My repertoire as listed here (see also new works) consists of the over 150 melodies I have personally reconstructed (written out staff notation for and can play from memory).¹ Of these I have made recordings that comprise all the music in two of the three earliest surviving handbooks: Shen Qi Mi Pu (1425) and Zheyin Shizi Qinpu (1491). As for the fourth handbook, Taigu Yiyin (1511 and 1515), I have transcribed all the music, but can fluently play only a few of them (currently about eight or nine) and have not yet made any recordings. Beyond this, I have learned almost 50 melodies from Xilutang Qintong (1549), plus a total of perhaps 40 further melodies from the following: Faming Qinpu (1530), Fengxuan Xuanpin (1539), Longhu Qinpu (1585), Sanjiao Tongsheng (1592), and Songxianguan Qinpu (1614). The links below are to the melodies I have learned from these handbooks.²

In addition I have done over 50 partial reconstructions:³ these are melodies or versions of melodies for which I have written out transcriptions, but which I do not feel that I play fluently enough for recording or performance. These especially include qin songs.⁴

I have also written commentary on several other melodies that I do not currently play, such as Pingsha Luoyan and Pu'an Zhou.⁵ However, these and the partially learned melodies are not included in this list, as it includes only those melodies which I have learned to play fluently (though I may need a few days' practice first). With Taigu Yiyin in particular I need to work with a specialist who can help with details of the relationship between the music and the natural rhythms of the poetry.

1. Bai Xue (White Snow)
2. Baji You (Roaming to the Eight Corners of the earth)
3. Boya Diao Ziqi (Boya Mourns Ziqi)
4. Cai Zhen You (Selecting Reality)
5. Cangwu Yuan (Cangwu Lament)
6. Caoman Yin (Strum Silk Prelude)
7. Chang Qing (Long Clarity)
8. Chu Ge (Song of Chu)
9. Chun Si (Spring Thoughts)
10. Chunxiao Yin (Spring Dawn)
11. Chutai Yin (Dwell at the Source)
12. Da Hujia (Nomad Reed Pipe, Long Version)
13. Dalü Yi (Defining Da Lü [Great Tone] Mode)
14. Da Ya (Epic Virtue)
    Diemeng Yin (Butterfly Dream)
15. Dongting Qiu Si (Autumn Reverie at Dongting)
16. Duan Qing (Short Clarity)
17. Dunshi Cao (Withdrawing from Society)
18. Fan Canglang (Floating on the Canglang River)
19. Feiming Yin (Calling out in Flight)
20. Feng Lei Yin (Wind and Thunder)
21. Feng Qiu Huang (A Male Phoenix Seeks his Mate; 1549)
    Feng Qiu Huang (A Male Phoenix Seeks his Mate; 1539)
22. Feng Ru Song Ge (Song of Wind Through Pines)
23. Gao Shan (High Mountains)
24. Gu Yuan (Ancient Lament)
25. Guan Ju (Cry of the Ospreys)
26. Guan Ju Qu (Osprey Cry Tune)
27. Guanghan Qiu (Autumn in a Lunar Palace)
28. Guanghan You (Wandering in a Lunar Palace)
29. Guangling San (Guangling Melody)
30. Gufeng Cao (The Ancient Style)
31. Gu Guan Yu Shen (Encountering Spirits in an Isolated Mansion)
32. Gujiao Xing (Going with Old-Style Relations)
33. Gui Qu Lai Ci (Come Away Home)
34. Han Gong Qiu (Autumn in the Han Palace)
35. Han Jie Cao (Han Credentials Melody)
36. He Ming Jiugao (Cranes Cry in the Nine Marshpools)
37. He Wu Dongtian (Cranes Dance in the Grotto-Heaven)
38. Huangyun Qiusai (Yellow Clouds of Autumn at the Frontier)
39. Huangzhong Yi (Yellow Bell Modal Prelude)
40. Huaxu Yin (Huaxu Clan Prelude)
41. Huo Lin (Captured Unicorn)
42. Jiang Yue Bai (White Moon over the River)
43. Jiao Yi (Defining Jiao Mode)
44. Jieshi Diao You Lan (Secluded Orchid, in Stone Tablet Mode)
45. Jiu Kuang (Wine Mad)
46. Kai Gu (Sigh for Antiquity; 1425)
47. Kai Gu (Sigh for Antiquity; 1539)
48. Kai Zhi (Opening Fingering)
49. Kongtong Yin (Kongtong Mountain Prelude)
50. Kongtong Wen Dao (Discussing the Dao at Kongtong Mountain)
51. Kongsheng Jing (Sacred Confucian Annal)
52. Li Ling Si Han (Li Ling Thinks of Han)
53. Li Sao (Falling into Grief)
54. Liangxiao Yin (Peaceful Evening Prelude)
55. Lienü Yin (Exemplary Woman Prelude)
56. Liezi Yu Feng (Liezi Rides the Wind)
57. Lingxu Yin (Ascending the Great Void)
58. Linqiong Yin (Linqiong Melody)
59. Linzhong Yi (Linzhong Prelude)
60. Liu Shang (Floating Goblets)
61. Liu Shui (Flowing Streams)
62. Longshuo Cao (Melody from Longshuo)
63. Meihua Sannong (Three Repetitions of Plum Blossom)
64. Meishao Yue (Moon Atop a Plum Tree)
65. Mengji Yin (Covered Brambles Prelude)
66. Mingde Yin (Bright Virtue Prelude)
67. Mozi Bei Ge (Mozi Sings with Feeling)
68. Nanfeng Ge (Song of the South Wind)
69. Nanxun Ge (Song of Southern Breezes)
70. Pei Lan (Fragrant Orchid)
    Qi Qi (Ride the Vapors; see Shen You Liu He)
71. Qiao Ge (Woodcutter's Song)
72. Qingjing Jing (Canon of Purity and Tranquility)
    Qingshang Yi (Defining Qingshang Mode)
73. Qingye Yin (Clear Evening Intonation)
74. Qingyu Yi (Defining Qingyu Mode)
75. Qiu Feng (Autumn Winds)
76. Qiu Hong (Wild Geese in Autumn)
77. Qiujiang Yebo (Autumn River Night Anchorage)
78. Qiuyue Zhao Maoting (Autumn Moon Shining on a Reed Pavilion)
79. Qu Yuan Wen Du (Qu Yuan Asks for Advice)
80. Shanju Yin (Mountain Life; 1425)
81. Shanju Yin (Mountain Life; 1491)
82. Shanzhong Si Youren (Amidst Mountains Thinking of an Old Friend)
83. Shen You Liuhe (Spirit Roaming the Universe)
84. Shenhua Yin (Metamorphosis)
85. Shenpin Biyu Yi (Celestial Air Defining Biyu Mode)
86. Shenpin Chushang Yi (Celestial Air Defining Chushang Mode)
87. Shenpin Gong Yi (Celestial Air Defining Gong Mode)
88. Shenpin Gu Shang Yi (Celestial Air Defining Old Shang Mode)
89. Shenpin Guxian Yi (Celestial Air Defining Guxian Mode)
90. Shenpin Jiao Yi (Celestial Air Defining Jiao Mode)
91. Shenpin Qiliang Yi (Celestial Air Defining Qiliang Mode)
92. Shenpin Ruibin Yi (Celestial Air Defining Ruibin Mode)
93. Shenpin Shang Yi (Celestial Air Defining Shang Mode)
94. Shenpin Shangjiao Yi (Celestial Air Defining Shangjiao Mode)
95. Shenpin Wuyi Yi (Celestial Air Defining Wuyi Mode)
96. Shenpin Yu Yi (Celestial Air Defining Yu Mode)
97. Shenpin Zhi Yi (Celestial Air Defining Zhi Mode)
98. Shenren Chang (Rhapsody of Holy Men)
99. Shi Xian (Respect the Virtuous)
100. Shiba Xueshi Deng Yingzhou (18 Scholars Ascend Yingzhou)
101. Shishang Liu Quan (Springs Flowing over Rocks)
102. Shuixian Qu (Water Immortals' Melody)
103. Si Qin Cao (Thinking-of-Parents Melody)
104. Si Shun (Thinking of [Emperor] Shun)
105. Song Yu Bei Qiu (Song Yu Mourns Autumn)
106. Taoyuan Chunxiao (Spring Dawn at Peach Spring)
107. Tianfeng Huanpei (Jade Pendants in a Heavenly Breeze)
108. Tiantai Yin (Mount Tiantai Prelude; Sections 1-2 only)
109. Tiao Xian Pin (String Tuning Melody)
110. Wang Ji (No Ulterior Motives)
111. Weibin Yin (Wei Riverbank Intonation)
112. Wen Wang Qu (Wen Wang's Tune)
113. Wenjun Cao (Wenjun Melody)
114. Wu Ye Ti (Evening Call of the Raven; 1425)
115. Wu Ye Ti (Evening Call of the Raven; 1491)
116. Wumei Yi (Defining Wumei Mode)
117. Xiang Fei Yuan (Lament of the Xiang River Concubines)
118. Xianweng Cao (Melody of the Transcendent Venerable One)
119. Xiao Hujia (Nomad Reed Pipe, Short Version)
120. Xiao Xiang Shui Yun (Clouds over the Xiao and Xiang Rivers)
121. Xing Tan (Apricot Forum)
122. Xiuxi Yin (Purification Ceremony Intonation)
123. Xuan Mei (Profoundly Serene)
124. Xue Chuang Ye Hua (Evening Talk by a Snowy Window)
125. Yasheng Cao (Secondary Sage Melody)
126. Yan Guo Hengyang (Wild Geese Traverse Hengyang)
127. Yanyi Ge (Doorbar Song)
128. Yang Chun (Sunny Spring; 1425)
129. Yang Chun (Sunny Spring; 1549)
130. Yangguan Sandie (Thrice Parting for Yangguan; 1491)
131. Yangguan Sandie (Thrice Parting for Yangguan; 1530)
132. Yao Tian Sheng He (Jade Sheng Heavenly Crane)
133. Yi Guanshan (Thinking of Guanshan)
134. Yi Lan (Flourishing Orchid)
135. Yi Sa Jin (A Bit of Scattered Money)
136. Yize Yi (Defining Yize Mode)
137. Yi Zhen (Nourishing One's Natural Character)
138. Yin De (Hidden Virtue)
139. Yingzhong Yi (Defining Responding Bell Mode)
     You Lan (Secluded Orchid, see Jieshidiao You Lan)
140. Yu Ge (Fisherman's Song; 1549)
141. Yu Ge (Fisherman's Song; 1491)
142. Yu Ge Diao (Melody of the Fisherman's Song)
143. Yu Hui Tushan (Emperor Yu's Gathering at Mount Tu; 1425)
144. Yu Hui Tushan (Emperor Yu's Gathering at Mount Tu; 1491)
145. Yuan You (Wander Afar)
146. Zepan Yin (Marshbank Melody)
147. Zhaojun Yuan (Zhao Jun's Lament)
148. Zhao Yin (Seeking a Recluse)
149. Zhi Yi (Defining Zhi Mode)
150. Zhi Zhao Fei ([Paired] Pheasants' Morning Flight; 1425)
151. Zhi Zhao Fei ([Paired] Pheasants' Morning Flight; 1491)
152. Zhongqiu Yue (Mid-autumn Moon)
153. Zhuangzhou Meng Die (Zhuangzi's Butterfly Dream)
154. Zui Weng Yin (Old Toper's Chant; 1539)
155. Zui Weng Yin (Old Toper's Chant; 1571)
156. Zui Yu Chang Wan (A Drunken Fisherman Sings in the Evening)
     Zuo Wang (Sitting and Forgetting)

 
Footnotes (Shorthand references are explained on a separate page)

1. My repertoire - further details
Not listed here, in addition to the new works, are the melodies I originally learned from my teacher Sun Yü-ch'in. Note also that "can play from memory" does not mean I can play them on demand: depending on their length and how long it has been since I last played them, it may require anywhere from one or two play throughs up to a week of practice so that I can play them in a manner that would allow me comfortably to play them for others.
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2. Others for which I have written transcriptions but do not yet play fluently include:

1. Xianpei Ying Feng (Fairy Jade Facing the Wind)
2. Fenghuang Taishan Yi Chui Xiao (On Phoenix Terrace Recalling the Playing of a Flute)
   (Return)

3. Partial reconstructions
As mentioned above, I do not consider a reconstruction to be finalized until I can play the melody from memory - this insures to me that I have an understanding (at least my own understanding) of the overall structure of the melody. In addition to reconstructions I have completed, I have also written out transcriptions of at least 50 other melodies or versions of melodies, especially qin songs.
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4. Qin songs for which I have only transcriptions
Qin songs are particularly problematic because, in addition to little being written about how the lyrics should relate to the music, I feel I must translate them before I have any chance of getting a correct feel for this relationship. There is also the problem of memorizing the lyrics for performance. Qin songs for which I have written out transcriptions, but which I have not learned to play fluently enough for recording, include:

1. All of the songs in the Taigu Yiyin, as mentioned above;
2. A sung version of Li Ling Thinks of Han;
3. Two versions of Stanzas of Siddham (釋談章 Shitan Zhang);
4. The long qin song 18 Songs of a Nomad Flute;
5. Songs from various late Ming dynasty handbooks such as Zhenchuan Zhengzong Qinpu.

Completing these and other such melodies would at best be a cooperative effort including a singer.
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5. In 1974/5 I learned Pu'an Zhou and Pingsha Luoyan from my teacher Sun Yü-Ch'in, but for many years I haven't played the melodies I learned from him, or any other such melodies from today's common repertoire.
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