T of C 
Home 		My
Work		 Hand-
books		 Qin as
Object		 Qin in
Art		 Poetry
/ Song		 Hear
Qin		 Play
Qin		 Analysis History Ideo-
logy		 Miscel-
lanea		 More
Info		 Personal email me search me
SQMP  ToC   /   Wang Shixiang's article 首頁
02. Guangling Melody 1
- Manshang mode:2 1 1 4 5 6 1 2 		廣凌散
Guangling San
Xi Kang at death (See full image)  
Guangling San is in lists of ancient melody titles as early as the Han dynasty, and could be found in many ancient repertoires including ensemble and solo sheng mouth organ, pipa lute and hujia reed pipe.3 At an early date it became associated with a story concerning Nie Zheng, said to have lived in the fourth century BCE. Indeed, many have claimed that the original title for the melody Guangling San is Nie Zheng Stabs the Han King4. How many different melodies these titles have represented is impossible to say.

The qin melody Guangling San is traditionally attributed to Xi Kang (223 - 262), a famous essayist and poet living in the Wei dynasty capital of Loyang, where he was one of the Seven Sages of the Bamboo Grove. The account here says he learned it from a ghost while stopping at Huayang Pavilion5 on his way to Kuaiji,6 but elsewhere he is said to have learned it from a qin master named Du Kui7 and/or his son. In addition, in his poem Qin Fu, Xi Kang mentions Guangling San together with other old melodies. Perhaps what happened at Huayang Pavilion was an experience which led to a revised version.

Xi Kang was patronized by the Wei imperial family at a time when real power was being gathered into the hands of the Sima clan, who in 265 were to take over direct rule as the Jin dynasty (later called Eastern Jin; Western Jin ended 420). Meanwhile Xi Kang had been executed for offending an official who had the backing of the powerful Sima elite.

The transmission of Guangling San as a qin melody is rather complex due, in particular, to the later addition of some shorter versions.8 The second surviving occurrence of this title, in Fengxuan Xuanpin (1539 CE), simply transmits a copy of the SQMP tablature, not adding punctuation as it usually does. Zhu Quan wrote that there were two versions from which he could choose. Xilutang Qintong (1549 CE) has two versions, one related to the SQMP version, though with many differences, and one very different from that in SQMP.

After 1549 the history of the piece seems to suggest that it was highly regarded but rarely played. The next occurrence does not appear until Guyin Zhengzong (1634), an unrelated version in only nine sections. The SQMP version is again copied in handbooks dated 1670 and 1802, the latter also repeating the short 1634 version. After this the title does not appear again until the late 19th century, at which time there are several versions in nine to eleven sections. I have not examined these to see whether they are related to the 1634 short version. In 1910 the SQMP version was published again. None of the versions has lyrics.

Guangling9 is an ancient place name, perhaps where one form of the melody originated. Zhu Quan himself doesn't mention the theme of Guangling San, but the subtitles below show that this version tells the story of the qin piece Nie Zheng Kills the King of Han as described in Qin Cao, attributed to Cai Yong (2nd c. CE).10 The account related there is given with the biography of Nie Zheng himself. Here is a summary:

When Nie Zheng was a child, the king had Nie Zheng's father executed for not finishing a sword on time. Nie Zheng went to the mountains and grew up to become a qin master. He then went and played outside the palace of the king. Not realizing who it was, the king invited Nie Zheng to play in the court. Nie Zheng concealed a knife inside the instrument and while playing suddenly pulled it out and stabbed the king to death. Before he himself was killed, he sliced off his own facial features, to prevent his family from being executed for this. But his mother knew who must have done it and thought he should get credit; so she came, claimed the body, and died at his side.

Guangling San, the longest piece in the qin repertoire (44 sections), has also been one of the most controversial, some players saying the theme, particularly its violence, is inappropriate to the qin. Comments by Wang Shixiang, in his long and detailed Explanation of the Guqin Piece Guangling San, show that the controversy about the theme (whether it concerns Nie Zheng killing a king, Nie Zheng killing a minister, or is even a piece commemorating a battle at Guangling) goes right back to the earliest years of the piece.

The famous qin player Guan Pinghu revived Guangling San in the 1950s, a time when, in spite of the qin's close association with the literati having made its position tenuous, much valuable research was done. Great efforts were made to make the instrument politically acceptable, and for this Guangling San was most appropriate. Much was made of the fact that in this piece the first two strings are tuned to the same note: the first string was said to represent the ruler and the second string the vassal, so tuning the two strings to the same note symbolized their equality.

It has been said that a well-known qin collector, Xia Lianju,11 offered to give Guan a famous Tang dynasty qin if he would reconstruct the piece, a promise carried out after Guan recorded his interpretation in 1954.12 After this several others also did reconstructions, most notably Wu Jinglue, Yao Bingyan and Xu Lisun, but these were not publicly released. The piece subsequently became one of the most popular in the current repertoire, with at least 20 recordings available, but after Guan's always in abbreviated versions, ranging in length from 6 to 13 minutes. Then in 1996 Wu Wenguang recorded on a Taiwan label his father Wu Jinglue's complete version, followed in 1998 by release of an old recording of Wu Jinglue himself on the ROI label.13 And in 2006 Hugo released a CD that included Xu Lisun's complete version.14 The version by Yao Bingyan transcribed by Bell Yung is incomplete.15

I began the reconstruction which can be heard in my own recording by copying Guan's, but now my version shows some important differences. In addition to interpreting differently a few of the ancient finger techniques, the indicated finger positions are followed more strictly here, giving a number of notes at conflict with standard ideas of traditional Chinese modality. Occurring almost exclusively in the opening two divisions, most of these are sevenths and diminished thirds. This is a modality often found in SQMP pieces using the shang mode.

Original Preface 16

The Emaciated Immortal, in accordance with Qin History, 17 says

the account of Guangling San in the Official History of the Jin Dynasty (646 CE) is as follows:

"Xi Kang, pen name Shu Ye, was from (the town of Zhi in) the kingdom of Qiao (in northwest Anhui province). Once when traveling to Kuaiji he spent the night at Huayang Pavilion. Here he got out his qin and played it. (Here) he got out his qin and played it. At midnight a guest suddenly paid him a visit. Saying he was an ancient, he discussed music theory with Xi Kang. The words were clear and precise, so he asked (for the qin), and then played (his version of) the piece Guangling San. The melody was beautiful beyond description. Although he taught the tune to Xi Kang, he (made Xi Kang) swear he would not pass it on to anyone else. In addition, this man did not say what his name was.

"At a time when Sima Yi was a high-ranking general (in the state of Wei), Xi Kang and Zhong Hui18 were senior palace scribes. Whenever Zhong Hui had contact with Xi Kang, Xi Kang did not bother to act politely towards him. Zhong Hui hated him for this, so he made slanderous comments that Xi Kang had wanted to help (a military action by General) Guanqiu Jian19 (to try to restore power to the Cao clan). Since Sima Yi was an intimate, he believed Zhong Hui and destroyed (Xi Kang).

"When Xi Kang was about to be executed at (Loyang's execution ground, see illustration), the East Market, he looked around at the scenery, took out his qin and played it, saying, 'Formerly Yuan Xiaoni20 (wanted to) study Guangling San from me, but I never would part with it; so Guangling San will no longer exist after today.' At this time (Xi Kang) was 40 years old. All gentlemen within the seas were sore at heart, and when the emperor finally investigated and learned the truth, he was regretful."

In addition the Qin Shu21 says, "Xi Kang's Guangling San originally had 41 divisions; it was had been transmitted to society. Xi Kang's nephew Yuan Xiaoni could play the qin, but whenever he tried to learn it, Xi Kang was unwilling to teach. Later Xi Kang on peaceful evening strummed his qin, playing Guangling San; Yuan Xiaoni stealthily listened to him from outside the door. But when Xi Kang came to (the end of the fifth division) Luan Sheng he took a short breather.22 Guessing someone was there, he pushed away the qin and stopped. He went out the door and saw Yuan Xiaoni. So Yuan only obtained 33 sections (divisions three to five).23

Later (Yuan) Xiaoni was able to capture the meaning of Zhixi 24 and spun it out to make the eight sections (of Hou Xu). These are the 41 sections. (Xiao) Xu (division two, with three sections also called Zhixi) was brought in separately. The world scarcely knows about this."

There are now two Guangling San tablatures. The one I have here selected was originally accepted into the Sui dynasty imperial palace. When the Sui dynasty perished it was passed on to the Tang; when Tang perished it passed down among the people. Years went by. Then during the Jianyan (1127 - 31) period of the emperor Song Gaozong25 it again entered the imperial court. It had been exactly 937 years.26. I feel this version is the correct one and so I selected it.

 
Music
Six divisions and 45 sections: 27

  1. I. Opening fingering (Kai Zhi,28 similar to the later modal preludes);
    (00.00) (no sub-sections; not mentioned in Table of Contents; see comment on a finger technique29)

    II. Small Preface: Taking a rest (Zhixi) 30

  2. (01.05) 1.
  3. (01.43) 2.
  4. (02.10) 3.

    III. Grand Preface

  5. (02.55) 1. Native village
  6. (03.03) 2. Good behavior (as a child)
  7. (03.41) 3. Following nature
  8. (04.05) 4. Asking about what happened
  9. (05.10) 5. (A nature) appropriate to the times

    IV. Main sounds 31

  10. (05.51) 1. Kill Han (king)
  11. (05.57) 2. Call for dead (father's spirit)
  12. (06.19) 3. Dead body
  13. (06.42) 4. Arouse courage
  14. (07.10) 5. Hidden resolve
  15. (07.23) 6. Sinking into thought
  16. (07.43) 7. The spirit returns
  17. (08.08) 8. Accepting fate; also called Move the lamp then sit
  18. (09.20) 9. Hair-raising anger
  19. (09.35) 10. Bravery (grand as a rainbow)
  20. (10.15) 11. Powerful spirit (like cold wind)
  21. (10.23) 12. Anger bursts out
  22. (10.46) 13. Heroic woman (mother or sister)
  23. (11.48) 14. Take back the hero's body
  24. (12.17) 15. Spread his fame
  25. (12.55) 16. Act of valor
  26. (13.15) 17. Not famous
  27. (13.30) 18. Throw away knife

    Concluding Sounds 32

  28. (14.15) 1. Brave deeds (leaving big footprints)
  29. (15.20) 2. Retaining a natural disposition
  30. (16.00) 3. Return power to the government
  31. (17.25) 4. Oath fulfilled
  32. (17.42) 5. Final thoughts
  33. (17.52) 6. Same will (as brother or son)
  34. (18.03) 7. Do the deed
  35. (18.11) 8. Leave home
  36. (18.21) 9. Anger
  37. (18.42) 10. Secret plans

    VI. Postscript

  38. (19.15) 1. Realize the meaning of "taking a rest"
  39. (19.37) 2. Desperate thoughts
  40. (19.56) 3. Melancholy temper
  41. (20.13) 4. Sigh
  42. (20.24) 5. Long sigh
  43. (20.42) 6. Grievous feeling
  44. (21.15) 7. Hate and anger
  45. (21.29) 8. Death plan
    (22.06) Postscript ends

Return to top

 
Footnotes (Shorthand references are explained on a separate page)

1. 9693.181 廣陵散 Guangling San: 琴曲名 qin melody name. It begins by telling the story of Xi Kang learning the melody at 華陽亭 Huayang Pavilion. It then quotes

  1. 晉書嵇康傳 The Biography of Xi Kang in Records of the Jin Dynasty
  2. 靈鬼志，嵇康 Xi Kang in Treatise on Spirits and Ghosts (pre-Tang?)
  3. 夢溪筆談，樂律 Music Rules in Mengxi Bitan (not same information as #5 there); quotes 盧氏雜說 Miscellaneous Accounts of the Lu Clan

Xu Jian's Qin History discusses it in both Chapter 2.B. (Nie Zheng Ci Han Wang Qu, pp. 19-20) and Chapter 3.B. (pp.30-36), p. 30. (Return)

2. Manshang Diao (慢商調 11385.xxx)
"Slacken Second String Mode", achieved by slackening the second string from standard tuning, is found only in versions of Guangling San. By slackening the second string so that it is the same as the first string it facilitates rhythmic repetitions of the same note over these two strings. The original five strings of the qin are said to represent aspects of society, as follows.

  1. 宮 gong = 君 jun ruler, master
  2. 商 shang = 臣 chen minister, subject
  3. 角 jiao = 民 min ordinary people
  4. 徵 zhi = 事 shi affairs
  5. 羽 yu = 物 wu things

Thus by making the second string have the same pitch as the first string, it is said to symbolize the equality of the master and his vassal. In traditional society many qin players objected to the melody for this reason, but in modern times it led to claims of political correctness. For more on mode see Modality in Early Ming Qin Tablature. (Return)

3. See the article by TKW for the booklet of a 1989 Taiwan performance. (Return)

4. 8/xxx; 29829.22 聶政鼓琴 Nie Zheng Plays the Qin quotes 琴操 Qin Cao in relating the story given here; however, it does not mention the title 聶政刺韓王操 Nie Zheng Ci Han Wang Nie Zheng Stabs the Han King. At this time the Han kingdom had its capital in what is today Loyang. (Return)

5. 31910.272 華陽亭 says it is in Henan province 河南新鄭縣東南, adding a different reference from Jin Shu, but still identifying it with Xi Kang; Loyang was also in Henan. (see next). (Return)

6. 會稽 14636.156 and 5/791 are mostly about the most famous ancient Kuaiji (or Guaiji, or Huiji) near Shaoxing. The name is also connected to a mountain in Shandong and a district in Jiangsu, but not to anywhere in Anhui or Henan. (Return)

7. Again see TKW, 1989. Xi Kang is also said to have studied with the famous hermit Sun Deng 孫登, learning some tunes from him, but apparently not Guangling San (Return)

8. The Appendix has details. Zha Fuxi's index 2/11/-- lists Guangling San in 11 handbooks, but only 6 have the long version; others have only 9-11 sections. (Return)

9. 9693.178 廣陵 Guangling first mentions 江都 Jiangdu, near modern Yangzhou in Jiangsu province, but it also mentions several other places including 息縣 (10855.80) Xi district east of 信陽 Xinyang in southeastern Henan (described as 常為兵爭之地 often a battleground). Near here the tomb of a 楚 Chu prince has been unearthed, yielding sets of stone chimes. (Return)

10. 蔡邕 Cai Yong is also associated with the melodies Chang Qing, Qiuyue Zhao Maoting, Xiao Hujia and Da Hujia. (Return)

11. 夏蓮居 Xia Lianju (Return)

12. The recording is available on Favourite Qin Pieces of Guan Ping-hu, ROI RB-951005-2C, 1995; and An Anthology of Chinese Traditional and Folk Music: A Collection of Music Played on the Guqin, Vol. l, China Records, 1994. (Timing: 22.22). I have a copy of a transcription into staff notation. However, all I know of its origins is that it was published on pp. 9-33. From this 張世彬 Zhang Shibin did a transcription into Chinese number notation. Tong Kin-Woon has published this in his Qin Fu, pp. 2775 -2800. (Return)

13. Favourite Guchin Pieces of Wu Wenguang, Chenxi CT 9601 (timing: 19.40)
The Qin Repertoire of Wu Jing-lue, ROI RB-981014-2C, 1998 (18.18) (Return)

14. Mei An Qin Music; Hugo HRP 7257-2 (HKG, 2006); timing: 17.06 (Return)

15. Bell Yung, Celestial Airs of Antiquity, A-R Editions, Inc. (Wisconsin, 1997, CD published together with a book of transcriptions; Guangling San; 15.07 [omits Xiao Xu, Luan Sheng and Hou Xu]) (Return)

16. For the original Chinese see 廣陵散. (Return)

17. 琴史 Qin Shi: book name, or just the history of qin? Zhu Quan's sources are problematic. Here, Zhu Changwen, Qin History, Folio 3, Xi Kang (#84) is different. (Return)

18. 鍾會 Zhong Hui (225 - 264)
Zhong Hui (41566.123; Bio/1723; Giles) was a noted scholar/official in Wei during the Warring States period. Once rebuffed by fellow senior scribe Xi Kang, Zhong Hui became so angry that he later accused Xi Kang of treason, leading to his execution (see Gulik, Hsi Kang, pp. 29-34 as well as the above Original Preface to Guangling San). (Return)

19. 毌丘儉 Guanqiu Jian: 17088.3 (Bell Yung, op.cit. mistakenly has Mu Qiujian) (Return)

20. The biography of 袁孝尼 Yuan Xiaoni, style name of Yuan Zhun, says he learned part of Guangling San, particularly Guangling Zhixi (see Section II.). (Return)

21. 琴書 Qin Book; see Preface to Shen Qi Mi Pu, footnote (25?). (Return)

22. 至亂聲小息 zhi luansheng xiaoxi; xiaoxi, "small breath" (or Taking a rest) is the name of the Small Preface; another translation could be that he got to a section of Luansheng called Xiaoxi, but it would then be more difficult to make the numbers add up. (Return)

23. As quoted in Qinshu Daquan (1590, V.p.268 under Zhixi [see next footnote], not Guangling San), there are two more phrases here: "The other seven (sic) sections he couldn't do, so there was a break 餘七伯覓上得，故有止息。 (Return)

24. 會止息意 hui Zhixi yi, the first section in division six, Houxu. (16609.58 止息﹕停息休止 stop, rest; quotes Shi Ji and Li Sao). Zhi Xi is a title in some Tang qinpu listed in Qinshu Cunmu, and also in Qinshu Daquan, ibid. The meaning of this seems to be that Zhixi was composed by Yuan Xiaoni according to his understanding of the whole piece. There being such differing Ming versions of Guangling San as the one here and the two in Xilutang Qintong, combined with Zhu Quan's mention of two versions, shows that by then Zhi Xi was a completely integral part of the existing piece. (Return)

25. 1127 - 31; Gao Zong, first emperor of Southern Song, ruled 1127-62; original name Zhao Gou 趙構 (1107-1187) (Return)

26. 僅（經）九百三十九年 The calculation of 937 years seems to be in error. If the calculation is from the Jianyan period (1127-31) back to the death of Xi Kang in 262 the range is 865 to 869 years. 937 years after Xi Kang died would be 262+937=1199 CE. Wang Shixiang suggests it should be 837 years, this being the number of years from the end of the Chen dynasty (557-588) until 1425, the year Zhu Quan published SQMP. The only other possibility seems to be that he was quoting something originally written in 1199, which would have been about the time 張巖 Zhang Yan was collecting old materials that were later incorporated into 楊瓚紫霞外琴譜 Yang Zan's Zixiawai Qinpu. (Return)

27. The original titles are as follows (those from the two versions in Xilutang Qintong are added for comparison:

 

Return to top
Shen Qi Mi Pu
 		 Xilutang Qintong A
Melody is different		 Xilutang Qintong B
Melody similar to SQMP
I. 開指 Kaizhi
 		 慢商意 Manshang Yi
          (before GLS)		 慢商品 Manshang Pin
          (before GLS)
II. 小序 Xiaoxu II. 小序 Xiaoxu II. 小引 Xiaoyin
2-4. 止息 Zhixi
        移燈就座 (Yideng jiu zuo)
 		 1-3. 止息 Zhixi 1-3. (no subtitle)
III. 大序 Daxu III. 大序 Daxu III. 大序 Daxu
  5. 井里 Jingli   4. 井里 Jingli   4. 井里 Jingli
  6. 申誠 Shencheng   5. 申誠 Shencheng   5. 申誠 Shencheng
  7. 順物 Shunwu   6. 順物 Shunwu   6. 順物 Shunwu
  8. 因時 Yinshi   7. 因時 Yinshi   7. 因時 Yinshi
  9. 干時 Ganshi
 		   8. 干時 Ganshi   8. 干時 Ganshi
IV. 正聲 Zhengsheng IV. 正聲 Zhengsheng IV. 正聲 Zhengsheng
10. 取韓 Qu Han   9. 取韓 Qu Han   9. 取韓相 Qu Han Xiang
11. 呼幽 Huyou 10. 呼幽 Huyou 10. 呼幽 Huyou
12. 亡身 Wangshen 11. 忘身 Wangshen 11. 亡身 Wangshen
13. 作氣 Zuoqi 12. 作氣 Zuoqi 12. 作氣 Zuoqi
14. 含志 Hanzhi 13. 含志 Hanzhi 13. 含志 Hanzhi
15. 沉思 Chensi 14. 沉思 Chensi 14. 沉思 Chensi
16. 返魂 Fanhun 15. 反(云/鬼) Fanhun 15. 反(云/鬼) Fanhun
17. 徇物 Xunwu 16. 徇物 Xunwu 16. 徇物 Xunwu
18. 衝冠 Chongguan 17. 衝冠 Chongguan 17. 衝冠 Chongguan
19. 長虹 Changhong 18. 長虹 Changhong 18. 長虹 Changhong
20. 寒風 Hanfeng 19. 寒風 Hanfeng 19. 寒風 Hanfeng
21. 發怒 Fanu 20. 發恕 Fashu (mistake?) 20. 發怒 Fanu
22. 烈婦 Liefu 21. 烈婦 Liefu 21. 別妹 Biemei
23. 收義 Shouyi 22. 收義 Shouyi 22. 報義 Baoyi
24. 揚名 Yangming 23. 揚名 Yangming 23. 揚明 Yangming
25. 含光 Hanguang 24. 含光 Hanguang 24. 含光 Hanguang
26. 沉名 Chenming 25. 沉名 Chenming 25. 沉名 Chenming
27. 投劍 Toujian
 		 26. 投劍 Toujian 26. 投劍 Toujian
V. 亂聲 Luan Sheng V. 亂聲 Luan Sheng V. 契聲 Qi Sheng
28.峻跡 Jun ji 27.峻跡 Jun ji 27.峻跡 Jun ji
29. 守質 Shou zhi 28. 守質 Shou zhi 28. 守質 Shou zhi
30. 歸政 Guizheng 29. 歸政 Guizheng 29. 歸政 Guizheng
31. 誓畢 Shibi 30. 誓畢 Shibi 30. 誓畢 Shibi
32. 終思 Zhongsi 31. 終思 Zhongsi 31. 終思 Zhongsi
33. 同志 Tongzhi 32. 同志 Tongzhi 32. 同志 Tongzhi
34. 用事 Yongshi 33. 用事 Yongshi 33. 用事 Yongshi
35. 辭鄉 Cixiang 34. 辭鄉 Cixiang 34. 辭鄉 Cixiang
36. 氣衝 Qichong 35. 氣衝 Qichong 35. 氣衝 Qichong
37. 微行 Weixing
 		 36. 微行 Weixing 36. 微行 Weixing
VI. 後序 Houxu VI. 後序 Houxu VI. 後序 Houxu
38. 會止息意 Hui zhixiyi 37. 會止息意 Hui zhixiyi 37. 會止息意 Hui zhixiyi
39. 意絕 Yijue 38. 意絕 Yijue 38. 意絕 Yijue
40. 悲志 Beizhi 39. 悲志 Beizhi 39. 悲志 Beizhi
41. 嘆息 Tanxi 40. 嘆息 Tanxi 40. 嘆息 Tanxi
42. 長吁 Changxu 41. 長吁 Changxu 41. 長呼 Changhu
43. 傷感 Shang gan 42. 傷感 Shang gan 42. 傷感 Shang gan
44. 恨憤 Hen fen 43. 恨憤 Hen fen 43. 憤恨 Fen hen
45. 亡計 Wang ji 45. 亡計 Wang ji 45. 忘計 Wang ji
(Return)

28. Kaizhi 開指
Kaizhi seem to have been preludes to specific melodies, as opposed to the more general diao yi. For more on kaizhi ("opening fingering") see #12, Kai Zhi
(Return)

29. "Yijian" technique in Guangling San?
The fourth figure (cluster) in the present Kaizhi, which seems to be a sort of prelude to Guangling San, is a right hand technique that my computer cannot re-create: it is written 厶奇, but with the 厶 replacing the 口 inside the 奇 (立 on top of 奇 is a common variant, also not in the computer system). Reconstructions made in the 1950s interpret this as 摘 zhai plus 涓 juan, repeated, 5+5 notes in all; all subsequent interpretations other than my own seem to follow this. However, there is no such figure in old finger explanations, so I have interpreted it (see transcription) as yijuan: Hand Aspect Illustration #10 writes yijuan as 厶奇, but following other precedents one can put the 厶 in the 奇, replacing the 口; this interpretation results in only 2+2 notes.
(Return)

30. See Yuan Xiaoni
(Return)

31. 16611.449 正聲 discusses correct and appropriate sounds; esp. see ref. to Shen Gua 沈括 . (Return)

32. 220.153 亂聲﹕雜亂之聲音也 defines luan sheng as "mixed sounds. However, luan can also mean "tidy up a mess", and so luansheng came to be used for the final section of a music piece. (Return)

 
Appendix: Chart Tracing existing Guangling San tablature
Based mainly on Zha Fuxi's Guide, 2/11/--. He lists it in 11 handbooks, but only 6 have the long version; others have only 9-11 sections.

      Qinpu 琴譜
      date; vol # / page #		 Those aligned left are related to the Shen Qi Mi Pu version
  1.  神奇秘譜
      (1425; I/100)		 45: Kaizhi + 3 + 5 + 18 + 10 + 8; no phrasing indicated
 
  2.  風宣玄品
      (1539; II/196)		 45: Kaizhi + 3 + 5 + 18 + 10 + 8; no phrasing indicated (identical to #1)
 
3.a. 西麓堂琴統 (A)
      (1549; III/235)		 1 + 44: Manshang Yi + 3 + 5 + 18 + 10 + 8; seems completely different from 1425
 
3.b. 西麓堂琴統 (B)
      (1549; III/241)		 1 + 44: Manshang Pin + 3 + 5 + 18 + 10 + 8; still no phrasing indicated
            related to 1425 but many changes in section titles plus considerable variation (e.g., loses minor thirds)
4.a. 古音正宗 (A)
      (1634; IX/376)		 廣陵真曲; 1 section: a Kaizhi for the following?:
no apparent relation except the tuning
4.b. 古音正宗 (B)
      (1634; IX/376)		 廣陵散 ; 9 sections; attrib. Xi Kang, but no apparent musical relation
except for the tuning (note use of 九下, giving flatted 3rd)
  5. 琴苑新傳全編
      (1670; XI/435)		 = SQMP; no phrasing indicated
 
6.a. 裛露軒琴譜 (A)
      (>1802; ???)		 = SQMP
 
6.b. 裛露軒琴譜 (B)
      (>1802; ???)		 10; = 1634b (& a?)
 
  7. 蕉庵琴譜
      (1868/Folio 4-41)		 Facsimile reprint; 10; related to 1634b
 
  8. 希韶閣琴瑟合譜
      (1890)		 includse se part; 11
has afterword
  9. 琴學初津
      (1894)		 "gong mode", but lower second string; 11
has afterword
10.a. 十一絃館琴譜 (A)
      (1907)		 廣陵散   真曲 Facsimile reprint; p.1; 10
Discussion by Julian Joseph suggests it is different from 1634: more flatted notes
10.b. 十一絃館琴譜 (B)
      (1907)		 廣陵散新譜 Facsimile reprint, follows previous; 10
New?
11.a. 琴學叢書
      (1910; QF/1013)		 = 1868 ; 10
 
11.b. 琴學叢書
      (1910)		 Not in 琴府 Qin Fu edition; see facsimile reprint folio 13: = 1539
 

Return to top, to the Shen Qi Mi Pu ToC, or to the Guqin ToC.