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Taiyin Daquanji ToC Folio 5-6 ToC / "Folio 6": ToC Parts: 1&2 / 3-8 / 9-20 / 21-24 / Right-Left / Preludes / Closing / Wusilan fingerings

Taiyin Daquanji ¹

太音大全集

Folio "6", Parts 9-20 (not numbered in original)

卷六：左手指法第三; I/99a

Explanations provided by the translator may be in italics, brackets ( ) or footnotes.²)

對琴法 How (to sit) facing the qin (I/99a)
Where to sit in relation to the the qin (between the fourth and fifth hui: compare with #1 of Wu Cheng's 10 Rules)
置琴於案上，即軫前容一掌，柚琴去一指身畧斜對四五徽，庶左右手往來通便。
(Some of the characters here seem to have been wrongly copied.)
品絃法 Fixing (the relative tuning of) the strings (I/99a)
Details on fixing the tuning of the strings using stopped sounds. Begins by using the open sound of the 武絃 seventh string as the standard then making the sound of the fourth string stopped in the 9th position have the same sound. Then (with the seventh and fourth string pitches now fixed) make plucking the open sixth string have the same sound as plucking the fourth string in the 10th position; if the sounds are different then adjust it by tightening or loosening the sixth string (so now the seventh, sixth and fourth strings are fixed). Next play the open seventh string with the fifth string stopped at the 10th position; now if the sounds are not the same then loosen or tighten the fifth string until it has the same sound as the seventh string. Now four strings are fixed (the fourth, fifth, sixth and seventh). After this play the open sixth with the third stopped at the 9th position, the open fifth with the second stopped in the 9th position and the open fourth with the first stopped in the 9th position. If they are in tune then the whole qin is now in tune, but then you underline this by playing the open third with the first in the 10th position, open fourth with the second also in the 10th position, the open fifth with the third in the 11th positon, the open sixth with the fourth in the 10th position and the open seventh with the fifth in the 10th position....
凡品絃，先定武絃散聲，以徵絃第九徽取聲應之。
次以文絃散聲應徵絃勾聲於第十徽：若有緊慢則整文絃。
次以武絃散聲應羽絃勾聲於第十徽：若有緊慢當整羽絃。
此四絃既定。
然後散挑六大九打三，散挑五大九打二，散挑四大九打一；各令勾打聲於散聲相應。
次又挑三中十勾一，散挑四名十打二，散挑五名十一打三，散挑六名十大四，散挑七名十打五。
謂之間四應九，間三應十，聲在徽上，緊之；則正聲在徽下，慢之。則正聲或急應慢，或慢應急，然相應之然後，可以入曲。凡宮、商、角、徵、羽五調之曲，皆用此律。其餘轉調，皆從既定之後，可以轉之。其訣：大指按九徽間四，名指按十徽間三，惟第三絃十一徽。間三。
彈琴不必多，自古善彈者，只攻三四弄。今人不知此，惟以彈多為能，不思多則不精，精則不多矣。
調琴指要 Essential points for qin play (I/99a)
Ten 4 character phrases, beginning 一：心不散亂 1. The mind should not be unfocused....(Shilin Guangji #1)
彈琴五切 Five precisions when playing qin (I/99a)
Five 4 character phrases, beginning 一：指法合宜 1. The fingering must be appropriate....(Shilin Guangji #2)

I/99b
十善 Ten positive things (I/99b)
Ten 4 character phrases commenting on 欲 needs. beginning 淡欲合古 1. Lightly must be in accord with antiquity....(Shilin Guangji #3)
五能 Five skills (I/99b)
Five 3 character phases with 欲 in middle, beginning 坐欲安 1. When sitting must be peaceful....(Shilin Guangji #4)
九不詳 Nine (methods) lacking precision (I/99b)
Eight 4 character phrases then 1 of six, beginning 不撫正聲 1. Not playing the correct tones....(Shilin Guangji #5)
五病 Five ills (I/99b)
Five 4 character phrases, beginning 布指拙恓 1. Arrange fingers awkward troublesome (?)....(Shilin Guangji #6)
十疵 Ten defects (I/99b)
Ten 4 character phrases, beginning 太淡而拙 1. Too light are awkward....(Shilin Guangji #7)
五謬 Five gross errors (I/99b)
Five 4 character phrases, beginning 頭足搖動 1. Head and feet twisting around....(Shilin Guangji #8)
五不彈 Five times not to play (Shilin Guangji #9 [original]; later lists are longer and paired with good times⁴; I/99b) 1. 疾風甚雨不彈 In a strong wind or heavy rain don't play;
2. 廛市不彈 In a marketplace don't play;
3. 對俗子不彈 In front of common people don't play;
4. 不坐不彈 When not seated don't play;
5. 不衣冠不彈 When not in formal dress don't play. (There is a closing comment saying that these five rules are there so that people will act correctly with regard to the qin.)
彈琴大病有七 There are seven major flaws when playing qin (I/99b)
These more detailed descriptions begin with, When seated don't look around and fidget....(Shilin Guangji #10)

Footnotes (Shorthand references are explained on a separate page)

1.Taiyin Daquanji
See comments with right hand technique explanations. The Taigu Yiyin in Qin Fu p. 102 is more clear.
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2. Explanations by translator
See comments concerning the structure of the original text. This section continued what is in some versions of this handbook a section (see QQJC I/94 - 103) that is considered either as a continuation of Folio 5 or of Folio 6. From pp. 94-101 it has a section with no overall title but with 24 numbered entries on a variety of themes, including finger techniques and rules that should be followed.
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