Qin playing methods

Part Three: Qin playing methods (彈琴法 Tan Qin Fa; QQJC I/81)
This section has seven entries over the three folio pages shown at right. The first of these, top right, has the first three entries. These are, as follows:

Qi Song (compare QSCM)
齊嵩云嵇散《琴賦》曰：「摟、批、擽、捋、縹、繚、潎、洌。」（或是：「摟批、擽捋、縹繚、潎洌。」）調手勢也。皆取其名琴宜耳，非貧多以揚誇自昡也。故聲省則質而和。繁則不合稚勢焉。
凡操琴，左右手肘膩務下，不欲高。又不欲雜弄輕慶也。
每欲操琴則齪絃。(欲如調否)齪絃之時，左（右）附於少商絃下第八、九徽間。既調以左手。以中指柱琴於官絃第七（徽）激上，不調以左手於臨岳下。調齪以右手持軫，點泛。又齪，然後彈之。此始操琴之象也。
Qi Song (Tang dynasty) said:
In his Rhapsody on the Qin Ji Kang mentioned “lōu, pī, lüè, luǒ; piāo, liáo, liè, liè” (or: “lōupī, lüèluǒ; piāoliáo, lièliè”) are characters that describe hand movements (see details). These names were chosen as suitable for use with qin, not to suggest greater embellishment or pretense. Thus, when the sound is more reserved, it can be more pure and harmonious, whereas when (the player is) tense the result will not align with one's natural flow.
When playing the qin, both left and right elbows should relax rather than be raised up. Additionally, one should avoid complex movement and a frivolous attitude.
Before playing, one must adjust the strings (whatever the melody). When tuning put the left (not right!) hand near the lower part of the shaoshang (second) string, around the eighth or ninth position marker. When tuning with the left hand, the middle finger should press the string at the guan (first) string’s seventh hui and pluck upward. If not using the left hand, one should tune near the yue position (closest to the top of the qin). Do the tuning by using the right hand to turn the tuning peg. Lightly try a harmonic, again adjust the tuning, then play.
When starting to play qin this is the proper way to do it.
Zhao Weize (10th c. CE; compare QSCM, 趙維則)
趙惟則曰：「趙師云，凡彈琴之法，必資簡靜，豈須獨會，亦無手勢鼓動。不問肉甲相和，取聲溢潤。」
純甲其聲傷乾，純肉其聲傷鈍。凡論音頭，聲合陰陽。剛柔相薦應。聲必哀切。喜琴者，自曉陰陽，非由學得夫彈琴。兩手必須相跗，如雙鸞對舞，兩鳳同翔。取聲倫比，不欲隔越。用指之法，可具論㢤。
Zhao Weize said, "According to Master Zhao, The method whenever playing qin must be straightforward and tranquil. How much it requires exclusive comprehension, and not for the hand movements to be forceful. It only goes to say flesh and nail should be used together; it just needs the sound to be full and smooth."
If played entirely with nails, the sound will be too dry. As for the attack, the sound should have proper balance (yin yang). Hardness and softness must complement each other. The sound must also carry emotion and depth. Those who truly love the qin naturally understand yin and yang — it is not mere from practice that one learns to play qin. Both hands must work in harmony, like paired luan birds dancing together or twin phoenixes soaring side by side. The sound produced should be harmonious and coherent, it must not be disjointed. As for the techniques of using the fingers, they can be discussed further in detail."
Caishi Wunong (Begin 6 columns from the left side of the image above; see details of the the melodies of this title)
蔡氏五弄：並是側聲。每至教拍。皆以清殺。何者？留清額中。以彈側聲，以清終弄。有楚含清側聲。清聲雅質，若高山松風。側聲墟美，若深潤蘭菊。知音者詳察馬。
至如《東武、太山》，聲和清側。《幽蘭》、《易水》，整帶吳楚。《楚明光》、《白雪》，寄清調中，彈楚清聲。《易水》、《鳳歸林》，寄清調中，彈楚側聲。《竹吟風》、《袁松露》，寄胡笳中，彈楚清聲。如此其類實日，非天然，雜以力取也。
The Five Melodies of the Cai Family are in fact ce sounds (ce sheng). Each time they reach an enabling beat (教拍), they all have a "clear ending". Why is this so? It is because the clear sound lies in the middle of the forehead. In order to play oblique sounds (側聲 ce sheng) there must be a clear sound when ending the melody. There are Chu melodies that have both clear sounds and oblique sounds. A clear sound has an elegant and refined quality, like the wind blowing through pine trees on a high mountain. The oblique sound, in contrast, has more of a rustic beauty, like the moist fragrance of orchids and chrysanthemums. Discerning listeners should observe this carefully.
As examples, Dongwu (and) Taishan harmoniously blend the clear and the oblique. Youlan and Yishui integrate Wu and Chu styles. Chu Mingguang and Bai Xue are set in a clear mode but feature the clear sounds of Chu. Yishui and Feng Gui Lin are also set in a clear mode but feature the oblique mode sounds of Chu. Zhuyin Feng and Yuan Songlu belong to Hu Jia mode but contain the clears sounds of Chu. Such examples occur very frequently. This is not caused by nature — such variety comes from deliberate effort. ³

Part 3 彈琴法 Tan Qin Fa; Sects. 4-5 (begin; I/81b-82a)
Xue Yijian (in Qin Jue?)
After outlining eight reminders on how to focus when playing, this article then goes through seven major flaws and five minor flaws. (Compare the similar lists elsewhere, such as the Things to avoid when playing qin in Shilin Guangji and the "十病者 10 Flaws" and "九不詳者 9 Imprecisions" to be outlined in the next section under the title 儀式 Yi Shi: "(Style of) Demeanor".)
薛易簡曰：鼓琴之時，無問有人無人，須有畏懼，如對長者。攬琴在膝，身須卓然。先定神氣，精心脆慮，必須意專。
Xue Yijian said, When playing qin, don't ask whether or not anyone is there, you should just be reverent, as if facing an elder. When putting the qin across your lap, your body should be upright. First settle the spirit, then focus the mind and concentrate your thoughts.
- 注指不虛 When placing down your fingers don't have wasteful movements。
- 下鳴不錯 When making sounds don't make mistakes。
- 腐目視左手 Focus your gaze on the left hand。
- 耳聽其聲 Your ears must listen to your sound。
- 目不別視 Your eyes don't look elsewhere。
- 耳不別聽 Your ears don't listen to anything else。
- 心不別思 Your heart has no other thoughts。
- 志不雜注 Your purpose should not be unfocused。
若或不然，鬼神不來，心神不定，聲韻交雜，非正聲也。
If you are not like this, then the host of spirits will not come, your own spirit will be unsettled, the music will be rather chaotic, not the proper sounds.
用指打絃，輕重相似，往來不得不勻。若使一重一輕。或急或慢。此琴大病也。
When using the fingers to strike the strings, be light and heavy in equal measure. When sliding back and forth don't be uneven. If it is at once light and heavy, or at once fast and slow, this is a major flaw with the qin.
凡彈琴，調弄句度，節奏停歇，不得過多。左右手法，絃不得絕高，亦不得按着絃。須生精神。形貌似不用筋骨。努張精神不得疾遽。不得徐慢。又不得筋力散慢。肩、脾、臂悉須調暢。用之勿令人覺。若能依此彈，雖淺學近攻用之可比歲久矣。
Whenever playing the qin, the phrasing of melodies, the rhythmic flow, should not be overly complex. The techniques of both hands should be balanced. The strings should not be too high (tight? off string?), nor be too close to (pressed into) the strings. This should arouse spiritual energy, appearing effortless as if no physical force is involved. One must not strain the energy nor play too hastily, yet also not too sluggishly or weakly. The shoulders, back, and arms must all remain harmonized and fluid, applying effort in a way that is imperceptible. If one can be like this when playing, then even a beginner through diligent practice may achieve skill comparable to that gained over many years.
夫彈琴有大病七、小病五。
Whenever playing qin, there can be seven big flaws and five small flaws.
1. 搖身動頭，此大病一也。
  Shaking the body and moving the head.
2. 目視別所，覷視上下，膽顧左右，此大病二也。
  Looking around, staring up and down or gazing side to side.
3. 或面色變易，如有慙色。或開口努目，似騁志氣，此大病三也。
  Changing facial expressions, appearing embarrassed, or opening the mouth and widening the eyes as if exerting excessive effort.
4. 或眼目疾遽，喘息氣麄，進退無度，形神散慢，此大病四也。
  Rapid eye movements, rough breathing, lack of composure, and an unfocused or sluggish demeanor.
5. 或調絃不切，聲韻不律，動失正意，聽無真聲，此大病五也。
  Improper tuning of strings, inconsistent tonal qualities, incorrect phrasing, and failure to produce a true sound.
6. 或彈琴歲久，不能取聲，不解用指，音韻錯亂，此大病六也。
  Playing for many years yet still unable to produce good tone, not understanding finger techniques, leading to disorderly and unclear sound.
7. 或彈調弄，節奏句度，或慢或急，自將爲能，改易古今，此大病七也。
  When playing melodies, in use of rhythm and phrasing, being sometimes fast and sometimes slow, according to one's own skill, but mixing up past and present.
1. 身側頭偏，手勢亂打絃，用指輕重不匀，此小病一也。
  Tilting the body, positioning the head unevenly, having disorderly hand gestures, or applying inconsistent finger pressure.
2. 若左右手總用甲多，令聲乾硬，雖有悲思，而無雅韻，此小病二也。
  Overusing the fingernails with both hands, resulting in a dry and hard tone — though the sound may carry sadness, it lacks elegance.
3. 若左右手用肉多，音韻不匀，取聲緊重，散則清爽，此小病三也。
  Overusing the flesh of the fingers, making the sound uneven, the attack overly heavy, though the open string sound is clear and bright.
4. 或左手一用甲，一用肉，音韻不匀，取聲疊疊，句度急躁，不考聲韻，此小病四也。
  Using a mixture of fingernail and flesh inconsistently in the left hand, causing uneven tone, hurried phrasing, and careless attention to tonal quality.
5. 取聲遲慢，音律不續，句度不成，調弄無味，此小病五也。
  Playing the sounds too slowly, with disconnected tones, incomplete phrasing, and thus melodies with no flavor.
去此十二病，用指手勢依法，則當可求妙矣。
By eliminating these twelve faults and using finger techniques in proper ways, this is the way to seek great beauty.
Zhao Xikuang (QSCB, p. 120; also in QSDQ, Folio 10
趙希曠云：夫彈琴:
Zhao Xikuang said: Whenever playing the qin: (here four of the six six instructions are about specific finger techniques)
前指不付後指。 the front finger should not support the finger behind it.
踢絃不避絃隔絃。 when "scraping" a string don't avoid the adjacent string.
擘絃不擘大指。 when "tearing" a string dont tear the thumb.
間句不探手掌。 when doing a "repeat hook" don't extend your palm.
用指不隱手指。 when using fingers don't hide them
歷絃不蹲手腕。 when "passing across" strings don't flutter your wrist.
此琴之膏育也。此皆....
These are foundational principles for qin (technique). If all these ...

Part 3 彈琴法 Tan Qin Fa; Sects.5 (end)-7 (I/81b-82a)
....不究宗指。傳授不遇其人，何以感鬼神厚風化㢤。
....are not studied for their basic principles, the tradition will not be passed down to others, and so can one expect to move spirits and broaden the tradition?
夫琴七絃，各司一聲。每徽各司一月。律吕、五音，繁而不雜。如水中之月，同而不和。如風中之松，合而有散。其聲責靜，無增客聲。此聲之玄微也。
The qin has seven strings, each controlling a unique sound. Each harmonic position corresponds to one of the 12+1 lunar months. The lü lü (standard pitches?) and the five tones are complex but not chaotic. Like the reflection of the moon in water, the sound is unified yet not fully blended. Like a pine tree swaying in the wind, it combines both coherence and dispersion. Its sound demands stillness, and one must not add "strange guest" sounds. This is the profound mystery of qin music.
Qin Lu (begins at top of column 4 at right)
琴錄云：琴有三調，足有五調。清平琴（瑟！）楚側都十弄。皆清調為之本。今之俗人，苟求得由。不尋文經。又不讀譜。不看手訣手勢。遂使操絃理徽，無復文句。
The Qin Record says, Qin has three modes while zu (?) has five tunings. "Qingping Qin" (se!) (and) "Chu Ce" in all are 10 pieces; they all use the qing mode as their foundation. Nowaday's ordinary people just seek the easy way. They pursue results hastily, without studying the proper texts. They don't read the actual tablature, nor do they study finger techniques and diagrams. As a result, their execution of string techniques and harmonic positions lacks coherence and structure. (And so:)
- 聲之曲折。 The bending and inflections of tones are incorrect.
- 手之取勢。 Their hand movements and gestures lack proper form.
- 緩急失儀。 The timing (fast and slow) is unbalanced and lacks proper etiquette
- 多被添減。 Players arbitrarily add or remove notes, distorting the original composition.
- 應經便去亦彈。 They play notes simply because they are convenient, ignoring the correct progression.
- 或小大乖。繁慢為度 Their phrasing is inconsistent, sometimes too rushed, sometimes too slow, failing to follow proper proportions.
- 或和上徽。則繫下應。合調宫徵。却倒文武。 They confuse the positioning of harmonics and incorrectly align tones, reversing the relationship between gong (宮) and zhi (徵), and distorting the balance of literary (文) and martial (武) qualities.
- 錯亂縱横。口耳矜重。 They prioritize technical skill and showy playing over true musical refinement, leading to chaotic and disordered execution.
遂失古清尚之風。而多鄙吝瑣瑣瑣碎之曲。
Thus, the elegant and refined style of antiquity has been lost, giving way to many crude, petty, and overly trivial pieces.
豈不痛㢤。音貴静而無增以容聲。招尚閑誡之以妄動。即庶幾於琴矣。觀其指揮。見其瑕釁。体與琴相及。情與琴相違。知聲而不知音。彈絃而不知意。此鼓琴之膏盲也。
Is this not lamentable? True music (valuing stillness) does not have excessive ornamentation (sheng wu zeng yi rongsheng 聲無增以容聲). By cultivating a quiet and contemplative mind, avoiding reckless movement, and restraining the impulse to over-embellish, one may approach the true essence of qin music. When observing a player's hand movements, one can immediately perceive flaws and inconsistencies. One’s body and the qin must be in harmony (ti yu qin xiang ji 体与琴相及). One’s emotions and the qin must resonate together (qing yu qin xiang 情与琴相). Only then can one truly embody the spirit of the qin.
Qu Zhan
麴瞻云。凡彈琴，
Qu Zhan said: In all qin play,
散聲虛歇，如風水之澹蕩。
the open-string sound should be subtle and fleeting, like the gentle drifting of wind and water.
左手勾按於絃，泛聲委美輕清若仙歌之九詠。
When the left hand plucks and presses the string, the harmonic tones should be delicate and pure, as if echoing the Nine Songs of the Immortals.
用左手按絃，似起似着，如蜂蝶探花。
When using the left hand to press the string, it should seem to rise and touch lightly, like bees and butterflies hovering over flowers.
木聲實按，如雷隱隱，或如鍾鼓巍巍，如山崖磊落也。
The solid tone of these stopped sounds should be firm and resonant, like distant rolling thunder, or like the grand reverberation of bells and drums, or the rugged presence of towering cliffs.
(There is also a translation, partial only, in QSCB Folio 4; see also QSCM)

Part 4: Demeanor (儀式 Yi Shi; first seven lines)
Go to complete text on next page.
Or return to the Folio 4 Table of Contents

Footnotes (Shorthand references are explained on a separate page)

1. 太音大全集 Taiyin Daquanji Folio 4, Part 3 (QQJC 30 Volume edition I/81-82; QF/75-77)
See the Comment on the different editions.
(Return)

2. Explanations by translator
See comments concerning the structure of the original text.
(Return)

3. Oblique tones (側聲 ce sheng)
The exact nature of these tones is not clear to me, other than that they are contrasted with "clear tones" (清聲 qing sheng). The following dictionary entry largely quotes the Music Book of Chen Yang (陳暘，樂書) as saying the same thing.

893.79: 側聲。亦稱邊聲，清聲之對。（陳暘，樂書，琴勢論）凡一弄之內，清側殊途，一句之中，莫不有隂陽派潤。

至如《楚明光》、《白雪》寄清調中，彈楚清聲。《易水》、《鳯歸林》，寄清調中，彈楚側聲。《登隴》、《朢秦》寄胡笳調中，彈楚側聲。《竹吟風》、《哀松露》寄胡笳調中，彈楚清聲。若此之類非一，可謂妙矣。

This suggests that perhaps the Northern Song dynasty scholar Chen Yang was the source of these comments. Perhaps it could also be the other way around, but no source is listed for them.

The next section continues 聲經緯....
(Return)

Return to Taiyin Daquanji