(Qin and Se, First Part)
In ancient times, the use of the qin and se was suited to their respective sound types. Yunhe (Cloud Harmony) is from a yang place, and its qin and se are suitable for performance at the Circular Mound Altar. Kongsang (Hollow Mulberry) is a yin place, and its qin and se are suitable for performance at the Square Marsh Altar. Longmen (Dragon Gate) was carved out by human effort, and its qin and se are suitable for performance in the Ancestral Temple. Emperor Zhuanxu was born in Kongsang, Yi Yin was born in Kongsang, and Yu the Great carved out Longmen — all of these names are derived from their respective places. Thus, could Yunhe be what the Yu Gong (Tribute of Yu) refers to as Yuntu (Cloud Soil)? Blind musicians were in charge of playing the qin and se. In the Book of Songs, "The Deer Call" (Lu Ming) states: "Drum the se, drum the qin." The Book of Documents says: "With the qin and se, chant praises." The Great Commentary (Da Zhuan) also says: "The great qin has polished strings, reaching across; the great se has vermilion strings, also reaching across." The Erya states: "A great qin is called a 'li'; a great se is called a 'sa'." From this, we can see that the qin is easy and fine, while the se is calm and good. They are both primarily used in the Shanggong (upper palace music), and they have never been used without complementing each other. The Mingtang Wei states: "The great qin, the great se, the middle qin, and the small se were the musical instruments of the Four Dynasties." The ancients made music in such a way that the sounds responded to each other to form harmony, and the large and small did not exceed their proper measures, achieving balance. Thus, when using a great qin, it must be paired with a great se; when using a middle qin, it must be paired with a small se. Only then does the large not overpower, the small not become suppressed, and the five tones achieve harmony. The Rural Drinking Ceremony (Xiang Yin Jiu Li) states: "The musicians are all present; to the left is He playing the se, and behind is Shou playing the yue." The Banquet Ceremony (Yan Li) states: "A minor official sits to the left playing the se, facing forward while holding a yue." The Record of Music (Yue Ji) states: "The se of the Pure Temple had vermilion strings, widely spaced apart." The Book of Songs says: "Sitting together, playing the se — why not play the se every day?" The Commentary mentions: "King Zhao of Zhao played the se for Qin." These passages do not mention the qin but rather use the se to represent the qin. When Shun created the five-stringed qin, he sang Southern Winds (Nan Feng) poem, yet the se was not mentioned — this was to use the qin to represent the se. Later generations had the "elegant qin" (ya qin), elegant se (ya se), hymn qin (songqin), and hymn se (song se) — could this be because their sounds were suited to the Ya and Song sections of the Book of Songs? The qin is one (unified). Some say it was created by Fuxi, others say by Shennong, and others claim Di Jun ordered Yanlong to make it. The se is also one. Some say Zhu Xiangshi ordered Shi Da to make it, others say Fuxi made it, and yet others claim Shennong and Yanlong made it. Could all these accounts have simply been passed down from hearsay?

以理考之，樂聲不過乎五。則五絃、十五絃，小瑟也；二十五絃，中瑟也；五十絃，大瑟也。 彼謂二十三絃、二十七絃者，然三於五聲為不足，七於五聲為有餘，豈亦惑於「二變二少」之說，而遂誤邪？ 漢武之祠太一、后土，作二十五絃瑟。今太樂所用，亦二十五絃，蓋得四代中瑟之制也。 莊周曰：「夫或改調一絃於五音無當也，鼓之二十五絃，皆動其信矣乎！」 聶崇義《禮圖》，亦師用郭璞二十三絃之說。其常用者十九絃，誤矣。蓋其制： 前其柱則清，後其柱則濁。 有八尺一寸、廣一尺八寸者。 有七尺二寸、廣一尺八寸者。 有五尺五寸者。 豈三等之制不同歟？ 《詩》曰：「椅、桐、梓、漆，爰及琴瑟。」 《易》通：「冬日至，鼓黃鍾之瑟，用槐，八尺一寸；夏日至，用桑，五尺七寸。」 是不知美檟、槐、桑之木，其中實而不虛，不若桐之能金石之聲也。 昔仲尼不見孺悲鼓瑟而拒之，趙王使人於楚鼓瑟而遣之。其拒也，所以愧之、不屑之教也；其遣也，所以諭之、不言之戒也。 聖朝太常瑟用二十五絃，具二均之聲，以清、中相應。雙彈之第一絃，黃鍾中聲；第十三絃，黃鍾清應。 其按習也，令左右手互應，清正聲相和。亦依鍾律擊數合奏，其制可謂近古矣。誠本五音互應，而去四清，先王之制也。

臣嘗考之：《虞書》：「琴瑟以詠」，則琴瑟之聲，所以應歌者也。 歌者在堂，則琴瑟亦宜施之堂上矣。竊觀聖朝郊廟之樂，琴瑟在堂，誠合古制。 紹聖初，太樂丞葉防乞宮架之內，復設琴瑟，豈先王之制哉？

(Qin and Se, Middle Part)
Some (vague) old accounts suggest that perhaps it was Zhu Xiang who ordered Shi Da to create a five-stringed se, which was then played by Gu Sou (Shun’s blind father). It is also said that this was later increased to fifteen strings, and that Shun further added to it, making it twenty-three strings. Still others say the Great Emperor (probably the Yellow Emperor) had Su Nü play a fifty-stringed se, but the emperor for some reason was then so overcome with sorrow and that he could not bear it, so he broke it, reducing it to twenty-five strings. Guo Pu claimed, "The great se is called a 灑 sǎ". It is also said there is a twenty-seven-stringed version.

Qin and Se, Final Part (Yue Shu says:)
That which is above form is called the Dao; that which is below form is called the instrument.” The qin is the music that gentlemen and scholars constantly keep by their side. When unhewn and scattered it forms an instrument; when its principles are understood it manifests the Dao. Only the gentleman truly delights in obtaining this Dao, and thus uses his heart to commune with it. He plans to do so all his life, and even without any particular reason he will not set it aside even for a moment. Therefore he is able to go beyond the mere physical instrument of raw wood and enter into the enlightened principle of the Dao, ultimately carrying the Dao with him and uniting with it. Now, the music of the qin is meant for chanting and singing, and so it has distinct categories such as chàng (暢, ode), cāo (操, lament or song), yǐn (引, prelude), yín (吟, chant), nòng (弄, medley), and diào (調, tune). For example, Yao’s piece “Shen Ren” (“Divine Person”) is a chang composed as harmonious music; Shun’s “Si Qin Cao” (“Thinking of Parents”) is a cao composed to express filial longing. Pieces like “Xiangyang” and “Kuaiji” belong to the cao of the Xia dynasty; pieces like “Xun Tian” belong to the cao of the Shang; pieces like “Li You” belong to the cao of the Zhou. Those called “yin” (引) include, for example, the state of Lu’s “Guanju Yin” and the state of Wei’s “Si Gui Yin”; those called “yin” (吟) include “Jizi Yin” and “Yiqi Yin”; those called “nong” include “Guangling Nong”; those called “diao” include “Zijin Diao”. Likewise, the (qin names) “Qingjiao” of the Yellow Emperor, “Haozhong” of Duke Huan of Qi, “Raoliang” of King Zhuang of Chu, “Lüqi” of Sima Xiangru, and “Jiaowei” of Cai Yong, up to names like "Jade Bed", "Echoing Spring", "Resonant Chime", "Pure Clarity", "Delighting the Spirit", and so on – qin are simply different names for qins. And techniques such as yín (吟, fast vibrato), náo (猱, slow vibrato), sàn (散, playing open strings), yì (抑, pressing), mǒ (抹, inward rubbing), tī (剔, outward plucking), cāo (操, strumming), fǔ (撫, brushing), bò (擘, plucking with thumb), lún (綸, outward plucking of a string with several fingers), cù (促, quick notes?), chuò (綽, slowing up to), cuō (縧, accelerating?) and the like are all methods of sound production on the instrument. When labeled a "chàng", a piece is gentle and harmonious; when labeled a "cāo"", it is solemn and formal. A "yǐn” (prelude) leads into and explains a melody; a “yín” (chant) recites and intones its theme; a "nòng" is to play and practice it; a “diao” is to adjust and harmonize it. In all, there are thirteen methods of sound (or types of compositions) – as explained in detail by earlier scholars.

As for the Book of Songs (Shijing), it says: "yitong, paulownia, catalpa, and lacquer — thus are qin and se made." The Book of Changes says: "At the winter solstice, the huangzhong (Yellow Bell) se is played, made from locust wood, measuring eight chi one cun." "At the summer solstice, a se made from mulberry wood, measuring five chi seven cun, is used." This suggests that the best materials for making qin and se are catalpa, locust, and mulberry, because their cores are solid rather than hollow. This is superior to paulownia, which, while capable of producing a resonant sound akin to metal and stone, does not match the former in substance. In ancient times: Confucius refused to see Ru Bei when he played the se, rejecting him outright. The King of Zhao sent a musician to Chu to play the se, only to dismiss him. His rejection was meant to shame him and express disdain—a lesson in moral refinement. His dismissal was meant to advise him silently, without words. In the present sacred dynasty, the se of the Grand Sacrifices (Taichang) still uses twenty-five strings, fully encompassing both the two tonal systems (qingyin 清音 and zhongyin 中音, clear and middle tones). The first string, when played in paired plucking, corresponds to the huangzhong (Yellow Bell) middle tone. The thirteenth string corresponds to the huangzhong clear tone. When practicing, the left and right hands should correspond, producing a pure and harmonious sound. It follows the pitch standards of bells and chimes, with the number of beats in ensemble performance conforming accordingly. Its design can truly be said to be close to antiquity, faithfully maintaining the system of the five tones, harmonized in response, while eliminating the four extra clear tones—just as was ordained by the sages of old. I have examined this matter. The "Book of Yu" (虞書) states: "The qin and se accompany the chant" (琴瑟以詠). Thus, the sound of the qin and se is meant to harmonize with the singing. Since singing takes place in the hall, the qin and se should also be placed in the hall. Observing the sacrificial music (郊廟之樂) of the present dynasty, the qin and se are positioned in the hall, which truly aligns with ancient tradition. At the beginning of the Shaosheng era (紹聖, 1094–1098, during the Song Dynasty), the Assistant Music Master (太樂丞) Ye Fang (葉防) petitioned to restore the placement of the qin and se inside the ceremonial framework of the palace (宮架之內). But was this truly the system of the ancient kings (先王之制)?

(Yue Shu Folio 119 Part 4) To follow the harmony of Heaven and Earth, nothing is greater than music; to exhaust the essence of music, nothing is greater than the qin. Among the eight sounds, silk is the sovereign; among silk instruments, the qin is the sovereign; and within the qin, the middle position (zhonghui) is the sovereign. Thus, the gentleman always keeps it at hand, never leaving it — unlike bells and drums, which are arranged in the hall below and set upon hanging racks. Because it is moderate in size, its sound is harmonious: Loud tones do not become clamorous and scattered, yet they flow widely. Soft tones do not become muffled and extinguished, yet they remain audible. Thus, it is sufficient to move a person’s virtuous heart and restrain their wicked intentions, ultimately leading them into the realm of balanced harmony. Creating the five-stringed qin, and singing the Southern Wind (Nan Feng) lyrics, to harmonize the five tones — this began with Shun. Southern Winds have the energy of growth and nourishment; the qin is the sound of the summer solstice. Shun, using his virtue of nurturing life, spread the sound of the summer solstice — this was the beginning. His affection and joy in parental bonds transformed the world — this was the end. His affection and joy in parental bonds made it so that all under Heaven recognized the father-son relationship. Thus, if one says that "the qin's sound is harmonized and the world is governed," nothing achieves this more than the five tones — is this not precisely the case? Yangzi (Yang Xiong) said: "Shun played the five-stringed qin, and the world was transformed." The tradition says: "Shun played the five-stringed qin, sang the Southern Wind poem, and without stepping outside his hall, the world was governed." From this, we see that Shun playing the five-stringed qin and singing of the Southern Wind was nothing more than praising the virtue of parental care and expressing the heart of filial piety, using it to resolve his sorrows. Was this not merely to ease the people’s grievances and enrich their lives?