Qing Yu Yi

In fact, the tuning of qingyu mode is the same as that of ruibin mode in that you tighten the fifth string one position, making the fifth string do. The difference is that in the ruibin melodies the tonal center generally remains la, sometimes shifting to mi; in Qing Yu Yi and Taoyuan Chunxiao the focus is also generally on la and mi, but almost all of the sections end with the tonal center changing to do.

Many melodies thematically connected to region of the ancient southern state of Chu use this raised fifth tuning, and the setting of Taoyuan Chunxiao can also be said to fall into that pattern.

Original commentary

None

Music
Not divided into sections (see beginning of my transcription; timings follow my recording 聽錄音)

00.00 1.
00.51 end
(Serves as prelude for Tao Yuan Chun Xiao)

Footnotes (Shorthand references are explained on a separate page)

1. Qingyu Diao 清羽調
Qingyu (清羽 18003.xxx; 6/1298xxx) might literally be translated as "Pure Feather". The tuning is the same as 蕤賓調 Ruibin mode (tighten the fifth string one position). The ruibin preface in Shen Qi Mi Pu gives 金羽 Jinyu (gold feathers) as an alternative; the mode name qingyu occurs only here. Perhaps it is significant that the main note of the melody is yu (sol); or perhaps the "feathers" in the title suggests the theme of immortality. (Return)

2. Tighten the fifth string one position. (Return)

3. Zha Guide 23/--/-- . Note, however, the mention of qingyu in the Xilutang Qintong preface to Pei Lan. (Return)

Return to the annotated handbook list or to the Guqin ToC.