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Melody List
Appended at the end of Jieshidiao You Lan |
曲目
碣石調幽蘭後 1 |
| You Lan melody list: You Lan is at bottom of 2nd column from right |
This list of 59 entries is one of three said to date from the Tang dynasty or earlier; the other two are Qin Cao (57 or 60 titles) and Qin Li (38 titles; see Appendix). Published together with the original You Lan manuscript, the list is thought also to date from the 6th or 7th century CE. The first four entries are the names of four modes, Chu, Qianjin, Hujia and Ganshen. After this the melodies may be considered as having been arranged according to these modes.2 If this is true, then the melodies should be grouped after the names of the modes as follows:
Having this list at the end of the tablature for You Lan suggests the possibility that these melodies were all published together at one time. Is it also possible that they were brought over to Japan together with You Lan, the subsequently lost? Yang, p.50 reports that an inventory compiled by the Japanese court in the 9th century claimed that they had in their possession "various types of qin/kin notations, in toal 120 scrolls." Such a collection could well have included many or most of those melodies listed here. But what happened to them? Were they, like the You lan scrolls, eventually all given away?
The complete list of melodies attached at the end of You Lan is as follows:
1.
See the original layout or the end of the original You Lan manuscript.
2.
This analysis comes from Yuan Jung-Ping; see also the
General Introduction to You Lan
(Modal prelude for #5 to #9?
See comments above and footnote below.)
(Modal prelude for #10 to #18? See comments above
and footnote below, but compare
Qianjin Qing)
(Modal prelude for #19 to #28? See
See comments above and footnote below.)
(Modal prelude for #29 to end? See
See comments above and footnote below.)
(See his biography)
(See Xianmen Gao)
(No Yang Chun!
See commentary with 1425 Bai Xue)
(See Du Yishui)
("第五 The fifth melody")
(Cai Shi Wunong #1)
(Cai Shi Wunong #2;
lyrics)
(Cai Shi Wunong #3)
(Cai Shi Wunong #4)
(Cai Shi Wunong #5)
(Xi Kang 4 Melodies, #1)
(Xi Kang 4 Melodies, #2)
(Xi Kang 4 Melodies, #3)
(Xi Kang 4 Melodies, #4)
(17.54xxx shangshang; no shang shangwu or shang wu; see QSCB, p.64 for possible connections to Zhaojun Yuan)
(11.7xxx xiashang; see previous entry)
(Only 17.549xxx 上閒 shangjian; Jianxian 42164 = 42168.xxx; see Ma Gei;
1525 has a Jianxian mode with a Ming Jun seemingly unrelated to Zhaojun)
(See previous entry)
(See Liu Kun)
(See Liu Kun)
(See Liu Kun)
(See Liu Kun)
(See Liu Kun)
(39539.xxx; "Leave Han"; see, e.g.,
Longshuo Cao, Section 2; also QSCB, p.64)
(Astride a Saddle; 38373.xxx)
(Looking at the Countryside; 14697.134 has no musical references)
(Scattering Clouds; 6046.xxx)
(Entering the Forest; 1440.xxx)
(31910.xxx; 2741.xxx)
(3334.xxx)
(32204.187xxx [Song dynasty person])
(Phoenix Wings, 5 Roads; 47631.xxx)
(See in
Feng Ru Song)
(Paired Waves; 43067.xxx)
(See commentary in 1525)
(See commentary in 1525)
(Moth Eyebrows; 33914.5xxx; an E Mei Yuan is in YFSJ,
Folio 43 [p. 631], at the end or after songs about Ban Jieyu)
(Compare Bei Feng Yin Long Tou, Long Tou and
Bei Feng Yin)
(See 1511 commentary)
(39841.xxx; in repertoire of
Xue Yijian; YFSJ reference in Wang Shixiang article)
(Two melodies? See Qiu Feng but compare QSDQ and
QYYL; 15473.67 only 楚客 Chu ke)
(Two melodies? See footnote the Wang Shixiang article; sometimes attributed to
Confucius.)
(12212.136 has nothing on music; compare
Zhao Yin)
(Look Back; 3191.234 has nothing on music)
(Sometimes attributed to
Confucius)
(47631.xxx; compare 鳳遊雲操)
(33932.xxx)
(3308.xxx)
(49812.163 qin melody played by
Zheng Shuzu)
(2744.226 melody name; Qinqu Pulu attributes it to Wen Wang; see also Qianjin Mode)
(see footnote to Li Sao)
(See 1425 version)
(21625.20 a type of Xianghe Ge; see YFSJ,
Folios 36 - 40, pp. 534 - 598)
(See Guangling San, in particular section 2)
(See in Qin Cao, Hejian Yage #19 and other lists; same as 湘妃歎 Xiang Fei Tan?)
Footnotes (Shorthand references are explained on a
separate page)
(Return)
(Return)
3.
楚調 Chu Diao (#1 and #5 - 9?)
Although this list begins with four the names of four "diao, it is not specifically stated that these titles refer to modal preludes rather than being just a list of the modes included. However, there is logic to this idea. First is the fact that elsewhere modal preludes have sometimes been listed or written out first; then there is the observation that if you don't have to include these four "diao when counting titles, then that makes it logical that You Lan is Number 5.
It has been further speculated that the other 55 titles were melodies that fit into these modes. From this, and the fact Qiu Ming lived in the Chu region, it is further speculated that Jieshi Diao was a type of Chu Mode (楚調 Chu Diao). However, as discussed further here, it seems more likely that jieshi refers to an actual melody or type of melody, one perhaps associated in some way with "Towering Rock Mountain" (碣石山 Jieshi Shan).
Chu melodies surviving from Ming dynasty tablature usually use one of the raised fifth tunings; see Chu Region. This does not seem to be the case for the surviving versions of the melodies included here.
Note also that This is related to the question of whether You Lan being called Number 5 means it is the fifth piece in the Chu mode or the 5th piece overall.
(Return)
4.
千金調 Qianjin Diao (#2 and #10 - 18?)
Surviving versions of these titles all use standard tuning.
(Return)
5.
胡笳調 Hujia Diao (#3 and #19 - 32?)
Hujia melodies surviving from Ming dynasty tablature usually use lowered first/raised fifth tuning; see
North and Central Asia region. Regarding the first four melodies in this section, a commentary in
Qin Ji (see YFSJ p.426) says, "胡笳明君四弄有上舞、下舞、上間絃、下間絃。 Four Ming Jun
6.
感神調 Ganshen Diao (Inducing Celestials Mode; #4 and #33 - end?)
11215.xxx; 7/612xxx; gan shen is mentioned in connection with the melody Shenren Chang, but as yet no further information.
(Return)
Appendix: 琴歷 Qin Li (Qin Account)
玉函山房輯 Yuhan Shanfang Ji has a list of 38 melodies under the title Qin Li
Other melodies are mentioned in the Qinshu Cunmu entry.
Return to the top or to the Guqin ToC.