Discussion of studs ³

The studs are fastened on the wood surface (of the qin) in such a way as to show themselves most clearly. Jade is best.

Gold is second best. Conch/oyster⁵ shell is next after this.

Also, the 12 tones⁶ are generated from the yellow bell. (Assuming an open string with a length of 36 cun has the sound of the yellow bell), then the length of the qin (string) from the mountain to the fourth stud is nine cun, and a note (from plucking this length with the finger at the fouth stud) is equivalent to the yellow bell tone,⁷ then from the fourth (stud) to the middle stud is also nine cun, and (the tone produced by plucking the string while stopping the string at the middle stud) is a yellow bell tone in the next octave . Between the middle stud and the dragon's mouth, the sounds are as follows (as you stop the string in positions up from the end of a string tuned to) huangzhong:

The above are the "murky" (i.e., lower octave) sounds.¹⁰ If the finger pressed on the middle stud¹¹ gives huangzhong, then from the middle stud down¹² to the fourth stud yields another 12 semitones; these are called the clear tones.¹³ Pressing down (the proper positions) from the fourth stud to the first stud gives yet another 12 semitones, called "doubled clear tones" (i.e., up one more octave).

(Yinshi:) The zou of taizou (usually pronounced cu) is here pronounced ou (a fleet horse); "wash" (pronounced xi) is here pronounced xian (first), with rising tone; "drooping leaves" is pronounced rui (shrewd), also with the even tone.

(Stud Names ¹⁴)

[Comment:] Cui Zundu,¹⁵ in his Qin Commentary, gave the opinion that there were 13 sounds on heaven and earth. The studs were not done by eye calculation.¹⁶

Whenever determining the logic of the seven strings, it must echo with the studs, in order to bring out the (proper) sound.

From the edge of the mountain peak down to the place where the dragon gums hold the strings, the master stud (#7) marks the half-way point. Between the master stud and the mountain peak, zhonglü (#4) marks the halfway point. Between zhonglü and the mountain peak, taizou (#1) marks the halfway point. The four studs called jiazhong (#2), guxian (#3), ruibin (#5) and linzhong (#6) should be tuned by using harmonics. The studs are thus fixed from the first stud back (down) to the dragon gums. Besides this there are no sounds.¹⁷

On the waist (center of the top?) between the dragon gums and the mountain peak is the intercalary stud (#7). On the waist between the intercalary stud and the mountain peak is the fourth (stud). This fourth (stud) and the mountain peak generate the studs numbered one, four, two and six.¹⁸

(HERE FOLLOWS WHAT SEEMS TO BE AN ATTEMPT TO DESCRIBE CORRESPONDENCES USING HARMONICS, either to tune the different strings or to show again the positions of the studs.¹⁹

For tuning the strings, one common way is, because the difference between a harmonic in the 5th and 7th positions on the same string is an interval of a fifth, to use this to tune strings which are the interval of a fifth: in standard tuning #4 (at the 5th stud) and #7 (at 7th stud) and likewise with #3 and #6, #2 and #5, #1 and #4. And since the difference between a harmonic in the 5th and 4th positions on the same string is an interval of a fourth, this can be used to tune strings which are the interval of a fourth apart: in standard tuning #5 (at the 4th stud) and #7 (at the 5th stud) and likewise with #4 and #6, #2 and #4, #1 and #3.

If using the same string to indicate the stud positions, one can point out that on one string harmonics at the 6th and 3rd studs (as well as the 11th and 8th) produce the same note; between an open string interval and a harmonic at the 7th stud is one octave; a harmonic at the 4th, two octaves; a harmonic at the 1st, three octaves. The difference between a harmonic at the 5th stud and one at the 2nd stud is up one octave; between one at the 7th and one at the 5th is up 5 notes; between the 5th and the 4th is up four notes; between the 4th and the 2nd is up five notes; between the 2nd and the 1st is up four notes.

However, I cannot see how the actual text of this section describes any such correspondences.)

 
Discussion of strings²⁰

The 1st string belongs to earth; rules do; acts as lord; is yellow; in the sky fits with²¹ Saturn;
    amongst people is called "faith"; distinguishes the prosperity of the four seasons.
The 2nd string belongs to gold; rules re; acts as vassal; is white; in the sky fits with Venus;
    amongst people is called "righteousness"; corresponds with autumn.
The 3rd string belongs to wood; rules mi; acts as commoner; is blue/green; in the sky fits with Jupiter;
    amongst people is called "benevolence"; corresponds with spring .
The 4th string belongs to fire; rules so; acts as affairs; is vermilion; in the sky fits with Mars;
    amongst people is called "propriety"; corresponds with summer.
The 5th string belongs to water; rules la; acts as objects; is black; in the sky fits with Mercury;
    amongst people is called "wisdom"; corresponds with winter.
The 6th string has a scholarly sound; rules "little do"; in the sky fits with the "literary stars";²²
    amongst people is called "refining influence of culture"; its softness reflects hardness .
The 7th string has a military sound; rules "little re"; in the sky fits with the "military stars";²³
    amongst people is called "military proficiency"; its hardness reflects softness.

(Yinshi): "Fits with" is pronounced fu (sage, man). It means "goes together with".

The Emaciated Immortal²⁴ (Zhu Quan) says, The "literary" (wen) and "military" (wu) strings (sixth and seventh) were not added to the qin by Prince Wen and Prince Wu.²⁵ The five string qin formerly played by Emperor Shun was a special old qin. Emperor Yao had added these two strings. The sixth is soft and thus is called literary; the seventh is hard and thus called military. The hard and soft relationship is like the relationship between the virtues of the lord and the vassal. Later generations only knew the two words "literary" and "military", and did not know the reason. So the tradition said that these were added by Prince Wen and Prince Wu . This version is incorrect.

 
Diagram of the Five Worthies' Rules ²⁶

 
Cai Yong said,²⁷ The sounds of the qin were the correct ones for the universe. Instruments (things?) that attain this can be used as regulating instruments for harmonizing the universe. People who attain this can use it as a regulating "way" to harmonize the universe. Notes (lü) which attain this can use it as regulating sounds for harmonizing the universe. Therefore, Fu Xi constructed a qin in order to describe the numbers of the universal yin and yang, and to harmonize the god's virtue. These were called regulating sounds. There were five principles (cao -- see above). People who are not in a class with these five worthies should not approach the qin. No one who plays the qin should do so in the company of the four barbarians²⁸ or people who have the Mongol-tartar custom of folding their coat on the left,²⁹ because (they have) a strange appearance, different apparel, and do not have the Way of Natural Moral Principles.³⁰ In former times, when Yang Bing³¹ played the qin and Buddhist monks came to listen, (Yang) Bing would quickly break the strings. This is what is meant by "make orthodox". If there are not any people around who understand this about sounds, one should instead play to the light breezes, bright moon, green pines and old rocks.

 
The Emaciated Immortal's Ten Friends of the Qin Dais ³²

( 1.) Ice Strings.³³ [Yinshi:] The ancients had "crystal strings", which were made with "clear resin". They have a very bright and clear color, and so are (also?) called ice strings.
( 2.) Jade Feet.³⁴ [Yinshi:] Also called Wild Geese Feet, they are made of jade, hence the name.
( 3.) Precious Pegs.³⁵ [Yinshi:] Pegs are turned in order to tighten the strings (fastened to them). Some are made of jade, some of crystal; this is why they are called precious pegs.
( 4.) Peg Boxes.³⁶ [Yinshi:] The pegs are kept in this box.
( 5.) Felt Tassels.³⁷ [Yinshi:] Tassels (lou or dou]) are made from any color of wool or silk. They are used to bind (xi) the strings (to the pegs).
( 6.) Brocade Bags.³⁸ [Yinshi:] Used to wrap (guo) the qin; the ancients used woven brocade silk to make them, so they are called brocade bags.
( 7.) Qin Cushions.³⁹ [Yinshi:] Used to support (dian) the qin so that it doesn't move. It could be made of (flossy) silk or it could be made of (plain) silk, it depends on which you prefer.
( 8.) Qin Cases.⁴⁰ [Yinshi:] These are used to receive a qin. They are made of wood in such a way that the length and width correspond with that of a qin.
( 9.) Substitute Fingernails.⁴¹ [Yinshi:] Use crane feathers to make them; otherwise use goose quills. Beginning qin players use them. After awhile, one no longer uses them.
(10.) Qin Couches.⁴² [Yinshi:] These are used as seats when playing the qin. They are round all over.

 
Footnotes (Shorthand references are explained on a separate page)

1. In the 1970s I made a rough translation of this passage from the Taigu Yiyin in Qin Fu, pp. 34-35, identical to but more clearly printed than the same passage from Taiyin Daquanji in QQJC Vol. I, pp.38-39. When putting it online I tried to make corrections, but a number of passages still elude me.
(Return)

2. See comments concerning the structure of the original text.
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3. 論徽. The 13 studs (hui) can be seen clearly in most qin illustrations. This section mentions a number of other terms described in qin illustrations. (Return)

4. 瑤琴 yaoqin (Return)

5. 螺蚌 luobang; today the most common substance on good instruments seems to be nacre (mother-of-pearl), the shiny inside of certain shells, but it is often called simply 貝殼 beike, which dictionaries define as "shell". [TKW#27: In QFTGYY the character after luo (conch) was unclear; luobang (conch/oyster) is correct.] (Return)

6. The 12 tones (律 lü)
The 12 tones　are the 12 semitones of the chromatic scale found in most "classical" music cultures. In China the traditional names were as follows:

	律名	Tone Name	Translation	In Solfeggio	Hui #
	黃鍾	huangzhong	yellow bell	do	12
	大呂	dalü	big note/tube	do#	13
	太簇	taizou (not - cu)	great bursting forth	re	1
	夾鍾	jiazhong	carrying bell	re#	2
	姑洗	guxian	leisurely cleansing	mi	3
	中呂	zhonglü	tone/tube	fa	4
	蕤濱	ruibin	luxuriant vegetation	fa#	5
	林鍾	linzhong	forest bell	so	6
	夷則	yize	foreign standard	so#	8
	南呂	nanlü	Southern tone/tube	la	9
	無射	wuyi	unwary	la#	10
	應鍾	yingzhong	responding bell	ti	11
	清黃	Qing Huang	clear yellow bell	do'	etc

It is not clear how these lü names came to be applied to the hui positions (see last column and Stud names). (Return)

7. This sound is actually two octaves above basic yellow bell. (Return)

8. 倍黃鐘 bei huangzhong, lit. "doubled yellow bell"; this seems to suggest that if the open string huangzhong = 400 vibrations/second, bei huangzhong will be 800 vibrations/second; for this to be true the referenced huangzhong is not the one played at the fourth position (which in this example produces 200 vibrations/second), but the one played by plucking the open string.(Return)

9. The dragon's mouth (龍口 longkou), same as dragon's gums (龍齦 longyan) is at the lower end of the qin, where vibrating part of the strings ends. The figures in parentheses at the end of each line are correct decimal positions as indicated by modern tablature; they are also the correct scientific figures, though they do not take into account idiosyncracies of a particular qin, such as the height of the bridge. (Return)

10. 濁 zhuo means "murky"; these lower register notes are thus sometimes called zhuohuang, zhuoda, etc. (Return)

11. The text has "lü", but this must be a mistake ??? (Return)

12. Shouldn't this be "up"? (Return)

13. Again, these upper register notes are sometimes called qinghuang, qingda, etc.; this seems to omit the middle register. (Return)

14. The logic of the naming is not at all obvious. There are 13 studs but only 12 notes, and it is interesting that the stud not given a name is the important seventh stud. It is also not given a note; there are only five notes here (gong [do], shang [re], jiao [mi], zhi [so], yu [la]), but they are repeated. "Responds to the regulation of" is a translation of 應 ying. (Return)

15. 8405.251: 崔遵度,(宋)江陵人, 字堅白 . But Qin History, #140 崔遵度 has 崔論德, 字遵度; includes 琴箋. [TKW#28:] QFTGYY and the Zhu volume mistakenly have 翟 Di instead of 崔 Cui; Cui Zundu lived in the Song dynasty; fond of the qin, his writings included Qin Jian. (Return)

16. 徽非目數也 . Could mushu be shumu, with this meaning, "Is this not the number of hui?(Return)

17. 不復有聲 : no more octaves? (Return)

18. 期四與岳即生第 四二六徽…. This makes no sense to me, nor does the rest of this section (see next footnote). (Return)

19. The passage, not translated here, is as follows: 五七始三隋三四三分去卻一二徽已定更無疑閏四復為三節定去二取一五星推五四又重為五斷棄一從四六(辰?)依前後諸徽皆比定十三徽正妙中奇。 (Return)

20. This is repeated almost identically in Section 4, Part 12 論絃象七星, where it is said to come from　風俗通 Fengsu Tong. (Return)

21. See Yinshi. (Return)

22. part of the constellation Ursa Minor (Return)

23. 16623.xx; ???(武星) (Return)

24. This is the first of three (not counting his preface) comments in this edition attributed to the Emaciated Immortal. (Return)

25. According to Qin Cao and other sources, the sixth and seventh strings were added by Wen Wang and Wu Wang. (Return)

26. Four of the five people mentioned in this chart have qin-related biographies: Xu You, Fu Xi, the Yellow Emperor (here called Xuan Yuan) and Confucius. The fifth person is :

東方朔 Dongfang Shuo (In image at right he has become an immortal in the Five Lakes region)
Dongfang Shuo, from 平原 Pingyuan, was an advisor to Han emperor Wudi (14827.42 references Shi Ji #126, Jesters [Chinese pp. 3205 - 32087]; Han Shu has "a series of anecdotes in which he is shown as the victor in verbal encounters..." [Loewe, Dictionary]). Other than here I have not found any references connecting him music, much less the qin. The image at right is from an illustrated Ming dynasty edition of Liexian Quanzhuan: see under Liexian Zhuan.

For an apparently unrelated discussion of characteristics associated with the five notes discussed in the chart, see the book of Guanzi, Chapter 58 (it also discusses sanfen sunyi).
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27. Qin History #77 has Cai Yong's Rhapsody on the Qin (琴賦 Qin Fu; see also QSDQ, Folio 18) but doesn't have this quote. See also his Qin Cao (Folio 3). (Return)

28. from north, east, south and west: see Yinshi (Return)

29. "a vulgar custom": see Yinshi (Return)

30. Not have the Way of Natural Moral Principles 無綱常倫理之道 (Return)

31. 15989.314 楊秉 says Yang Bing lived in Latter Han, but doesn't mention this story; see Yinshi (Return)

32. The section 琴壇十友 Ten Friends of the Qin Dais in the old Taigu Yiyin had only the names, without the Yinshi. (Return)

33. 冰絃 bingxian; Mr. Sun said in 1975 he had one ice string; TKW says chemicals make strings either white or translucent. (Return)

34. 玉足 yuzu; [TKW29:] The Zhu volume correctly has "jade", instead of "king". Also called Phoenix Feet (see Assemblage of the qin bottom., below), they raise the bottom of the qin off a table. Usually they are made of wood.) (Return)

35. 寶軫 baozhen; these are commonly made of wood; ivory may also be used. (Return)

36. 軫函 zhenxian; xian is usually pronounced han. Presumably this is for when the pegs are not on a qin. (Return)

37. 絨(豆刀) ronglou, 28014.xxx; lou (2032.0: 裂、小穿, to thread; wear; other meanings are "to cut" or similar). These "string carrier loops" of colored thread hold the strings to the pegs; they are usually shaped to look like tassels. Twisting the part above the peg tighter shortens the string, thus raising the pitch. (Return)

38. 錦囊 (jinnang): brocade bag; in landscape paintings qins are often in such a bag. (Return)

39. 琴薦 qinjian (jian: matting; sleeping mat); originally bags with filling, now they are often flat pieces of rubber or plastic. (Return)

40. 琴匣 qinxia; also called qin boxes. (Return)

41. 替指 tizhi; artificial fingernails are very uncommon today. (Return)

42. 琴床 qinchuang (Return)

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