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Taiyin Daquanji 1 太音大全集
Folio 5, Part 4: Right hand finger techniques 卷五,四﹕右手指法
(In the original the following sections and quotations are unnumbered. Explanations provided by the translator are put either in brackets ( ) or in footnotes.2)

右手指法 Right Hand Finger Techniques (QQJC I/89) (This layout in Taigu Yiyin is easier to follow than what is here 3)       
"Liu Ji, Qin Yi, according to descriptions by various people, outlined this" (so there are inconsistencies).

(75 techniques explained: the translations follow the numbers added to the accompanying folio pages at right. The first 8 are the most basic strokes: one should learn their names as they are often mentioned later. The first 22 have shorthand names; many cannot be entered into the computer so there is only an underline. Later techniques are often repeats. They begin:)

  1. mo (rub): use the forefinger inwards over a string
  2. tiao (incite): use the forefinger outwards over a string
  3. gou (hook): use the middle finger inwards over a string
  4. __ ti (pick out): use the middle finger outwards over a string
  5. da (hit): use the ring finger inwards over a string
  6. __ zhai (pluck): use the ring finger outwards over a string
  7. pi (cleave): use the thumb inwards over a string (outward? compare 劈 pi [cleave] with 擘 bo/pi [slice open])
  8. __ tuo (support): use the thumb outwards (inward?) over a string
  9. li (pass across): the fore finger connects a "tiao" over two or three strings
  10. cuo (pinch): the index and middle fingers between two strings and "pinch" them
  11. __ lun (rotate): the ring, middle and forefingers successively do a zhai, ti and tiao
  12. san
                (scatter): play the strings without using the left hand fingers to press down
  13. __ gun (imperial robe: usually 滾 gun [roil]): use the ring finger to zhai from (string) 7 to 1
  14. fu (brush off): use the forefinger to mo from the (string) 1 to 7
  15. __ da yuan (hit in a circle): gou 4, tiao seven, playing connectively three times; same on other strings
  16. __ ban yuan (half circle): use the forefinger to mo 6 and mo 7, the middle finger to gou 5, (then) play 5 and 7 to be like as one sound
  17. __ chang suo (long chain): use the forefinger to mo and tiao three times, then use the middle and forefingers to ti, mo and tiao, altogether 9 sounds
  18. __ xiao suo (small chain): use the forefinger to tiao, mo and tiao
    (compare xiao suo with
    suo as well as fan suo)
  19. shao xi (short rest): a 稍歇 short rest
  20. quan fu (completely sustain): mo two strings as if one sound
  21. 又单 shuang tan (double play): use the thumb to hold in place the middle finger (and forefinger, then the) two fingers in order shoot out across (two strings)
  22. __ bola (shake and slash): use the middle and forefingers pressed together first to go inwards then go outwards
    (see comment comparing 潑刺 bola with 撥刺 poci)

    (From here the techniques themselves are written in longhand.
     The next two [#23 and #24] are the last two shown here
  23. li (same as #9 above, but see comment): The forefinger passes forward across the seventh string and goes across the sixth; the thumb does not touch the seventh string.
  24. zhai (same as #6 above): The ring finger reverses itself and incites one string outwards
  25. tiao (same as #2 above): The forefinger incites a string outwards
  26. gou (compare #3 above): The forefinger hooks a string downwards; the middle (finger) is currently used
  27. tan (dan tan; play): Bend the forefinger and middle finger into the thumb, grasp a finger then let it go out; whether playing one string or two strings the two fingers do it the same (individually; for in sequence see 雙彈 shuang tan)
  28. pai (smack?): the left and/or right hand "齊按 equally strikes/presses down on" ("按 an" can have either meaning) a string (to make a sound?)
  29. 擘托 bo/pi tuo (slice open and support): the thumb 上擡 lifting a string is called "slice open"; the opposite is "support" (compare #7 above)
  30. zou (grasp; compare cuo pinch): the ring finger "restrains" the second string while the thumb "slices open" the seventh at the same time, making one sound; also called a "大齊 big combination down"
  31. zheng (strive): the ring finger "restrains" the first string while the index finger "incites" the fourth at the same time, making one sound
  32. nian (pinch): the thumb and index finger pinch a string upwards
  33. 齪聲 chuo sheng (compel sounds [49668 grate teeth; 迫 compel]): in sequence do chuo; the thumb "restrains" the fifth string, the ring finger "hits" the first then stops on the second; setting down the index finger to "incite" the fourth string is just this. All the strings are like this. (N.B.: translation uncertain; I have not seen chuosheng in any surviving tablature.)

  34. 齪三 chuo san (compel three): the thumb stops on the fourth string, the ring finger "hits" the first string, the index finger "incites" the third string, perhaps doing these in sequence, perhaps doing them together. Zhao Yeli said, "Bend the finger in to "restrain" the the fourth string, the ring finger hits the first, the index finger "incites" the third; in sequence is called "compelling", simultaneous is called "pinching".
  35. 齪四 chuo si (compel four): the thumb stops on the sixth string, the ring finger hits the second string, the index finger "incites" the fifth string. Zhao Yeli said, the index finger incites the third string.
  36. 齪六 chuo liu (compel six): the ring finger hits the first string, the thumb "slices" the sixth string
  37. 間勾 jian gou (閒勾 jian gou: divided hook): the middle finger 按 presses down the second string, the ring finger on the first. The middle (finger) first "hooks" the second string, the ring finger then hits the first string. (Elsewhere 間勾 jian gou is said to come after a da yuan; see also 挑間勾 tiao jian gou below.)
  38. 疾間勾 ji jian gou (quick jian gou): like the previous jian gou but the two sounds are connected quickly.
  39. 復間勾 fu jian gou (doubled jian gou): with the middle finger pressed on the second string "hook" (the string). The ring finger then "hits"the first string. Do this two times and it is called "doubled jian gou".
  40. da (hit): the middle or ring finger going outwards hits a string across the surface; the two fingers can be equally used. (This is different from elsewhere.)
  41. (Translating this entry required re-interpreting some characters and changing the phrasing in one place.)
    全扶 quanfu (completely help along): with the thumb resting on the third string, (the index finger?) "hits" the first string (then it) just "hooks" past the second string. Lifting (起 ?) the middle finger it just "hits" the first string, then "hooks" the second string. Lifting the ring finger it just stops the sound of the first string: (making) four sounds all connected but done as one sound. On other strings it is exactly like this.

(Rest not yet translated.)

Continue with the Folio 5 ToC.

Footnotes (Shorthand references are explained on a separate page)

1. 太音大全集卷五 Taiyin Daquanji Folio 5, Part 4 The first technique on this page (QQJC I/90, top) is #25 挑            
These explanations should be compared with the illustrated finger techique explanations in Folio 3 as well as with the earlier Wusilan finger techniques

Images above were copied from the editon of Taigu Yiyin in the National Central Library, Taiwan (same as QF/87-92). The first 24 techniques there are the same as those in Taiyin Daquanji (QQJC I (30 Volume edition I/89-90). As can be seen here and on the previous page, the layout and clarity are quite different (note that Taiyin Daquanji the entries are read top to bottom then right to left). Translations here are generally based on the content of that Taiyin Daquanji. Finger techniques go from QQJC I/89-98. The two images at right are from the top and bottom of page 90.

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

3. First image: Taigu Yiyin
Compare 太音大全集 Page 1 of Folio 5 in Taiyin Daquanji (QQJC I/89)

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