My Repertoire
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 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.
- Bai Xue (White Snow)
- Baji You
(Roaming to the Eight Corners of the earth)
- Boya Diao Ziqi
(Boya Mourns Ziqi)
- Cai Zhen You (Selecting Reality)
- Cangwu Yuan (Cangwu Lament)
- Caoman Yin (Strum Silk Prelude)
- Chang Qing (Long Clarity)
- Chu Ge (Song of Chu)
- Chun Si (Spring Thoughts)
- Chunxiao Yin (Spring Dawn)
- Chutai Yin
(Dwell at the Source)
- Da Hujia
(Nomad Reed Pipe, Long Version)
- Dalü Yi
(Defining Da Lü [Great Tone] Mode)
- Da Ya (Epic Virtue)
Diemeng Yin (Butterfly Dream)
- Dongting Qiu Si
(Autumn Reverie at Dongting)
- Duan Qing (Short Clarity)
- Dunshi Cao
(Withdrawing from Society)
- Fan Canglang
(Floating on the Canglang River)
- Feiming Yin
(Calling out in Flight)
- Feng Lei Yin (Wind and Thunder)
- Feng Qiu Huang
(A Male Phoenix Seeks his Mate; 1549)
Feng Qiu Huang
(A Male Phoenix Seeks his Mate; 1539)
- Feng Ru Song Ge
(Song of Wind Through Pines)
- Gao Shan (High Mountains)
- Gu Yuan (Ancient Lament)
- Guan Ju (Cry of the Ospreys)
- Guan Ju Qu (Osprey Cry Tune)
- Guanghan Qiu
(Autumn in a Lunar Palace)
- Guanghan You
(Wandering in a Lunar Palace)
- Guangling San
(Guangling Melody)
- Gufeng Cao (The Ancient Style)
- Gu Guan Yu Shen
(Encountering Spirits in an Isolated Mansion)
- Gujiao Xing
(Going with Old-Style Relations)
- Gui Qu Lai Ci
(Come Away Home)
- Han Gong Qiu
(Autumn in the Han Palace)
- Han Jie Cao
(Han Credentials Melody)
- He Ming Jiugao
(Cranes Cry in the Nine Marshpools)
- He Wu Dongtian
(Cranes Dance in the Grotto-Heaven)
- Huangyun Qiusai
(Yellow Clouds of Autumn at the Frontier)
- Huangzhong Yi
(Yellow Bell Modal Prelude)
- Huaxu Yin (Huaxu Clan Prelude)
- Huo Lin
(Captured Unicorn)
- Jiang Yue Bai
(White Moon over the River)
- Jiao Yi
(Defining Jiao Mode)
- Jieshi Diao You Lan
(Secluded Orchid, in Stone Tablet Mode)
- Jiu Kuang (Wine Mad)
- Kai Gu
(Sigh for Antiquity; 1425)
- Kai Gu (Sigh for Antiquity; 1539)
- Kai Zhi (Opening Fingering)
- Kongtong Yin
(Kongtong Mountain Prelude)
- Kongtong Wen Dao
(Discussing the Dao at Kongtong Mountain)
- Kongsheng Jing
(Sacred Confucian Annal)
- Li Ling Si Han
(Li Ling Thinks of Han)
- Li Sao (Falling into Grief)
- Liangxiao Yin
(Peaceful Evening Prelude)
- Lienü Yin
(Exemplary Woman Prelude)
- Liezi Yu Feng
(Liezi Rides the Wind)
- Lingxu Yin
(Ascending the Great Void)
- Linqiong Yin (Linqiong Melody)
- Linzhong Yi (Linzhong Prelude)
- Liu Shang (Floating Goblets)
- Liu Shui (Flowing Streams)
- Longshuo Cao (Melody from Longshuo)
- Meihua Sannong
(Three Repetitions of Plum Blossom)
- Meishao Yue
(Moon Atop a Plum Tree)
- Mengji Yin
(Covered Brambles Prelude)
- Mingde Yin
(Bright Virtue Prelude)
- Mozi Bei Ge
(Mozi Sings with Feeling)
- Nanfeng Ge
(Song of the South Wind)
- Nanxun Ge
(Song of Southern Breezes)
- Pei Lan
(Fragrant Orchid)
Qi Qi
(Ride the Vapors; see Shen You Liu He)
- Qiao Ge
(Woodcutter's Song)
- Qingjing Jing
(Canon of Purity and Tranquility)
Qingshang Yi
(Defining Qingshang Mode)
- Qingye Yin
(Clear Evening Intonation)
- Qingyu Yi
(Defining Qingyu Mode)
- Qiu Feng
(Autumn Winds)
- Qiu Hong
(Wild Geese in Autumn)
- Qiujiang Yebo
(Autumn River Night Anchorage)
- Qiuyue Zhao Maoting
(Autumn Moon Shining on a Reed Pavilion)
- Qu Yuan Wen Du
(Qu Yuan Asks for Advice)
- Shanju Yin
(Mountain Life; 1425)
- Shanju Yin
(Mountain Life; 1491)
- Shanzhong Si Youren
(Amidst Mountains Thinking of an Old Friend)
- Shen You Liuhe
(Spirit Roaming the Universe)
- Shenhua Yin (Metamorphosis)
- Shenpin Biyu Yi
(Celestial Air Defining Biyu Mode)
- Shenpin Chushang Yi
(Celestial Air Defining Chushang Mode)
- Shenpin Gong Yi
(Celestial Air Defining Gong Mode)
- Shenpin Gu Shang Yi
(Celestial Air Defining Old Shang Mode)
- Shenpin Guxian Yi
(Celestial Air Defining Guxian Mode)
- Shenpin Jiao Yi
(Celestial Air Defining Jiao Mode)
- Shenpin Qiliang Yi
(Celestial Air Defining Qiliang Mode)
- Shenpin Ruibin Yi
(Celestial Air Defining Ruibin Mode)
- Shenpin Shang Yi
(Celestial Air Defining Shang Mode)
- Shenpin Shangjiao Yi (Celestial Air Defining Shangjiao Mode)
- Shenpin Wuyi Yi
(Celestial Air Defining Wuyi Mode)
- Shenpin Yu Yi
(Celestial Air Defining Yu Mode)
- Shenpin Zhi Yi
(Celestial Air Defining Zhi Mode)
- Shenren Chang
(Rhapsody of Holy Men)
- Shi Xian
(Respect the Virtuous)
- Shiba Xueshi Deng Yingzhou
(18 Scholars Ascend Yingzhou)
- Shishang Liu Quan
(Springs Flowing over Rocks)
- Shuixian Qu
(Water Immortals' Melody)
- Si Qin Cao
(Thinking-of-Parents Melody)
- Si Shun
(Thinking of [Emperor] Shun)
- Song Yu Bei Qiu
(Song Yu Mourns Autumn)
- Taoyuan Chunxiao
(Spring Dawn at Peach Spring)
- Tianfeng Huanpei
(Jade Pendants in a Heavenly Breeze)
- Tiantai Yin
(Mount Tiantai Prelude; Sections 1-2 only)
- Tiao Xian Pin
(String Tuning Melody)
- Wang Ji (No Ulterior Motives)
- Weibin Yin
(Wei Riverbank Intonation)
- Wen Wang Qu (Wen Wang's Tune)
- Wenjun Cao (Wenjun Melody)
- Wu Ye Ti
(Evening Call of the Raven; 1425)
- Wu Ye Ti
(Evening Call of the Raven; 1491)
- Wumei Yi
(Defining Wumei Mode)
- Xiang Fei Yuan
(Lament of the Xiang River Concubines)
- Xianweng Cao
(Melody of the Transcendent Venerable One)
- Xiao Hujia
(Nomad Reed Pipe, Short Version)
- Xiao Xiang Shui Yun
(Clouds over the Xiao and Xiang Rivers)
- Xing Tan
(Apricot Forum)
- Xiuxi Yin
(Purification Ceremony Intonation)
- Xuan Mei (Profoundly Serene)
- Xue Chuang Ye Hua
(Evening Talk by a Snowy Window)
- Yasheng Cao
(Secondary Sage Melody)
- Yan Guo Hengyang
(Wild Geese Traverse Hengyang)
- Yanyi Ge (Doorbar Song)
- Yang Chun (Sunny Spring; 1425)
- Yang Chun (Sunny Spring; 1549)
- Yangguan Sandie
(Thrice Parting for Yangguan; 1491)
- Yangguan Sandie
(Thrice Parting for Yangguan; 1530)
- Yao Tian Sheng He
(Jade Sheng Heavenly Crane)
- Yi Guanshan
(Thinking of Guanshan)
- Yi Lan (Flourishing Orchid)
- Yi Sa Jin
(A Bit of Scattered Money)
- Yize Yi
(Defining Yize Mode)
- Yi Zhen
(Nourishing One's Natural Character)
- Yin De
(Hidden Virtue)
- Yingzhong Yi
(Defining Responding Bell Mode)
You Lan
(Secluded Orchid, see Jieshidiao You Lan)
- Yu Ge (Fisherman's Song; 1549)
- Yu Ge (Fisherman's Song; 1491)
- Yu Ge Diao
(Melody of the Fisherman's Song)
- Yu Hui Tushan
(Emperor Yu's Gathering at Mount Tu; 1425)
- Yu Hui Tushan
(Emperor Yu's Gathering at Mount Tu; 1491)
- Yuan You (Wander Afar)
- Zepan Yin (Marshbank Melody)
- Zhaojun Yuan
(Zhao Jun's Lament)
- Zhao Yin (Seeking a Recluse)
- Zhi Yi
(Defining Zhi Mode)
- Zhi Zhao Fei
([Paired] Pheasants' Morning Flight; 1425)
- Zhi Zhao Fei
([Paired] Pheasants' Morning Flight; 1491)
- Zhongqiu Yue (Mid-autumn Moon)
- Zhuangzhou Meng Die
(Zhuangzi's Butterfly Dream)
- Zui Weng Yin
(Old Toper's Chant; 1539)
- Zui Weng Yin (Old Toper's Chant; 1571)
- 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.
(Return)
2.
Others for which I have written transcriptions but do not yet play fluently include:
- Xianpei Ying Feng
(Fairy Jade Facing the Wind)
- 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.
(Return)
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:
- All of the songs in the Taigu Yiyin, as mentioned above;
- A sung version of Li Ling Thinks of Han;
- Two versions of Stanzas of Siddham (釋談章 Shitan Zhang);
- The long qin song 18 Songs of a Nomad Flute;
- 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.
(Return)
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.
(Return)
Return to top