Standards for the Guqin A Contemporary English Guide to learning the Chinese SevenStringed Zither First Edition Juni L. Yeung Toronto Guqin Association Standards for the Guqin 0
(Dedication) Standards for the Guqin 1
Forward Standards for the Guqin 2
Table of Contents Forward 2 Table of Contents 3 The Root of All Fundamentals 4 The Instrument 5 Technical Aspects of Playing Posture 6 Notational Overview 8 Fingering Notation – Right Hand 9 Fingering Notation – Left Hand 13 Tuning 22 Essay: Ruibin Tuning: A Misplaced Name for the Tightened 5th String Tuning” 26 A Brief on Modern Guqin Culture Reading List – A Source Guide to Learning and Research A Preface to the Repertoire On the tablature interpretation process – Dapu Repertoire A – Standard Tuning Etudes 仙翁操 Xianweng Cao “Etude of the Transcendent Venerable One” 酒狂 Jiu Kuang “Mad with Drunkeness” 關山月 Guanshan Yue “Moonlight Upon The Mountainous Pass” 流觴 Liu Shang “Flowing Goblet” Repertoire B – Non-Standard Tuning Etudes 秋風詞 Qiufeng Ce “Lyrics to the Autumn Breeze”, Mangong Tuning (Slacken 3rd String) 陽關三疊 (渭城曲) Yangguan Sandie (Weicheng Qu) “Three Variations to the Yang Pass Theme (Wei City Song)”, Ruibin Tuning(Tighten 5th String) 華胥引 Huaxu Yin “Prelude to the Utopian Land”, Qiliang Tuning (Tighten 2nd, 5th Strings) Repertoire C – Standard Tuning Pieces 古風操 Gufeng Cao “Etude to the Style of Antiquity” 漁樵問答 Yuqioo Wenda “Dialogue of the Fisherman and Lumberjack” 孔子讀易 Kongzi Duyi “Confucious Reading the I Ching” Standards for the Guqin 3
平沙落雁 Pingsha Luoyan “Geese Landing on Flat Sand” 松下觀濤 Songxia Guantao “Watching the Waves from Under the Pines” Repertoire D – Non-Standard Tuning Pieces 離騷 Li Sao “Grievance to Departure”, Qiliang Tuning (Tighten 2nd, 5th Strings) 秋宵步月 Qiuxiao Buyue “Strolling under the Moon in Autumn Evening”, Biyu Tuning (Tighten 3rd, Slacken 1st,4th,6th strings) 孤竹君 Guzhu Jun “The Lord of Guzhu”, Chuanming Tuning (Slacken 1st, 3rd, 6th strings) Afterward “Les Jeunes-Filles en Heptachordia Sinesis et Clavichordia” (琴の少女達) Acrylic on Canvas, 42” x 30”, painted by the author, 2007. Standards for the Guqin 4
The Root of all Fundamentals: A Few Basics Reading Guqin scores require memorization of numerous symbols which may appear alien even to the native Chinese reader. However, knowledge of Chinese characters for the numbers 1 to 10 (一 二 三 四 五 六 七 八 九 十) by heart is a must. 11, 12 and so on are expressed as 10-1 or 10-2 (十一, 十二…) in Chinese. For sake of information, numbers past 20, such as fourty-seven, is expressed as “fourtens seven”, or “四十七”. The importance of this will be explained later regarding the left hand tablature. Know the difference between a guqin and a guzheng – this is a common mistake to many people. The guqin has only seven strings and is smaller (hence more portable) than the guzheng. The guzheng has more strings (16 to 21), have movable bridges that determine the tone of each string, and can be up to twice the size of a standard guqin. The sound of the guzheng is harpy and flamboyant, whereas the guqin is deep and meditative-sounding, with rich, speech-like glissando notes. guqin guzheng (from http://www.geidai.ac.jp/~odaka/gcat/japanese/tubezithers.html) Given our modern environment and resources, network with other guqin players in your area – ask around, and utilize the Internet. Numerous websites are linking players worldwide in forms of forums and newsgroups. While a music background or previous music knowledge is not required to begin learning the guqin, developing a sense of music elements (such as determining relative pitch, a sense of melody and rhythm) is crucial to mastering it. Standards for the Guqin 5
The Instrument The guqin (Ku Ch’in in Wade-Giles) is composed of two wooden boards glued together and lacquered to give its shiny and smooth surface. Since the sound emanates from the underside of the instrument, the top board is a rounded piece of a light, porous wood, while the bottom is a flat piece of a heavier, dense wood. In China, Paulownia and Catalpa wood are often used for the top and bottom respectively. The wood must be completely dry in order to produce the crisp sound and be able to preserve over the ages, hence the wooden pillars and beams of old buildings are often considered prime material for making instruments. In more recent times, pine and spruce woods have been used in making guqin as well. The Yin-Yang School of ideology considers the roundedness and flatness (square-ness, rectangular), lightness and heaviness, hardness and softness, and various other characteristics of the woods to represent the characteristics of heaven and earth. The guqin has thirteen round markers ( 徽 , “hui”, insignias or marks) above the first string, usually made of mother-of-pearl or small plates of precious stone or metal. These markers are laid out in a parabolic variable distance from each other. The distances are calculated by dividing the effective length of the string (from the Yueshan bridge to the Dragon Gums’ end) in a Pythagorean pattern. To be more precise, the 13 marks are calculated by dividing the effective length by twos thrice and threes twice. These hui represent the 12 months of the year in addition to the leap month of the Lunar calendar. The enlarged centre hui (7th) also symbolize the sagely sovereignty. Seven strings span across the top board, named “gong,shang,jue,zi,yu,wen,wu ( 宮 商 角 徵 羽 文 武 )” starting from the lowest string positioned furthest away from the player. The first five names represent the five ‘proper’ sounds of the Chinese (pentatonic) scale, while Wen and Wu originate from the first two kings of Zhou Standards for the Guqin 6
Dynasty. According to Yin-Yang school teachings, these strings also relate to other natural hierarchies and elements. In order, the five sounds reflect “sovereign/master, subject/servant, people, subject-matter, object”. Over the ages, musicians and kings attempted to add more strings onto the instrument while citing the Wen and Wu kings as a role model, but were all deemed as unnecessary and redundant. By the Tang Dynasty, the basic structure of the instrument has become preestablished. As the guqin was perfected in its technical and musical design, the original nomenclature of the first five strings sparked debate. This will be explained in further detail in the “Tunings” section. Technical Aspects of Playing Posture The Chinese did not sit in the piece of furniture we know as the chair today back in the time of the guqin’s invention, and played the instrument crosslegged, with the instrument on both shins or the end standing on its goose feet on the ground. At times, low tables support the instrument. About the Tang Dynasty, when chairs became more prevalent, guqin playing took form to the regular table-and-chair posture as we know it today. When choosing a table for playing the guqin, a hard but somewhat permeating surface (such as an old hardwood desk) is ideal. Avoid use of tablecloths and glass tables. When authentic guqin tables aren’t available, a desk at “writing” or “keyboard” height is ideal. The right side of the table should always be left open to let the instrument “fall off”. If one has to use a dining table, a phone book or two on the chair should be suffice to counteract the height difference. Place the instrument as pictured. The tuning pegs should fall off the side of the table and not touch the tableside. Therefore, always look for a table with the Standards for the Guqin 7 A 10-stringed guqin found in Mawangdui Tomb, ca. Western Han Dynasty. Image from Answers.com On the floor or in a chair, guqin is meant to be played sitting down. Image from Taigu Yiyin (1280) and Xilutang Qintong (1549), compiled courtesy of silkqin.com. When table heights are too high, elevate the chair to compensate. Photo from UTQA archives, student David Powell performing.
right side open. Position your heart inline with the 5th marker (hui) on the board. Sit straight with a slight forward (so that strength will pour in from your shoulders down to the wrists to the fingers) and feet planted to the ground. Avoid leaning on the back of the chair. On Posture of Fingers Right hand fingers act like little hammers, moving straight back and forward when playing single notes. This is so that the notes are to sound confident and affirm the player’s intentions as it is. The first joint of the finger (the one closest to the palm) should be the only joint that bends in a motion. Tiao (index finger outward) should always be supported by the thumb on the index finger pad for a firm enunciation. The ancients assigned notes to fingers according to the characteristics of the sound each finger produces, therefore the fingering (or the style) should be carefully observed. The index finger is agile and produces a balanced sound. The middle finger supports the index finger and produces a stronger note. The ring finger adds complexity and is soft-spoken in tone. The thumb adds a sense of affirmation to the musical phrase. Modern players tend to replace ring finger movements with the middle finger, but often forget the difference in tone quality and volume between these two fingers. Hence it is important that if one does replace the fingering, the effect of the ring finger (gentle, soft-spoken) must be emulated, or adapt to use the original fingering. After every pluck, the fingers should stop just before the adjacent string on an outward movement, or perch on the adjacent string if an inward movement (stopping that string). If there is no string adjacent, control one’s hand with the mind so that the hand does not wander off too far away. The right hand should not fly high with exaggerated movements. Standards for the Guqin 8
Notation Overview Guqin scores are written since the late T’ang Dynasty in a system known as “Jianzi-pu (減字譜, Ch’ian Ts’u P’u in WadeGiles, literally reduced ideograph notation”)”. The system consists of compiling and compacting a series of left and right hand movement syntaxes into one Chinese-like character. There are three main categories of Jianzi Pu: “Actual notation ( 正 字 )”, “Accompaniment notation ( 旁 字 )”, and “Appending notation (旁註)”. Actual notation records the “proper tones” produced by obvious plucking, while accompaniment notation records the “resonance” or the sound(s) after the pronounced tone. Appending notation records rhythm modifiers. The most fundamental type is the actual notation, but is the most complex. They consist of three mandatory components and several optional modifiers. First, string number(s) are recorded in larger font on the bottom half portion of the character. The string number is then surrounded or topped by a symbol that originates from the reduction of the right hand movement’s name. Finally, the left hand fingering and position is recorded on top of the previously mentioned components. Should these components be missing on any given character, it is assumed that it would follow suit from the most recently mentioned state. For example, a character denoting right hand middle finger makes an inward movement to pluck the 3rd string while left hand plays a harmonic on the 10th hui. Should the next two jianzi characters be simply the numbers “4” and “5”, it would assume that the right middle finger continue to pluck these strings in an inward movement while the left hand would be placed on the 10th hui to produce the harmonics in similitude to the aforementioned 3rd string At times, stylistic accidental modifiers (Zuo and Zhu, explained in the next section) are added to the side or the top of the right hand movement, below the left hand movement component. Harmonics may also be denoted by a special character on top of the whole character, but its use is similar to accidental notation in Western music and is sparingly used, for pieces usually have entire phrases played in harmonics and is noted by its own detached start and stop symbols, similar to pedal notation on the piano. Right hand movements may not be limited to only plucking one string. In this case, the right hand movement’s (reduced) character would go on top of (and sometimes between) two sets of string numbers (one set may include more than one string at times). Left hand positions are placed directly on top of the string number instead, allowing the right hand movement character to completely envelop the other components inside it. Left-hand movements in terms of vibratos and glissandos are written separately from the tonal notes, and will be covered more in detail in the related section below. Standards for the Guqin 9 Jianzi-pu Character Layout (Dual/Multiple String) Jianzi-pu Character Layout (1-String actual notation)
Fingering – Right Hand Script Name Details Basic Fingering (single string with single sound) 托 Tuo1 Thumb plucking in an inward movement, see Note 1 . 擘 Bo4 Thumb plucking in an outward movement, see Note 1. 抹 Mo3 Index finger plucking in an inward movement 挑 Tiao1 Index finger plucking in an outward movement. Posture: Should be supported by thumb when pushing out. 勾 Gou1 Middle finger plucking in an inward movement 剔 Ti1 Middle finger plucking in an outward movement. 打 Da3 Ring finger plucking in an inward movement 摘 Zhai1 Ring finger plucking in an outward movement Single-string movements (multiple sound movements) 抹挑 Index finger plucking inward then outward motion. This may have an implication to play the two notes faster than if written separately. 勾剔 As above, middle finger. 打摘 As above, ring finger. or 疊蠲 Die3 Juan1 in rapid succession on the same string. Produces two quick but clear sounds. The simplified version of this shorthand is not to be confused with Quanfu and Banfu (全扶,半扶). However, some old scores will record this movement with multiple strings. In that case, perform a quick on all involved strings, while using the middle finger to stop the previous string as the next is played. 抹勾 Mo3 Gou1 Similar to above, but has implication to play slower, making the two sounds distinct from each other. 1 The debate on the definition of “in/outward” becomes especially important for the thumb movements for its identity as the opposing finger. Most agree on “inward” defined as “toward the center of the palm” and vice versa, but a some groups (and some prominent traditional handbooks) still agree on “inward” as “towards the player’s body”. One must make sure which definition is taken when interpreting or playing a piece by examining the original document’s fingering section. Standards for the Guqin 10
半輪 Ban1 Lun2 in rapid succession on the same string. Knuckles should be bent and lined against each other, firing off in an unrushed manner. Speed of playing this movement depends on context of the piece. 輪 Lun2 in rapid succession on the same string. Produces 3 sounds. Knuckles should be bent and lined against each other, firing off in an unrushed manner. Speed of playing this movement depends on context of the piece. 北 くくく or 小 くくく 背鎖 or 小鎖 Bei1 Suo3 or Xiao3 Suo3 in rapid succession on the same string. Produces 3 sounds. Please see note 2 regarding rhythm. 矢 くくく 短鎖 Duan2 Xuo3 on the same string. Produces 5 sounds. See note 2 regarding rhythm. 長 くくく 長鎖 Chang2 Xuo3 ( ) on the same string. Produces 7 sounds (sometimes specified as 9 sounds with the term 九声). See note 2 regarding rhythm. Multiple-String Movements (single/double-sound movements) 歷 Li4 A movement on two (or more) consecutive strings. The focus is on being light, brisk, and clear. 如一 Ru3 Yi1 “As one”, perform a on two strings simultaneously to produce one whole sound. This character is usually written in subscript (and looks like accompaniment notation) and includes one pressed and one open string. E.g. (4th string at 7.6 hui, open 3rd string ) 撮 Cuo1 There are two variations of this movement: on two separate strings to produce 1 sound for smaller distances (2~4 strings apart), OR on two separate strings to produce 1 sound for larger 2 Different masters have different explanations on the suo patterns. While variations may seem endless and confusing when cross-referencing different schools of teaching, the basic pattern must be noticed: the rhythm for dividing the series of notes are fixed, and are played out from combinations of and in-out sequences (such as ). The formula for suo rhythms are as follows: Standards for the Guqin 11
T distances (5 strings apart or more, usually used for perfect octaves) The sound that is produced from this movement should always be a perfect chord. Any or both of the strings may be pressed according to situation. 反撮 Fan2 Cuo1 Same as above, reverse motion: for smaller distances (this movement may require some practice), OR for larger distances. Appears only after a . 潑 Bo1 simultaneously to produce 1 sound. The fingers are lined up close to each other and act as one moving body part to produce a powerful sound from the string(s). 剌 La2 (NOT ci4) simultaneously to produce 1 sound. The fingers are lined up close to each other and act as one moving body part to produce a powerful sound from the string(s). 潑剌 Bo1 La2 A combination of the above, playing followed by a . 打圓 Da3 Yuan2 Play (moderately, then pause) (quickly, then pause) and (drift out) on the two previously mentioned strings. This character is written in subscript, separately from the indicated strings. 摟圓 Lou1 Yuan2 Play and on two separate strings simultaneously. Produces 1 sound. The effect is similar to a small , but only used for harmonics and gentler in strength. There is another movement played similarly, but can be used for open and pressed notes called chuo4 齪, denoted by the simplified symbol 足. 雙彈 Shuang1 Tan3 on two strings simultaneously with power, each finger in consecutive order. An alternative name for this is (鼓, Gu3) 三 口口 三彈 San1 Tan3 on two strings simultaneously with strength, each finger in consecutive order. (For emphasis, some may replace the first with another ) Multiple-String Movements (Multiple-sound movements) 滾 Gun3 A series of played continuously. The accompanying string numbers indicate the starting point to the final string. This symbol is not to be confused with the number six. 臨 Lin2 Similar to above, but played with (the index finger). Only used for harmonics. 沸 Fu2 A series of played continuously. The accompanying string numbers indicate the starting point to the final string. 滾沸 Gun3 Fu2 A combination of and , producing a back-and-forth wave of sounds. Standards for the Guqin 12
索鈴 Suo3 Ling2 “A string of bells”, Similar to , but played as a series of (index) instead of (ring). Usually played with harmonic notes. 全扶 Quan2 Fu2 On two consecutive strings, on the top string. As the continues to the bottom string, the middle finger stops the top string sound by touching it, then proceeding with on the two strings. When playing the bottom , the ring finger stops the top string’s sound by touching it. Produces 4 sounds in one continuous chain. 半扶 Ban4 Fu2 On two consecutive strings, on the top and bottom strings, with middle finger stopping top string by touching it during the on the bottom string. Used for harmonics only, produces 2 sounds in one continuous chain. 掐撮三聲 Qia1 Cuo4 San1 Sheng1 On the aforementioned two strings (of which one is pressed), perform a and with the left hand (refer: Left hand “Yan 罨, to cover” and “Qia Qi 掐起, to dig up”), the two strings, and two more times, and another . Produces 8 sounds. (Quick reference: , ) 掐潑刺 三聲 Qia1 Bo1 La2 San1 Sheng1 On the aforementioned two strings (usually consecutive, of which one is pressed), perform a and with the left hand, followed by a , and two more times, ending with a . Produces 8 sounds. (Quick Reference: , ) 摘潑刺 Zhai1 Bo1 La2 On the mentioned two (consecutive) strings, perform a on the lower string, then the upper string, and then a on both strings. Produces 4 sounds. 小 日小間勾 Xiao3 Jian1 Gou1 Involves 3 strings, of which the top 2 must be consecuti ve (e.g. strings 3,4,5 or 2,3,6). Begin with on the lower string of the consecuti Standards for the Guqin 13
ve set, followed by on the top string, finally a on the remaining untouche d string. Produces 3 sounds. SEE NOTE 3 . 大 日 大間勾 Da4 Jian1 Gou1 Involves 3 strings, of which the top 2 must be consecutive (e.g. strings 4,5,7 or 5,6,7). Begin with a on the lower string of the consecutive set, followed by on the top and lower strings. As the middle finger hits the lower string, ring finger stops the top string, followed by on the two strings. Finally, the remaining untouched string. Produces 5 sounds. (e.g. 5, 4, 5, 4, 7), SEE NOTE 3. 3 Some textbooks may explain the Jian Gou movements to be simply a and with 1 string in the middle for the smaller and 2 strings for the larger movement. This is a mistake. Standards for the Guqin 14
Others 伏 Fu2 “To prostrate oneself”. Use palm of right hand to cover the vibrating strings to abruptly stop the sound. This movement is usually used in conjunction with , therefore also has a variant known as (la fu 剌伏). It is suggested that one plays this with the right hand near the 4~5th hui, so that the covering motion creates a slapping sound like the ripping of silk. Fingering – Left Hand Right-hand Movement Related 大指 Da4 Zhi3 Left hand thumb. Tip: Using a “half-flesh, half-nail” area of the thumb to press on the string produces the best result. When playing multiple strings, the thumb joint can also be used. , 食指 Shi2 Zhi3 Left hand index-finger. 中指 Zhong1 Zhi3 Left hand middle finger. 名指 Ming2 Zhi3 Left hand ring finger. Tip: Rotate the finger so that it is on the left side, using near the “half-nail, half-flesh” area to press on the string. This would allow greater control to press or touch the string properly and accurately. 跪指 Gui4 Zhi3 Literally “kneeling finger”, left hand ring finger’s second joint (the upper joint, closer to the fingernail). Tip: Instead of using the palm muscles exerting downwards to support the finger against the string, practice using the end of the finger to exert downward force on its own. When using this movement, pretend as if the end joint is kicking out and onto the board. 就 Jiu4 Assume the same left hand fingering as from the previous description (on the music score). Tip: Unless otherwise stated, jianzi-pu without left hand fingering automatically assumes whatever movement was stated before. Tone Quality 散 San3 Open String. Play with right hand only (Left hand not pressing or touching). Standards for the Guqin 15
,安 按 An4 Stopped/Pressed note. Press down string firmly onto board 泛 Fan4 Harmonics. Place finger accurately on the marked position on the string (touching, but applying no force whatsoever) while plucking with the right hand. Tip: As tradition describes, “like a dragonfly skimming on a surface of water”, the touch must be light in order to make the sound crisp and clear (which lasts about 6~8 seconds on a typical instrument). As skill improves, try removing the left finger directly after obtaining the sound. 泛起/止 Fan4 Qi3/Zhi3 Begin / stop playing described notes as harmonics. These characters are written in subscript, and both must be used to bracket a selection of movements that is to be played as harmonics. A note in the middle of the bracketed sentence cancels the effect for that note, however. An Explanation of Position-Marking on the Instrument The thirteen markers laid across the effective length of the top board mark the Guqin’s finger positions for harmonics. These are laid out by dividing the effective vibrating length of the string by 2 and 3 for several times. There are 91 harmonics positions (plus two sets of seven more for yet another set approx ½” away from the 1st and 13th hui. The hui number of every harmonic note is shown on the upper-right corner. Pressed note positions are also recorded on the same spot, but with further variation. Since the basis of the pentatonic scale works differently on pressed notes and harmonics, pressed notes use a “decimal system” where the space from one hui to the next one is divided into tenths. Since there is no space to obviously denote the decimal, the Chinese simply state the decimal after the hui number, such as (10-8, or 10.8, read “tenth hui, eighth fen”), (6-4, or 6.4). The Qin textbook Yuguzhai Qinpu (1855) also noted an even more precise system by further dividing the fen into tenths, hence totaling the divide of the distance of 2 huis by 100. This obviously is impractical for recording (as hand-copied and printed handbooks both could easily smudge and become illegible with such gross amount of detail) and actual playing, so rarely anyone put this into practical use. A final note is that for 0.5 positions, the character キ (Shorthand for 半) is used instead of 五, example such as 8.5: . Standards for the Guqin 16
Basic glissandos Shang2 A firm upward glide from the previous position to the marked coordinates, e.g. shang 7.6 (from a position lower than 7.6). At times, a number may be attached before the shang symbol, indicating how many stops the player makes in order to reach the position, e.g. 2 shang 7 (from 9th hui) would involve sliding firmly up from 9th 7.6 (or 7.9 depending on string) 7th. See note 4 . Xia4 A firm downward glide from the previous position to the marked coordinates, e.g. xia 9 (from a position higher than 9). At times, a number may be attached before the xia symbol, indicating how many stops the player makes in order to reach the position described below, e.g. 2 xia 9 (from 7th hui) would involve sliding firmly down from 7th 7.6 (or 7.9 depending on string) 9th. See note 4. 拖 Tuo1 Drag. Slide left hand in a dragging manner to indicated location. 拖 拖 Yin3 “Lead to”. Drag naturally (unhurried, up once or twice) to exact location. 拖 Chao1 (NOT Chuo4) Sliding up onto tone. Begin from a slightly lower position (away from the bridge) and slide up to position as the sound is produced. For example, a Chuo 9 would mean pressing the string at a certain distance lower than 9 (anywhere from 10 to 9.5 is acceptable), pluck as the left finger slides up to 9 and hold. 拖 Zhu4 Sliding down onto note. Begin from a slightly higher position (closer to the bridge) and slide down to position as the sound is produced. For example, a Zhu 9 would mean pressing the string at certain distance higher than 9 (7.9 is acceptable), pluck as the left finger slides down to 9 and hold. 拖 Jin4 Advance. From a pressed note, move up one note (on the pentatonic scale) while ensuring an audible volume after the transition. 退 Tui4 Retreat. From a pressed note, move down one note (on the pentatonic scale) while ensuring an audible volume after the transition. 復 Fu4 “Return”. From a previous advance or retreat movement, return back to original pressed note position. Advance-return can be written together as and retreat-return as . Glissando Tempo Descriptors 4 These multi-step slides require familiarity of the pentatonic scale and its corresponding positions represented on each string. Standards for the Guqin 17
急 Ji2 “hurriedly, quickly”. 緩 Huan3 “unhurried, slowly”. 連 Lian2 “Legato, connected”. 滸 hu3 After playing a pressed note, pause briefly and glide up lightly several positions (usually 3 or 4 notes on the pentatonic scale, but not strictly controlled). 輕 Qing1 “Lightly”. (piano) 重 Zhong4 “Heavily”. (forte) 硬 Ying4 “Firmly”. Similar to Shang (up), but quicker and should have a firmer remaining sound than after a shang movement. 淌 Tang3 When playing a shang, push note back down (return to or beyond original position) just before the note drifts out. Vibratos – Yin (吟) 吟 Yin2 A small-degree vibrato performed closely around the actual tone (¾ tones or less on the pentatonic scale). Begin by playing the actual tone, then move slightly back and forth for two to three revolutions, finishing on the original position. The movement is described as “in style of reciting a poem”, and the movement should be rounded, natural (as to human speech), and gradually decreasing. A graphical representation is presented below: 绰 吟 Chao1 Yin2 Perform a chuo in precedence to a pressed note with a yin. 注吟 Zhu4 Yin2 Perform a zhu in precedence to a pressed note with a yin. 落指吟 Luo4 Zhi3 Yin2 Begin to perform the vibrations in the yin movement as soon as the pressed note is being plucked. 長吟 Chang2 Yin2 “Long yin”. Extend the sound of the pressed note for a longer time (a slower yin). 細吟 Xi4 Yin2 “Small yin”. The pitch variation is more subtle than a standard yin (For example, what was originally ¾ of a tone is now ½ of a tone). Standards for the Guqin 18
急吟 Ji4 Yin2 “Hurried yin”. Play with urgency and rushed feeling. 緩吟 Huan3 Yin2 “Unrushed, slow yin”. Play at ease and in a relaxed pace. 緩急吟 Huan3 Ji4 Yin2 “Unrushed, then hurriedly yin”. Play the note with the yin two times, with the first with an unrushed yin, then the second time with a rushed one. 雙吟 Shuang1 Yin2 “Double yin”. On the same string, play the note and its accompanying yin twice (in the same manner, unlike Huan-ji yin). 定吟 Ding4 Yin2 “Fixed yin”. 逰吟 You2 Yin2 “Roaming yin”. 往來吟 Wang3 Lai2 Yin2 “Back-forth yin”. 飛吟 Fei1 Yin2 “Flying yin”. Vibratos – Nao (猱) 猱 Nao2 A medium-degree vibrato performed only either above or below the actual tone (about 1 note on the pentatonic scale). Begin by playing the actual tone, then move slightly back and forth for about four to five revolutions, finishing on the original position. The movement is described as “like a sloth climbing a tree”, and the movement should be rounded and gradually decreasing in tone variation. A graphic representation is presented below: 緩猱 Huan3 Nao2 “Unhurried nao”. 急猱 Ji4 Nao2 “Hurried nao”. 落指猱 Luo4 Zhi3 Nao2 Perform the vibrations of nao as soon as the right hand produces the pressed note. Standards for the Guqin 19
撞猱 Zhuang4 Nao2 Perform a zhuang (See next section) followed by a nao (without striking a tone on the right-hand again after the zhuang). 蕩猱 Dang4 Nao2 “Wavy nao”. A deliberate yet natural nao, similar to objects yielding to the wind or splash waves from a stone thrown into a pond. Abrupt Portamento and Vibrato 撞 Zhuang4 “To collide (or bump)”. Perform a rapid zhuo after obtaining a sound with the right hand lightly above the original intended pitch, then rapidly return to original position with a firm movement. The result is 1 actual tone, followed by 2 empty tones. 虛撞 Xu1 Zhuang4 “Empty zhuang”. After playing a pressed note, go up or down (shang, xia) 1 tone (on the pentatonic scale), then perform a zhuang. Because the right hand did not play immediately before the zhuang part, the note should be an empty one. 逗 Dou4 “To provoke”, “To skilfully vie for (something)”. Move 0.1 to 0.2 of a tone up before actually plucking with the right hand, then after obtaining the sound, continue firmly moving upwards, followed by a quick, empty fall back to the original intended tone position. The note should not be played too heavily in order to prevent a convoluted sound. The result is 1 tone slightly higher than intended (produced by the right hand) merged into an empty tone (the actual pitch). 使 Shi3 Assuming that a previous pressed note was played, perform a zhuo* followed by a yin (as below) or nao. Then perform a zhuang from the raised position back to the original sound. This move is different from xu-zhuang and dou because the right hand does not play immediately before this movement. Make sure that this movement is played continuously and very smoothly. The diagram below will attempt to explain the movement: Standards for the Guqin 20
* Up to this point, it is similar to xu-zhuang. 喚 Huan4 After obtaining the pressed note, move slightly upwards, then quickly down past the original pitch by about another 1 or 2 positions in a firm manner, then return to original position in a hollow manner. The movement should be light-hearted, as it resembles “a swan calling for rain”. Left Hand Finger Replacement Techniques 起 Qi3 “To rise up”. General term that can be further defined, but otherwise lifting up the left finger pressing on string. Other definitions include: Qia-qi, Dui-qi, Zhuo-qi, Dai-qi, Pié-qi, Tong-qi 掐起 Qia1 Qi3 Pick-up, lit. “hold/gather up” While the thumb is pressing on a previously mentioned position, the ring finger presses onto the movement’s indicated position, then the thumb removes itself from the string in a diagonal direction, while slightly dragging the string to produce a lower pressed note (the pitch is whatever the location the ring finger is on). 對起 Dui4 Qi3 Similar to Qia-qi, but the first note (the note involving the left thumb’s position) involves the right hand playing the string, while Qia-qi does not. Modern scores use this and Qia-qi interchangeably. 爪起 Zhua3 Qi3 “To hook up”. Remove thumb from pressed string by slightly arching it inwards (a clawing manoeuvre), pulling the string slightly backwards, then lift up, producing one open note. 帶起 Dai4 Qi3 “To bring up”. Remove ring finger from pressed string by slightly pulling string backwards and lift up, producing one open note. 撇起 Pie2 Qi3 After obtaining the pressed note (with the left thumb), perform a zhuo, then lift up the thumb in a diagonal direction, producing an open note in the process. This move is now obsolete, as modern pieces use zhuo-qi in replacement. 方 放 Fang4 Release. Similar to 帶起, produces one open note. Difference is in the hand movement: instead of going upwards away from the instrument, the hand moves directly towards the next pressed position (on a different string). Standards for the Guqin 21
放合 Fang4 He2 From a previous pressed note, jump onto the next string, position, and right finger movement mentioned by plucking this next note while simultaneously releasing the previous string. Produces one sound that should be harmonious or matching. 同聲 Tong2 Sheng1 The two previously mentioned notes/movements should be played simultaneously, producing one sound. 同起 Tong2 Qi3 Similar to above, except applied to one plucked string, while another one (the formerly pressed string) is being brought up, producing one sound together. 推出 Tui1 Chu1 “To push out”. Using indicated left finger (usually middle), push out and release string, producing one open note. 應合 Ying1 He2 After playing a certain stopped note, slide up or down to match with the sound that is produced from an open note recorded before this symbol. (e.g. A sound at 10th hui on the fourth string, then slides up to the 9th hui just as an open seventh string is played.) 分開 Fen1 Kai1 “To divide apart”. Play the previously noted compound note separated, by playing the first sound, perform a , then play the remaining note. Left-Hand Notes 罨/掩 Yan3 “To cover”. Assuming that a previous note was a pressed note, using the indicated left hand finger, strike down and hold onto the indicated string (likely the same one) and position, producing one sound. 虛罨 Xu1 Yan3 “Empty cover”. Similar to the above, only that a pressed note was not previously played. The left finger would have to produce one sound from relying solely on striking the string, instead of altering a previous tone. 虛按 Xu1 An4 After obtaining a certain sound (assuming open string), lightly press on the marked position as if playing a harmonic (which will restrain the sound), then remove finger. Tempo & Rhythm Modifiers 、 緊﹐慢 Jin3 man4 “Tighten” and “Slacken”, respectively. (Used for string tuning) 。 句號 Ju4 Hao4 Footstop. End of a musical phrase. 入拍 Ru4 Pai1 Play according to rhythm. (On beat, alla tempo) 入慢 Ru4 Man4 Play section, slowed down. (Ritardando) Standards for the Guqin 22
入 杀 入殺 Ru4 Sha1 Play broadly, declaratively while hushing any drifting tones. (Marcato) , 再作 Zai4 Zuo4 “(Perform) again”. Repeat bracketed/implied section once more, totalling two times. 二作 Er4 Zuo4 “(perform) again two times”. Repeat bracketed/implied section twice more, totalling three times. 從頭再作 Cong2 Tou2 Zai4 Zuo4 Repeat from start. This is similar to the Western “Da Capo”. If in middle of a piece, refer to the start of the section instead of the whole piece. 從『再作 Cong2 (symbol) Zai 4 Zuo 4 Repeat from (open quotation symbol). This is similar to the Western “Dal Signo”. 少息 Shaao1 Xi1 A brief pause. 大息 Da4 Xi1 A longer pause. 不動 Bu2 Dong4 (Left hand) immobile. Keep left hand on string and position in preparation for a note on the same position further down in the piece. 曲終 Qu3 Zhong1 End of piece. Standards for the Guqin 23
Tuning Past and Present Standards The guqin is tuned in absolute pitch when playing in harmony with another instrument or a group of instruments, but is not confined to this during solo play. In replacement of practicing scales on other instruments, tuning and string position would be a rough equivalent to technical exercises for a guqin student in addition to fingering techniques. For students who are uncertain of their aural capabilities in determining if two given strings are producing the same pitch, purchasing a guitar tuner with automatic pitch detection may help. However, due to the era and nature of the instrument’s original design, the tuner’s tuning technically is slightly off from the traditional Chinese pentatonic scale system (albeit only a small difference of several Hertz). In the past, the guqin had five strings, named “gong(宮), shang(商), jue(角), zi(徵), yu(羽)” respectively. The scale began with the open note of the first string. With the standardization of the seven-stringed zither and its plethora of tuning variations, a debate for which is the 'standard tuning' sparked up, with some musicologists arguing for the first string as the basis of the scale, while others on the third string. According to our current standard tuning, should the first string be tuned as C, the open notes of the seven strings would be CDFGAcd, and conventions would indicate that the scale begins on the third string (on F pitch). In other words, the scale is sung "so-la-do-re-mi-so-la" or 5612356. In retrospect, the first-string tonic system would mean that in order to fit with the standard pentatonic scale (do-re-mi-so-la, or 12356), the strings must be tuned to CDEGACD, or lowering the third string by one semitone (one 'lü'), so that the tonic or gong string would be on the first instead of the third. The tonic string usually can be conveniently identified on the guqin by a stopped note on the 11th hui matching with the open tone 2 strings down (otherwise expressed as “1 string in the middle”). Nonetheless, the effects from the old belief in the “first string as ‘gong’” lingered onto the classification of pieces and in certain older tuning systems. Standards for the Guqin 24 FYI: What pitch is “1”? A historical issue Huangzhong is the standard for the scale in Chinese music, and the exact pitch of this note varies per dynasty (It was deemed ritual for the first emperor of each dynasty to set it, actually). By the end of the Qing Dynasty and the prevalence of Western music standards in China, the more developed Western music theory standards have already been taken in as common ground for the international community. As a means of allowing common ground in the sharing and discourse of music and music theory, Chinese musicians have decided to relate Huangzhong with the modern C. Once that was set, the 12 tones of an octave could then be interrelated one by one. The modern interrelations are: C (黃鐘 Huangzhong), #C (大呂 Dalü), D (太簇 Taicu), #D (夾鐘 Jiazhong), E (姑洗 Guxian), F (仲呂 Zhonglü), #F (蕤賓 Ruibin), G (林鐘 Linzhong), #G (夷則 Yize), A (南呂 Nanlü), #A (無射 Wuyi), B (應鐘 Yingzhong)
Standard Tuning - Setting Guqin strings are tuned in consecutive order of the pentatonic scale, one tone at a time, unlike most Western stringed instruments, which are tuned by dominants (one string is 5 whole tones up or down from the next/previous one). This results in many recurring pitches in harmonics and stopped notes. The diagram below clearly shows the positions of all similar harmonic notes on the instrument. Note that there is always (at least) one set of harmonics in any given tuning that will not match. To set the modern standard tuning, use a tuner to set either the first string as C or the third string as F (This is optional if you are unable to tighten a certain string any higher, but if this happens on a new instrument, that string should be restrung. Older instruments with aged, unchanged strings should be tuned lower to avoid breaking). Tuning pieces, beginner etudes, or simply set lines all work around the principle of using a single string as standard, then compare with an equivalent pitch (on a different string). Since any position is considered “correct” once a standard is set on a string, one is given many choices on which other string to compare. For example, if the first string is set, one can compare its 4th/10th harmonic with the third string’s 5th/9th harmonic, or the 7th harmonic of the fourth string. Varying these alternatives, one way (of many) to tune all seven strings is shown below, starting from the 9th harmonic of the first string: 1 st string 9th marker (Standard) = 4th string 7th marker (tune this string) 4 th string 9th marker = 2nd string 10th marker (OR 7th string 7th marker) 2 nd string 9th marker = 5th string 7th marker… The pattern is variations of two sets of positions that have equivalent pitch, which are the 9th/10th (5th/4th) harmonics and the 9th(4th)/7th harmonics, while avoiding the exception pair. Cross-check into pairs that have been checked before in the tuning session after coming halfway through the cycle – you may find that somewhere during the tuning process, a pair may have led the whole gamut up to a whole tone higher. Standards for the Guqin 25
When listening to the two sounds being played consecutively, here is a mental checklist: - Which strings am I playing? Which one is the “standard”? - Did I play the “standard” note first? Last? - Is the standard note higher than the other note? Lower? By how much? - Did I find the corresponding knob on the right for the string, and turned it accordingly? (About 1 twist per semitone, may vary per instrument) - Do the strings sound the same? Am I playing on the right position - Move on to the next set. - Crosschecking (Playing a pair that has already been tested again) is good! On Wai-diao (External Tunings) – System & Nomenclature Guqin tunings are named in various ways, either by key (such as the standard tuning also named Zhonglü, the Chinese name for the tone equivalent to the Western F), by indicating which strings are altered (in comparison to standard tuning), by historical aspects, or by poetic or emotional descriptors. There are also two systems for classifying external tunings. There are cyclical tunings, utilizing the circle of fifths to change the location of gong or tonic sound; and irregular tunings that do not follow this pattern. Keeping in mind that the guqin’s strings are not pitch-specific, the role of each string is free to interpretation as to what pitch and part of scale it is. Say in the standard tuning, it is said that F on the third string is the gong/tonic of this scale, since this arrangement is laid out to suggest the FGAcd part – a complete pentatonic scale. Should we choose to have the first string as gong, we can lower the 3rd string by one lü to make the scale CDEGAcd, with the first five notes suggesting the pentatonic scale. A chart can clearly explain the variations that can be done on the seven strings: Gong/tonic # Mode (key) Name / Tuning Name Strings altered 1 st/6th string 大呂均 Dalü Mode (#C #D F #G #A #c #d) ‘ (黃鐘調 Huangzhong Tuning) +1,2,4,5,6,7 4 th string 夷則均 Yize Mode (C #D F #G #A c #d) * 泉鳴調 Chuanming Tuning, 夷則調 Yize Tuning, 慢宮調 Mangong Tuning +2,4,5,7 2 nd/7th string 姑洗均 Guxian Mode (C #D F G #A c #d) ^ 清商調 Qingshang Tuning, 姑洗調 Guxian Tuning, 夾鐘調 Jiazhong Tuning +2,5,7 5 th string 無射均 Wuyi Mode (C D F G #A c d) “ 蕤賓調 Ruibin Tuning, 金羽調 Jinyu Tuning, 清羽調 Qingyu Tuning +5, one lü 3 rd string 仲呂均 Zhonglü Mode (CDFGAcd) 正調 Standard Tuning -------- 1 st/6th string 黃鐘均 Huangzhong Mode (C D E G A c d) ‘ 慢角調 Manjue Tuning -3, one lü 4 th string 林鐘均 Linzhong Mode (‘B D E G A B d) * 泉鳴調 Chuanming Tuning, 夷則調 Yize Tuning, 慢宮調 Mangong Tuning -1,3,6 2 nd/7th string 太簇均 Taicu Mode (‘B D E bG A B d) ^ 清商調 Qingshang Tuning, 姑洗調 Guxian Tuning, 夾鐘調 Jiazhong Tuning -1,3,4,6 5 th string 南呂均 Nanlü Mode (‘B bD E bG A B bd) “ 蕤賓調 Ruibin Tuning, 金羽調 Jinyu Tuning, 清羽調 Qingyu Tuning -1,2,3,4,6,7 Standards for the Guqin 26
* The tuning methods marked by the symbol parings sound the same, should the tonic be unspecific in pitch. It becomes clear that doing a perfect transition based on the circle of fifths allow only certain variations on the instrument. Hence guqin players have intentionally omitted the changing of certain strings during a certain transition to provide an ‘accidental’ key, and acts somewhat similar to a minor key in Western music. The following is an exhaustive chart of these irregular variations used: Gong string Tuning Name Strings changed Missing string from closest perfect tuning 1 st 慢商調 Manshang Tuning (C C F G A c d) -2 two lü 2 nd by 2 lü to standard 1 st/5th 黃鐘調 Huangzhong Tuning 無射調 Wuyi Tuning 復古調 Fugu Tuning (‘bB D F G bB c d) +5 one lü, -1 two lü 1 st by 3 lü to Ruibin 5 th 淒涼調 Qiliang Tuning 楚商調 Chushang Tuning (C #D F G #A c d) +2,5 one lü 7 th by 1 lü to Qingshang on Guxian Mode 2 nd/7th 碧玉調 Biyu Tuning (B D F F A B d) -1,4,6 one lü +3 ½ lü, match 4th . 3 rd by 2 lü to Qingshang on Taicu Mode 4 th or 1 st 無媒調 Wumei Tuning 慢角調 Manjue Tuning (C D E G A B d) -3,6 one lü 1 st by 1 lü to Chuanming 1 st/6th 間弦調 Jianxian Tuning (C D E G bB c d) +5 one lü –3 one lü 3 rd by 1 lü to Ruibin, or 5th by 1 lü to Huangzhong Mode 1 st/5th 離憂調 Liyou Tuning (‘bB C F G bB c d) +5 one lü -1,2 two lü 1 st and 2nd to Ruibin 3 rd 玉女調 Yunü Tuning (‘B D E G A c d) -1,3 one lü 1 st to (Huangzhong Mode) 2 nd/7th or 1st 側商調 Zeshang Tuning (C D E #F A B d) -4 one lü -3,6 two lü 1 st to Qingshang on Taicu Mode By now, it becomes apparent that the names have become somewhat confusing – while the names of tunings and modes sound similar (e.g. “Huangzhong Tuning” versus “Huangzhong mode”), they are completely different in sound. As for why and how guqin tuning names have become so nondescript to its mode or even musicologically misleading, additional reading has been provided on the next page. Despite the confusing nature of the guqin tuning system’s nomenclature, the belief in maintaining tradition and the effort required in restructuring all classical texts from the last half-millennia makes the reorganizing and re-standardization of tuning names impractical. Hence, it is important for the guqin player to understand the origins and effects of this effect, and that one does not confuse the standards of “Tuning” with “Mode”. Standards for the Guqin 27 For the Advanced Musician and Amateur Musicologist You probably may have realized that some pitches on certain strings don’t exactly sound right when compared to, say, an electric tuner or piano – even when the fifth string is tuned to a perfect A. You may also know that this is because the strings are not tuned using equal temperament, but another form of musical temper known as Pythagorean temperament, which calculates the twelve sounds of an octave by dividing, subtracting, and adding frequencies and finding its perfect third, fourth, fifth, and sevenths. That’s why in Chinese, this tonal system is called “三分損益律” (San-fen-Sun-Yi-Lü, “Thrice-divide, Subtract, and Add Temperament”). Compared to equal temperament used in modern Western music, certain notes are off by several halfsteps (fractions of a semitone).
Standards for the Guqin 28 Further Reading FYI: Translated Text “Ruibin Tuning: A Misplaced Name for the Tightened 5th String Tuning”, by Nanfeng (Chen L ei, 2005) “Wuyi mode tuning” refers to a tuning with the seven strings tuned to Huangzhong, Taicu, Zhonglü, Linzhong, Wuyi, QingHuangzhong pitches (equivalent to the modern C,D,F,G,A#,c,d), and is named so because of the Wuyi (#A or bB) on its fifth string as the Gong (tonic) sound. Wuyi mode tuning has many other names in guqin history, such as “Ruibin(蕤賓) tuning”, “Zhonglü (仲呂) tuning”, “Zhi (徵) tuning”, “Jinyu (金羽, golden yu) tuning”, “Qingyu (清羽) tuning”, et cetera. This essay will attempt to investigate the legitimacy of these aliases. Using the word yun (均) after the twelve tones’ (十二律,lü) actual name is a relatively reasonable method in identifying and naming the untransposed mode. The ‘scientific’ aspect of this nomenclature is that the name contains the name of the mode’s pitch, allowing the reader to directly relate the name to its pitch. But “Wuyi mode tuning (with its tonic pitch at Bb)” being called “Ruibin Diao/Tuning”, “Zhonglü Tuning” etcetera not only cannot show where the pitch is, but can also cause misunderstanding to the person reading the score, thinking that the tuning is in a Ruibin (#F) or Zhonglü (F) key or mode. What’s more important, is that when the tuning is used to explain the interpretation of the pitch and the transpositions of the guqin pieces, these alternative names or aliases become even more difficult to explain themselves. Here are two examples: In Zha Fuxi’s Dongting Qiusi (In Vol.III of the Classic Guqin recordings), although the strings are set to Zhonglü mode tuning (CDFGAcd), the melody in the first section did not use the F mode (a la tonic/gong on 3rd string, 1=F), but is actually side-transposed to Linzhong mode (tonic/gong on 4th string, 1=G) in performance. The second section then shifts to Wuyi mode (1=bB). Or, in Wuxue-Shanfang Qinpu’s Bijian LiuQuan (Flowing Stream of an Azure Creek, 碧澗流泉), although it says the strings are set to “Zhonglü mode tuning”, the 6th section is actually a sidetransposition to Huangzhong (C) mode, and the one after that onto Wuyi (bB) mode. If we don’t use “Huangzhong Yun/mode”, “Wuyi Yun” and so forth proper mode nomenclature, not only will we confuse ourselves with modal names’ relations with the piece itself, we can’t even say much for the functionality of traditional jargon to explain modality, and students won’t even know where to begin to learn about pieces and their mode transpositions. “Ruibin Tuning, Zhi tuning…” and other names cannot properly and clearly describe these guqin pieces’ modality changes. The first five names in the Gong, Shang, Jue, Zhi, Yu, Wen, Wu (宫、商、角、徵、羽、文、武)reference refers to the order of the guqin strings (In similitude to jia, yi, bing, ding, wu 甲乙丙丁戊 used for order of precedence in Chinese), and not the pitches (i.e. “Do, Re, Mi, So La”). This reason works well for explaining tunings such as “Manshang Tuning 慢商調” (lit. Loosen-Shang Tuning), in which the 2nd string (Shang) is loosened two semitones (or in proper Chinese terminology, lü). As for “Wuyi mode tuning” being called “Ruibin Tuning”, “Zhonglü Tuning”, “Zhi Tuning” etc., it does not share similar reasons. Wuyi mode tuning being named as “Zhi Diao/Tuning” originated with Wang Tan’s thesis Qinzhi in the Qing Dynasty, where he used the third string as basis of all tunings’ names. Since Zhonglü (F) mode’s tonic (Gong) is on the third string, it is called “Gong Tuning”. In Huangzhong mode tuning, the third string is a mediant (Jue), it is called “Jue Tuning”. As for Wuyi, the third string is the dominant (Zhi), hence named “Zhi Tuning”. But in reality, Guxian (E) and Zhonglü mode’s third string are both tonics, so they should be in theory both called “Gong Tunings”. This obviously is unreasonable, and is easily mixed up with other modes – too casual of an arrangement. Wuyi mode tuning being named as “Zhonglü Tuning” originated from Wang Binlu of the Zhucheng school, who suggested that the third string of the guqin in standard tuning should be Huangzhong (C), and the fifth string after tightening would be Zhonglü (F), hence the name. This is because the starting point of the mode itself is different, therefore it has no tradition nor reasonable logic backing it. As for the other two names “Jinyu Tuning” and “Qingyu Tuning”, it is probable that because it is tightening the Yu (5th) string, the words “Jin1 金” and “Qing1 清” were passed down (as a mistake, or perhaps to beautify) instead of the original word “to tighten (緊,jin3)”, a close homonym to the two. If the reason why Wuyi mode tuning being called “Zhonglü Tuning” because the starting point is different is still excusable, then because “Ruibin Tuning”’s name has absolutely no relationship with the Ruibin (#F) pitch, it is absolutely unprovable. As for the name “Ruibin Tuning”, Xilutang Qintong in the Ming Dynasty gives a point of view: “Taking the Zhonglü string and tightening the 5th, letting its 11th hui match the (open) seventh, is what we call Ruibin Diao today. The Ruibin (tuning) actually has its own proper modality, and by (calling) Wuyi as Ruibin, is just a common (俗, can also be interpreted as ‘vulgar’) name.” The Chinese Music Dictionary contains a precise definition on the issue of improper naming of modes with other pitch names: “[The issue is caused by the reasons of] Having a different starting point for Gongshang or modes, in addition to improper passing down of tradition. For example tightening the fifth string being called “Qingyu Diao”, “Jinyu Diao”, or “Ruibin Diao” and so forth.” Using the names of pitches that cannot describe the mode’s actual modality makes the name no more than just a decoration, and is suspect of being ‘dilettante’.
A Brief on the late 20th, early 21st Century Culture of Guqin Since UNESCO’s recognition of the music as a piece of Cultural or Intangible Heritage in 2003, the instrument has gone through a worldwide fad for learning this once elite practice closely related to personal refinement and transcendence. Despite the official narrative claiming that the number of guqin players are constantly on the decline (such as during the Opening Ceremonies of the XXIX Olympiad in Beijing 2008, reporters were given statistics that less than 50 players remain), a new generation of young cultural enthusiasts and students are keeping the torch alive, if not burning brighter with new innovations and research results. The Internet is the key source of general information, new theories, and intercourse between the global communities of players, who have organized themselves in major cities to share their music and insights with fellow players. The Internet has also allowed easier access to the older archives stored in libraries around the world to be widely available for audience and researchers alike. There were various attempts on the digitization of Guqin tablature, but no widely recognizable consumer-based program is available. CAD-edited prints or scanned hand-copies, coupled with a five-line or number-staff are still the standard today. Toronto is one of the four most active guqin communities in North America, sharing the buzz with San Francisco, New York, and Vancouver. Other active communities outside the Chinese geographical area include England, Spain, Germany, and Singapore. Guqin is also often related to the recent Hanfu Restoration Movement since 2003, as advocates for proper traditional (Han) Chinese dress promote themselves with demonstrations and practice of the Four Scholarly Arts, the first of which is this instrument. Increasingly during elegant gatherings people are witnessing participants are coming in the traditional y-shaped collar and wide sleeves of the scholarly robe and the tall caps, and sought to promote the Chinese as a wide and accepting culture, while maintaining a 5,000-year old tradition of the Mean/Middle Way. Standards for the Guqin 29
Reading List Guqin players are often trained under the guidance of teachers and a textbook of the said tradition, but since the advent of communications technologies and institutionalized curricula, players have sought for learning from different schools and styles, as well share ideas on music and musicological findings. Thanks to research efforts in China, Hong Kong, Taiwan and the United States, much modern scholarship provide detailed aspects for further research into musicology, aesthetics, and more. Essential Scorebooks: Zhongguo Yishu Yanjiuyuan Yinyue Yanjiusuo & Beijing Guqin Yanjiuhui. 古琴 曲集 Guqin Quji, Vol.1&2. Renmin Yinyue Chubanshe. ISBN 7-103-01170 & 7- 103-01171. Scholarly Work on Manuscripts and Handbooks: 唐建垣 Tong Kin-woon (Tang Jianyuan). 琴府 Qin Fu, Vol.1 & 2. Taipei. Beijing Guqin Yanjiuhui & Wenhuabu Wenxue Yishu Yanjiuyuan Yinyue Yanjiusuo. 琴曲集成 Qinqu Jicheng, Vol.1-14, 16-17. Beijing/Shanghai Zhonghua Shuju Chubanshe. 1981. Lieberman, Frederic (transl.). Chinese Zither Tutor - Mei-an Ch'in-p'u. Hong Kong University Press. 1991. ISBN 978-962-209-042-2. Binkley, James (transl.). Abiding Antiquity: Translations from the Yu-ku-chai- ch’in-pu 與古齋琴譜. Lulu.com, 2006. ISBN 978-1-4303-0346-6 On Dapu and Aesthetics: Yung, Bell. Celestial Airs of Antiquity, Music of the Seven-String Zither of China, Madison, A-R Editions. 1996. Yung, Bell. Da Pu: The Recreative Process for the Music of the Seven-string Zither in Music and Context: Essays in Honor of John Ward ed. Anne Dhu Shapiro, Music Department, Harvard University, pp. 370-384. Sources in Chinese 葉明媚 Yip Mingmei. 古琴音樂藝術 Guqin Yinyue Yishu. Commercial Press, Hong Kong. 1991. ISBN 9620741447 顧梅羹 Gu Meigeng. 琴學備要 Qinxue Beiyao. Shanghai Yinyue, 2003. 成公亮 Cheng Gongliang. 是曲不知所從起 - 成公亮打譜集 Shiqu Buzhi Suocong Qi – Cheng Gongliang Dapu Ji. Shuzhizhai Publications, 2005. ISBN 988987392-3. 姚丙炎 Yao Bingyan. 琴曲鉤沉 Qinqu Gouchen. Shuzhizhai Publications, 2007. ISBN 9789889873936 Standards for the Guqin 30
A Preface to the Repertoire Standards for the Guqin 31
On the tablature interpretation process – Dapu Standards for the Guqin 32
Repertoire A ♫ Standard Tuning Etudes Xianweng Cao Jiu Kuang Guan Shan Yue Liu Shang Standards for the Guqin 33
Xianweng Cao Xianweng Cao is traditionally the introduction piece to a guqin student, after having learned basic left and right hand movements mo 抹 , tiao 挑, gou 勾, ti 剔 for the right hand, and pressing properly with the thumb and ring finger on the left hand along with simple slides and a pickup (Qiaqi 掐起). Melodically, the piece serves two purposes: The student learns the pattern of positions on adjacent strings that give perfect unison pitches; and from such, to correct the strings by tuning and cross-checking using this piece. Literally “Etude of the Transcendent Venerable One”, the piece got its name from the continual matching tones sounding similar to the words “Xian Weng”. This piece also related to the story of a famous Daoist named Chen Chuan, who was known to hide in the deep mountains, away from strife and chaos in the world, and sleep for hundreds of years. However, given the nature of the piece’s composition and arrangement, it is not to be classified as a Daoist musical piece. Standards for the Guqin 34 仙 翁 操 A figure of an old fisherman, found in Toronto’s Chinatown. Photo by the author, 2005.
Jiu Kuang In modern tutelage of the guqin, Drunken Madness has become an ubiquitous piece shared by all schools and generations. Standards for the Guqin 35 酒 狂 Wine goblets c.a. Eastern-Zhou Dynasty, on display at the Royal Ontario Museum. Photo by the author, 2006.
Guanshan Yue Standards for the Guqin 36
Liu Shang Standards for the Guqin 37
Repertoire B ♫ Non-Standard Tuning Etudes Qiu Feng Ce Yang Guan San Die Hua Xu Yin Standards for the Guqin 38
Repertoire C ♫ Standard Tuning Pieces Gu Feng Cao Yu Qiao Wen Da Kong Zi Du Yi Ping Sha Luo Yan Song Xia Guan Tao Standards for the Guqin 39
Gufeng Cao The Etude to the Style of Antiquity first appeared in the Ming Dynasty manuscript Shenqi Mipu (1421) under the Taigu Shenpin collection of pre-Song Dynasty pieces. Standards for the Guqin 40 古 風 操 Coming-of-age ceremony organized by HanfuTor, at CPAC Huaxia Festival, Toronto, Aug. 2008. Photo taken by the author.
1. Can be played as (ring finger @ outside, mo 4th ; [assume same LH, RH mvt.] 2nd) 2. Originally (thumb @ 11th , da 1st; three-advance-to 8th retreat between 9th/10th to-” 3. Originally (Cuo ring @ 12th on 2nd string/thumb @ 10th on 4th string), actually a misprint. Standards for the Guqin 41
The compiler adds this when performing. Originally no such mark existed. 4. Originally (Ring @ 12th Juan 1st string TO 3rd string), deemed as a misprint of oversimplification, and has been changed to this. Standards for the Guqin 42
The compiler adds this in performance. Originally no such mark existed. 7. Originally 6th hui, probably a misprint. 8. Originally 7th hui. Standards for the Guqin 43
9. Can be played separate as (Index @ 7th Gou 1st string; thumb @ 7th Mo 3rd string) Yuqiao Wenda Standards for the Guqin 44
Kongzi Duyi Standards for the Guqin 45
Pingsha Luoyan Standards for the Guqin 46
Songxia Guantao From Yanlulou Qinpu (1766) Standards for the Guqin 47 松 下 觀 濤
Repertoire D ♫ Non-Standard Tuning Pieces Li Sao Qiu Xiao Bu Yue Gu Zhu Jun Standards for the Guqin 48
Li Sao Standards for the Guqin 49