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Kumuchan Qinpu Table of Contents
As in Qinqu Jicheng Vol. XXVIII1 |
枯木禪琴譜目錄
1893 |
卷二 Folio 2: 圖、指法 Diagrams and Fingering (XXVIII/31-37)
卷二 Folio 3
卷四 Folio 4
卷五 Folio 5
卷六 Folio 6
卷七 Folio 7
卷八 Folio 8
譜終 End of handbook (XXVIII/144)
1.
Further comment on Kumuchan Qinpu
Regarding the pieces with lyrics, they all come at the end of the piece and there is no indication that they are intended to be sung; it is very unlikely any has been paired according to the standard pairing method
2.
Text and tentative translation of "堅護指甲法 Method for Firming and Protecting Nails"
The meaning in some places, such as at "用殭蚕燒煙薰之 using smoke from burning silkworms", and "膠浮 floating glue", are not clear.
3.
Naluo Fa Qu (XXVIII/137)
Unfortunately nothing is said about that the lama monks might have been chanting.
As for the Beijing Zhantan Temple itself, also known as 潭柘寺 Tanzhe Temple, it was a Buddhist temple located in the Western Hills of Beijing. The Naluo order of monks were generally known for the severity of their practice, e.g., not sitting down when chanting.
优酷 Recording by 虞山吳派琴家余青欣 (Yu Qingxin, 1955-2015)
(BiliBili;
YouTube)
Appendix
From Kumuchan Qinpu QQJC XXVIII/28
Return to the Zhangchunwu Qinpu intro,
to the annotated handbook list
or to the Guqin ToC.
"Original (i.e., new?) lyrics" at end (“平沙水雲，輕煙慘淡斜曛....” )
Short preface; no afterword
Short preface; Cai Wenji lyrics afterwards
Preface; lyrics at end
New; no commentary
New; no commentary
New; no preface; lyrics at end (懷古詞：吊古懷今，豪情何處相倾。....
[p.570]; Source unknown.)
New; no commentary; Recording by
Tony Wheeler on his album Plain Silk Qin
New; Afterword;
further details3
优酷 Recording by 虞山吳派琴家余青欣 (Yu Qingxin, 1955-2015)
(BiliBili;
YouTube)
New; Preface (斯曲乃顏淵之喪....); lyrics (天道何知，茫茫氣運難窺。大化推還，命也焉齊....
[p.332])
Old but with new lyrics; no preface; lyrics
(q.v.) are at the end but seem to pair to the music, which is a version of
Gui Qu Lai Ci
Footnotes (Shorthand references are explained on a
separate page)
Facsimile editions are also available. The ones I have seen come in four volumes, each having two folios. Presumably this is the reason that QQJC ToC divides the handbook into four folios though the book itself is clearly outlined into eight
(Return)
This essay seems to be unique to Kumuchan Qinpu.
The nails of the human hand vary in hardness and softness. The hard ones are resilient and strong, while the soft ones are weak and prone to breaking. The method involves boiling ginger and dwarf lily together, then soaking the nails in the liquid, which will gradually harden them. Alternatively, one can also use the smoke from burning silkworms to achieve the same effect. Using substitutes for nails, such as ivory or tortoiseshell, is also acceptable. For nail protection, one can use the skin from a specific type of fish, applying fish glue and rubbing it in, allowing it to dry, and repeating this about five or six times. Afterward, it can be trimmed and applied to the nails. If only floating glue is used for soaking, it will easily come off.
(Return)
New; its afterword is as follows:
Withered Wood Buddhist Qin Handbook (says):
In the autumn of 1900 I visited a friend in Beijing. While leisurely strolling by the Zhantan Temple I heard lamas singing mantras, their voices clear and harmonious. I inquired around and learned that the piece was the venerable "Naluo Dharma Tune". The next afternoon, I took up my qin and returned. Asking them to repeat it, I then plucked the strings in accord with the way the did it. Putting this into tablature it became this melody."
(Return)
凡例 Explanations
Noticeably missing from these explanations are details such as as explanation of what are the "長筆直竪 long vertical strokes" (the ones that occasionally connect two clusters in the tablature for songs?) that can help with tempo and/or phrasing, about how one might pair the words and music so that they fit together (harmonize? "和入曲調"; see traditional pairing method).
This tablature has been compiled and revised over many years, incorporating various styles from both ancient and modern sources, as well as selections from the private manuscripts of many renowned masters. However, due to the differing traditions in qin play, the titles of the pieces vary significantly. Therefore, I have taken the "Wuzhizhai" and
"Ziyuantang" handbooks as the primary references, along with my own commentary for corrections, in order to continue the legacy of the Guangling style. Enthusiasts may identify the origins on their own.
This handbook includes (explanations of) fingerings for both the left and right hands, as well as indications for techniques such as "fast vibrato", "slow vibrato", "hook third finger inwards" and "pick third finger outwards", with brief instructions provided. Learners must grasp the meanings of these terms in order to avoid having to play simply by imitating someone, as the principles should be easy to remember.
For tablature that does not indicate specific right hand finger technique or a specific place to stop the string with the left hand (such as "hook" and "incite second finger outwards"), please refer back to the preceding cluster for clarification (as it will probably be the same). Anyone who finds the instructions unclear should consult the finger technique instructions.
The punctuation marks in the tablature, as well as long vertical strokes, serve to illuminate tempo and phrasing. However, one must maintain a steady pace without interruption for the slow parts, and without chaos for the fast parts; the entire flow must be coherent to achieve its beauty.
Beginners should not: rely on too much on their own cleverness, be too greedy for more and faster results, do so much it is easy to forget, or rush in a way that will not get you there; don’t make such an effort, that in the end you don’t find the true beauty. Instead, maintain a strong will and determination, remember that practice steadily without overreaching, focus on quality rather than quantity, and approach your studies with patience and diligence.
When playing qin you must carefully examine the nature of the theme. Each piece has its own melodic parameters, and perhaps it will only after playing parts from the beginning to end that you will place it in its mode. The introduction, development, transition and conclusion, the rise and fall of altered tones, the slow start and gradual end, all require grasping the essence. The slow beginning, must allow for developement; a conclusion building to a climax, leads to closure. And by meticulously considering the intentions behind the titles given to compositions by the ancients, we can grasp their meanings.
With some qin pieces there are added lyrics. These have been introduced by the authors in order to convey their emotions and aspirations. Older handbooks often expressed the opinion that the lyrics can be omitted; this was for fear that the subtlety and delicacy of the qin own sound would be overshadowed by the singing. Therefore, lyrics that are in accord with the music have been preserved; but even those that are not in accord should also be excerpted and included, for these are texts that can alleviate our emotional burdens.