User:CharlieHuang/Archives

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This page is where I stick all my projects and archives, Wikipedia or otherwise. They may end up not used in Wikipedia, in which case they will be filed here for my personal use, or the use of those who will find it useful.

Contents

[edit] Music biography

Hello! This is my page for all things guqin. But first, I'll talk a little about my involvement in qin music.

[edit] Musical awakening

I first 'discovered' qin music in 2001 or slightly earlier on a website. Before that, I was interested in it as I had an interest in Chinese culture. At the time, I had no means or thoughts of learning qin, so I basically forgot about it. That was until 2003; I had been engaged with qin discussions in a forum and had money from my university loan to buy a qin! So, I made the decsion to go and buy it. Thus, my musical awakening began. I progressed rather rapidly in the few years that I have had up to this point with the qin, and am getting better. Of course, it is important to note that my parents/family do not approve of my musical activities; they think it is a waste of time if it does not bring you material profit at the end of the day. But that is another issue to discuss later.

Ever since my musical awakening, I have been actively studying to progress myself on the qin arts. This include reading an amount of material on the net as well as books, listening to CDs, et al. I've also refreshed myself in terms of listening to other musical genres. It was only in 2005 did I realise my destiny was in music and the spread of qin music. I made the discovery that Chinese music (or any other music from other cultures) and greatly undervalued by Western tastes. Either Western Classical or Western Popular music is held up high. Of course, that is not the problem in itself, the problem lies in that certain people fail to appreciate other musics because they refuse to listen to anything but pop music, etc. This has riled and irritated me. I want to re-educate people on what true objective musical appreciation is. So, it is my goal to train myself to a high standard before embarking on this mini-quest of mine.

[edit] Academic struggles

Since I have discovered this rather too late, I did not recieve any formal training in music. I have attended Chinese Music Summer Schools (Gong Yi told me that I was one of the better players in the class, which means I must be doing something right), but I am mostly a self-taught amateur in qin arts and music, and my music skills leave a lot to be desired. So, the next phase is to study music at a high level. I could not start from GCSE, work through A level, redo my BA and then to MMus or whatever. That will be basically starting from scratch, and that is time and money I don't have. Plus, they will be training me in Western music only. This has caused a dilemma and I have been stuck in tangent ever since, for two years after I graduated in Philosophy.

The supposed big breakthrough came when I discovered the Open University courses. They would have allowed me to study music at university level and I would have been able to gain the necessary skills to do so-called 'proper' music so people can take me seriously. So that's why I planned on taking a Diploma in Music these coming two years, to get me up to standard. However, though I wanted to study at SOAS for an MMus in Performance, it now seems very unlikely because I have been told that my music skills aren't high enough and my performance experience is slim. Unfortunately, due to my financial situation, lack of funding and family disapproval and problems, I cannot do the Dip Mus anymore. The other option now is to wait until I have enough money to fund it, then hope after that they will be acceptable in my application to the universities. I have more chance of getting into Sheffield University than SOAS but at this point in time, anything could happen. I'm currently at stalemate and am waiting for someone or something to throw me a lifeline and end my cycle misery.

I've become so depressed these days at my situation that I almost feel like giving up...

[edit] Research

Other than playing and performing music, I also take an interest in researching it. One of my first successful projects is the expansion of the guqin article in this Wikipedia site. The original size when I discovered it was less that 5% of what it is now, and through my research and help from fellow qin players and Wikipedians, expanded it considerably. It has been promoted to featured article status, appeared on the front page, and now it has been selected to go on the CD-ROM format, etc. It is one of the best articles on wiki and one that I'm very proud of. It also spawned a bunch of sister articles which are constantly being updated, but probably won't go as far as the qin article.

As I currently have a good chance of getting into Sheffield, I am going to apply there. The thing to do now is to decide which degree programme to do; either MA Ethnomusicology or MMus by research.

I'm thinking of doing the MMus coz it sounds simple and more specialised than the MA (which is a degree that trains you to do doctoral research), the MMus assumes you can carry out research to a certain degree. In the MMus, you do two of the following; dissertation, folio, performance, composition. I'm thinking od doing the dissertation (20,000 words) and the 45 min performance/recital. Here's my watered-down research proposal:

The research will be on the styles/schools of qin music. I will be trying to discover what are the differences between the various styles, what consitutes as a difference in style, can the style of qin music be divided into Northern and Southern style or is it really better to distinguish them further into schools. For my main area of research, I will use mainly the primary source of qinpu (qin tablature collections) from various schools and analysing a selection of melodies, especially the same melodies that exist in different qinpu but are a different version to one another, so examining the differences and similarities of structure, phrasing, unique passages. Further to that will be examining of actual performance recordings of interperatation of these scores as well as transcription and how accurate they are and whether it is the player that defines style or the original score. The practical side of the submission will be a recital of several of versions from different schools of the said piece(s) to demonstrate my thesis, including a delivery on the recital, etc.

Also, in between the Masters degree and doctoral research, I'll go to the Shanghai Conservatory to train in guqin as an advance student to get my qin skills up a few notches as well as make necessary connections and learn Mandarin before I go back to Blighty to register a plan for the PhD. I don't know what insititution I will do my PhD in, probably SOAS or back at Sheffield (I'd prefer SOAS because it's close to where the action and resources are). Oxford is another option (because they got a copy of Yugu Zhai QP there) but it might be too much work there (you have to do examinations regularly there).

My other plans for research include my yet to come PhD in the distant future, which will be on the construction of the qin. This will involve a field trip to China to watch and record information from various qin makers throughout China, exploring the history of their craft, their differences in construction, the logic behind certain methods, how differences in construction can affect sound and quality, etc. There would be analysis of primary sources such as the Yugu Zhai Qinpu manual of qin construction and to compare it to the modern methods employed and how they improve or not improve the general quality of sound and workmanship. Eventually, the result will be a detailed account of ancient and modern methods of qin construction, why certain things are done in a certain way, the affect of certain construction methods on sound quality and playability, and the approximation of how to create a good qin. The research will be of use to qin makers and players in knowing the organology of the instrument in much more detail than before, and to pave the way to discovering the ideal methods and ways to produce a 'prefect' instrument. But of course, that will not bear fruit if I still get stuck in my current limbo. So many dreams and plans yet no where near to achieving them! *sigh*

[edit] Into the future...

After bouts of depression and being a tad manic, I've decided to quit as editor de facto and contributor bona fide roles to the guqin articles and totally focus on self-cultivation and pure music. This has done me a lot of good and has turned me more 'sane'. I now have a rather more romantic view of the qin and a more pessemistic view of life in general. I'll be focusing less on outer influences and more on internal goals. So there you have it.

[edit] Guqin news

[edit] Special LYQS yaji 2006/05/27

  • Will attend a special yaji in London on 2006/05/27. Huang Shuzhi will be there to talk about his silk strings, etc. --Charlie Huang 【正矗昊】 11:36, 26 May 2006 (UTC)

Location: Cheng Yu's house

I spoke to Fred Wong yesterday at the London yaji! He gave a long talk about silk strings and the whole process he went through to make the taiko strings. Blood and sweat! I only understood bits of it as he spoke Mandarin (he can speak Cantonese and English).

I'll point out the important info I mangaed to prise out:

  1. When applying the 'string gum' on the strings, you should so the whole playing length of the string and not just the bit where it needs patching up.
  2. Do not use the new tuning device on silk strings. Never ever ever! You should string traditionally, and you must wrap on the goose feet very quickly (I think he said he uses his bare hands without a cloth...)
  3. You do not need to tune it to 'standard' tuning (i.e. 5th string at A, etc) as there is no standard. It must be tuned in accordance with the qin you have. Tune it to the point it sounds good, then that is the pitch you keep.
  4. When playing with silk strings, you must pluck lightly and not like the way you play metal-nylon. If you play like m-n, then the strings will buzz and slap on the surface. This also stops it from breaking often. It must be played gently.
  5. The bridge should not be too high, the inner edge of the bridge should not be too sharp, and the knot should be in the center and not too much to the right edge. it will break more easier if it is.
  6. The Huqiu strings are not good. They break very easily and the quality does not match the Taigu ones which can be strung to higher tension. It is the reason why may people turned to m-n strings because Huqiu couldn't meet the high standard of previous dynasties. But as soon as the Taigu ones came out, almost all players in Taiwan switched back to silk! The mainland didn't because the main players (e.g. LXT, GY, etc) still advocated m-n.
  7. When you finished playing, always loosen strings 5 to 7. This will avoid them breaking.
  8. Always hang your qin up vertically. This stops it from warping.
  9. Some qins are more suitable for silk, mostly antique qins.
  10. The vacuum packing allows you to keep the strings fresh for over a century! You really need five sets to last a life time!
  11. 4th strings is second string to break because its core is the same as the thickness of the 7th string.
  12. Buy the gauge that suits your qin, then only buy that gauge, otherwise you'll have to buy multiple sets (you mustn't mix zhongqing strings with jiazhong strings, etc).

Those are the main points you should know when using silk.

He talked a lot about the difficult process of making them as well. He had to gather a lot people in the know and had to do research on making the strings (a lot of research). One of the main difficulties is getting the best quality silk. The best is AAAAAA and it costs a bomb in some countries. I think he went to Canada because good quality silk was cheaper there! Also, it is difficult to keep consistancy in the batch as the quality is sometimes mixed. The next difficulty is manufacture, half is done by hand and half is done by machine. Then there is the element of the weather as well! Third is quality as it is difficult to get the thicknesses of strings 1 and 7 adequate so 7 won't break and 1 won't be too coarse.

At first he gave out his silk strings to promote them and make people try them out and hopefully use them. At the end of the day, it has to make some money or it won't be worthwhile anymore! So he hopes many people will used or switch to silk strings. Then there will be an adequate market and demand, then more silk string makers would emerge and try to get a better quality string so that there will be more study and reasearch, therefore, resulting in even better quality strings. He said that some players don't like m-n because it cannot replace the distinctive sound of silk, so they continue to use them. They consider m-n to be 'bu gaoya' (not high elegance). To Fred Wong, m-n is for concerts and stuff like that, but if you are not a pro who continuously do gigs like such, then you really should use silk.

For me, I think that if you can play well on silk, then you are a better player/person coz it is hard to get a good sound out of silk strings. If you can play good on m-n and good on silk, then you are playing well, as for silk, you need to be extra relaxed and smooth on your playing. Silk strings can highlight your weaknesses in playing (namely, plucking too hard, wrong angle, etc).

I also heard some ancedotes about Wu Wenguang's (and to a lesser extent, Wu Jinglue) playing style. Since he is trained in Western music which tends for the musician to devote their life and soul to the instrument (i.e. play like your life depended on it), his playing is very lively and vivid. But Fred said that you easily get health problems by doing this continuiosly, you get RSI, etc. He exampled this by describing a DVD which WWG made himself in an amateur sort-of way where he played like if it was his last performance. Understandably, he said that was the last time he will every play like that, to the brink! For normal qin players, such is too excessive and is not really the Chinese idea of what music is about. Of course, this contrasts different sides of qin study, or what the qin is capable of.

At the end of the talk, he and his wife both played a piece. His wife played a melody which she didn't name on Fred's (silk string) antique qin. I think he said it survived a fire (I could see some fire scars). Had a nice finish to the qin as well, smooth but not glossy. Fred then played "Yuqiao Wenda" [Dialogue Between Fisherman and Woodcutter] on Dannong's Qing dynasty qin (also silk). He said it had a nice sound, to the delight of Dan! Afterwards, there was no time for other players to play, but some tested out the qins.

[edit] Silk strings 2006/05/28

  • I've decided to re-string my qin using Taigu silk strings I bought some time ago to try them out. So far, they are better than the Huqiu brand. Less buzzing, not as sticky and the sound is much better than the troublesome Huqiu. I might have to change them back to metal-nylon for the Summer School though. I doubt they will be suitable for that purpose (it will be too quiet for me to hear myself play). After the Summer School, I might return them back to silk, it depends. I've recorded Pei Lan on the silk strings. They may need adjusting since the knots of strings 1 to 3 are over the yueshan. --Charlie Huang 【正矗昊】 18:14, 28 May 2006 (UTC)
  • I quite like silk strings now that I've tried them for a while. They make you play more softer, and I think it shows how good you can play if you can play without buzzing, etc. I will keep this qin silk when I get a new qin as it does sound good with silk (more better than with metal-nylon!). Of course, I will change back to metal-nylon for the summer school, then after, change it back to silk. --Charlie Huang 【正矗昊】 13:41, 16 June 2006 (UTC)

[edit] Lacquer 2006/06/11

  • I've decided to repair some bits of my qin by re-applying lacquer. I've already order clear urushi and tsunoko powder from Japan. The main repair I must do (before the summer school) is a dent/hole on the path of string 5 at the 11th hui. It is beginning to impede preformance as whenever I play a note at the position, my ring fingernail sometimes gets caught in it and it digs into the hole further. The wood is exposed, so I must patch that up asap. Other repair work are the cracks at the back of my qin due to natural faults in the wood. They have stabilised, so I can patch them up without them cracking further. Of course, using lacquer is not a walk in the park as there are safety and curing issues involved. But I hope to select the best day when it is hot and humid enough for the lacquer to cure quickly. Will keep you posted. --Charlie Huang 【正矗昊】 08:36, 11 June 2006 (UTC)
  • Today was the day to begin re-lacquering the qin! I took my table outside into the garden and began to start the work. First, the strings and tuning pegs were removed before hand, then I took the qin to the garden workspace. I then tried to finish off planing the bridge. It is more or less free of sharp edges, but at a cost to tidiness. I left it at that. The lacquer I used was from an online Japanese katana repair shop called Namikawa. The type I bought was called clear urushi (gloss type). There were other types like pure, black, colored, etc, but from the information from Jim Binkley, I chose clear (if your qin is black, then I suppose black urushi is your bet, other than that, use clear). You can get cashew (artificial lacquer) but I heard that it doesn't last as long as urushi, and i don't know if it would stand up to the fingering. Gloss type was because matt maybe difficult to polish to a smooth degree. It came in a tube form. I squeezed (or rather, poured) a bit out and used an urushi brush to apply it to the bridge to seal it. The colour was brown and it matched the colour of the lacquered part of the yueshan, so it was the right choice! I applied it slightly thick, so I removed some.
Next was the main body. I poured some more lacquer into the container, and I used a toothpick as a spatula and scooped out some tsunoko or deer horn powder. This was a white powder. I used the toothpick to stir and blend it together. It turned into a chocolaty colour. After it was more or less blended together, I used the brush to apply it thinly on the dent of the qin. I also applied it to the areas where there was xingyun wen or running-cloud markings, a type of duanwen caused by continuous sliding on the string, waring out the lacquer (you can keep these markings if you are using silk strings, but you must repair them if you are using metal-nylon strings). This especially happens on qins with metal-nylon strings. Without the strings in the way, you can see them visibly as lighter areas, as well as feel a depression on the surface. other points of repair include a crack at the back (which is too wide to seal up), the yintuo, and cracks at the joints of the peg protectors, etc.
After this initial lacquering, I carefully removed hairs that came from the brush from the lacquer, and carefully brushed the lacquer thinner. I then re-hung the qin in my room for it to cure. One point of note about the lacquer is that it stinks! Also, even though I did not have an allergic reaction to it, some other people might, so be aware. Lacquer requires high humidity to cure, so make sure you select a day when it is hot and humid, preferably after a thunderstorm. You can also get a humidifier, or place a bowl of hot water in your room to speed up the process. The temperature ideally should be around 24°C, and the humidity should be around 60% or higher.
The next stage after the lacquer is cured is to polish it, then re-apply a layer of clear lacquer (without the tsunoko), wait for it to cure, then re-polish to a fine finish. More on that process when I get to it. --Charlie Huang 【正矗昊】 13:33, 16 June 2006 (UTC)
  • Well, after being in LA for two weeks, you'd expect the lacquer to have cured by now... Not even close! Some bits are dry, and you can touch it without it coming onto your fingers, but it is slightly stick. It is starting to bond, like half dried paint that you can't wipe off easily. I estimate I need at least a month! Then there is the polishing and adding another layer to do... I think I know what I may have done wrong, and that is I forgot to add some water to the mixture to thin it down so it will cure quicker! There are several things I can consider:
1. Forget it and wait for it to cure as it is; 2. Spray some water or a light mist on the qin every day to try to speed up the curing process; 3. Get a humidifier with the depleted funds I have; 4. Try and remove the undried lacquer off and start over again, this time, adding water/solvent to the mixture to thin it down.
1 seems to be a gamble that it won't dry. It may without me jumping in. But it looks like it will take ages, plus the humidity is really shitty in the UK. 2 is a better option, but I do not no if it would work, and I'm scared it might do damage rather than help the lacquer dry. 3 is good, but I hardly have enough money to get to the Summer School after my JSA was so stupidly stopped because nobody said that they do that if you go on holiday for more than 14 days! 4 is the ultimate measure that may solve everything, but it would depend if I pin pointed the correct problem in the first place. Also, since the lacquer is sort of bonding to the qin, it may be very difficult to remove, like rubbing sticky half dried jam off.
Either way, I don't think my qin will be ready for the Summer School, which means I'll have to borrow one off Cheng Yu. --Charlie Huang 【正矗昊】 02:08, 9 July 2006 (UTC)
  • Currently trying out spraying water over it. Re-doing the lacquer is too much of a risky option. At any case, I think it sort of increased the humidity in my room to around 70%! Good thing. --Charlie Huang 【正矗昊】 17:41, 10 July 2006 (UTC)
  • OK, screw the waiting. Onto plan C; strip the half-cured lacquer and start over. I used English Distilled Turpentine (the stuff used in oil paintings) to strip back the lacquer (or rather wipe off). Worked like a charm, but requires some elbow grease. After that, I mixed a new lacquer mixture. It was water, lacquer plus some turpentine. I did not use deer horn powder as it is mostly a overcoat rather than a base coat. I mixed it very well and it turned into a chocolate colour. The colour was light brown but changes to a darker brown after a while. When applied, it was more thinner than my previous attempt, and much easier to brush on. It blended well. With it being rather thin, it should dry/cure much much faster; and because I added some water and a solvent base, it should cure in about a week or two, if not in days. Hopefully it will be successful. If it is, I have to decide to add another layer or not. Either way, I will polish it a bit once it's hardened. If all goes to plan, I don't have to borrow a qin from Cheng Yu for the Summer School. --Charlie Huang 【正矗昊】 15:15, 16 July 2006 (UTC)
  • After having a heart attack after the qin made a loud cracking sound, due to the wood moving because the humidity fell to the dangerous levels around 20%, I have bought a humidifier. One, it will protect my qin from damage and two, it will speed up the curing of the lacquer (hopefully). *crosses fingers* Somehow, I doubt that my qin will be ready for the Summer School (literally next week!), so I'd have to borrow one from Cheng Yu. I'm still waiting for confirmation from AMC so I can book the hotel! --Charlie Huang 【正矗昊】 14:42, 20 July 2006 (UTC)
  • The lacquer is starting to cure, but it won't cure in time for the summer school. I have to also try and teach my sister how to use it so she can operate it during my time at the summer school. God knows how dry it would be; I don't want my qin to get damaged in the hands of my sister! --Charlie Huang 【正矗昊】 13:24, 26 July 2006 (UTC)
  • Yes! The lacquer is almost there! Just a few more days, and then I can start with the second layer! --Charlie Huang 【正矗昊】 17:52, 3 August 2006 (UTC)
  • The lacquer was more or less cured, so I decided to take the qin down and polish it with a stone. It is more or less done, but since the dent is still evident, I decided to use some of the left over lacquer from last time and cover it fully. I will now wait for those little bits to cure, which is around a week and a half to be safe. Then, I'll decide whether or not to apply another layer of lacquer. Either way, I will need to buy a fine grade sandpaper to make the surface as smooth as possible, because the stone polishing is patchy in places. --Charlie Huang 【正矗昊】 13:49, 8 August 2006 (UTC)
  • Next stage. I used a thick deer horn powder mixture with some lacquer, solvent and water to patch up the cracks at the back of the qin. Dunno if it will cure fully since it is sorta thick to cover the holes... I also used the mixture on the dent on the surface since multiple layers of clear lacquer doesn't seem to fully patch it. I discovered that lacquer with a high water content cures very quickly, in a matter of days. Basically, I poured water over leftover lacquer about a month ago, covering it completely. It formed a hard layer, then inside, the lacquer is still soft and you can re-use it. The lacquer cures faster with high water content because it cures through evaporation of the moisture inside the lacquer. The more water there is, the faster it would cure. Less water content means not much water to evaporate, therefore it just sits there, slowly curing, if ever.
Polishing. You can use a stone, for rough work, but it can create lines on the surface. Best use a very fine grit sandpaper (P2500 grit) with water and it will come out very shiny and smooth! --Charlie Huang 【正矗昊】 12:14, 12 August 2006 (UTC)
  • Polished the deer horn powder mixture and applied another layer of clear lacquer mix. Ran out halfway! Hopefully, it is thick enough. Another week of so until it is ready for the final polishing and then finish! Outcome might not be master quality, but as if I got enough money to send the thing to China for repairs (probably cost as much as a new qin with the shipping back and forth)... --Charlie Huang 【正矗昊】 11:20, 15 August 2006 (UTC)
  • Finished! I've finally done repairing the lacquer on the qin after two and a half months of work! I used P1200 sandpaper in the end (couldn't find a place that sells a finer paper) so the finish was slightly matt finish rather than glossy. However, the dent is more or less repaired. --Charlie Huang 【正矗昊】 16:35, 31 August 2006 (UTC)

[edit] Chinese music summer school at the Royal Academy of Music 2006/07/29

  • I'll be (hopefully if I get the funds) studying at the RAM in London from 29th July to the 2nd August 2006. The player teaching qin will be Gong Yi. I'll also be learning pipa from Cheng Yu. It is for five days now, instead of last year's eight, which pisses me off slightly. It means a loss of three days that could have been beneficial. This sqeezes the timetable very tight, leading me to want to spend most of my time in the guqin class. I'm on a roll with the qin and musn't be hampered. It'll have to be at least three days on qin, 2 or 1 and a half days on pipa (probably only on ensemble work for the yet to be known informal concert)... We'll know when thje the timetable is drawn up and sent to me once I booked it. --Charlie Huang 【正矗昊】 10:24, 7 June 2006 (UTC)
  • Tut! Since the stupid Jobcentre stopped my payments, I have been in a pickle as to the funding of my London trip. I have to overdraw my account I'm afraid. Another thing is that I'm scared that my sign in day will fall on a day when I'm there! It has to be on a Wednesday! If it was on Friday, I don't need to tell the JC! I'll have to see if my sign in day changes or not, but I'd rather it doesn't fall on SS week... --Charlie Huang 【正矗昊】 22:44, 9 July 2006 (UTC)
  • Good! My new sign in date does not fall on the week! Yippee! Now I can start booking the Summer School and hotel. I'll have to use my overdraft and hope that will repelish itself in time, plus hope that I get a good lump sum from my birthday like last year! *crosses fingers* --Charlie Huang 【正矗昊】 17:43, 10 July 2006 (UTC)
  • I have sent the form for the Summer School. The next thing to do is book the accom. Will do so when I recieve confirmation of my place in the SS. --Charlie Huang 【正矗昊】 15:16, 16 July 2006 (UTC)

[edit] Open University course 2006

  • After a read of my frequent forum, one of my forum buddies had finished one course at the Open University. I thought, "if only I could study music there". I then checked out the website and after a few minutes of browsing, I could in fact, study a Diploma in Music (Dip Mus (Open)) there, with a full grant, et al.! This would probably pave the way to my eventual MMus study at SOAS. Currently, I probably have to do a Foundation Diploma for Postgraduate Studies (FDPS) for a year there before I could do the Masters as I did not study music for my BA, plus, my class was a 2:2 rather than the 2:1 they are asking for. The FDPS won't be funded, so I have to fork out £7,360 for the course, plus over £10,000 for maintenace; money which I don't have. Of course, it could potentially be a waste of time if SOAS doesn't accept the Dip Mus (Open) and I have to do the FDPS anyways. I'll have to ask properly what my position is, or I'd have wasted my time and money if I get it wrong. --Charlie Huang 【正矗昊】 21:24, 15 July 2006 (UTC)
  • OK, finally decided to go for an OU course!
I'll be studying for a Diploma in Music; Dip Mus (Open), which will hopefully help me get into SOAS for an MMus in Performance!
http://www3.open.ac.uk/courses/bin/p12.dll?Q01D22
The timing of the courses is a bit shitty. I wanted to do the Level 1 Start listening to music, but it starts on Feb 2007. If I did that, then there will be a big gap of over 9 months before the next course for me to do starts. So I'll have to do some other course, before fitting in a level 2 course that starts on the Feb 2007 date. I will do a science course rather than an arts course coz the only interesting arts course at Level 1 is the Start listening to music one.
So my plan is as follows (need 120pts):
S180 - Life in the oceans: exploring our blue planet [Sept 2006] Lv1 10pt (not counted towards dip.) 
TA212 - The technology of music [Feb 2007] Lv2 60pt (not counted towards dip.) 
A179 - Start listening to music [Nov 2007] Lv1 10pt (not counted towards dip.) 
A214 - Understanding music: elements, techniques and styles [Feb 2008] Lv2 60pt (with one week residental school) 
Another science course to kill time during 2008 winter (not counted towards dip.) 
AA314 - Music and words (prov. title) [circa. Feb 2009] Lv3 60pt
I'll have the diploma by the autumn of 2009! Long time till then, but I'd need more time if I didn't do it to get enough funds for SOAS's shittyly expensive FDPS course that I will have to do as my degree class is lower than asked for in a subject not in music... --Charlie Huang 【正矗昊】 21:58, 10 August 2006 (UTC)
  • I've changed my study plan to save a year in light of my confusion with the point system:
S194 - Introducing Astronomy [Sept 2006] Lv1 10pt (for Cert Cont Sci) 
A214 - Understanding music: elements, techniques and styles [Feb 2007] Lv2 60pt (with one week residental school in Durham University)
S180 - Life in the oceans: exploring our blue planet [Nov 2007] Lv1 10pt (for Cert Cont Sci) 
AA314 - Music and words (prov. title) [circa. Feb 2008] Lv3 60pt (or something else)
I can get into SOAS by Sept 2008 if I'm lucky enough.
TA212 - The technology of music course would be done some other time (and I will want to do it as it has stuff to do with acoustics, etc that will be useful for me in future when I do my PhD on qin construction). --Charlie Huang 【正矗昊】 13:33, 11 August 2006 (UTC)
  • Apparently, I can be recommended for admission to SOAS if I have evidence of my musical abilities and skills... and performance experience. Well, performance experience defo, but as for evidence of my musical abilities and skills, ziltch maybe... Looks like I have to do the diploma (or part of it) anyways, but it looks like i can skip the dreaded FDPS shit. I'll need the diploma to gain necessary skills in music myself, but I'd rather do things sooner rather than later coz my time is running out... --Charlie Huang 【正矗昊】 08:30, 12 August 2006 (UTC)
  • OK, shortcut to MMus program is now very unlikely. I apparently do not have the skills to do it... Anyhoo, that is not gonna put me off! I'm still gonna do the Dip Mus, and it also means I have to do a Postgraduate Diploma in Music; PGDip (Mus), as well! But it might lead me onto doing the full MA Music degree; might as well (only a dissertation between the PGDip and the MA), plus, they can't dish me off then since that is a Masters degree rather than the Bachelor 2:2 class they frown upon! But if I do do the MA, then doing the MMus would be slightly redundant then, wouldn't it? In fact, it would be like doing the bloody degree again and since my time is not particularly liberal, it would be rather taxing and silly, just to get the letters "MMus" at the back of my name. I want to learn Chinese music and the MMus at SOAS is the only specialist place to do it. But they are asking a lot from me, and I want to specialise in Performance, and not Ethnomusicology as such... Oh well, screw the MMus! MA in Music it will be! Then I can do a PhD there and show them! God, if only I discovered music sooner and then I would have been through all this shit already! *sigh*
The diploma in music plan will stay the same, but after I got it, the timetable for the MA Music will be something like this:
S193 - Fossils and the History of Life [Nov 2008] Lv1 10pt (for Cert Cont Sci)
A870 - Postgraduate Foundation Module in Music [Jan 2009] 60pt
S??? - A science course [Nov 2009] Lv1 10pt (for Cert Cont Sci)
A871 - Performances and Repertories [Feb 2010] 60pt
S??? - A science course [Nov 2010] Lv1 10pt (for Cert Cont Sci)
A877 - The Music Dissertation [Feb 2011] 60pt 
S??? - A science course [Nov 2011] Lv1 10pt (for Cert Cont Sci)
http://www3.open.ac.uk/courses/bin/p12.dll?Q01F32
http://www3.open.ac.uk/courses/bin/p12.dll?Q01C70
Plus, might as well get a Certificate of Contemporary Science; Cert Cont Sci, whilst I'm at it... LOL --Charlie Huang 【正矗昊】 16:15, 14 August 2006 (UTC)
  • Well, just discovered that I can't apply for financial help for postgraduate studies. Bugger. That means I have to save up for the MA, or PGDip. Why does there always have to be obstacles in the way of my plans? *groan* Oh well, must try and get a part-time job. --Charlie Huang 【正矗昊】 11:03, 16 August 2006 (UTC)
  • Oh great! I just found out that I can't apply for financial award for a large course if I am in arrears to the SLC and hold a degree! Just great, throws a spanner in the works, doesn't it?! How am I gonna cough up £900? An option ios to postpone the Dip Mus and just go for the Cert Con Sci until I get enough money but that will further push the time... Always have to be shitty obstacles in the way! Hmph!
OK, I don't think I can save up to that much in time. I'll have to do the Cert Con Sci next year until I get enough money for the higher courses. My new timetable is as follows:
S194 - Introducing Astronomy [Sept 2006] Lv1 10pt
S196 - Planets: An Introduction [Nov 2006] Lv1 10pt
S197 - How the Universe Works [Feb 2007] Lv1 10pt
S180 - Life In The Oceans: Exploring Our Blue Planet [May 2007] Lv1 10pt
S193 - Fossils and the History of Life [Sept 2007] Lv1 10pt
A199 - Modelling the climate [Nov 2007] Lv1 10pt
Then, hopefully, I'd have gotten a job and money by then so I can go onto the next phase (if successful):
A214 - Understanding music: elements, techniques and styles [Feb 2008] Lv2 60pt
A179 - Start listening to music [Nov 2008] Lv1 10pt
AA314 - Music and words (prov. title) [circa. Feb 2009] Lv3 60pt (or something else)
From then on, I'll see if I can do the MA. But as far as it is for now, my main aim is to get the Cert Con Sci. I'll worry about the Dip Mus at a later date. --Charlie Huang 【正矗昊】 10:49, 24 August 2006 (UTC)
  • The course materials for S194 Introducing Astronomy has arrived through the post! Looks pretty straight forward. --Charlie Huang 【正矗昊】 15:45, 26 August 2006 (UTC)
  • There could be a way of doing the Dip Mus. I would have to pay the fees in installments rather than up front. This would require me saving up at least half the money before mid-January next year in order for me to have a good chance of paying the fee in time. If that is the case, then I might abandon the Cert Con Sci and follow my original plan. --Charlie Huang 【正矗昊】 21:42, 4 September 2006 (UTC)
  • Oh FFS! Another shitty problem has arisen! My father told me that I must now pay the Council Tax bills from now on, meaning an automatic deduction of £72 from my income! Now that makes a HUGE difference, because it means I cannot save anything (in fact, I will make losses each month even if I don't touch my bank account) so that's good-bye to Dip Mus or anything at all! So, what now? Well, I'm sick and tired of all this blatant smack in the face. That is why I am cooking yet another plan of action to get me into postgraduate study! After I've done my astronomy OU course, I'll quit the OU and then study to pass the ABRSM music theory exams to at least grade 5. After which, it automatically leads to...

[edit] MMus degree at Sheffield plans 2007

  • Enough delays. I'm hoping that either of them will accept me if I pass the ABRSM exams. Surely they can. Otherwise, I will have lost complete faith in the system. I've got more of a chance to get into Sheffield than SOAS, but I'd rather take my chances and apply for both. But most importantly, I must get funding approved by the funding bodies, otherwise, it's the end for me. It is beginning to be an extremely hard struggle with my parents not supporting my music, and all this pussyfooting just takes the biscuit. I don't care, I'm going to fight until the very last breath! This means war! --Charlie Huang 【正矗昊】 12:05, 19 September 2006 (UTC)
  • There maybe a chance for me to do the Dip Mus afterall, I have a job interview today! It all boils down to whether I get it or not. If I do, then it's on the books, if not, then back to square one... Fingers crossed. --Charlie Huang 【正矗昊】 08:26, 26 September 2006 (UTC)
  • Just got an e-mail from Sheffield Uni saying that there is a good chance I can get into their Masters degree program! I got the necessary musical skills, plus my philosophy degree could be appropriate! I just need to choose the program I want to do (if it is a research program, I have to submit a research proposal) and select the references that are appropriate! Great! I can begin to set in motion my application for the degree and funding! --Charlie Huang 【正矗昊】 20:26, 18 October 2006 (UTC)
  • The degree I chose was to do the MMus by research. Details at the Research section at the top of this page. It allows me to pursue a specialised study on the qin (MA Ethnomusicology is mostly training) and is much suited to my plans about researching qin schools and a springboard to PhD level. Will begin application process in due course. --Charlie Huang 【正矗昊】 10:46, 30 October 2006 (UTC)
  • Tut! Too late now! After my family disappoval, the chances of me going to Sheffield now looks bleak... --Charlie Huang 【正矗昊】 14:57, 21 January 2007 (UTC)

[edit] New plans

  • I've decided that I'm slightly out of my depth here, so I am abandoning my university plans until later in life. From now on, I'm concerntrating on qin playing and self-cultivation. In terms of scholarly work, I'll be focusing my attention on obtaining a fellowship from the Burgon Society. In terms of life, after my near mid-life crisis, I honestly do not know what to do but to hope things will turn for the better for me. --Charlie Huang 【遯卋山人】 10:46, 28 April 2007 (UTC)

[edit] LYQS academical dress

  • In respect of Dannong's remarks at the yaji, I will now outline the academic dress of the society if in all possibility that the society should obtain learned society status and will need it:
  • Gown: A black stuff gown of the London BA shape [b4] (i.e. long open sleeves, gathered at the forearm and held together with a cord and button); a light blue silk London BMus (Conv.) [m9] (i.e. long closed sleeves with a double ogee curve at the boot of the sleeve) or a black stuff London MA gown [m4] (i.e. long closed sleeves with a gentle S-shaped curve at the boot of the sleeve) for officers; or any suitable black bachelor's gown to which the member is entitled to. Non-members may wear the Oxford Commoner's gown [u5].
  • Hood: A cream corded stuff or silk simple-shape hood of the Burgon shape [s2] (or a new design; "Youlan" simple-shape, i.e. similar to the Burgon but with square instead of curved edges) fully lined and bound in vermillion red silk; or a cream damask full-shape hood of the London full-shape [f3] (i.e. Cambridge full-shape but with rounded corners on the cape) fully lined in vermillion red silk satin and bound ½" on the cape and 1" on the cowl in light blue silk for officers.
  • Cap: A simple single-panelled soft black stuff or black hem/gauze stuff Chinese scholar's cap (si-fang pingding jin) with two streamers; a full double-panelled and stiff-boarded black velveteen Chinese scholar's cap with two streamers and a small white rectangular jade tablet on the forehead portion of the cap for officers; or an ordinary square cap [h1] (i.e. mortarboard).

The rationale behind the scheme is that since the society is primarily based in London and that it has London in its name, it would be fitting to use academic dress of the University of London; that and because the founding president (i.e. Cheng Yu) is an alumnus of SOAS. Most of the members would probably be London graduates as well. The London BA gown would be most suitable. As for the gown for the officers, the London BMus/MMus would be appropriate since this is a music society. The colour of the hoods are based on the Oxbridge DMus colours of cream and cherry silk; vermillion red is used because it is a Chinese colour. The simple shape hood of Burgon is preferred for ordinary members as it is less costly than a full shaped one as well as pleasing to look at. The full shape London hood would be reserved for the officers, in which case, they should be made in expensive fabric (as if it is meant to be passed on to successors instead of keeping them). They are also bound with an inch of light blue silk which comes from the fact that light blue is the London faculty colour for music. The Chinese scholar's cap is the important element (and unique quality) which distingushes this society from the rest.

This scheme may change in future and is only drawn up for amusement. It has not been approved by the society or by robemakers.

--Charlie Huang 【遯卋山人】 21:26, 7 May 2007 (UTC)

[edit] References

For more infromation on academic dress (and know what I'm on about), read: Shaw, George W. (1995), Academical Dress of British and Irish Universities. Chicester: Philmore & Co. Ltd. ISBN 0-85033974-X; read the wiki article the Academic dress of the University of London; or visit the Burgon Society website.

--Charlie Huang 【遯卋山人】 11:17, 8 May 2007 (UTC)

[edit] Jieshi Diao Youlan 14/05/2006

Was planned to be included in the article when someone planned for its deletion (probably because it contained mostly Chinese). Ended up having to whisk it here to save all the hard work of editing it! It might end up in Wikisource, who knows. The translation is merely for fun; I don't think I have the time and effort to finish it (or correct it), but hey.

[edit] 碣石調幽蘭序 一名倚蘭

丘公字明會稽人也梁末隱於九疑山妙絕楚調於幽蘭一曲尤特精絕以其聲微而志遠而不堪授人以陳禎明三年授宜都王叔明隨開皇十年於丹陽縣卒年九十七無子傳之其聲遂簡耳

[edit] 幽蘭 第五

耶臥中指｜卞半寸許案商食指中指雙牽宮商中指急下与拘俱下十三下一寸許住末商起食指散緩半扶宮商食指挑商又半扶宮商縱容下無名於十三外一寸許案商角於商角即作兩半扶挾挑聲一句

緩緩起中指當十豎案商緩緩散歷羽徵無名打商食指挑徵一句

大指當八案商無名打商食指散挑羽無名當十一案宮無名打宮微吟一句

大指當九案宮商疾全扶宮商移大指當八案商無名打商大指徐徐抑上八上一寸許急末取聲散打宮無名當十案徵食指挑徵應一句

無名不動下大指當九案徵羽卻轉徵羽食指節過徵大指急蹴徵上至八搯徵起無名不動無名散打宮食指挑徵應一句

無名不動又下大指當九案徵無名散打宮挑徵大指搯徵起大指還當九案徵羽急全扶徵羽舉大指屈無名當九十閒案文武食指打文下大指當九案文挑文大指不動又節歷武文吟無名散打宮徵大指不動食指挑文中指無名閒拘羽徵挑文無名散摘徵食指歷武文齪煞大指不動急全扶文武大指當八案武食指挑武大指緩抑上半寸許一句

大指當八上一寸許案羽食指打羽大指卻退至八還上蹴取聲大指附絃下當九案羽文於羽文作兩半挾挑聲大指兩節抑文上至八至七蹴取餘聲一句

無名當九案羽大指當八亦案羽無名打羽大指搯羽起無名當十案徵大指當九案徵羽即於徵羽作緩全扶無名打徵大指急蹙至八搯徵起無名疾退下十一還上至十住散挑文應無名摘徵散歷武文無名散打宮無名打徵食指散挑文中指無名閒拘徵羽挑文摘徵歷擘武文齪煞一句

大指當九案徵羽即於徵羽作緩全牽二聲屈無名於十九閒案文武食指打文大指當九案文食指便挑文大指案不動歷武文無名散打宮徵食指挑文中指無名散閒拘徵羽食指挑文無名散摘徵歷武文齪煞大指案文武不動急全扶文武移大指當八案武擘武抑上半寸許取聲一句大息

大指於九下半寸許案文武食指打文大指抑文上至九大指不動食指拘武中指牽文武無名著文大指無名附絃下當十十一案文無名打文大指搯文起搯文時節搯起無名不動無名摘文食指緩歷武文申中指對案宮無名打宮食指挑文大指當九十閒唈文抑上至九取餘聲無名當十三外半寸許案羽以下三絃食指打文急全扶文武大指當十一打搯武起無名不動半扶文武中指無名閒拘文羽緩緩曳無名上至十二散打文應一句小息

無名散摘文食指散歷武文無名散打宮中指當十案徵即作前打徵挑文閒拘挑摘歷擘齪煞聲一句

大指當八案角徵疾全扶角徵疾抑上一寸許取聲一句

大指當十上一寸許案角無名當十一亦案角無名打角大指搯角起中指當十豎案商無名打商散挑徵應大指當八案商無名當九案宮商食指挑商大指搯起無名不動食指半扶宮商大指當八案商緩挑商抑上半寸許食指即打商舉無名大指案商不動又節挑商大指吟之中指散打宮牽過商一句

無名當十三下一寸許案宮商以下絃大指當十二案商食指挑商大指搯起無名不動食指半扶宮商中指即打宮左無名拘宮起無名又當舊處案宮以下絃食指半扶宮商無名不動半扶角徵閒拘角商蠲角徵即下大指當十二案徵食指蠲角徵大指漸漸上至十五度蠲之先緩後急大指縮案徵羽食指歷羽徵無名散打宮挑徵應一句

拍之大息


大指當九案徵無名當十亦案徵無名散打宮食指挑徵大指搯起無名不動無名散打宮食指挑徵大指當九打徵抑上至八便案角徵疾全扶角徵大指當七八閒案徵食指挑徵大指抑上取聲抑上時輕指徐徐上末起覆汎七蠲徵羽一句

無名當八案文中指牽過羽文申中指對無名案徵中指打徵無名中指皆不動大指七八閒案文食指挑文大指搯文起舉中指無名不動大指覆汎七全扶徵羽舉大指無名仍不動食指挑文中指散牽羽過文無名當八案羽文大指當七八閒案文蠲羽文抑上大指至七食指挑文無名當七八閒案武食指散牽文過武大指當七案武挑武大指再臑六七閒取聲一句

大指當七上二寸許案文武急全扶文武大指於六下一寸許案武食指挑武大指抑上過六取聲覆汎五全扶文武挑武仰汎七無名打羽覆汎五挑武應一句

仰汎三中指打徵覆汎二中指打羽仰汎三中指打徵打角覆汎二全扶徵羽食指汎一無名打角覆汎二挑羽節全扶徵羽食指打羽仰汎三食指打文應一句

覆汎二半扶徵羽中指無名閒拘徵角仰汎三食指中指閒拘徵角覆汎三緩全扶商角食指歷徵角大指擘徵汎不動緩全扶商角歷徵角半扶商角中指無名閒拘商宮仰汎三中指打角覆汎二中指打商仰汎三中指打徵覆汎二中指打角覆汎三疾全扶商角歷徵角半扶商角閒拘商宮散閒拘宮商散擘文應一句

仰汎五閒拘徵角中指牽徵羽覆汎四無名打角仰汎五食指挑羽應覆汎五疾全扶徵羽挑羽互汎五六無名打宮食指挑羽應一句

大指四五閒案武無名當五汎文齪文武大指抑上豆許食指挑武舉無名大指不動中指牽過文武打璅武向四再臑一句小息

大指三四閒案文武疾全扶文武大指獨案武食指挑打武散打羽挑武應即蹙大指三上豆許取聲大指四五閒案武無名當五案武食指挑武大指与挑俱案散閒拘羽文挑武大指搯武起大指當五六閒案文食指打文大指蹙至五下少許大指即汎五食指拘武中指牽文武大指當五上一寸許案武食指挑武大指緩蹙上兩豆許取聲一句

大指當五六閒案文無名當六案文食指打文大指搯起附絃下大指當六七閒稍近七案文武無名當七案文武緩全扶文武大指無名不動無名打文急蹙大指上至六搯起取聲無名不動無名摘文食指歷武文申中指汎七無名打宮食指挑文應一句

上無名當六七閒案文武食指牽文武大指當六案武食指中指挑牽文武大指搯武起無名不動半扶文武中指無名閒拘文羽食指挑武下大指當六案武蠲文武大指徐抑上豆許大指附絃下七八閒案文急發刺文上大指六七閒案文武蠲文武下大指七八閒無名當八同案文中指打文大指搯文起下中指對無名案徵無名不動無名打徵大指還六七【八】閒案文食指挑文大指搯起舉中指無名不動大指汎七急全扶徵羽挑文中指牽過羽文舉無名大指當七八閒案文蠲羽文徐徐抑上至七食指挑文應一句

大指當八案羽已下無名當九案角已下急發刺羽應食指牽羽文挑武急全扶羽文無名打羽大指搯羽起無名不動半扶徵羽中指無名閒拘徵角食指牽徵羽下大指案徵已下食指挑羽應食指又牽羽文歷武文食指牽羽文中指打羽大指搯羽起食指挑羽中指牽徵羽大指縮案文武蠲文武大指徐徐抑上八上一寸許大指獨案武挑武中指牽過文武大指不動三璅武大指向七再臑又抑上六七間取聲大指便案文武全扶文武縮大指唯案武挑打武無名散打徵食指挑武應大指抑武上六上半寸取餘聲一句

無名從第七作勢案羽急下過十三下一寸許全扶羽文無名打羽無名拘羽起散半扶徵羽挑羽又半扶徵羽無名當十三下案羽以下即作兩半挾挑聲無名不動食指歷武文無名散打商食指挑文食指彈文無名打商食指拘文凡三遍作又彈文無名打商食指挑文中指無名散閒拘角商食指挑文無名散摘商食指歷武文無名散打商食指挑文應大指擘武一句

無名十三下半寸許案徵疾發刺徵大指當十一案文武歷武文大指擘武大指徐抑上至十取聲一句

舉大指無名十三外一寸許案羽已下食指節全扶文武大指當十一打搯武起取聲食指半扶文武中指無名閒拘文羽曳無名上至十二一句

無名散打文摘文散歷武文無名散打宮中指當十案徵無名打徵食指散挑文中指無名閒拘羽徵食指挑文無名摘徵食指散歷武文齪煞一句

無名當十三下少許案文武羽拘半扶文武大指當十一唈武抑上至十取聲舉大指無名打羽無名拘羽起中指當十三下少許案角中指牽角徵無名當十三案角徵大指當十一案徵挑徵大指搯徵起無名不動即半扶角徵又下大指當十一三璅徵緩璅之徐抑上至十前後齪宮徵一句

大指附絃下至十一案商角無名當十三下半寸許案宮商角拘半扶商角無名打商大指搯商起齪宮商中指仍打宮無名拘宮起無名還下本處蠲宮商即半扶閒拘徵角商即蠲角徵大指當十二案徵蠲角徵五度蠲之初緩後急大指隨蠲上至十便案徵羽歷羽徵前後齪宮徵一句

拍之大息


覆汎十疾全扶羽文仰汎十一疾全扶羽文互汎十二十三打角挑羽大指覆汎十二不動疾全扶徵羽仰汎十二食指打羽覆汎十一食指打文無名仰汎十二不動半扶閒拘羽徵角覆汎十挑文仰汎十歷武文半扶羽文閒拘羽徵覆汎九挑文覆汎十中指無名閒拘徵羽無名仍牽羽文食指歷武文舉大指無名汎十一前後齪角文仰汎不動中指打徵覆汎十中指打羽大指汎不動即於羽徵角作挑閒拘轉指聲歷文羽互汎十十一即前後齪角羽又齪徵文應一句

覆汎九閒拘徵角疾全扶徵羽仰汎十一閒拘徵角仰汎十二中指打羽無名還汎十一中指節打徵角仰汎不動歷徵角即半扶閒拘角商宮覆汎九作前閒拘角徵疾全扶徵羽聲一句

無名當八案羽文大指當七八閒唯案文蠲羽文大指隨蠲上至七食指即挑打文大指不動食指仍當七案宮前後齪宮文大指不動打璅文大指附絃上六七閒案文食指打文大指再臑文至六取聲大指還本處仍案文武疾全扶文武大指還至六唯案武挑武大指徐抑武上五六閒末起即覆汎五【】疾全扶文武挑武應食指汎四無名打羽無名汎五食指挑武應覆汎二蠲徵羽仰汎五閒拘角徵即疾全扶徵羽食指汎三無名打商無名汎五食指挑羽應一句

無名當五案文大指五上半寸許案武蠲文武大指隨蠲上又半寸許即挑打武大指唯案武無名汎五前後齪角武打璅武大指附絃上至四打武再臑於三四閒仍并案文武急全扶文武大指放文案武食指挑打武無名汎五前後齪羽武大指蹙上至三仰汎二急全扶文武覆汎一食指歷文羽無名汎四大指汎二前後齪羽武覆汎三閒拘武文仰汎四閒拘武文覆汎二節全扶徵羽汎不動食指打羽仰汎三食指打文一句

大指附絃下至八案武無名當九亦案武挑閒拘武文羽大指搯武起無名附絃下當十一唯案武挑閒拘武文羽大指當九掩武取聲大指附絃下當十一唯案武無名當十三下同案武作前挑閒拘武文羽聲大指搯武起舉無名散閒拘文武下無名當十三下案文武全扶文武大指當十一打搯武起無名不動即全扶文武挑齪武羽大指當十一案武食指挑武一句

應前無名案羽無名打羽無名拘羽起於徵羽散兩半挾挑聲無名當十三下少許案羽文兩半挾挑聲食指歷武文無名散打商散打徵挑閒拘挑轉指又挑於文羽徵作之無名案不動節全扶文武大指當十一打搯武起即半扶閒拘武文羽無名徐曳上至十二取聲舉無名無名散打摘文歷武文無名散打宮中指當十案徵乃打徵挑文閒拘徵羽挑文摘徵歷武文齪煞一句

無名當十三下少許案羽已下拘半扶武文大指當十一掩武抑上至十取聲無名打羽無名拘羽起中指當十三下少許案角中指牽角徵無名當十三案角徵大指當十一案徵挑徵大指搯徵起無名不動即半扶角徵還下大指當十一案徵緩三璅徵大指隨璅徐抑上至十前後齪宮徵一句

大指附絃下至十一案商角拘半扶商角大指兩節抑角上至九取聲大指還當十一案宮已下四絃食指節歷徵角大指吟食指半扶商角中指無名閒拘宮商又逆閒拘宮商舉大指散閒拘宮商急下大指當十一打宮取餘聲下無名十三外半寸許案商角徵大指當十一案徵挑徵大指搯徵起食指半扶閒拘徵角商即蠲角徵大指當十一案徵蠲角徵五度蠲之初緩後急大指隨蠲上至十縮案徵羽歷羽徵前後齪宮徵一句

拍之


食指汎八無名打徵無名汎九食指挑武應覆汎九疾全扶文武挑武應食指汎八無名打文互汎十九前後齪羽武舉大指無名不動無名打文大指汎九於文武羽半扶疾『間拘聲舉大指無名汎十』齪宮羽一句

覆汎九食打羽無名打商散挑羽應『舉大指無名汎九於徵角羽作疾閒句半扶聲無名大指互汎八九牽羽文舉大指名不動半扶徵羽疾閒句徵角食指打羽舉無名大指汎八食指挑羽互汎八九齪商徵散打羽大指當八案武無名汎九食指兩蠲文武大指掐武起無名不動於文武羽作半扶疾閒句聲大指汎九閒句徵角半扶徵羽互汎九十齪角羽舉無名大指不動全扶徵羽挑羽』無名汎十一無名打宮大指汎九挑羽應一句

食指汎八無名打徵無名汎十挑文應仍擘武無名汎十一食指打文無名汎十二全扶文武即挑武應互汎十二十三前後齪羽武無名當暗徽無名便打文一句暗徽逸徽是也

仰汎十二卻轉武文食指仍歷至徽緩全扶角徵無名節打角疾全扶徵羽互汎十一十二食指牽羽文仰汎十二半扶徵羽閒拘角徵互汎十十一中指牽徵羽覆汎十作前挑閒拘轉指聲歷文羽互泛十十二前後齪商羽仍仰汎十二食指挑羽應一句

食指大指具汎十二大指中指齊撮商武又撮宮文食指大指移汎十一亦齊撮商武又撮宮文食指大指移汎十亦齊撮商武又撮宮文食指大指移汎十一齊撮『商武移汎十齊撮商武又移汎十一齊撮』宮文又撮商武又撮宮文丘公云自齊撮以下有若仙聲無名當十案徽羽閒拘徵羽大指當九亦案徵羽疾全扶徵羽仰汎十一無名打商覆汎九挑羽仰汎十一無名打徵覆汎七挑文應覆汎不動食指歷武文食指對汎宮無名打宮食指挑文應一句小息

無名當八案徵羽文半扶羽文大指當七八閒打文仍緩蹙上至七還下舊處案文半扶羽文大指三掐文起兩掐當中一掐當七半扶羽文仍閒拘羽徵無名當九案角以下閒拘徵角急全扶徵羽無名當八案羽已下半扶羽文大指於七八閒打文取聲仍蠲羽文無名不動大指隨蠲抑上至七凡五度蠲之初緩後急食指打文大指不動食指對大指汎宮無名打宮挑文又齊齪宮文一句

拍之


碣石調幽蘭第五此弄宜緩消息彈之


楚調     千金調     胡笳調     感神調 
楚明光     鳳歸林     白雪       易水       幽蘭 
遊春       淥水       幽居       坐愁     秋思 
長清       短清       長側       短側 
上上舞     下上舞     上間絃     下間絃 
登隴       望秦       竹吟風     哀松路     悲漢月 
辭漢       跨鞍       望鄉       奔雲       入林 
華舜十遊             史明五弄             董揩五弄 
鳳翅五路   流波       雙流       三挾流泉   石上流泉 
蛾眉       悲風拂隴頭   風入松     遊弦     楚客吟秋風 
東武太山   招賢       反顧       閑居樂     鳳遊園     蜀側 
古側       龍吟       千金清     屈原歎     烏夜啼     瑟調 
廣陵止息   楚妃歎

[edit] Solitary Orchid No.5

Lay the (left) middle finger on 10th (hui) down/up half an inch [1] on the shang string. The (right) index and middle fingers pluck strings gong and shang in succession. The middle finger quickly moves down and hooks onto (hui) 13 down one inch, then picks up the shang string. The (right) index finger plays open notes slowly by plucking inwards strings gong and shang, then plucks outward on shang. Then again plucks inward on gong and shang. Lay flat the (left) ring finger on the 13th (hui) outside it one inch on both shang and jiao strings, then pluck inwards (with right index finger) on these strings twice, with an outward pluck on shang in between. That is one phrase.

Very very slowly; press the (left) middle finger on the 10th hui on shang; very very slowly, play open notes with the (right) index finger plucking outwards without pause on the yu and zhi strings. The (right) ring finger plucks the shang string inwards, the index plucks the zhi string outwards. This is one phrase.

[edit] Guqin articles template 17/05/2006

Guqin
古琴
Aesthetics | Construction | Contemporary players | History | Literature | Notation | Playing technique | Popular culture | Qinpu | Schools
Societies | Strings | Tuning | Yaji
Melodies
Ao Ai | Guangling San | Hujia Shiba-pai | Jieshi Diao Youlan | Liu Shui | Meihua Sannong | Pingsha Luoyan | Xiao Xiang Shuiyun | Yangguan Sandie
Schools
Guangling | Jiuyi | Lingnan | Mei'an | Pucheng | Shu | Yushan | Zhe | Zhucheng
Societies
London Youlan Qin Society | New York Qin Society | North American Guqin Association
Historical personages
Bo Ya | Cai Wenji | Cai Yong | Confucius | Guo Chuwang | Ruan Ji | Emperor Song Huizong | Xi Kang | Zhu Quan
Players
Cheng Yu | Gong Yi | Guan Pinghu | Li Xiangting | Lin Youren | Wang Fei | Wu Jinglüe | Wu Zhaoji | Zeng Chengwei | Zha Fuxi | Zhang Ziqian

[edit] Personal table archive 19/05/2006

Hidden. Click edit to see.

[edit] Guqin notation article preparation 2006/05/29

Abandoned. it will take too much time and it would be more like a manual, which what Wikipedia isn't.

Tablature notation Chinese name English equivalent Description Remarks
Right-hand techniques
  "tiao" to tease Index finger plucks outwards ---
Left-hand techniques
 
Right and left hand techniques
 
Others
 

[edit] 麓臯十紳 The Nine Gentlemen of the Foothill Springs

  1. 洞 馬臯
  2. 房 桐
  3. 貧終 儒佩
  4. 包 基篤
  5. 梵北 蟄
  6. 法 拘
  7. 威倫浩 捷恪
  8. 蘋 鯉逹
  9. 租 待詣
  10. 雲正 儒賦

[edit] List of Shouian emperors

[edit] Zheng Dadi 正大帝

  • Name
  • Family name: Li 李
  • Personal name: Shaoran 小狼
  • Reign title: 大帝
  • Eras
  • Taihao 替昊
  • Zhenhao 眞昊
  • Chuhao 矗昊
  • Temple name: Taizu 太祖
  • Posthumous name: Da Zheng Shisheng Zuwang Li-shi Taihao Da Huangdi 大正始聖祖王李氏矗昊大皇帝

[edit] Zheng Kaiwen 正開文

  • Name
  • Family name: Chen 陳
  • Personal name: Lun 倫
  • Reign title: 開文
  • Eras
  • Kaiguang 開廣
  • Wenguang 文廣
  • Tianguang 天廣
  • Temple name: Gaozong 高宗
  • Posthumous name: Da Zheng Wensheng Shenwang Chen-shi Kaiwen Da Huangdi 大正文聖紳王陳氏開文大皇帝

[edit] Zheng Fengwu 正封武

  • Name
  • Family name: Deng 鄭
  • Personal name:
  • Reign title: 封武
  • Eras
  • Fengzi 封治
  • Mingzi 眀治
  • Lezi 樂治
  • Dazi 大治
  • Temple name: Zuanzong 尊宗
  • Posthumous name: Da Zheng Wusheng Junwang Deng-shi Fengwu Da Huangdi 大正武聖君王鄭氏封武大皇帝

[edit] Zheng Datong 正大同

  • Name
  • Family name: Weilunhao 威倫浩
  • Personal name: Jieke 捷恪
  • Reign title: 大同
  • Eras
  • Dade 大德
  • Gaode 高德
  • Jingde 敬德
  • Temple name: Gaozu 高祖
  • Posthumous name: Da Zheng Tongsheng Ciwang Weilunhao-shi Datong Da Huangdi 大正同聖慈王威倫浩氏大同大皇帝

[edit] Regent Jiahao 正甲侯

[edit] Zheng Chuanguang 正傳光

  • Name
  • Family name: He 褐
  • Personal name: Deren 德認
  • Reign title: Chuanguang 傳光
  • Eras
  • Chuanhe 傳和
  • Qihe 齊和
  • Temple name: None
  • Posthumous name: None

[edit] Personal philosophy snippets

  • "Precious knowledge must not be distributed indiscriminatly, for the ancients and learned did bestow them upon us for our benefit to understand ourselves and the world around us; to let them be un-used, or abused is disrespectful to their work. But if a gentle man or woman shall traverse the seven seas, climb the five mountains, journey through the dangers of the world and surpass all obstacles in their way, that they truly wish to obtain these jewels and gems of world, using all their sincerity and might; then let them have the knowledge they seek, for they are worthy of nothing less for their efforts and struggles. That is why the Emperor fails to find the elixir because he sends others to do his work, whilst the poor monk finds it because he knows what true elixir is and that he must personally go and find it."
  • "The educated know no more about themselves than the village idiot does about themselves."
  • "What is happiness? It is to not forget those we love the most."
  • "If you listen to popular music and nothing else, then you fail to appreciate anything else."
  • "If a penny fell from the sky and landed in front of me, then it was sent by demons. If it landed behind me, it was sent by Heaven. If it landed on my head, someone must have dropped it..."
  • "You know you are deranged if you start fanastising about being in love with a bald-patched man with a goatee who calls himself 'Derren'..."
  • "Laughing makes us weak, crying makes us strong."
  • "If two men were to fall in love with each other, then let that be; for the greatest regret is to be lonely, to not be true to oneself, to stop caring for those we love because of others' discrimination. Thus it is said, true love is not hedonistic, for true love must have restraint. To cherish others, to respect others, to be with others forever. To deny others of that love, is that not the greatest crime we can inflict on others?"
  • "It is better to die knowing you did something than to die with regret knowing you didn't."
  • "The fact remains, Sirs; that petty men rule the world because they focus on nothing but their gain. If it were me, I'll make sure that our humanity is placed first before profit; for what use is money if it is in the hands of petty men?"
  • "Petty men destroy the work of gentlemen and others. It is no wonder they look like religious fanatics, hell-bent on hate. They should look in the mirror to see what they look like (or if they don't have a mirror, pee in a bucket and use that instead)..."
  • "I feel like a bird in a cage; the cage door is open for me to fly out, but a string is tied to my leg and the cage."

[edit] 矗昊列傳

Here is my current abridged autobiography in a pseudo-Classical Chinese "official biography" form; an idea borrowed from a fellow Wikipedian. It may not be well written as my Classic Chinese expertise is rather limited (i.e. near non-existant!!!), but I hope you enjoy deciphering it as much as I enjoyed writing it! I've wikified most terms, names and metaphors that maybe difficult to understand, since some are my own conceptions as they either don't exist or are translated terribly by others (especially names of Western people and places, which sound like a string of gobbledy-gook). I've made the characters big so you can read them clearly. Mind you, some bits are not meant to be taken too seriously! It is continuously updated whenever a major event in my life takes place, or what I deem to be important information that you should know...

徐氏永樂者，字龍正，尊號正矗昊，琹號龝䨻，又號斷背桂冠，大英西中伯朙人也，女王伊莉莎白二世三十一年（癸亥）所生。伯朙之處，入小荒講書堂五年，又入於肅敦寒田進學所兩年，後成大業。四十九至五十二年 ，入狼臯韓敦學院三年之久，考成哲理下二級榮譽文學士生貟。

學院之內，發知韶韻之樂，琴瑟之聲。以爲音聲最優，最近髙古，修身養性，宣龢正心。可惜太遲改學之道，無能考樂。自祕取珡噐，又豎笛與琵琶，受爺娘憤恨之斥。昶日撫琹，練曲十幾者，秋風酒狂，陽關三疊，長門普庵，髙山流水，風雷良宵，平沙落鴈。五十一年，加入倫敦幽蘭琴社，於程姬玉爲友。姬助氏翫琹，以倫敦音樂御院習琹。師傅有三，其一京城琹師李氏祥霆，其二益州斫琹師曾氏成偉，其三 申城琹師龔氏一耳。欲將封爲音樂碩舉人之位，哲學博探花之進士，或文學挎眼之進士，或音樂狀元之進士耳矣。

其十有八，發自有龍陽之癖，不能接受。過年之後，啓發道理，懂得人愛之弘力，終日知天命。除氏知之外，內府無注。家族有偏見。曰：「無知者何必知乎。」光明正大不得，自安自慰。曰：「何時逢君哉！」時會俊仕有二，其一名蜂蜜氏馬毓，是者無恥，其二名嵇氏馬師，是者後不見也。所以憂獨，夢伶士之顔，譬如威倫浩氏捷恪，蘋氏鯉達，陵者氏壯與貧終氏儒佩。但不能足之，繼遊尋君。

其久無業，就在尋業所，二年之間，不成取果。其時之間，練書習畵，吟詩詠詞，博弈讀漫，觀跡看劇。其中之一，斷背山之劇，令氏深感至哭，無窮悲傷。起筆書斷背之行，斷背山之賦。德認論壇之員，封其爲斷背桂冠。真心深感矣。

五十三年，成爲畫藝御院之友，五十四年參三皇之御覽，欽定康熙雍正乾隆之寶。在處於書師曲氏磊磊，練書四體，其一楷書，其二隸書，其三小篆文，其四甲骨文而已矣。

其聽他族之樂有久，長時而吟之。本國之民謠之中，賞鑑湖氏瑟撫，揺滚凡樂之中，賞鑑給食者。爵士之樂，賞鑑高崙氏傑覓。美戎之民謠，賞鑑斷背山者，如聶氏威黎，雲正氏儒賦。東夷之凡樂，賞鑑坂本姬真綾，鬼束姬千尋，菅氏止戈男。近年之間，最賞湖氏之樂，就起筆書湖氏瑟撫樂况。

雖好聲音，維基百科之處，大書琴論瑟文。四月不盡，舉文封徽，又四月過後，登上封面，可喜可賀。不幸好犯上者之作亂，小人違律反政，將是文壞之，無恥恣意。其之交者，合力相璧，制止犯上者，後似內戰也。曰：「噫！何時終乎哉！」到九月之期，琴論又封位，加入維基大典之初板也。善哉。


[edit] Qinpu tables

For reference purposes. Spent a great deal of time putting the tables together and I don't want it to all go to waste!!!

These were created with some help from Christopher Evans and John Thompson's qinpu tables as well as Zha Fuxi's qinpu book.

No. Name of Qinpu (Chinese) Name of Qinpu (English) Author / Compiler Date of Publication Volumes and / or Number of Scores Location of original(s) Remarks
Pre Tang
01 謁石調幽蘭 Jieshi Diao Youlan The Solitary Orchid in the Jieshi Mode 丘明 : Qiu Ming Pre 908 One scroll One piece Japan Written in wenzipu
Song Dynasty
02 白石道人歌曲 : 古怨 Bashi Daoren Gequ: Gu Yuan Song of the White Rock Daoist: Ancient Lament 姜夔 : Jiang Kui 1202 One volume One piece First discovered tablature to use jianzipu
Yuan Dynasty
03 事林廣記 : 撫琴要略 Shilin Guangji : Fuqin Yaolüe Comprehensive Record of Affairs : The Necessities in Stroking the Qin 稱元靚 : Chen Yuanliang 1269 One volume 6 pieces University of Beijing Library
N/A 事林廣記 : 泰定本 Shilin Guangji : Taiding Ben Comprehensive Record of Affairs : Taiding Edition 稱元靚 : Chen Yuanliang 1325 One volume One piece
N/A 事林廣記 : 椿莊書院本 Shilin Guangji : Chunzhuang Shuyuan Ben Comprehensive Record of Affairs : Chunzhuang Academy Edition 稱元靚 : Chen Yuanliang Yuan One volume 6 pieces
Ming Dynasty
04 太音大全集 Taiyin Daquanji Great Complete Collection of Utmost Sounds 袁均哲 : Yuan Junzhe Before 1413 5 volumes 5 pieces
05 太音大全集 Taiyin Daquanji Great Complete Collection of Utmost Sounds 朱權 : Zhu Quan 1413 6 volumes 5 or 6 pieces Beijing Library (scanned copy)
06 神奇秘譜 Shenqi Mipu Mysterious and Marvellous Tablature 朱權 : Zhu Quan 1425 3 volumes 64 pieces Beijing Library (scanned copy) First discovered major collection of qin tablatures.
07 五聲琴譜 Wusheng Qinpu Qin Tablature of Five Sounds 懶僊 : Lan Xian 1457 5 pieces
08 浙音釋字琴譜 Zheyin Shizi Qinpu Qin Tablature of Music from the Zhejiang [School] Elucidated through Lyrics 龔經 : Gong Jing Before 1491 2 volumes 39 pieces (existing)
09 太古遺音 Taigu Yiyin Reminiscent Sounds of Utmost Antiquity 謝琳 : Xie Lin 1511 3 volumes 35 pieces
10 太古遺音 Taigu Yiyin Reminiscent Sounds of Utmost Antiquity 黃士達 : Wang Shida 1515 3 volumes 38 pieces
11 新堪 : 發明琴譜 Xinkan : Faming Qinpu New Bearing : Qin Tablature of Revelations 黃龍山 : Huang Longshan 1530 2 volumes 24 pieces Beijing Library
12 風宣玄品 Fengxuan Xuanpin Profound Airs Brought by the Wind 朱厚爝 (明徽王) : Zhu Houjue (Prince Hui of the Ming Dynasty) 1539 10 volumes 101 pieces Central Conservatory of Music Research Department
N/A 梧岡琴譜 Wugang Qinpu Qin Tablature of the Paulownian Ridge 黃獻 : Huang Xian 1546 2 volumes 42 pieces Compiled by palace eunuch.
13 琴譜正傳 Qinpu Zhengchuan The Correct Transmission of Qin Tablatures 黃獻 : Huang Xian 1547 6 volumes 71 pieces
14 西麓堂琴統 Xilu Tang Qintong Qin Tradition of the Hall of the Western Hill 汪芝 : Wang Zhi 1549 25 volumes 138 pieces
  • Privately made reprint, Tianjin (2000, 2004)
  • Zhongguo Shudian public reprint: ISBN 7-80663-386-3 (2007)
15 步虛僊琴譜 Buxu Xian Qinpu Qin Tablature of the Strolling-in-Emptiness Immortal 顧挹江 : Gu Yijiang 1556 9 volumes 15 pieces Central Conservatory of Music Research Department
N/A 太音傳習 Taiyin Chuanxi Transmission of the Great Sounds 李仁 : Li Ren 1552-62 5 volumes 80 pieces
16 杏莊太音補遺 Xingzhuang Taiyin Buyi Great Sounds Addendum from Apricot Village 蕭鸞 : Xiao Luan 1557 3 volumes 72 pieces Beijing Library (scanned copy)
17 杏莊太音續譜 Xingzhuang Taiyin Xupu Great Sounds Continuation from Apricot Village 蕭鸞 : Xiao Luan 1560 One volume 31 pieces
N/A 龍湖琴譜 Longhu Qinpu Qin Tablature of the Dragon Lake 石月舟 : Shi Yuezhou 1571 2 volumes 30 pieces
N/A 新刊正文對音捷要 : 琴譜正傳 Xinkan Zhengwen Duiyin Jieyao Qinpu Zhenchuan Newly Printed Correctly Worded Paired Sounds Successful :

Qin Tablature of the Correct Tradition

 1573 6 volumes 65 pieces Earlier version of Chongxiu Zhenchuan (see below)
18 五音琴譜 Wuyin Qinpu Qin Tablature of Five Tones 朱珵 (明沈王) : Zhu Cheng (Prince Shen of the Ming Dynasty) 1579 3 volumes 31 pieces
19 重修真傳琴譜 Chongxiu Zhenchuan Qinpu Revised Qin Tablature of Correct Tradition 楊表正 : Yang Biaozheng 1585 10 volumes 101 pieces
20 玉梧琴譜 Yuwu Qinpu Qin Tablature of the Jade Paulownia 張進朝 : Zhang Jinchao 1589 3 volumes 52 pieces
21 琴書大全 Qinshu Daquan Great Collection of Qin Books 蔣克謙 : Jiang Keqian 1590 22 volumes 62 pieces Largest collection of qin books in existence.
22 三教同聲 Sanjiao Tongsheng Three Teachings Sound the Same 張德新 : Zhang Dexin 1592 4 pieces
23 文會堂琴譜 Wenhui Tang Qinpu Qin Tablature of the Hall of Gathering Culture 胡文煥 : Hu Wenhuan 1596 6 volumes 68 pieces Central Conservatory of Music Research Department
24 綠綺新聲 Lüqi Xinsheng New Sounds of Green Cloth 徐時琪 : Xu Shiqi 1597 3 volumes Doesn't specify
25 藏春塢琴譜 Zangchun Wu Qinpu Qin Tablature of Hidden Spring Bed 郝寧, 王定安 : Hao Ning and Wang Ding'an 1602 5 volumes 66 pieces
26 三才圖會續集鼓琴圖 Sancai Tuhui Xuji Gu Qin Tu Continued Collected Qin Playing Diagram of the Triad Picture Group 王思義 : Wang Siyi 1607 One volume 5 pieces
27 太古遺音 Taigu Yiyin Reminiscent Sounds of Utmost Antiquity 楊掄 : Yang Lun Before 1609 2 volumes 34 pieces Central Conservatory of Music Research Department
伯牙心法 Boya Xinfa Boya's Internal Method One volume 29 pieces
28 太古正音琴譜 Taigu Zhengyin Qinpu Qin Tablature of the Correct Tones of Utmost Antiquity 章憲翼 : Zhang Xianyi 1611 4 volumes 52 pieces Central Conservatory of Music Research Department (Kangxi period print)
N/A 陽春堂琴經 Yangchuntang Qinjing Qin Classic of the Sunny Spring Hall 張大命 : Zhang Daming 1611 14 volumes No pieces
  • Reprinted in (太古正音琴經) Taigu Zhengyin Qinjing, 1664
N/A 陽春堂琴譜 Yangchuntang Qinpu Qin Tablature of the Sunny Spring Hall 張大命 : Zhang Daming 1611 4 volumes 42 pieces
  • Reprinted in (太古正音琴經) Taigu Zhengyin Qinjing, 1664
29 燕閑四適之一 : 琴適 Yanxian Sishi zhi-yi : Qin Shi One of the Four Attainments of Pleasure: --- 劉朝箴 : Liu Chaozhen 1611 4 volumes 14 pieces
30 松絃館琴譜 Songxian Guan Qinpu Qin Tablature of the Pine-string Study 嚴澄 : Yan Cheng 1614 28 pieces Central Conservatory of Music Research Department (early Qing print) Preserved in the Siku Quanshu. Important Yushan school qinpu.
31 理性元雅 Lixing Yuanya Original Elegance of Logicality 張延玉 : Zhang Yanyu 1618 4 volumes 72 pieces Central Conservatory of Music Research Department
32 思齊堂琴譜 Siqi Tang Qinpu Qin Tablature of the Hall of Thinking Together 鐘氏 (崇昭王妃) : Lady Zhong (Chong Zhao Imperial Concubine) 1620 11 pieces
N/A 太音希聲 Taiyin Xisheng Rare Sounds of Great Tones 陳大斌 : Chen Dabin 1620 5 volumes 36 pieces
33 樂仙琴譜 Lexian Qinpu Qin Tablature of the Happy Immortal 汪喜吾 : Wang Xiwu 1623 Not specified 35 pieces
34 古音正宗 Guyin Zhengzong Orthadox Tones of Antiquity 朱常淓 (明潞王) : Zhu Changfang (Prince Lu of the Ming Dynasty) 1634 50 pieces
35 徽言秘旨 Huiyan Mizhi Secret Edict of the Voice of Honour 尹爾韜 (尹曄) : Yin Ertao (Yin Ye) 1647 60 pieces
N/A 中洲草堂遺集 Zhongzhou Caotang Yiji Reminiscent Collections of the Middle Continent Grass Hall 陳子卬 : Chen Zi'ang Ming One piece Not published until 1821-51
36 義軒琴經 Yixuan Qinjing Qin Classic of the Righteous Inn 張一亨 : Zhang Yiheng Ming 2 volumes 33 pieces Central Conservatory of Music Research Department
37 陶氏琴譜 Tao-shi Qinpu Qin Tablature of the Tao Family 陶鴻逵 : Tao Hongkui Ming 9 pieces Central Conservatory of Music Research Department
Qing Dynasty
N/A 友聲社琴譜 Youshengshe Qinpu Qin Tablature of the Society of Friendly Sounds 鄭方 : Zheng Fang Early Qing 2 volumes 27 pieces 11 pieces missing from 2nd volume
38 愧庵琴譜 Kui'an Qinpu Qin Tablature of the Shy Monastery 徐國俊 : Xu Guojun 1660 2 volumes 22 pieces
N/A 臣卉堂琴譜 Chenben Tang Qinpu Qin Tablature of the Hall of the Absentee Official 鄭方 : Zheng Fang 1663-5 26 pieces
39 琴學心聲 Qinxue Xinsheng Sound from the Heart of Qin Study 莊臻鳳 (莊蝶庵) : Zhuang Zhenfeng (Zhuang Die'an) 1664 Not specified 14 pieces Central Conservatory of Music Research Department
40 琴苑心傳全編 Qinyuan Xinchuan Quanbian Complete Manuscript of the Qin Garden Heart Transmissions 孔興誘 : Kong Xingyou 1670 20 volumes 80 pieces
41 大還閣琴譜 Dahuan Ge Qinpu Qin Tablature of the Pavilion of Great Return 徐上瀛 : Xu Shangying 1673 6 volumes 32 pieces Central Conservatory of Music Research Department Important Yushan school qinpu.
42 和文注琴譜 Hewen-zhu Qinpu Qin Tablature of Harmonious Literature Notes 蔣興疇 : Jiang Xingchou Before 1676 37 pieces
43 松風閣琴譜 Songfeng Ge Qinpu Qin Tablature of the Windy Pine Pavilion 程雄 : Cheng Xiong 1677 2 volumes 11 pieces Central Conservatory of Music Research Department Presevered in the Siku Quanshu
〔附〕 抒懷操 Shuhuai Cao (attached) Song of Carefree 1682 One volume 37 pieces
44 琴瑟譜 Qin-se Pu Tablature of the Qin and Se 程雄 : Cheng Xiong 1677 One volume 13 pieces Also known as 松風閣琴瑟譜
〔附〕 松聲操 Songsheng Cao (attached) Song of the Sound of Pines 1687 One volume 45 pieces
N/A 響山堂琴譜 Xiangshan Tang Qinpu Qin Tablature of the Hall of Mountain Echos 徐常遇 : Xu Changyu Before 1700? 15 pieces Incomplete handcopy
45 澄鑒堂琴譜 Chengjian Tang Qinpu Qin Tablature of the Clear Mirror Hall 徐常遇 : Xu Changyu 1686 37 pieces Central Conservatory of Music Research Department
46 德音堂琴譜 Deyin Tang Qinpu Qin Tablature of the Hall of Virtuous Sounds 郭裕齋, 吳之振 : Guo Yuzhai and Wu Zhizhen 1691 10 volumes 36 pieces Central Conservatory of Music Research Department
47 範氏琴瑟合壁 Fan-shi Qin-se Hebi Fan Clan's Paired Qin and Se 範承都 : Fan Chengdu 1691 4 pieces
48 徽言秘旨訂 Huiyan Mizhi Ding Revised Secret Edict of Honorary Words 尹曄, 孫淦重 : Yin Ye and Sun Ganzhong 1692 13 pieces Central Conservatory of Music Research Department
49 琴譜析微 Qinpu Xiwei Qin Tablature of Discerned Subtle Meanings 魯鼐 : Lü Nai 1692 8 volumes 30 pieces
50 蓼懷堂琴譜 Liaohuai Tang Qinpu Qin Tablature of the Luxuriant Emotions Hall 雲志高 : Yun Zhigao 1702 33 pieces Central Conservatory of Music Research Department
51 誠一堂琴譜 Chengyi Tang Qinpu Qin Tablature of the Hall of One Sincerity 程允基 : Cheng Yunji 1705 6 volumes 36 pieces Central Conservatory of Music Research Department
N/A 一峰園琴譜 Yifeng Yuan Qinpu Qin Tablature of the One Peak Garden 禹祥年 : Yu Xiangnian 1709 20 pieces
66 東臯琴譜 (とうこうきんぷ) Donggao Qinpu (Japanese: Toukou Kinpu) Qin Tablature of the Eastern Springs 蔣興疇, 鈴木龍 : Jiang Xingchou and Suzuki Ryuu 1709, 1771, 1898 15 pieces Van Gulik collection: CH-1542 (1827) Tablature originally printed in Japan (Meiwa period, Ohara Shiro edition and others).
52 琴學正聲 Qinxue Zhengsheng Correct Sounds of Qin Study 沈琯 : Shen Guan 1715 6 volumes 12 pieces Central Conservatory of Music Research Department
N/A 琴譜合璧 Qinpu Hebi Combined Qin Tablatures 揚揄撰, 和素譯 : Yang Lun (compiler) and He Su (editor) Before 1718 18 volumes Originally published in the Siku Quanshu 欽定四庫全書, 子部八, 藝術類二, 琴譜之屬.
53 五知齋琴譜 Wuzhi Zhai Qinpu Qin Tablature of the Five Knowledge Studio 徐琪 : Xu Qi 1721 8 volumes 33 pieces Central Conservatory of Music Research Department Also known as 琴譜大成. One of the most important and widely used qinpu.
54 臥雲樓琴譜 Woyun Lou Qinpu Qin Tablature of the Tower of Low-lying Clouds 馬兆辰 : Ma Zhaochen 1722 8 volumes 32 pieces Central Conservatory of Music Research Department
55 存古堂琴譜 Cungu Tang Qinpu Qin Tablature of the Hall of Existing in Antiquity 吳文煥 : Wu Wenhuan 1726 8 volumes 20 pieces
56 立雪齋琴譜 Lixue Zhai Qinpu Qin Tablature of the Studio of Standing Snow 汪紱 : Wang Fu 1730 2 volumes 16 pieces
57 琴書千古 Qinshu Qian-gu Qin Books of a Thousand Years 佚名 : Anonymous 1738 4 volumes 24 pieces
58 治心齋琴學練要 Zhixin Zhai Qinxue Lianyao Necessary Training in Qin Study of the Studio of Governing the Heart 王善 : Wang Shan 1739 Not specified 26 pieces Central Conservatory of Music Research Department
59 春草堂琴譜 Chuncao Tang Qinpu Qin Tablature of the Spring Grass Hall 蘇瓊 : Su Qiong 1744 6 volumes 28 pieces Central Conservatory of Music Research Department
60 大樂元音 Dale Yuanyin Original Tone of Great Happiness 潘士權 : Pan Shiquan 1745 7 volumes 6 pieces Central Conservatory of Music Research Department
61 琴劍合譜 Qin-jian Hepu Combined Tablature of Qin and Sword 索敏亭 : Suo Minting 1749 11 pieces
62 穎陽琴譜 Yingyang Qinpu Qin Tablature of Yingyang? 李郊 : Li Jiao 1751 4 volumes 12 pieces Central Conservatory of Music Research Department
63 蘭田館琴譜 Lantian Guan Qinpu Qin Tablature of the Orchid Field Study 李光塽 : Li Guangshuang 1755 9 volumes 44 pieces
64 琴香堂琴譜 Qinxiang Tang Qinpu Qin Tablature of the Hall of Fragrant Zithers 馬任 ﹑ 馬倩 : Ma Ren and Ma Qian 1760 38 pieces Central Conservatory of Music Research Department
65 研露樓琴譜 Yanlu Lou Qinpu Qin Tablature of the Tower of Pestled Dew 崔應階 : Cui Yingjie 1766 4 volumes 20 pieces Central Conservatory of Music Research Department
N/A 玉堂琴譜 (ぎょくどうきんぷ) Yutang Qinpu (Japanese: Gyokudō Kinpu) Qin Tablature of the Jade Hall 浦上玉堂 : Uragami Gyokudō 1791 One volume Japan A tablature collection published in Japan in the Kansei period.
  • Available in digital format here (requires DjVu plug-in to view)
N/A 龍吟館琴譜 Longyin Guan Qinpu Qin Tablature of the Dragon Chant Study 王燕卿 : Wang Yanying 1799 2 volumes 8 pieces A proto-Mei'an School qinpu
67 自遠堂琴譜 Ziyuan Tang Qinpu Qin Tablature of the Hall of Self-distancing 吳灴 : Wu Hong 1802 11 volumes 93 pieces Central Conservatory of Music Research Department
68 裛露軒琴譜 Yilu Xuan Qinpu Qin Tablature of the Damp Dew Inn 待攷 : Dai Kao After 1802 88 pieces
69 蕭立禮琴說 Xiao Lili Qinshuo Qin Lore of Xiao Lili 蕭立禮 : Xiao Lili 1807 One piece
70 小蘭琴譜 Xiaolan Qinpu Qin Tablature of the Small Orchid 業布 : Ye Bu 1812 One volume 12 pieces Central Conservatory of Music Research Department
71 琴譜諧聲 Qinpu Xiesheng Harmonious Sounds Qin Tablature 周顯祖 : Zhou Xianzu 1820 6 volumes 26 pieces Central Conservatory of Music Research Department
72 指法彙參確解 Zhifa Huican Quejie Corrected Collected Finger Techniques 王仲舒 : Wang Zhongshu 1821 Not specified 11 pieces
73 峯抱樓琴譜 Fengbao Lou Qinpu Qin Tablature of the Tower of Peak Cherish 沈浩 : Shen Hao 1825 16 pieces
74 琴學軔端 Qinxue Renduan Spoke End Qin Studies 鑑湖逸士石卿 : Jianhu Yishi Shiqing 1828 34 pieces
75 鄰鶴齋琴譜 Linhe Zhai Qinpu Qin Tablature of the Pavilion Near Cranes 陳幼慈 : Chen Youci 1830 16 pieces
76 二香琴譜 Erxiang Qinpu Qin Tablature of Two Fragrances 蔣文勛 : Jiang Wenxun 1833 10 volumes 30 pieces
77 律話 Lü Hua On Theory 戴長庚 : Dai Chenggeng 1833 3 volumes 11 pieces
78 律音彙考 Lüyin Huikao Collected Examinations on Music Theory 邱之稑 : Qiu Zhilu 1835 8 volumes 24 pieces Central Conservatory of Music Research Department
79 悟雪山房琴譜 Wuxue Shanfang Qinpu Qin Tablature of the Paulownia Snow Mountain Residence 黃景星 : Huang Jingxing 1836 Not specified 46 pieces Central Conservatory of Music Research Department (handwritten copy)
80 槐蔭書屋琴譜 Huaiyin Shuwu Qinpu Qin Tablature of the Pagoda Tree Shadow Book-house 王藩 : Wang Fan 1840 8 pieces
81 行有恆堂錄存琴譜 Xingyouheng Tang Lucun Qinpu Qin Tablature with Surviving Records of (Prince) Xingyouheng Tang 清宗室綿恩之子或孫 : Son or grandson of Qing Zongshi Xian'en 1840 8 pieces Central Conservatory of Music Research Department
82 張鞠田琴譜 Zhang Jutian Qinpu Qin Tablature of Zhang Jutian 張鞠田 : Zhang Jutian 1844 16 pieces
83 一經廬琴學 Yi-jing Lu Qinxue Qin Studies of One Classic Cottage 姚配中 : Yao Peizhong 1845 2 volumes 15 pieces Central Conservatory of Music Research Department
84 稚雲琴譜 Zhiyun Qinpu Qin Tablature of Young Clouds 曹錡 : Cao Qi 1849 19 pieces Central Conservatory of Music Research Department
N/A 與古齊琴譜 Yugu Zhai Qinpu Qin Tablature of the Studio with Abiding with Antiquity 曹錡 : Cao Qi 1855 4 volumes No tablature Bodleian Library CJK Catalogue: BOD Nuneham Chin.d.7988/1095(7) Book on qin construction et al.
85 琴學尊聞 Qinxue Zunwen Respectful Hearing of Qin Study 郭柏心 : Guo Baixin 1864 13 pieces
86 琴學入門 Qinxue Rumen Introduction to Qin Studies 張鶴 : Zhang He 1864 2 volumes 20 pieces Central Conservatory of Music Research Department
87 蕉庵琴譜 Jiao'an Qinpu Qin Tablature of the Plantian Monastery 秦維瀚 : Qin Weihan 1868 4 volumes 32 pieces Central Conservatory of Music Research Department Important Guangling school qinpu.
88 琴瑟合譜 Qin-se Hepu Combined Tablature of Qin and Se 慶瑞 : Qing Rui 1870 2 volumes 8 pieces
89 以六正五之齋琴譜 Yi Liuzheng Wu-zhi-Zhai Qinpu Qin Tablature from Six Correct and Five Studies 孫寶 : Sun Bao 1875 6 volumes 21 pieces Central Conservatory of Music Research Department (photocopy)
90 天聞閣琴譜 Tianwen Ge Qinpu Qin Tablature of the Pavilion of Heavenly Sounds 唐彝銘 : Tang Yiming 1876 19 volumes 145 pieces Central Conservatory of Music Research Department Important Shu (Sichuan) school qinpu
91 天籟閣琴譜 Tianlai Ge Qinpu Qin Tablature of the Pavilion of Heavenly Sounds 蒙古覺庵氏 : Jue'an Shi (Mongol) 1876 30 pieces
92 響雪齋琴譜 Xiangxue Zhai Qinpu Qin Tablature of Reberverating Snow 佚名 : Anonymous 1876 2 volumes 15 pieces
93 希韶閣琴譜 Xishao Ge Qinpu Qin Tablature of the Pavilion of Rare Beauty 黃曉珊 : Huang Xiaoshan 1878 4 volumes 44 pieces
94 雙琴書屋琴譜集成 Shuangqin Shuwu Qinpu Jicheng Collected Qin Tablatures of the Double Qin Book-house 清谼子 : Qing Hongzi 1884 6 volumes 39 pieces
95 綠綺清韻 Lüqi Qingyun Clear Rhymes of Green Cloth 徐臚先 : Xu Luxian 1884 One volume 10 pieces
N/A 古逸叢書 Guyi Congshu Collection of Books from the Far Past 揚守敬 : Yang Shuojing 1884 One piece Contains the handcopy of the piece "Jieshi diao Youlan"
96 琴旨申邱 Qinzhi Shenqiu Qin Edict Declared from the Mound 劉人熙 : Liu Renxi 1889 One volume 2 pieces
97 希韶閣琴瑟合譜 Xishao Ge Qin-se Hepu Duet Tablature of Qin and Se from the Pavilion of Rare Beauty 黃曉珊 : Huang Xiaoshan 1890 2 volumes 16 pieces
98 枯木禪琴譜 Kumuchan Qinpu Qin Tablature of Withered Trees Dhyana 釋空塵 : Shi Kongchen 1893 8 volumes 42 pieces Central Conservatory of Music Research Department
99 琴學初津 Qinxue Chujin Preliminary Advances in Qin Study 陳世驥 : Chen Shiji 1894 10 volumes 50 pieces Central Conservatory of Music Research Department
100 鄂公祠說琴 E Gong Ci Shuo-qin Qin Lore of Duke E's Ancestral Temple 朱啟連 : Zhu Qilian 1898 2 pieces Central Conservatory of Music Research Department (handcopy)
101 鳴盛閣琴譜 Mingsheng Ge Qinpu Qin Tablature of the Pavilion of Sounds Widespread 林薰 : Lin Xun 1899 12 pieces
102 十一弦館琴譜 Shiyi-xian Guan Qinpu Qin Tablature of the Eleven-string Study 張文祉 : Zhang Wenzhi 1907 8 pieces Central Conservatory of Music Research Department
103 琴學叢書 Qinxue Congshu Collection of Books on Qin Study 楊宗稷 : Yang Zongji 1910-31 Not specified 32 pieces Central Conservatory of Music Research Department
104 雅齋琴譜叢集 Yazhai Qinpu Congji Collected Qin Tablature of the Elegant Studio 李光烈 : Li Guanglie Qing 21 volumes Doesn't specify Central Conservatory of Music Research Department (handwritten copy)
Republic of China
105 詩夢齋琴譜 Shimeng Zhai Qinpu Qin Tablature of the Studio of Poetic Dreams 葉潛 : Ye Qian 1914 10 volumes 20 pieces
106 山西育才館講義 Shanxi Yucai Guan Jiangyi Good Discussions from the House of Educated and Talented in Shanxi 彭慶壽, 顧燾 : Peng Qingshou and Gu Tao 1922 Not specified 12 pieces
107 梅庵琴譜 Mei'an Qinpu Qin Tablature of the Plum Monastery 王賓魯 : Wang Binlü 1931 2 volumes 14 pieces Central Conservatory of Music Research Department (stone print copy) Important qinpu of the Mei'an school.
108 今虞琴刊 Jinyu Qinkan Qin Journal of the Present Yu School 今虞琴社 : Jinyu Qinshe 1937 2 pieces
  • Central Conservatory of Music Research Department (publisher)
  • Van Gulik collection: CH1423
109 沙堰琴編 Shayan Qinbian Qin Manuscript of Sand Protection 裴鐵俠 : Pei Tiexia 1946 One volume 13 pieces Central Conservatory of Music Research Department (printer)
People's Republic of China
N/A 古琴曲匯編 Guqin Qu Huipian Collected Guqin Scores   1957 Also called 夏一峰傳譜 Xia Yifeng Chuanpu. Modern staff notation with qin tablature
N/A 研易習琴齋琴譜 Yanyixi Qinzhai Qinpu Qin Tablature of the Study of Researched Changes in Qin Practice 章志蓀 : Zhang Zhisun 1961 3 volumes 30 pieces
N/A 琴曲集成 Qinqu Jicheng Complete Collection of Qin Scores Various 1963 and 1980 to 1991 18 volumes circa 1500—2000 pieces Modern photographic reproduction of old qinpu, only 17 of 18 volumes printed
  • First Series [Publication abandoned after the first volume]
  1. 1963, 80184 中華書局
  • Second Series [Volumes 1 to 4 similar to the First Series]
  1. 1981, 10018495 中華書局
  2. 1980, 10018462 中華書局
  3. 1982, 10018511 中華書局
  4. 1982, 10018504 中華書局
  5. 1980, 10018465 中華書局
  6. 1987, ISBN 7-101-00241-2
  7. 1981, 10018480 中華書局
  8. 1989, ISBN 7-101-00510-1
  9. 1982, 10018526 中華書局
  10. 1982, 10018510 中華書局
  11. 1982, ISBN 7-101-01063-6
  12. 1994, ISBN 7-101-01390-2
  13. 1989, ISBN 7-101-00509-8
  14. 1989, ISBN 7-101-00688-4
  15. not published
  16. 1991, ISBN 7-101-00911-5
  17. 1991, ISBN 7-101-00919-0
  • Out of print
  • Near complete PDF version download here (vol. 10 missing)
N/A 古琴曲集 Guqin Quji Collected Scores of the Guqin Various 1962 and 1982 2 volumes 79 pieces Modern with staff notation and qin tablature.
N/A 春雨草堂琴譜 Chunyu Caotang Qinpu Qin Tablature of the Grassy Hall of the Spring Rain 盧家炳 : Lo Ka-Ping 1969 10 pieces
N/A 秋庵琴譜 Qiu'an Qinpu Qin Tablature of the Autumn Monastery 容天祈 : Rong Tianqi 1974 Qin repertoire of Rong Tianqi. Private publication.
N/A 琴府 Qin Fu Qin Bureau 唐健垣 : Tong Kin-woon 1975 Univ. of Toronto (Robarts Library) Reprint of several old qinpu
N/A 吳門琴譜 Wumen Qinpu Qin Tablature of the Wu Tradition 吳兆基 : Wu Zhaoji 1998 15 pieces With number notation.
Name of Qinpu (Chinese) Name of Qinpu (English) Author / Compiler Date of Publication Number of Scores Remarks
愔愔室琴譜 Yinyin Shi Qinpu Qin Tablature of the Peaceful Room 蔡德允, 榮鴻曾, 劉楚華 : Tsar Teh-yun, Bell Yung and Lau Chor-wah 2000 4 volumes, 35 pieces Handwritten qinpu of Madame Tsar's repertoire. ISBN 962-86030-1-9
虞山吳氏琴譜 Yushan Wushi Qinpu Qin Repertoire of the Wu Family 吳景略, 吳文光 : Wu Jinglüe and Wu Wenguang 2001 101 pieces Collected scores of Wu Jinglüe and his son. In guqin notation with staff or jianpu. ISBN 7-5060-1454-8
琴學備要（手稿本） Qinxue Beiyao (shougao ben) Necessary Preparation in Qin Study (handwritten manuscript) 顾顧梅羹 : Gu Meigeng 2004 Repertoire of Gu Meigeng of the Shu School


Name of Qinpu (Chinese) Name of Qinpu (English) Author / Compiler Date of Publication Volumes Location of original(s) Remarks
琴譜全集 Qinpu Quanji Complete Collection of Qin Tablatures 不詳 : Unknown Yuan Unknown
永樂琴書集成 Yongle Qinshu Jicheng Yongle Collection of Qin Books 明成祖 勍撰 : Made on the orders of Ming Chengzu (the Yongle Emperor) Ming 20 volumes
松弦館琴譜 疑本 Songxian Guan Qinpu Yi-ben Qin Tablature of the Pine String House (doubtful copy) 不詳 : Unknown Ming Not specified
頖宮禮樂疏琴譜 Pan-gong Liyue Shu Qinpu Scattered Qin Tablatures of the Pan Palace Ritual Music 李之藻 : Li Zhizao Ming One volume
操縵古樂譜 Caoman Gu Yuepu Ancient Music Tablature of Caoman 朱載堉 : Zhu Zaiyu Ming One volume
樂經律呂通解 Yuejing Lulü Tongjie Thorough Explanation of the Music Theory of Music Classics 汪紱 : Wang Fu Qing (Yongzheng Period) 4 volumes Contains some pieces from the Lixue Zhai Qinpu
欽定詩經樂譜全書 Qinding Shijing Yuepu Quanshu Imperially Commissioned Complete Book of Shijing Music Tablatures 清乾隆帝 敕撰 : Made on the orders of the Qianlong Emperor Qing (Qianlong Period) 30 volumes
琴音標準 Qinyin Biaozhun Standard of Qin Sound 戴大昌 : Dai Dachang Qing (Jiaqing Period) 4 volumes Contains some pieces from the Chuncao Tang Qinpu
樂山堂琴譜 Leshan Tang Qinpu Qin Tablature of the Hall of the Happy Mountain 陳吉六 : Chen Jiliu Not separated
青籐軒琴譜 Qingteng Xuan Qinpu Qin Tablature of the Room of Green Vines 李崑 : Li Kun Qing (Jiaqing period) Unknown
遜齋琴譜 Xunzhai Qinpu Qin Tablature of the Modest Studio 不詳 : Unknown One volume
尺木樓琴譜 Chimu Lou Qinpu Qin Tablature of the Tower of a Foot of Wood 不詳 : Unknown One volume
妙吉羊室琴譜 Miaojiyang Shi Qinpu Qin Tablature of the Room of the Wonderful Lucky Goat 不詳 : Unknown 2 volumes
桂山琴譜 Guishan Qinpu Qin Tablature of the Cassias Mountain 不詳 : Unknown One volume
桂麟琴譜 Guilin Qinpu Qin Tablature of the Cassias Unicorn 不詳 : Unknown One volume
琴譜妙選 Qinpu Miaoxuan Wonderful Selections from Qin Tablatures 不詳 : Unknown One volume
竚月樓琴譜 Zhuyue Lou Qinpu Qin Tabalture of the Tower of Moon Gazing 不詳 : Unknown One volume
信天翁琴譜 Xintian Weng Qinpu Qin Tablature of the Elder who Believes in Heaven 不詳 : Unknown One volume
松風自合琴譜 Songfeng Ji He Qinpu Combined Qin Tablature of Pine, Wind and Self 不詳 : Unknown   One volume
佚名琴譜 Yiming Qinpu Qin Tablature Without Name 不詳 : Unknown One volume
虞山李氏琴譜 Yushan Li-shi Qinpu Qin Tablature of the Li Family of the Yushan School 李世則 : Li Shize One volume
飲香書屋琴譜 Yinxiang Shuwu Qinpu Qin Tablature of the Fragrant Drinking Book House 不詳 : Unknown One volume Mostly melodies from Wuzhi Zhai Qinpu
食硯書屋琴譜 Shiyan Shuwu Qinpu Qin Tablature of the Eating Inkstone Book House 吳延啓 : Wu Yanqi One volume As above
梅花仙館琴譜 Meihua Xianguan Qinpu Qin Tablature of the Immortal House of the Plum Blossom 師妙孁 : Shi Miaoluan One volume
秋水齋琴譜 Qiushui Zhai Qinpu Qin Tablature of the Autumn Water Studio 不詳 : Unknown Qing (Xianfeng Period) One volume Stone block print
琴譜彙編 Qinpu Huibian Collected Qin Tablatures 文同文 : Wen Tongwen 1900 7 volumes Mostly a compilation of melodies from other qinpu
白菡蓞香館琴譜 Bai Handan Xiangguan Qinpu Qin Tablature of the Fragrant House of White Lotus 周燦 : Zhou Can One volume
廣陵散譜 Guangling Qinpu Qin Tablature of the Guangling School 馮水 : Feng Shui 1912 One volume
古怨釋 Gu Yuan Shi Explanation of the Ancient Lament 馮水 : Feng Shui 1912 One volume
斲桐集 Zhuo Tong Ji Assembled Cutted Paulownia 王露 : Wang Lu Republic of China Not separated
琴學淺說 Qinxue Qianshuo Easy Sayings in Qin Study 張邕和 : Zhang Yonghe 1928
天風琴譜 Tianfeng Qinpu Qin Tablature of Heavenly Wind 徐元白 : Xu Yuanbai 1955 Not separated