The aforementioned 2nd century CE introduction to Nie Zheng Stabs the Han King relates a story given with several Nie Zheng biographies. Here is a summary (the Qin Shi version is shorter):

Although there is no mention here of Guangling, and the preface by Zhu Quan in Shen Qi Mi Pu (SQMP; 1425) discusses only the transmission of Guangling San, without saying anything about its theme, the subtitles Zhu uses with the melody itself show that his version of Guangling San in fact tells the story related by Cai Yong. This suggests that Guangling, an ancient place name, may have been the place where at least one form of the actual melody originated.

As for Xi Kang's own association with this melody, he lived in the Wei dynasty capital of Loyang, where he was a leading literary figure and one of the Seven Sages of the Bamboo Grove. In his poem Qin Fu he mentions Guangling San together with other old melodies. Thus if he actually had a role in the creation of the qin melody Guangling San it would seem to have been by modifying an existing song or instrumental melody. One tradition says he learned it from a qin master named Du Kui¹⁰ and/or his son. Nevertheless, the account here in SQMP follows a popular tradition by saying that he learned it from a ghost while stopping at Huayang Pavilion¹¹ on his way to Kuaiji.¹² Perhaps one can speculate that if something significant did happen at Huayang Pavilion it was an experience which led to a revised version.

Xi Kang was patronized by the Wei imperial family at a time when real power was being gathered into the hands of the Sima clan, who in 265 were to take over direct rule as the Jin dynasty (later called Eastern Jin; Western Jin ended 420). Meanwhile Xi Kang had been executed for offending an official who had the backing of the powerful Sima elite. According to tradition, Xi Kang played the melody one last time at the exhibition ground (see illustration above).

Textual and melodic connections between the surviving Guangling San and the one played at the time of Xi Kang have been the subject of considerable research, with some arguing that a musical connection clearly goes back at least as far as the Tang dynasty, if not to Xi Kang himself.¹³ The argument centers on such factors as Zhu Quan's own specific commentary on its transmission; the tablature's inclusion in SQMP Folio I, said to consist of the most ancient pieces; the number and titles of the individual sections; the old fashioned nature of much of the actual tablature; and numerous literary references. At a minimum these arguments show that it is very likely that the SQMP tablature was in existence at the end of Southern Song dynasty. They also make a good case that what this tablature prescribes quite likely was then already very old. However, in the absence of any earlier tablature it is very difficult to assess what musical changes might actually have taken place over the preceding centuries.

The Guangling San published in 1425 is the longest piece in the living qin repertoire (44 sections).¹⁴ Its transmission since 1425 (see below) is more certain than what was just described for pre-1425, but it is still complex. Although qin tablature for Guangling San survives in at least 11 handbooks from 1425 to 1911, there is little variety in the full versions (other than the fact that there were two of them, as had been discussed by Zhu Quan); instead there are various shorter versions that are clearly later creations or revisions. Today Guangling San is very popular but usually in versions abbreviated from the 1425 tablature, which was reconstructed in the 1950s (more on this below). The full versions require at least 20 minutes to play, but rarely does one hear a version lasting even one third of that.

Other facts also suggest that the full version of Guangling San may rarely have been played throughout the Ming and Qing dynasties (the article by Wang Shixiang provides somewhat more evidence for it having been played during the Song dynasty). The second surviving tablature, in Fengxuan Xuanpin (1539 CE), is simply a copy of the SQMP version, not adding punctuation as it usually does. Zhu Quan wrote that there were two versions from which he could choose, and Xilutang Qintong (1549 CE) has two versions, one related to the SQMP version, though with many differences, and one very different from that in SQMP. The later full editions tend simply to copy earlier ones. In contrast, publications of melodies in the active repertoire tend to show more change over time.

Thus the history of the full piece after 1549 seems to suggest that it was highly regarded but rarely played. The next occurrence does not appear until Guyin Zhengzong (1634), an unrelated version in only nine sections. The SQMP version is again copied in handbooks dated 1670 and 1802, the latter also repeating the short 1634 version. After this the title does not appear again until the late 19th century, at which time there are several versions in nine to eleven sections. I have not been able to examine these to see whether they are related to the 1634 short version. In 1910 the SQMP version was published again. None of the versions has lyrics.

Guangling San might also be considered one of the most controversial qin melodies, some players saying the theme, particularly its violence, is inappropriate to the qin. Comments by Wang Shixiang, in his long and detailed Explanation of the Guqin Piece Guangling San, show that the controversy about the theme (whether it concerns Nie Zheng killing a king, Nie Zheng killing a minister, or is even a piece commemorating a battle at Guangling) goes right back to the earliest years of the piece.

The famous qin player Guan Pinghu revived Guangling San in the 1950s, a time when, in spite of the qin's close association with the literati having made its position tenuous, much valuable research was done. Great efforts were made to make the instrument politically acceptable, and for this Guangling San was most appropriate. Much was made of the fact that in this piece the first two strings are tuned to the same note: the first string was said to represent the ruler and the second string the vassal, so tuning the two strings to the same note symbolized their equality.

It has been said that a well-known qin collector, Xia Lianju,¹⁵ offered to give Guan a famous Tang dynasty qin if he would reconstruct the piece, a promise carried out after Guan recorded his interpretation in 1954.¹⁶ After this several others also did reconstructions, most notably Wu Jinglue, Yao Bingyan and Xu Lisun, but these were not publicly released. The piece subsequently became one of the most popular in the current repertoire, with at least 20 recordings available, but after Guan's always in abbreviated versions, ranging in length from 6 to 13 minutes. Then in 1996 Wu Wenguang recorded on a Taiwan label his father Wu Jinglue's complete version, followed in 1998 by release of an old recording of Wu Jinglue himself on the ROI label.¹⁷ And in 2006 Hugo released a CD that included Xu Lisun's complete version.¹⁸ The version by Yao Bingyan recorded and transcribed by Bell Yung is incomplete.¹⁹

Regarding my own version, which can be heard on one of my CDs, I began learning it by copying Guan's version. Soon, however, I began working directly from the original tablature, which led to my developing some important differences. In addition to interpreting differently a few of the ancient finger techniques, I follow the indicated finger positions more strictly, giving a number of notes at conflict with standard ideas of traditional Chinese modality. Occurring almost exclusively in the opening two divisions, most of these are sevenths and diminished thirds. This is a modality often found in SQMP pieces using the shang mode.

Original Preface ²⁰

The Emaciated Immortal, in accordance with Qin History, ²¹ says

the account of Guangling San in the Official History of the Jin Dynasty (646 CE) is as follows:

 
Music
Six divisions and 45 sections: ³⁰

1. I. Opening fingering (Kai Zhi,³¹ similar to the later modal preludes);
   (00.00) (no sub-sections; not mentioned in Table of Contents; see comment on a finger technique³²)

   II. Small Preface: Taking a rest (Zhixi) ³³

2. (01.05) 1.
3. (01.43) 2.
4. (02.10) 3.

   III. Grand Preface

5. (02.55) 1. Native village
6. (03.03) 2. Good behavior (as a child)
7. (03.41) 3. Following nature
8. (04.05) 4. Asking about what happened
9. (05.10) 5. (A nature) appropriate to the times

   IV. Main sounds ³⁴

10. (05.51) 1. Kill Han (king)
11. (05.57) 2. Call for dead (father's spirit)
12. (06.19) 3. Dead body
13. (06.42) 4. Arouse courage
14. (07.10) 5. Hidden resolve
15. (07.23) 6. Sinking into thought
16. (07.43) 7. The spirit returns
17. (08.08) 8. Accepting fate; also called Move the lamp then sit
18. (09.20) 9. Hair-raising anger
19. (09.35) 10. Bravery (grand as a rainbow)
20. (10.15) 11. Powerful spirit (like cold wind)
21. (10.23) 12. Anger bursts out
22. (10.46) 13. Heroic woman (mother or sister)
23. (11.48) 14. Take back the hero's body
24. (12.17) 15. Spread his fame
25. (12.55) 16. Act of valor
26. (13.15) 17. Not famous
27. (13.30) 18. Throw away knife

    Concluding Sounds ³⁵

28. (14.15) 1. Brave deeds (leaving big footprints)
29. (15.20) 2. Retaining a natural disposition
30. (16.00) 3. Return power to the government
31. (17.25) 4. Oath fulfilled
32. (17.42) 5. Final thoughts
33. (17.52) 6. Same will (as brother or son)
34. (18.03) 7. Do the deed
35. (18.11) 8. Leave home
36. (18.21) 9. Anger
37. (18.42) 10. Secret plans

    VI. Postscript

38. (19.15) 1. Realize the meaning of "taking a rest"
39. (19.37) 2. Desperate thoughts
40. (19.56) 3. Melancholy temper
41. (20.13) 4. Sigh
42. (20.24) 5. Long sigh
43. (20.42) 6. Grievous feeling
44. (21.15) 7. Hate and anger
45. (21.29) 8. Death plan
    (22.06) Postscript ends

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Footnotes (Shorthand references are explained on a separate page)

1. 廣陵散 Guangling San references
9693.181 廣陵散 Guangling San: 琴曲名 qin melody name. It begins by telling the story of Xi Kang learning the melody at 華陽亭 Huayang Pavilion. It then quotes

1. 晉書嵇康傳 The Biography of Xi Kang in Records of the Jin Dynasty
2. 靈鬼志，嵇康 Xi Kang in Treatise on Spirits and Ghosts (pre-Tang?)
3. 夢溪筆談，樂律 Music Rules in Mengxi Bitan (not same information as #5 there); quotes 盧氏雜說 Miscellaneous Accounts of the Lu Clan

廣陵 Guangling and 散 San are discussed separately below.

Xu Jian's Qin History discusses this melody in both Chapter 2.B. (Nie Zheng Ci Han Wang Qu, pp. 19-20) and Chapter 3.B. (pp.30-36), p. 30.
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2. Manshang Diao (慢商調 11385.xxx)
"Slacken Second String Mode", achieved by slackening the second string from standard tuning, is found only in versions of Guangling San. By slackening the second string so that it is the same as the first string it facilitates rhythmic repetitions of the same note over these two strings. The original five strings of the qin are said to represent aspects of society, as follows.

1. 宮 gong = 君 jun ruler, master
2. 商 shang = 臣 chen minister, subject
3. 角 jiao = 民 min ordinary people
4. 徵 zhi = 事 shi affairs
5. 羽 yu = 物 wu things

Thus by making the second string have the same pitch as the first string, it is said to symbolize the equality of the master and his vassal. In traditional society many qin players objected to the melody for this reason, but in modern times it led to claims of political correctness. For more on mode see Modality in Early Ming Qin Tablature.
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3. Painting by Bai Yunli; see details.
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4. 散 San-type melody
13567.0/14 says this refers to the qin melody Guangling San. V/472-3 gives some further musical connections, but neither entry suggests san could mean something like 曲 qu (melody). For this see the essay by Tong Kin-Woon below.
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5. 廣陵 Guangling
9693.178 廣陵 Guangling first mentions 江都 Jiangdu, near modern Yangzhou in Jiangsu province, but it also mentions several other places including 息縣 (10855.80) Xi district east of 信陽 Xinyang in southeastern Henan (described as 常為兵爭之地 often a battleground). Near here the tomb of a 楚 Chu prince has been unearthed, yielding sets of stone chimes.
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6. The essay "Guangling San" by Tong Kin-Woon
Published in 廣陵散對話 Guangling San Duihua, pp 32-4. The booklet, for a 1989 Taiwan performance, also includes photographs of some famous qin as well as informaiton about the program and performers. The essay begins as follows:

This story from Qin Cao is discussed above. Here the article is quite long and its references difficult to follow. Thus, there is mention of Guangling as a Xianghe Ge in Chu mode, and an introduction at the beginning of Xianghe Ge Ci 16 in YFSJ mentions Guangling San, but this does not seem to connect to what is written here by Dr. Tong.
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7. Nie Zheng Stabs the Han King (聶政刺韓王 Nie Zheng Ci Han Wang)
8/xxx; 29829.22 聶政鼓琴 Nie Zheng Plays the Qin quotes the Hejian Zage section of 琴操 Qin Cao in relating the story given here; however, it does not mention the title 聶政刺韓王操 Nie Zheng Ci Han Wang Cao Melody of Nie Zheng Stabbing the Han King. At this time the Han kingdom had its capital in what is today Loyang.
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8. Association with 蔡邕 Cai Yong
Cai Yong is also associated with the melodies Chang Qing, Qiuyue Zhao Maoting, Xiao Hujia and Da Hujia.
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9. Early instrumental versions of Guangling San
See TKW article.
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10. Du Kui as teacher of Guangling San
Again see TKW, 1989. Xi Kang is also said to have studied with the famous hermit Sun Deng 孫登, learning some tunes from him, but apparently not Guangling San
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11. Huayang Pavilion
31910.272 華陽亭 says it is in Henan province 河南新鄭縣東南, adding a different reference from Jin Shu, but still identifying it with Xi Kang; Loyang was also in Henan. (see next).
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12. 會稽 Kuaiji
14636.156 and 5/791 會稽 are mostly about the most famous ancient Kuaiji (or Guaiji, or Huiji) near Shaoxing. The name is also connected to a mountain in Shandong and a district in Jiangsu, but not to anywhere in Anhui or Henan.
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13. Tracing the qin melody Guangling San
The transmission of Guangling San is examined in the article by Wang Shixiang translated here, as well as in the article by Tong Kin-Woon partially translated above.

As for transmission since 1425, there are details below in the Appendix. As can be seen there, Zha Fuxi's index 2/11/-- lists Guangling San in 11 handbooks, but only 6 have the long version; others have only 9-11 sections.
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14. Longest melody in the active qin repertoire
This is a complicated issue, depending on definition of terms. Thus, my recording of the Shen Qi Mi Pu melody Qiu Hong is 20'20' compared to 22'06" for my Guangling San, but these are close enough that changes in tempo could reverse the relative lengths. The second version of Guangling San dated 1549 is presumbably also about the same length, but to my knowledge no one has played that in recent history. Likewise there are a few more melodies with a large number of sections, but none is played today.
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15. 夏蓮居 Xia Lianju
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16. Guan Pinghu recording
The recording is available on Favourite Qin Pieces of Guan Ping-hu, ROI RB-951005-2C, 1995; and An Anthology of Chinese Traditional and Folk Music: A Collection of Music Played on the Guqin, Vol. l, China Records, 1994. (Timing: 22.22). I have a copy of a transcription into staff notation. However, all I know of its origins is that it was published on pp. 9-33. From this 張世彬 Zhang Shibin did a transcription into Chinese number notation. Tong Kin-Woon has published this in his Qin Fu, pp. 2775 -2800.
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17. Wu Jinglue recording
See Favourite Guchin Pieces of Wu Wenguang, Chenxi CT 9601 (timing: 19.40), and
The Qin Repertoire of Wu Jing-lue, ROI RB-981014-2C, 1998 (18.18).
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18. Xu Lisun recording
Mei An Qin Music; Hugo HRP 7257-2 (HKG, 2006); timing: 17.06
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19. Yao Bingyan recording and transcription
Bell Yung, Celestial Airs of Antiquity, A-R Editions, Inc. (Wisconsin, 1997, CD published together with a book of transcriptions; Guangling San; 15.07 [omits Xiao Xu, Luan Sheng and Hou Xu])
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20. For the original Chinese see 廣陵散.
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21. Qin History (琴史 Qin Shi)
The contents of Zhu Changwen's Qin Shi (Folio 3, #84 Xi Kang) is different. In some cases Zhu Quan's sources are problematic, and here it is not clear whether this refers to the name of a book or just to the history of qin in general.
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22. 鍾會 Zhong Hui (225 - 264)
Zhong Hui (41566.123; Bio/1723; Giles) was a noted scholar/official in Wei during the Warring States period. Once rebuffed by fellow senior scribe Xi Kang, Zhong Hui became so angry that he later accused Xi Kang of treason, leading to his execution (see Gulik, Hsi Kang, pp. 29-34 as well as the above Original Preface to Guangling San).
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23. 毌丘儉 Guanqiu Jian
17088.1 Guanqiu says it is a place name in Shangdong and a double surname. 17088.3 identifies Guanqiu Jian as a man of Wei during the Three Kingdoms period. (Bell Yung, op.cit. mistakenly has Mu Qiujian.)
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24. 袁孝尼 Yuan Xiaoni (Yuan Zhun)
The biography of Yuan Xiaoni says he learned part of Guangling San, particularly Guangling Zhixi (see Section II.).
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25. 琴書 Qin Book; see Preface to Shen Qi Mi Pu, footnote (25?).
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26. 至亂聲小息 zhi luansheng xiaoxi; xiaoxi, "small breath" (or Taking a rest) is the name of the Small Preface; another translation could be that he got to a section of Luansheng called Xiaoxi, but it would then be more difficult to make the numbers add up.
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27. Yuan Xiaoni's version of Guangling San
This story, as quoted in Qinshu Daquan (1590, V.p.268 under Zhixi [see next footnote], not Guangling San), has two more phrases here: "餘七伯覓上得，故有止息 The other seven (sic) sections he couldn't do, so there was a break."
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28. Realize the meaning of "taking a rest" (會止息意 Hui Zhixi yi)
See the title of the first section in division six, Houxu. (16609.58 止息﹕停息休止 stop, rest; quotes Shi Ji and Li Sao). Zhi Xi is a title in some Tang qin tablatures listed in Qinshu Cunmu, and also in Qinshu Daquan, ibid. The meaning of this seems to be that Zhixi was created by Yuan Xiaoni according to his understanding of the whole piece. There being such differing Ming versions of Guangling San as the one here and the two in Xilutang Qintong, combined with Zhu Quan's mention of two versions, shows that by then Zhi Xi was a completely integral part of the existing piece.
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29. 937 years
僅（經）九百三十九年 The calculation of 937 years seems to be in error. If the calculation is from the Jianyan period (1127-31) back to the death of Xi Kang in 262 the range is 865 to 869 years. 937 years after Xi Kang died would be 262+937=1199 CE. Wang Shixiang suggests it should be 837 years, this being the number of years from the end of the Chen dynasty (557-588) until 1425, the year Zhu Quan published SQMP. The only other possibility seems to be that he was quoting something originally written in 1199, which would have been about the time 張巖 Zhang Yan was collecting old materials that were later incorporated into 楊瓚紫霞洞琴譜 Yang Zan's Zixiadong Qinpu.
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30. Guangling San original titles         (Return to top)
The original titles are as follows (those from the two versions in Xilutang Qintong are added for comparison:

Shen Qi Mi Pu	Xilutang Qintong A Melody is different	Xilutang Qintong B Melody similar to SQMP
I. 開指 Kaizhi	慢商意 Manshang Yi           (before GLS)	慢商品 Manshang Pin           (before GLS)
II. 小序 Xiaoxu	II. 小序 Xiaoxu	II. 小引 Xiaoyin
2-4. 止息 Zhixi         移燈就座 (Yideng jiu zuo)	1-3. 止息 Zhixi	1-3. (no subtitle)
III. 大序 Daxu	III. 大序 Daxu	III. 大序 Daxu
5. 井里 Jingli	4. 井里 Jingli	4. 井里 Jingli
6. 申誠 Shencheng	5. 申誠 Shencheng	5. 申誠 Shencheng
7. 順物 Shunwu	6. 順物 Shunwu	6. 順物 Shunwu
8. 因時 Yinshi	7. 因時 Yinshi	7. 因時 Yinshi
9. 干時 Ganshi	8. 干時 Ganshi	8. 干時 Ganshi
IV. 正聲 Zhengsheng	IV. 正聲 Zhengsheng	IV. 正聲 Zhengsheng
10. 取韓 Qu Han	9. 取韓 Qu Han	9. 取韓相 Qu Han Xiang
11. 呼幽 Huyou	10. 呼幽 Huyou	10. 呼幽 Huyou
12. 亡身 Wangshen	11. 忘身 Wangshen	11. 亡身 Wangshen
13. 作氣 Zuoqi	12. 作氣 Zuoqi	12. 作氣 Zuoqi
14. 含志 Hanzhi	13. 含志 Hanzhi	13. 含志 Hanzhi
15. 沉思 Chensi	14. 沉思 Chensi	14. 沉思 Chensi
16. 返魂 Fanhun	15. 反魂 Fanhun	15. 反魂 Fanhun (云/鬼)
17. 徇物 Xunwu	16. 徇物 Xunwu	16. 徇物 Xunwu
18. 衝冠 Chongguan	17. 衝冠 Chongguan	17. 衝冠 Chongguan
19. 長虹 Changhong	18. 長虹 Changhong	18. 長虹 Changhong
20. 寒風 Hanfeng	19. 寒風 Hanfeng	19. 寒風 Hanfeng
21. 發怒 Fanu	20. 發恕 Fashu (mistake?)	20. 發怒 Fanu
22. 烈婦 Liefu	21. 烈婦 Liefu	21. 別妹 Biemei
23. 收義 Shouyi	22. 收義 Shouyi	22. 報義 Baoyi
24. 揚名 Yangming	23. 揚名 Yangming	23. 揚明 Yangming
25. 含光 Hanguang	24. 含光 Hanguang	24. 含光 Hanguang
26. 沉名 Chenming	25. 沉名 Chenming	25. 沉名 Chenming
27. 投劍 Toujian	26. 投劍 Toujian	26. 投劍 Toujian
V. 亂聲 Luan Sheng	V. 亂聲 Luan Sheng	V. 契聲 Qi Sheng
28.峻跡 Jun ji	27.峻跡 Jun ji	27.峻跡 Jun ji
29. 守質 Shou zhi	28. 守質 Shou zhi	28. 守質 Shou zhi
30. 歸政 Guizheng	29. 歸政 Guizheng	29. 歸政 Guizheng
31. 誓畢 Shibi	30. 誓畢 Shibi	30. 誓畢 Shibi
32. 終思 Zhongsi	31. 終思 Zhongsi	31. 終思 Zhongsi
33. 同志 Tongzhi	32. 同志 Tongzhi	32. 同志 Tongzhi
34. 用事 Yongshi	33. 用事 Yongshi	33. 用事 Yongshi
35. 辭鄉 Cixiang	34. 辭鄉 Cixiang	34. 辭鄉 Cixiang
36. 氣衝 Qichong	35. 氣衝 Qichong	35. 氣衝 Qichong
37. 微行 Weixing	36. 微行 Weixing	36. 微行 Weixing
VI. 後序 Houxu	VI. 後序 Houxu	VI. 後序 Houxu
38. 會止息意 Hui zhixiyi	37. 會止息意 Hui zhixiyi	37. 會止息意 Hui zhixiyi
39. 意絕 Yijue	38. 意絕 Yijue	38. 意絕 Yijue
40. 悲志 Beizhi	39. 悲志 Beizhi	39. 悲志 Beizhi
41. 嘆息 Tanxi	40. 嘆息 Tanxi	40. 嘆息 Tanxi
42. 長吁 Changxu	41. 長吁 Changxu	41. 長呼 Changhu
43. 傷感 Shang gan	42. 傷感 Shang gan	42. 傷感 Shang gan
44. 恨憤 Hen fen	43. 恨憤 Hen fen	43. 憤恨 Fen hen
45. 亡計 Wang ji	45. 亡計 Wang ji	45. 忘計 Wang ji

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31. Kaizhi 開指
Kaizhi seem to have been preludes to specific melodies, as opposed to the more general diao yi. For more on kaizhi ("opening fingering") see #12, Kai Zhi
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32. "Yijian" technique in Guangling San?
The fourth figure (cluster) in the present Kaizhi, which seems to be a sort of prelude to Guangling San, is a right hand technique that my computer cannot re-create: it is written something like 厶奇, but with the 厶 inside the lower part of 奇, replacing 口, and the upper four strokes of 立 replacing 大 on top of 奇 . Reconstructions made in the 1950s interpret this as 摘 zhai plus 涓 juan, repeated, 5+5 notes in all; all subsequent interpretations other than my own seem to follow this. However, there is no such figure in old finger explanations, so I have interpreted it (see transcription) as yijuan: Hand Aspect Illustration #10 writes yijuan as 厶奇 (with the upper four strokes of 立 again replacing 大 on top of 奇), but following other precedents one can put the 厶 in the 奇, replacing the 口; the interpretation as yijuan results in only 2+2 notes.
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33. Take a rest (止息 Zhi Xi)) 16609.58 止息 has nothing connected to music. However, see Yuan Xiaoni, the Guangling Zhi Xi mentioned above, and also further related commentary.
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34. Main Sounds (正聲 Zheng Sheng
16611.449 正聲 discusses correct and appropriate sounds; esp. see ref. to Shen Gua 沈括 . (Return)

35. Concluding Sounds (亂聲 luan sheng)
220.153 亂聲 defines luan sheng as "雜亂之聲音也 mixed sounds". However, luan can also mean "tidy up a mess", and so luansheng came to be used for the final section of a music piece. (Return)

 
Appendix: Chart Tracing existing Guangling San tablature
For earlier transmission see above

This chart is based mainly on Zha Fuxi's Guide, 2/11/--. He lists it in 11 handbooks, but only 6 have the long version; others have only 9-11 sections.

Qinpu 琴譜       date; vol # / page #	Those aligned left are related to the Shen Qi Mi Pu version
1.  神奇秘譜       (1425; I/100)	45: Kaizhi + 3 + 5 + 18 + 10 + 8; no phrasing indicated
2.  風宣玄品       (1539; II/196)	45: Kaizhi + 3 + 5 + 18 + 10 + 8; no phrasing indicated (identical to #1)
3.a. 西麓堂琴統 (A)       (1549; III/235)	1 + 44: Manshang Yi + 3 + 5 + 18 + 10 + 8; seems completely different from 1425
3.b. 西麓堂琴統 (B)       (1549; III/241)	1 + 44: Manshang Pin + 3 + 5 + 18 + 10 + 8; still no phrasing indicated             related to 1425 but many changes in section titles plus considerable variation (e.g., loses minor thirds)
4.a. 古音正宗 (A)       (1634; IX/376)	廣陵真曲; 1 section: a Kaizhi for the following?: no apparent relation except the tuning
4.b. 古音正宗 (B)       (1634; IX/376)	廣陵散 ; 9 sections; attrib. Xi Kang, but no apparent musical relation except for the tuning (note use of 九下, giving flatted 3rd)
5. 琴苑新傳全編       (1670; XI/435)	= SQMP; no phrasing indicated
6.a. 裛露軒琴譜 (A)       (>1802; ???)	= SQMP
6.b. 裛露軒琴譜 (B)       (>1802; ???)	10; = 1634b (& a?)
7. 蕉庵琴譜       (1868/Folio 4-41)	Facsimile reprint; 10; related to 1634b
8. 希韶閣琴瑟合譜       (1890)	includse se part; 11 has afterword
9. 琴學初津       (1894)	"gong mode", but lower second string; 11 has afterword
10.a. 十一絃館琴譜 (A)       (1907)	廣陵散   真曲 Facsimile reprint; p.1; 10 Research by Julian Joseph (no longer online) suggests it is different from 1634: more flatted notes
10.b. 十一絃館琴譜 (B)       (1907)	廣陵散新譜 Facsimile reprint, follows previous; 10 New?
11.a. 琴學叢書       (1910; QF/1013)	= 1868 ; 10
11.b. 琴學叢書       (1910)	Not in 琴府 Qin Fu edition; see facsimile reprint folio 13: = 1539

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