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Performance Themes     Performances     Original Repertoire   /   New Works   /   Guqin Melodies 中文     首頁
My Repertoire 1 Some of the melodies are now available on 2  
Also arranged alphabetically by translation.
No number indicates an alternate title for the linked one.
Double listing means I have learned two versions.

My repertoire as listed here (see also new works) consists of over 200 melodies I have personally reconstructed (written out staff notation for and can play from memory). Almost all are available in recordings, though only 77 of them have been released in CD form, these latter comprising all the music in two of the three earliest surviving handbooks: Shen Qi Mi Pu (1425) and Zheyin Shizi Qinpu (1491).3 As for the fourth handbook, Taigu Yiyin (1511 and 1515), I have transcribed all 38 melodies, but have recorded only 13, the main reason being that they are all songs and consequently would be best done with a separate singer. Beyond this, I have learned over 60 melodies from Xilutang Qintong (1525), plus a number of melodies from other sources, including all 13 pieces published in pre-Ming handbooks, plus over 20 from the following Ming dynasty handbooks: Faming Qinpu (1530), Fengxuan Xuanpin (1539), Wuyin Qinpu (1579), Longhu Qinpu (1585), Yuwu Qinpu (1589), Zhenchuan Zhengzong Qinpu (1589 and 1609), Sanjiao Tongsheng (1592), Songxianguan Qinpu (1614) and Guyin Zhengzong (1634). The links below are to the melodies I have learned from all these handbooks.4

Including the Taigu Yiyin melodies, I have also done over 50 partial reconstructions:5 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.6

This website also has pages with my commentary on several other melodies, including some that I do not currently play, such as Pu'an Zhou.7 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.

Titled melodies (alphabetically by romanization; below this are the modal preludes)

  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. Chonghe Yin (Intonation on Balanced Vital Force))
  9. Chu Ge (Song of Chu)
  10. Chun Gui Yuan (Spring Chamber Lament)
  11. Chun Si (Spring Thoughts)
  12. Chun Jiang Qu (Springtime River Melody)
  13. Chun Jiang (Spring on the River)
  14. Chun Jiang (Spring River)
  15. Chun Jiang Wan Tiao (Spring River Evening View)
  16. Chunxiao Yin (Spring Dawn)
  17. Chutai Yin (Dwell at the Source)
  18. Da Guan Yin (Intonation on Being Free of Worldly Emotions)
  19. Da Hujia (Nomad Reed Pipe, Long Version)
  20. Da Ming Yi Tong (Unity of the Great Ming)
  21. Da Ya (Epic Virtue)
  22. Dao Yi (Pounding Cloth)
  23. Dao Yi Qu (Pounding Cloth Melody)
    Diemeng Yin (Butterfly Dream)
  24. Dongting Qiu Si (Autumn Reverie at Dongting)
  25. Duan Qing (Short Clarity)
  26. Dunshi Cao (Withdrawing from Society)
  27. Fan Canglang (Floating on the Canglang River)
  28. Fei Dian Yin (Intonation on Lightning Flashes)
  29. Feiming Yin (Calling out in Flight)
  30. Feng Lei(Wind and Thunder)
  31. Feng Lei Yin (Wind and Thunder Invocation)
  32. Feng Qiu Huang (A Male Phoenix Seeks his Mate; 1525)
    Feng Qiu Huang; see Wenjun Cao below)
  33. Feng Ru Song Ge (Song of Wind Through Pines)
  34. Gao Shan (High Mountains)
  35. Gu Guan Yu Shen (Encountering Spirits in an Isolated Mansion)
  36. Gu Qiu Feng (Old Autumn Wind)
  37. Gu Yuan (Ancient Lament)
  38. Guan Ju (Cry of the Ospreys)
  39. Guan Ju Qu (Osprey Cry Tune)
  40. Guanghan Qiu (Autumn in a Lunar Palace)
  41. Guanghan You (Wandering in a Lunar Palace)
  42. Guangling San (Guangling Melody)
  43. Gufeng Cao (The Ancient Style)
  44. Gujiao Xing (Going with Old-Style Relations)
  45. Gukou Yin (Gukou Allure)
  46. Gui Geng (Return to Ploughing)
  47. Gui Qu Lai Ci (Come Away Home)
  48. Han Gong Qiu (Autumn in the Han Palace)
  49. Han Jie Cao (Han Credentials Melody)
  50. He Ming Jiugao (Cranes Cry in the Nine Marshpools)
  51. He Wu Dongtian (Cranes Dance in the Grotto-Heaven)
  52. Huai Gu Yin (Cherish Antiquity Intonation)
  53. Huangyun Qiusai (Yellow Clouds of Autumn at the Frontier)
  54. Huaxu Yin (Huaxu Clan Prelude)
  55. Huo Lin (Captured Unicorn)
  56. Ji Qing Cao (Melody for Expressing Emotion)
  57. Jiang Yue Bai (White Moon over the River)
  58. Jieshi Diao You Lan (Secluded Orchid, in Stone Tablet Mode)
  59. Jiu Kuang (Wine Mad)
  60. Jiu Kuang (Wine Mad: the song)
  61. Kai Gu (Sigh for Antiquity; 1425)
  62. Kai Gu (Sigh for Antiquity; 1539)
  63. Kangqu Yao (Ballad of the Highroad)
  64. Kechuang Yehua (Evening Talk by a Guest's Window)
  65. Kongtong Yin (Kongtong Mountain Prelude)
  66. Kongtong Wen Dao (Discussing the Dao at Kongtong Mountain)
  67. Kongsheng Jing (Sacred Confucian Annal)
  68. Li Ling Si Han (Li Ling Thinks of Han)
  69. Li Sao (Falling into Grief)
  70. Liangxiao Yin (Peaceful Evening Prelude)
  71. Lienü Yin (Exemplary Woman Prelude)
  72. Liezi Yu Feng (Liezi Rides the Wind)
  73. Lingxu Yin (Ascending the Great Void)
  74. Linqiong Yin (Linqiong Melody)
  75. Liu Shang (Floating Wine-Cups)
  76. Liu Shui (Flowing Streams)
  77. Longshuo Cao (Melody from Longshuo)
  78. Loushi Ming (Inscription on a Crude Dwelling)
  79. Mei Hua (Plum Blossoms)
  80. Meihua Sannong (Three Repetitions of Plum Blossom)
  81. Meishao Yue (Moon Atop a Plum Tree)
  82. Mengji Yin (Covered Brambles Prelude)
  83. Mingde Yin (Bright Virtue Prelude)
  84. Mozi Bei Ge (Mozi Sings with Feeling)
  85. Moshang Sang (Mulberry Lane)
  86. Nanfeng Ge (Song of the South Wind)
  87. Nanxun Ge (Song of Southern Breezes)
  88. Oulu Wang Ji (No Ulterior Motives Regarding Seabirds)
  89. Pei Lan (Fragrant Orchid)
  90. Pingsha Luoyan (Yan Luo Pingsha: Wild Geese Settle on a Sandbank)
    Qi Qi (Ride the Vapors; see Shen You Liu He)
  91. Qiao Ge (Woodcutter's Song)
  92. Qingjing Jing (Canon of Purity and Tranquility)
  93. Qingye Yin (Clear Evening Intonation)
  94. Qiu Feng (Autumn Winds)
  95. Qiu Hong (Wild Geese in Autumn)
  96. Qiujiang Wandiao (Autumn River Night Evening Fishing)
  97. Qiujiang Yebo (Autumn River Night Anchorage)
  98. Qiuyue Zhao Maoting (Autumn Moon Shining on a Reed Pavilion)
  99. Qu Yuan Wen Du (Qu Yuan Asks for Advice)
  100. Saishang Hong (Wild Geese on the Frontier)
  101. Shanju Yin (Mountain Life; 1425)
  102. Shanju Yin (Mountain Life; 1491)
  103. Shanzhong Si Youren (Amidst Mountains Thinking of an Old Friend)
  104. Shen You Liuhe (Spirit Roaming the Universe)
  105. Shenhua Yin (Metamorphosis)
  106. Shenren Chang (Rhapsody of Holy Men)
  107. Shi Xian (Respect the Virtuous)
  108. Shiba Xueshi Deng Yingzhou (18 Scholars Ascend Yingzhou)
  109. Shishang Liu Quan (On a Rock by a Flowing Spring)
  110. Shuixian Qu (Water Immortals' Melody)
  111. Shuilong Yin (Water Dragon Intonation)
  112. Si Qin Cao (Thinking-of-Parents Melody)
  113. Si Shun (Thinking of [Emperor] Shun)
  114. Song Yu Bei Qiu (Song Yu Mourns Autumn)
  115. Taoyuan Chunxiao (Spring Dawn at Peach Spring)
  116. Tianfeng Huanpei (Jade Pendants in a Heavenly Breeze)
  117. Tiantai Yin (Mount Tiantai Prelude; Sections 1-2 only)
  118. Tiao Xian Pin (String Tuning Melody)
  119. Wang Ji (No Ulterior Motives)
  120. Weibin Yin (Wei Riverbank Intonation)
  121. Wen Wang Qu (Wen Wang's Songs)
  122. Wenjun Cao (Wenjun Melody)
  123. Wu Ye Ti (Evening Call of the Raven; 1425)
  124. Wu Ye Ti (Evening Call of the Raven; 1491)
  125. Wuye Wu Qiufeng (Leaves Dance in an Autumn Breeze)
  126. Xiang Fei Yuan (Lament of the Xiang River Concubines)
  127. Xianweng Cao (Melody of the Transcendent Venerable One)
  128. Xiao Hujia (Nomad Reed Pipe, Short Version)
  129. Xiao Xiang Shui Yun (Clouds over the Xiao and Xiang Rivers)
  130. Xing Tan (Apricot Tree Forum)
  131. Xiuxi Yin (Purification Ceremony Intonation)
  132. Xuan Mei (Profoundly Serene)
  133. Xue Chuang Ye Hua (Evening Talk by a Snowy Window)
  134. Yasheng Cao (Proximate Sage Melody)
  135. Yan Guo Hengyang (Wild Geese Traverse Hengyang)
  136. Yanyi Ge (Doorbar Song)
  137. Yang Chun (Sunny Spring; 1425)
  138. Yang Chun (Sunny Spring; 1525)
  139. Yangguan Sandie (Thrice Parting for Yangguan; 1491)
  140. Yangguan Sandie (Thrice Parting for Yangguan; 1530)
  141. Yao Tian Sheng He (Jade Sheng Heavenly Crane)
  142. Yi Guanshan (Thinking of Guanshan)
  143. Yi Lan (Flourishing Orchid)
  144. Yi Qiao Jin Lü (Going for Shoes under the Bridge)
  145. Yi Sa Jin (A Bit of Scattered Money)
  146. Yi Zhen (Nourishing One's Natural Character)
  147. Yin De (Hidden Virtue)
    You Lan (Secluded Orchid, see Jieshidiao You Lan)
  148. You Lan (Secluded Orchid; 1525)
  149. Yu Ge (Fisherman's Song; 1525)
  150. Yu Ge (Fisherman's Song; 1491)
  151. Yu Ge Diao (Melody of the Fisherman's Song)
  152. Yu Hui Tushan (Emperor Yu's Gathering at Mount Tu; 1425)
  153. Yu Hui Tushan (Emperor Yu's Gathering at Mount Tu; 1491)
    Yu Lou Chun Xiao; see Chun Gui Yuan above
  154. Yu Qiao Wenda (Dialogue between a Fisherman and Woodcutter; 1559)
  155. Yuan You (Wander Afar)
  156. Yueshang Cao (Yueshang Melody)
  157. Yueshang Yin (Yueshang Intonation)
  158. Zepan Yin (Marshbank Melody)
  159. Zhaojun Yuan (Zhao Jun's Lament)
  160. Zhao Yin (Seeking a Recluse)
  161. Zhi Zhao Fei ([Paired] Pheasants' Morning Flight; 1425)
  162. Zhi Zhao Fei ([Paired] Pheasants' Morning Flight; 1491)
  163. Zhongqiu Yue (Mid-autumn Moon)
  164. Zhuangzhou Meng Die (Zhuangzi's Butterfly Dream)
  165. Zui Weng Yin (Old Toper's Chant; 1539)
  166. Zui Weng Yin (Old Toper's Chant; 1571)
  167. Zui Yu Chang Wan (A Drunken Fisherman Sings in the Evening)
    Zuo Wang (Sitting and Forgetting)

    Modal preludes (alphabetically by romanization; above this are the titled melodies)

  168. Dalü Yi (Defining Da Lü [Great Tone] Mode)
  169. Gong Diao (Gong Mode)
  170. Gong Yi (Defining Gong Mode)
  171. Huangzhong Diao (Yellow Bell Mode)
  172. Huangzhong Yi (Defining Huangzhong [Yellow Bell] Mode)
  173. Jiao Diao (Jiao Mode)
  174. Jiao Yi (Defining Jiao Mode)
  175. Jiao Yi (Defining Jiao Mode)
  176. Jiazhong Yi (Defining Jiazhong Mode)
  177. Kai Zhi (Opening Fingering)
  178. Kaizhi Huangying Yin (Prelude, Intonation of the Golden Oriole)
  179. Linzhong Yi (Defining Linzhong Mode)
  180. Qingshang Diao (Qingshang Mode)
    Qingshang Yi (Defining Qingshang Mode)
  181. Qingyu Yi (Defining Qingyu Mode)
  182. Shang Diao (Shang Mode)
  183. Shang Yi (Defining Shang Mode)
  184. Shenpin Biyu Yi (Celestial Air Defining Biyu Mode)
  185. Shenpin Chushang Yi (Celestial Air Defining Chushang Mode)
  186. Shenpin Gong Yi (Celestial Air Defining Gong Mode)
  187. Shenpin Gu Shang Yi (Celestial Air Defining Old Shang Mode)
  188. Shenpin Guxian Yi (Celestial Air Defining Guxian Mode)
  189. Shenpin Jiao Yi (Celestial Air Defining Jiao Mode)
  190. Shenpin Qiliang Yi (Celestial Air Defining Qiliang [Desolation] Mode)
  191. Shenpin Ruibin Yi (Celestial Air Defining Ruibin Mode)
  192. Shenpin Shang Yi (Celestial Air Defining Shang Mode)
  193. Shenpin Shangjiao Yi (Celestial Air Defining Shangjiao Mode)
  194. Shenpin Wuyi Yi (Celestial Air Defining Wuyi Mode)
  195. Shenpin Yu Yi (Celestial Air Defining Yu Mode)
  196. Shenpin Zhi Yi (Celestial Air Defining Zhi Mode)
  197. Wumei Yi (Defining Wumei [No Go-between] Mode)
  198. Yize Yi (Defining Yize Mode)
  199. Yingzhong Yi (Defining Yingzhong [Responding Bell] Mode)
  200. Yu Diao (Yu Mode)
  201. Yu Yi (Defining Yu Mode)
  202. Zhi Diao (Zhi Mode)
  203. Zhi Yi (Defining Zhi Mode)
  204. Zhi Yi (Defining Zhi Mode)

 
Footnotes (Shorthand references are explained on a separate page)

1. My repertoire - further details
Almost always the melodies I have played since beginning my dapu project come from the earliest known existing tablature. So not listed here, in addition to any of my new works, are four of the seventeen titles I originally learned from my teacher Sun Yü-ch'in; these four had no arguably Ming dynasty editions and I have not played them in many years. The other 13 perhaps should not all count as true reconstructions as, although I am now playing their earliest known versions, most of these do have some similarity to their modern forms (and two of them, Xianweng Cao and Chun Gui Yuan, also seem to be quite recent).

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. Melodies now available on
These are all listed on and linked from the page linked here.
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3. Melodies on CD
Of the 77 tracks on my 7 CDs (for which transcriptions are also available), 24 tracks are currently online here in mp3 form.
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4. Instrumental melody reconstructions not yet completed
Qin songs are mentioned further below. Instrumental melodies for which I have written transcriptions, but which I have not learned to play fluently enough for recording, include:

  1. The five melodies included in Wusheng Qinpu (1457)

  2. A number of melodies from Xilutang Qintong (1525), including:

  3. The only instrumental melody in Fengxuan Xuanpin (1539) not also surviving from an earlier publication:
  4. Various melodies from later handbooks, including,

There are also transcriptions of preludes for some of these melodies. The list also does not include some purely handwritten transcriptions.
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5. 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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6. 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. 26 of the 38 songs in the Taigu Yiyin (1511); I have recorded only 12 of them, as mentioned above;
  2. Five songs from Fengxuan Xuanpin:
  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.
  6. Songs in Japanese handbooks, including Fenghuang Taishan Yi Chui Xiao (On Phoenix Terrace Recalling the Playing of a Flute)

Completing these and other such melodies would at best be a cooperative effort including a singer.
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7. My original repertoire
In 1974/5 I learned Pu'an Zhou from my teacher Sun Yü-Ch'in, but for many years I haven't played any melodies as I learned them from him, or any other such melodies from today's common repertoire (this footnote makes some comments on the differences). I do play many of the same titles, but I play the earliest known published versions of them. At first I also did not play any of them if they were not published until after 1600, but now I do play the earliest versions of several of these, including Pingsha Luoyan and Yu Lou Chun Xiao (Chun Gui Yuan).
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