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Chongxiu Zhenchuan Qinpu
Revised Qin Handbook in the Orthodox Tradition |
重修真傳琴譜
1
Yang Biaozheng 楊表正, 1585 2 |
| Two images of Yang Biaozheng 3 |
Although in the Ming and Qing dynasties there were published numerous editions of handbook(s) transmitting the repertoire of Yang Biaozheng, the surviving versions all seem to have been based on one or the other of two surviving Ming dynasty versions,4 both with prefaces by
Yang himself (q.v.) as well as by Liu Yu5 and others. Both apparently were also edited by Wang Yide,6 and both apparently printed in Nanjing by an engraver named Tang Fuchun and published by a bookshop named Fuchun Tang.7
Perhaps the most noteworthy comment from the prefaces is the one by Liu Yu comparing the present music and lyric pairing to that of the near-contemporaneous Zheyin Shizi Qinpu.
As for the two versions of the handbook, apparently the earliest, they are named here as follows,
The various surviving editions may sometimes change the order of essays or melodies in some places, or have one or more apparent omissions, but in general they all copy one or the other of the two versions identified above, with that latter being largely an expansion and revision of the former. Specifically, the melodies in the latter are sometimes identical to those in the earlier publication, but in many cases they have either small or major revisions or, in a few cases, versions that seem to be a new melody. Because of the similarities, however, this website largely combines its commentary for all the examined surviving versions.
From these editions I have reconstructed and recorded ten melodies (12 titles), leading to the following eight recordings; the recordings are linked from pages that introduce the melodies, as follows:9
6 folios; 3 + 65 pieces (ToC;
Zhenchuan Zhengzong Qinpu is different)
10 folios; 3 + 102 pieces (ToC); at least 16 of these are new.8
)
In addition I have transcribed but not recorded several pieces; some of these were done mainly for comparison with earlier versions. Because these have not yet been recorded as well as their all having lyrics, the interpretations here should be considered particularly tentative. They include:
- #08: Universal Song (浩浩歌 Hao Hao Ge); also 1573 #11; see transcriptions
- #59: Partial Form Melody (殘形操 Can Xing Cao); 1573 #39 & 1585 #59; compare transcriptions with that of 1511
- #61: Departing Snow Goose (別鵠 Bie Gu); 1573 #37 and 1585 #61; compare transcriptions with that of 1511 Bie Gu Cao
- #84: Mount Tiantai Prelude (天台引 Tian Tai Yin); not in 1573; >1505 has transcription from 1585 #84 (only the first four sections)
There are also some translations of lyrics for other songs, such as the following.
- # 9: Jinling Diao Gu (金陵弔古)
- #12: Zhao Yin (招隱) and others where the lyrics can be paired to earlier tablature (e.g., this title in SQMP)
- #16: Qian &
- #17: Hou Chu Shi Biao (前、後出師表); lyrics under Zhuge Liang
As noted in the QQJC Preface, the popularity of the present handbook continued from its first publication right up to modern times. Van Gulik also refers to its popularity, saying it could still easily be found in bookstores in the 1940s and 1950s; he refers to it in several places in his Lore of the Chinese Lute, and translates one essay, but is also rather dismissive of Yang Biaozheng's scholarship.10
At present, however, very few people have published or recorded reconstructions of melodies directly from any of the surviving editions.11 Perhaps this is for some of the same reasons that I have done so little with this handbook. The longer melodies are particularly elusive. My personal examination has found what seem to me many errors and/or non-idiomatic passages.12 In addition there are some prominent finger techniques that are not clearly covered in the tablature explanations.13 For me another important factor discouraging me from further reconstruction of melodies in this handbook has also been that I have not had a singer with whom to work on qin songs (further comment).
Nevertheless, with some persistence I have found what seem to be real gems: with time and effort I would hope more can be found, in particular, a key to his (or this) idiom.
Treating the various Yang Biaozheng handbooks as one means that the commentary on his repertoire is mostly included here under the present edition, published in 1585. As mentioned, it has 105 melodies, and no other versions are known to have material associated with Yang Biaozheng that is not in this edition. It is also the only one indexed in Zha Fuxi's Guide.
Further regarding the different editions of the Yang Biaozheng handbooks, whether their differences represent different stages in the development of Yang's repertoire, different interpretations by transcribers of what he was actually playing, or something else entirely, a careful analysis of the differing versions could shed significant light on the performance of and attitude towards qin songs in the latter half of the 16th century.14
All melodies in the various editions have lyrics, making it just the second surviving qin handbook to focus on qin songs, after Taigu Yiyin (1511 [compare >1505]). However, as with that earlier handbook it is again not clear that all the melodies with lyrics, particularly some of the longer ones, are intended as songs, as opposed to melodies to which lyrics have been added for some other reason. This is an issue which has been studied very little.15
However, the aforementioned popularity of this handbook, plus the fact that often the lyrics take on some of the qualities of popular music, suggest it as a good example showing the potential for qin music to have an appeal outside the milieau of philosophers and recluses.16
Further regarding the pieces here that occur in differing versions in earlier handbooks, here many of these seem to have music very different from that of the earlier versions of the same title. In some cases this may be mostly due to their having been adapted from instrumental melodies into qin songs. Some of these adaptations seem to come from the aforementioned Taigu Yiyin of 1511.
For further information about Chongxiu Zhenchuan Qinpu see,
- The QQJC Preface to Chongxiu Zhenchuan Qinpu
- The original Table of Contents
- Introductions to several individual melodies, linked above
See also the 1573 introduction and ToC.
Footnotes (Shorthand references are explained on a
separate page)
1.
重修真傳琴譜 Chongxiu Zhanchuan Qinpu
In Qinqu Jicheng, Vol. 4; Beijing, Zhonghua Shuju Chuban Faxing, 1982.
The printing of this handbook within this collection is in places rather faint, making it sometimes necessary to consult a facsimile edition.
Also of note, a particular difficulty for reconstructing the melodies here is that much of the tablature has no punctuation - this has to come from come from the punctuation added in Zha Fuxi's Guide to Existing Guqin Pieces in Tablature (1958), specifically the Guide to existing qin melodies with lyrics. Particularly disconcerting is the fact that in some of the harmonic passages there seem to be the instructions 上 shang or 下 xia, as though you can slide during a harmonic.
All this and some other problems have certainly contributed to the fact that so little work has been done on reconstructing the melodies of this handbook.
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2.
楊表正 Yang Biaozheng (1520-1590)
Yang Biaozheng (15489.270; Bio/873), style name 西峰 Xifeng (or: 西峰山人 Xifeng Shanren), also identified himself as a 貢川居士 Gongchuan jushi, gentleman-scholar living privately in Gongchuan, a small but historic town within 永安 Yong'an, in the 延平 Yanping district of central Fujian province. He also identified himself as "巫峽主人 Master of Wuxia" derived from the local place name "巫峽頭 Wuxiatou", located where the 胡貢溪 Hugong Stream meets the 沙溪河 Shaxi Stream near 集風村 Jifeng Village in Gongchuan. The waters of the two streams differed visibly in clarity, and the bridge built there was accordingly named “會清橋 Huiqing Qiao" (Bridge of Converging Clarity). An ancient Huiqing Bridge can still be found near here on modern maps.
Yang is not in Xu Jian's Outline History and the dictionary entries are short. However, there is a detailed online article about him online at www.huain.com: 劉富琳：明代琴家楊表正生平考述. That essay by Liu Fulin suggests Yang began serious qin study ca. 1550.
Since Yang's handbook was printed in Nanjing, and because his handbook
lists 17 disciples from various other places in China, adding that there were many more that could be named later, one can speculate that he mostly lived in Gongchuan but periodically traveled to, and spent time in, Nanjing. Such a trip could take perhaps two weeks, as follows:
This leaves open the question of whether Yang Biaojun brought a Fujian style of qin songs to Nanjing, or developed his style after the move. In this regard it would be particularly interesting to compare the music in the two editions of Yang Biaojun's handbook (1573 and 1585) with that of Yang Lun (also two editions, 1589 and 1609, and also printed in Nanjing [further comment]). From that it seems likely there is more connection than what is suggested by Van Gulik, pp. 76-79, which has Yang's 彈琴雜說 Miscellaneous Remarks on Playing the Qin as well as some of his rules for when and when not to play qin, but has only sketchy biographical information (p. 185).
3.
Images of Yang Biaozheng
4.
Various editions of Yang Biaozheng's handbook (comment)
II. Later version (longer)
III. Specific content uncertain
Van Gulik made useful translations from this handbook, which he calls Qinpu Hebi Daquan, but his comments about it are confusing and, in some places, apparently inaccurate (further detail).
5.
Liu Yu 劉御
Liu's prefaces to the short and long editions are virtually identical (both beginning "夫太古遺音廼樂中最清聲...."), but the date given at the end of the one in the short version is 萬曆改元臘 (1573, the "return to a new original year" of Wanli, i.e., the second year of his reign, which lasted from 1572-1619), while in the long edition the date is given as 萬曆乙酉歲 (1585). In the preface Liu compares Yang's handbook to that of Xi Xian.
6.
Wang Yide 王一德
As yet no other information about him other than that he helped proofread/transcribe Yang’s handbook for publication.
7.
Printer: 唐富春 Tang Fuchun; publisher Fuchun Tang
8.
New titles in the Yang Biaozheng handbooks
Regarding the 16 new melodies with new names, the numbered links below are to entries in the 1585 ToC for these 16 respective new melodies; also given are links to the
1573 ToC for the 9 of these that actually occur first in that edition.
Two other pieces might also be considered as new except that one is closely related to another one here while the other is actually a new title for a version of an older melody:
On the other hand Chongxiu Zhenchuan Qinpu does also seem to have some old titles for what may be completely new melodies (see, e.g., its Zhao Yin). However, I have not yet examined the handbook thoroughly enough to know which pieces might fit this category.
9.
Melodies personally studied from Chongxiu Zhenchuan Qinpu
For a long time the only melodies I had learned from Chongxiu Zhenchuan Qinpu were the three preludes at the beginning of the melody section, elsewhere grouped under a single title Cao Man Yin; I often use these to teach beginners. In 2006 I did a reconstruction of the 1585 Xiang Si Qu (#38), in 2015 added the 1573 version, then in 2016 reconstructed Shi Yin and the two related versions of Xing Tan Yin.
Xiang Si Qu is the earliest known version of the melody which developed later into Gu Qin Yin, still (or again) played today. I began with the 1585 version, not knowing the 1573 one was significantly different. This proved to be quite straight-forward, with few problems. When I discovered that the 1573 version was quite different I reconstructed that one, then recording it and several later related melodies, noting the various differences and thus, of course, raising more questions.
Regarding the "incompleted reconstructions", this refers to the fact that I have begun transcriptions for several more pieces, or simply tried to play them from the tablature, but for these I usually have not gotten very far. The first problem is often translating the texts. Then either I have problems figuring out the note values (sometimes because of mistakes or unexplained terms in the tablature or because the pieces are too short for me to get a feeling for them), or if I have worked out note values I am not satisfied with the result. Perhaps if I were working with a singer that would change.
10.
Van Gulik on Yang Biaozheng and his handbook
Van Gulik's comments on the text being "interspersed with refrains like ya-ya, ai-ya" is somewhat puzzling, as I have not noted this here (and also not in the later Qinpu Hebi). His confusion on the date is similarly puzzling.
Van Gulik also translates an essay from this handbook, but also adding further critical comment about Yang, as follows (p.71):
The chapter I that I have chosen here for translation is interesting because it shows the quaint admixture of heterogeneous elements that qin ideology had come to be....
Miscellaneous Remarks on Playing the (Qin)
The meaning of the (qin) is restraining the false and bringing back to the right, in order to harmonize the heart of man. Therefore the Holy Sages made the (qin) for regulating their persons and for nurturing the harmony of their emotions. Restraining wanton extravagance, and rejecting excessive luxury, one should cherish the music of the Holy Sages, that thereby one may learn the mysterious wonder of their souls, and so rejoice in their thoughts.
Whosoever plays the (qin) must choose a pure dwelling or a spacious hall; or he must ascend a storied building; or he may tarry by trees and rocks, or climb a steep cliff or again he may ramble along the verdant bank of a stream or he may dwell in a monastic abode.
When the two essences of nature are balanced, lofty and clear, on a night when there is a cool breeze and a brilliant moon, he must burn incense in a quiet abode. He must steady his heart, introvert his thoughts, so that soul and body are in complete harmony. Then only shall his soul communicate with the spirit of Nature, and he shall be in harmony with the wonderful Way.
If there is not present a man who understands (the inner meaning of) music, one had better play to the cool breeze and to the brilliant moon, to the dark-green pines and quaintly-shaped stones, to an ape of the mountain tops or to an old crane. Then one naturally grasps the inner meaning of this music. When one knows its meaning, one understands its tendency; when one understands its tendency then one may (truly) understand the music. Though the music be technically well executed, if its tendency is not understaood, what benefit shall it give? It is nothing more than a big noise that avails nothing.
In the first place one's personality should be aloof (from all material things), and still elegant, and one's bearing must be pure. Further, the finger technique should be correct, the touch should be correct, the mouth should be bearded and the belly full of ink (i.e., one should be a mature literatus). Only when these six qualities are all provided for may one take part in the way of the (qin).
If one wishes to play the (qin), one should first see that one is dressed correctly: either a gown of crane-feathers, or a ceremonial robe. (For) only if one knows the appearance of the Holy Sages shall one be able to appreciate their instrument (i.e., the [qin]). Next one should wash the hands, burn incense; then one should approach the table and lay the (qin) on its stand. One should be seated opposite the fifth stud in such a way that this stud faces the heart of the player. Then both hands should be lifted. The heart is regulated, the body is steadied, it does not incline to the right or left, or sway forward or backward. The feet should be planted on the earth like the stance of an archer.
One should take care that the right hand touches the correct string, and that the movements of the left hand are correct. The hands should be kept low and evenly balanced; they should not be raised unduly high. Left and right hand should touch the strings on the places indicated by the studs (in such a way that) the right hand is near the bridge; the nails of the hand should not be long, but just about the breadth of one grain. The strings should be touched half by the flesh and half by the nail; then the sound is not dry, but clear and rich. (The left hand) should press the board as if it would penetrate the wood. The outward and inward touch of the thumb, index and middle finger of the right hand, the vibrato, vibrato ritardando of the left hand, and the quick movements of the right hand over one or more strings, all these touches should be fully expressed, they should not be executed loosely and hastily, to give the impression of a light and flowing style. If one aims at specious dexterity and playing to the eye of the public, one had better leave the (qin) alone and take to acting; if one aims at producing ornate tones that captivate the ear, one had better drop the (qin) and take to the (zheng).
The greatest emphasis must be laid on (distinguishing between) the light and heavy, the swift and slow touch, and between the decrescendo and crescendo.
When one's self is naturally aloof and earnest, then one shall correspond to the Mystery of the Way, and one's soul shall melt together with the Way. Therefore it is said that successfully executing music is not caused by the hands, but by the heart, that music is not produced by notes, but by the Way. When one does not strive to express music in tones, but lets it come naturally, then one may experience the Harmony of Heaven and Earth, then one may be in communication with the virtue of the University Spirit.
Also it is said: The vibrato, the vibrato ritardando, the ascending and the descending attack of the left hand, the light or the heavy, the swift or the slow touch of the right hand, all these things can hardly be explained in words. They can be understood only by a man of learning.
彈琴雜說
See also Van Gulik's comments on Yang Lun Taigu Yiyin. It is somewhat odd that Van Gulik apparently failed to note that many of Yang Biaozheng's melodies use for lyrics famous old poems, and some of Yang Lun's melodies use refrains from popular music. Perhaps this says something about the editions he used, or perhaps he confused the two handbooks. As for his comments on the music itself, he does not mention where he heard them and certainly did not play them himself.
11.
Other transcriptions
Wang Di, 弦歌雅韻 Xian Ge Ya Yun has transcriptions of and tablature for the following five melodies from "Chongxiu Zhenchuan Qinpu" (see pp. 42-49; none specifies the edition), but none is recorded on either of the 2 included CDs.:
Wang Di's 琴歌 Qin Ge (p.26) also transcribes (but does not copy the tablature for) five melodies said to be from 1585; four are as above, but instead of Xing Tan Yin it transcribes the melody it calls 客至 Ke Zhi, a title not found in either the 1573 or 1583 handbooks. Nevertheless, it is especially worthy of mention because, to begin with, it pairs different lyrics to the 1573 melody 詩吟 Shi Yin (Intonation for Poetry), which in turn is in fact the same melody as Xing Tan Yin.
The connection between Shi Yin and the the 1573/1585 Xing Tan Yin is particularly interesting; this is further discussed separately.
12.
Errors
13.
Unexplained terms
14.
Differing versions
Possible reasons for the changes/differences include:
The latter would suggests that the short song Xiangsi Qu was quite popular: the versions I have seen in the two editions, though they have few if any mistakes, are quite different.
15.
Qin songs vs. qin melodies with lyrics
16.
Popular appeal
Return to the annotated handbook list
or to the Guqin ToC.
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Top image 1573, bottom image 1585
(IV/263).
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The latter of the listings below may be unofficial titles rather than separate editions.
All have 6 folios and 68 melodies (3 + 65). In the margin of each folio page are the words "對音捷要琴譜 Duiyin Jieyao Qinpu".
This volume, found on such sites as catalog.digitalarchives.tw and
shuge.org (which do not say where the original is kept), has also been reproduced in the 叢書 compendium "域外漢籍珍本文庫". The original copy is apparently in the 日本國會圖書館 Kokkai Toshokan (Japanese National Diet Library; compare the
National Archives of Japan, formerly the Naikaku Bunko). It has a seal of the Japanese imperial library (帝國圖書館) at front along with old library reference numbers and other seals, one having a date (大正4.12.1寄贈: "donated Taisho 4": 1915/6). The text first refers to itself as "太古琴 Taigu Qin", then as "琴譜真傳 Qinpu Zhenchuan". The full title, above, does not appear until after the prefaces (E45). Paragraph 1 of the Preface in QQJC, Vol. IV (p. I) also mentions this title, though without the words "Xinkan".
A copy in the National Library, Taiwan, where it can be viewed on microfilm. It has the same title and almost identical content as the above (notable differences include the absence of seals on the first page and the inclusion of
two images not in the online facsimile edition). The catalogue says it was "金陵書肆唐富春刊本 a volume from the Nanjing bookstore Tang Fu Chun".
The Catalogues of the Library of Congress and the Harvard-Yenching Institute list a copy under this title as well as the above title; it is not clear whether these are two items or one, or whether they are actually in their own collections.
All have 10 folios and 105 melodies (3+102). In the margin of each folio page are the words "西峯重修琴譜 Xifeng Chongxiu Qinpu". However, these all seem generally to be referred to by the title 重修真傳琴譜 Chongxiu Zhenchuan Qinpu, although that is a short form that never appears as such on any of the original editions.
This is the volume in Qinqu Jicheng, which reprinted a copy then belonging to 汪孟舒 Wang Mengshu. As in the other later/longer versions so far examined, it has the full title 重修正文對音捷要真傳琴譜大全 Chongxiu Zhengwen Duiyin Jieyao Zhenchuan Qinpu Daquan, but this is first written after the opening prefaces, i.e., with Folio I (QQJC IV/264). Two columns after this title the publication place is said to be 金陵三山街綉谷對溪書坊唐富春梓 Jinling Sanshan Jie Xiukuduixi Shufang Tang Fuchun Zi. After the last melody the date is given as 萬曆乙酉歲孟虬吉旦 (1585) and but the publication place is slightly different: 金陵三山街富春堂梓 Jinling Sanshan Jie Fuchun Tang. There are then two more essays. This volume thus seems to be the same as the volume in Siku Quanshu Cunmu Congshu (next).
This seems to be the same as the volume just listed. Dated 萬曆十三年 (1585), it is the one actually published in Siku Quanshu Cunmu Congshu, Vol. 子 73. which says it was "唐富春刻積修堂印本 Tang Fu Chun Ke Jixiutang Yinben".
This volume, which seems to have "重修正文對音 Chongxiu Zhengwen Duiyin" as its subtitle, says the original was a 積秀堂藏版 Jixiutang Zangben; it has been published in Xuxiu Siku Quanshu Cunmu Congshu, Vol. 1092 (which seems to list it as 重修正文對音捷要真傳琴譜大全 Chongxiu Zhengwen Duiyin Jieyao Zhenchuan Qinpu Daquan!). Its content seems to be virtually identical to that of the previous, just rearranging some pages (e.g., after the opening preface it has three pages of essays that the other edition placed at the end).
Presumably similar to the above, though the comments
below by Van Gulik suggest there may have been some that were different.
See Qinshu Cunmu, #183 (which also mentions other titles)
Name listed in Qianqingtang Shumu
See Van Gulik, Lore of the Chinese Lute, p. 185 ("1503 [sic]. Imperial Catalogue, ch. 114, leaf 7 verso"); compare above and Qinpu Hebi (as in Wenyuange Siku Quanshi 839?).
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No further information on him as yet. The original text of this preface is
here along with a summary.
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Identified only as 明撫州臨川人 from Linchuan in Fuzhou (south of Nanchang in today's Jiangxi province). His entry (the last entry in the 1585
"sage list" (IV/268) says only the following,
前書琴譜人咸稱善。今西峰先生重修，見其詳
備，援筆樂書。性索好琴，頗知琴中之意。江右撫
州臨川人，荊國公後裔也。今割居東邑，別號見
溪江湖散人也。
In earlier times this qin handbook was widely praised by all. Now Master Xifeng has revised it, and seeing its completeness and detail, I gladly take up the brush to write this. By nature I have long been fond of the qin, and have some understanding of what lies within it. I am a man of Linchuan in Fuzhou, Jiangxi, a descendant of the Duke of Jingguo (Wang Anshi?). I now reside apart in eastern districts, and my other sobriquet is "Stream-Gazing Recluse of Rivers and Lakes”.
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1573: 唐富春 Tang Fuchun: "金陵三山街書肆對溪唐富春梓"
1585: 唐富春 Tang Fuchun: "金陵三山街綉谷對溪書坊唐富春梓" (IV/264)
1585: 富春堂 Fuchun Tang: "金陵三山街富春堂梓" (IV/513)
Perhaps a man named Tang Fuchun later named his store Fuchun Tang. There is further comment under Zha Fuxi's
introduction.
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There are 18 new titles for what seem to be 16 new melodies. Of the 84 old titles, some of them also have new melodies, but details of this are not yet clear.
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In addition to the melodies listed above, for which I have done recordings as well as transcription and commentary, I have also partially reconstructed the following:
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R.H. Van Gulik, Lore of the Chinese Lute, p. 185, describes what he calls Yang Biaozheng's 琴譜合璧大全 Qinpu Hebi Daquan (a "bi" is a piece of jade, but here the suggestion is paired music and lyrics) as follows (note that "Imperial Catalogue, ch. 114" is "Siku Quanshu 114", which includes the 琴譜大全 Qinpu Daquan listed above):
琴者，禁邪歸正，以和人心。是故聖人之治將以治身，育其情性，和矣！抑乎淫蕩，去乎奢侈，以抱聖人之樂。所以微妙，在得夫其人，而樂其趣也。凡鼓琴，必擇淨室高堂，或升層樓之上，或於林石之間，或登山顛，或游水湄，或觀宇中；值二氣高明之時，清風明月之夜，焚香淨室，坐定，心不外馳，氣血和平，方與神合，靈與道合。若不遇知音，寧對清風明月、蒼松怪石、顛猿老鶴而鼓耳，是為自得其樂也。如是鼓琴，須要解意，知其意則知其趣，知其趣則知其樂；不知音趣，樂雖熟何益？徒多無補。先要人物風韻標格清楚，又要指法好、取音好、胸次好，口上要有髯，胸中要有墨：六者兼備，方與添琴道。如要鼓琴，要先須衣冠整齊，或鶴氅，或深衣，要知古人之象表方可稱聖人之器；然後浴水焚香，方才就榻，以琴近案，座以第五徽之間，當對其心，則兩方舉指法。其心身要正，無得左右傾欹、前後抑合，其足履地，若射步之宜。右視其手，左顧其弦，手腕宜低平，不宜高昂，左右要對徽，右手要近嶽，指甲不宜長，只留一米許。甲肉要相半，其聲不枯，清潤得宜。按令入木，劈、托、抹、踢、吟、揉、鎖、歷之法，皆盡其力，不宜飛撫作勢，輕薄之態，欲要手勢花巧以好看，莫若推琴而就舞，若要聲音艷麗而好聽，莫若棄琴而彈箏。此為琴之大忌也。務要輕、重、疾、徐，卷舒自若，體態尊重，方能與道妙會，神與道融。故曰：「德不在手而在心，樂不在聲而在道，興不在音而可以感天地之和，可以合神明之德。」又曰：「左手吟、揉、綽、注，右手輕重、疾徐，更有一般難說，其人須要讀書。」
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Other than my own, reconstructions from Chongxiu Zhenchuan Qinpu are mostly by 王迪 Wang Di. However, to my knowledge none has been recorded and the transcriptions are often difficult to follow. There are also at least two (清江引
Xing Tan Yin and 清江引
Qing Jiang Yin) in 薄克禮、張子盛主編：中國古代琴歌精華校譯 Bo Keli and Zhang Zisheng, Comparative Edition of Essential Chinese Ancient Qin Songs.
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Such errors might be connected to the differences that can be found between editions. Such errors can be obvious (unplayable) or they might better be called "apparent" (seemingly inappropriate notes). My work with this handbook has mostly consisted not of reconstructing the melodies, but of comparing the basics of its versions with the same melodies in earlier handbooks. Almost invariably the versions here are very different. Note that the lyrics are often the same as those found in either
Zheyin Shizi Qinpu
(comment) or
Taigu Yiyin.
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For example the "Important left hand fingerings" include a "撞 zhuang", described as "急上下 quick up and down", and a "猱 nao/rou" described as "去上徽又下 go up from the inital position then back down", but many pieces, particularly in the 1585 edition, do not seem to use these terms, only "上下 up down" or "卡 (short for 上下?)". One can only guess as to how to differentiate these, or guess what the significance is of the 1573 in a number of places having direct indication of ornamentation (including nao), while most of the tablature in 1585 has none.
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My comments here can only be considered as preliminary observations as, although I have seen both the 1573 and 1585 editions, I have played only a few of the melodies. Longer melodies that are not so clearly songs may not have as much variation between editions.
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The method of pairing words and tablature almost exclusively follows a
fairly strict formula of one word per right hand stroke. The justification for this is often something like, "Confucius sang like this when he played so we should also". However, it is difficult to imagine many of the longer pieces with lyrics as actually intended for singing. Perhaps the pairing was done for idealistic reasons, perhaps the intention was only that the words be read silently or out loud while the music was playing. Sometimes the lyrics might even have been a mnemonic device to help remember the melodies.
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This means appeal to people that presumably conservatives such as Zhu Quan might call "the wrong sort of people." Zhu Quan in his Preface to Shen Qi Mi Pu wrote insultingly of riffraff playing the qin. He does not mention members of the merchant class, but the qin certainly had appeal to people of this class who wished to be connected to literati culture. For more on this see The Qin in Novels and Opera.
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