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Taiyin Daquanji 1
Folio 5, Parts 2 & 3: Finger techniques (Further comment2)
Explanations provided by the translator are put in italics, in brackets ( ), and/or in footnotes.3
Folio 5 p.2 ("指法 Zhifa" begins on 5th line from right); follows p.14    

(In the original these sections and quotations are unnumbered.)

  1. 琴譜總說 Miscellaneous comments on qin tablature (previous web page

  2. 指法 Zhifa (Finger Techniques) (image of title on last line of previous page)

    Tradition says, "Although qin and se have beautiful sound, if the fingering is not beautiful...."

    (5* at right 音釋﹕摟音婁,批[written 扌+毘]音皮,擽音歷,捋音銮,入聲。縹音表,繚音了,潎音偏,入聲,冽音列。數音所)。

  3. 手訣 Shou Jue (Mnemonic Formulae for the Hands) (QQJC I/89)

    1. 凡取聲,不可造作,搖身作勢
    2. 凡取聲,不可造作、搖身作勢。
    3. 凡拂,須在六徽間,不得過上下。
    4. 凡遠行,須掉腕打之。
      (6* at right 音釋:掉音調,去聲;腕音碗,去聲。)
    5. 凡細吟,不得動腕。
    6. 凡左手來去勢,至七徽已,不得過七徽也。
    7. 凡挑、歷,須移指二徽已來曲指歷之。
    8. 凡散作聲,左手中指看十徽已上,大指屈弦外虛扼。
      (7* at right 音釋:散,去聲。)

__ (指法 Zhifa: "finger techniques")

(Although the finger technique explanations begin here, there is no such general title, only separate sections for right hand and left hand techniques.)

(The translation continues on the next page [the image of the next page from TYDQJ, which begins with #25 挑 tiao, is in the first footnote of that page]).

Footnotes (Shorthand references are explained on a separate page)

1. 太音大全集卷五 Taiyin Daquanji Folio 5, Part 1 (QQJC I/79, 30 Volume edition I/89; QF/87)

2. Further comment on finger technique explanations
The fingering explanations given starting in the next section of this incomplete translation of Taiyin Daquanji come from various sources. They can often be frustratingly imprecise. Examining several explanations of a particular technique may clarify the intention; other times the explanations may conflict with each other.

In later handbooks such lists of explanations often seem simply to have been copied from earlier sources, perhaps without regard to whether the technique is used at all, or in some cases used in the same manner, by the person or persons whose playing technique the tablature is describing in the individual melodies or in that particular handbook in general. This is particularly important because it seems that here was probably change in the usage of the tablature over time, but this is not always clearly shown in the finger technique explanations.

3. Explanations by translator
See comments concerning the structure of the original text.

4. Image: 太音大全集 Page 1 of Folio 5 in Taiyin Daquanji (QQJC I/89)
Comparisions are made starting here with the version in Taigu Yiyin, which has almost identical text but is arranged much more clearly.

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