sound; this is called xuyan. 虛點 Xudian (empty dotting) is written (see above). This is the same as (xu)yan, but perhaps use the ring finger, in accordance with the tablature.

22.b.  In the manner of a beautiful oriole in a fragrant woods

22.a.  Left hand forefinger

Xing says: Look at the beautiful oriole in front of you. It has moved into a fragrant wood. As it flies it cries out, seeking friends. Its sound is "toufan". 睍睆 "Toufan" (see note below) is also the robust sound of putting down the finger in this way. It is also like the soft chirping of a bird in spring. [Yin shi:] "Tou" (normally xian) sounds like tou (head); "fan" (normally huan) sounds like "opposite" (fan). It is a warning sound.

按 An* (press down) is written 女 Pressing the fleshy part of the forefinger down on the string is called "an". If it is in the 7th position the tablature writes 食七 or 人七. (手兜) Dou** (lift up, control) is written 兜 . Using the fingernail (of the left hand) to gou a string up so there is a sound is called dou. * 按 an is usually not written in the tablature: compare #s #s 18, 23 and 24, which concern other fingers. ** I have never seen dou written in tablature, but it seems to be the same as what is normally called 帶起 daiqi (written 巾己.)

23.b.  In the manner of a wild pheasant climbing a tree

23.a.  Left hand middle finger

Xing says: It is a pleasant time: see the wild pheasant. It flies in the early morning, and climbs into a tree in order to cry out. Its sound is light and unhurried.* This is the meaning to attain in comparison. Thus it is not something which can be described in writing. (* Transl: This last line has six characters (音清清而不疾), making it the only line in all the quatrains to have more than 4 [not counting 兮 xi].)

按 An* (press down). Bend the thumb close to the palm, then stand (the middle finger) on its end. If the middle finger presses down in the 10th position, its notated as 中十 . The others are like this. 推起 Tuiqi (push up) is written 推己 (also 扌己) 推出 Tuichu (push out) is written 推山 (also 扌山 or 扌出) If you press down the (middle?) finger, sliding it down along the string then pushing up, making a sound it is called tuiqi. It is also said that if you slide the finger down below the 13th position then push it up it is called tuichu. * 按 an (see also #s 18, 22 and 24, which concern other fingers); no indication of tablature, perhaps because when it is used as here, with the 3rd finger, it is not written in the tablature

24.b.  In the manner of a phoenix combing its feathers

24.a.  Left hand ring finger

Xing says: There is a phoenix living in the wutong tree. It neither flies up nor cries out. Its intention is to fly up into the middle of the sky. It also is rubbing its feathers. When the ring finger is placed down, the thumb is bent in. It is because of this mannerism that it is named.

按 An* (press down). Bend in the thumb close to the palm, and press down with the fingers in this position. If the ring finger is pressed down on the 10th position, it is notated 夕十 . Others are all done the same way.   * 按 an (see also #s 18, 22 and 23, which concern other fingers); no indication of tablature because when it is used as here, with the 4th finger, it is usually not written in the tablature

25.b.  In the manner of the spotted leopard embracing its prey

25.a.  Left hand ring finger

Xing says: There is a leopard looking for a change.* It lives stealthily in the southern mountains. It embraces the small prey in preparation for eating it. You can see its spots if you look at it secretly       from a nearby vantage point. One should imitate this attitude when playing the sounds. Perhaps the relationship is in the actions of the (leopard and the qin player). * i.e., a change in the environment, indicating a foe or prey is nearby

跪 Gui (kneel) in tablature is written 危 or 足 (see above) and also 跪 (see also 拶對 zandui 15) Bend the ring finger and then place it on the string (so that it touches between the base of the fingernail and the knuckle). This is called gui.

26.b.  In the manner of a pigeon crying out to predict rain

26.a.  Left hand thumb and ring finger 16

Xing says: The heavens are about to cloud over, and soon the rain will fall, but only the pigeon knows this. He lifts his head and lets out a long cry: he is asking for a female to join him. One should attain this image in playing duian. Use the singing quality of the sound and follow that

對按 Dui'an (duplicated pressing down) is written 女寸 If the thumb is placed down in the 9th position and a sound is produced, and then (with the thumb still down) the ring finger is placed at the 10th position, and then the thumb executes a taoqi* (pulling up), this is called duian. Other examples are like this. * Also see 搯撮 taocuo; sometimes a distinction seems to be made between:    對起 duiqi (pair and rise) and    搯起 taoqi (pull out and up)

27.b.  In the manner of a cicada singing in the autumn

27.a.  Left hand thumb, middle finger or ring finger

Xing says: With wings it makes sound. Only the cicada knows that the time is near. It is the height of autumn and the temperature is cool. The long humming sound brings on sadness         (because it occurs most often in autumn?). Understand this sound of the cicada and then you can obtain this sound. This very same meaning is used to strive for it.

吟 Yin (intoning) in tablature is written (今 or see above) Putting down the finger so as to achieve the sound, then moving with a fine motion, not moving the finger beyond the position, is called yin. Sometimes one might use the fingernail, other times the flesh is used. If the thumb is put on the 1st string (or one string), then the nail is used. If it is put on the 2nd string (or two strings), the flesh is used. 細吟 Xiyin (fine intoning) is written (see above)  - (See also youyin and zouyin)

28.b.  In the manner of fallen leaves following the flow of water	28.a.  Left hand thumb, middle finger or ring finger
Xing says: The fallen leaves follow the water flow; submitting to the current, they go. This is what the advancing or retreating of the waves stirs up. They want to stop, but cannot. In accordance with this manner, a comparison is obtained. If you can attain the meaning, you will understand.	遊吟 Youyin (wandering intonation) is written (see above) Press the finger down and make the yin sound as though it were waves flowing. Sometimes you might only go slightly beyond the (stated) position, other times you might go more, half a position .

29.b.  In the manner of a raven carrying a cicada as it flies	29.a.  Left hand thumb, middle finger or ring finger
Xing says: The cicada is in the raven's mouth. As the raven flies, the cicada is swallowed. From west it heads east. Then the sound is gradually extinguished. This is made beautiful by going through the procedure. It is difficult to talk about and describe in detail. [Yin shi:] "Swallow" sounds the same as "visit" (ye). "Heads" sounds the same as "help" (zu/zhu).	走吟 Zouyin (walking intonation) is written (see above) Press down the finger and, following the sound, draw up (yin) a little bit, simultaneously doing both yin (vibrato) and yin (drawing up). Stop when the sound finishes.

30.b.  In the manner of a white butterfly wafted onto a flower

30.a.  Left hand thumb, middle finger or ring finger

Xing says: The white butterfly* wafted on a flower. Its wings are light, the flow is soft. It wants to go but cannot go. It is as though it is remaining, but not remaining. Obtain this meaning in order to allow it to be called "floating". It is like the light floating of the surface of the finger. * 粉蝶 : "pieris rapae"

泛 Fan (floating; You Lan has 汎) is written 丿(but more horizontally) Use the tip of the finger at the same time that the right hand strokes the string. It should float on top of the string, causing the string to move and sing. This is called fan. 泛起 Fanqi (floating begins) is written 丿己 It means for the floating sounds to begin. 泛止 Fanzhi (floating stops) is written 丿止. It means for the floating sounds to come to this point and stop.

31.b.  In the manner of dragonflies flitting on water ("蜻蜓點水")	31.a.  Left hand forefinger, thumb or ring finger
Xing says: The dragonflies are countless. They hover around the water's edge, flying slowly. Flitting over ("dots marking") the ripples ("點破漣漪"). This is like facing the studs and 互泛 "mutually playing harmonics" (?); this kind of thing is like that. [Yin shi:] "Floating ripples" (lianyi) means "ripples on the water".	互泛 Hufan* (Mutually floating) is written (see above) A floating sound performed with two fingers crossed over is called hufan. *  The original has 牙泛 yafan ("tooth float", or it could represent the sound "ya"), perhaps a misprint, as it does not seem to make sense. Could it mean playing two notes simultaneously? Since I have never seen this figure in early tablature, it is difficult to verify.

32.b.  In the manner of a cicada calling as it passes a branch

32.a.  Left hand thumb, middle finger or ring finger

Xing says: The cicada is elevated; it has just shed its outer layer. It can metamorphose* and is hidden in the deep woods. At any time it may call out. (Like a cicada) suddenly feel alarm and pull away. Stretch out the sound, without stopping the sound which continues after. [Yin shi:] "Outer layer" (dict.: shui) sounds like "retreat" (tui); "shed" means "cast off". "Outer layer" means "exuviae". *  "indicating that it has intelligence"

引 Yin (drawing) is written 弓 Put down (a left) finger and obtain a sound, draw upwards; this is called yin. 注 Zhu (flowing) is written 主 (or 氵) Put down a (left) finger and, without any beginning sound, draw it downwards; this is called zhu. (There is no mention of its opposite, chuo.)

33.b.  In the manner of a swallow grabbing a flying insect	33.a.  Left hand thumb, middle finger and ring finger
Xing says: The swallows are flying all around. They are different from their feathers. They follow those flying insects. Suddenly they come, immediately they go. Retreat and advance as you push upwards and downwards. Obtain this and use it as an example. [Yin shi:] "Different from" sounds like "blemish" (疵 ci). Different from their feathers: not arranged in their appearance. (?)	抑 Yi* (push) is written 卬 . This means press down the finger, pushing upwards, then pushing back down. * Elsewhere this is called 迎 ying (welcoming).