This kaizhi, like the first section of (or before) Guangling San, is a modal prelude. It can thus be compared to the diaoyi of Folios 2 and 3, though the diaoyi all seem intended for groups of pieces rather than single pieces. The present kaizhi clearly is related specifically to the following melody, Qiuyue Zhao Maoting: the latter ends with the apparent indication then to play the kaizhi again, beginning at a point about one third of the way through.

The few later handbooks which include Qiuyue Zhao Maoting didn't seem to realize this. Perhaps for that reason this kaizhi appears only here. Zha Fuxi does not include it in his Guide.³ He does include a Kaizhi Lushang Yi from 1596, but it is unrelated to this or any the other kaizhi.⁴

Besides my own, the only other recording of this is by Liang Mingyue, who plays it as a prelude to #14 Shanzhong Si Youren.⁵

For some reason all the SQMP pieces dealing with Central Asian themes use the present tuning, which is also called Wuyi Diao.⁶

 
Preface

None.

 
Music
Not divided into sections

(02.34) - harmonics
(02.53) - End

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Footnotes (Shorthand references are explained on a separate page)

1 42157.xx (no kaizhi entry). See Qin tunings and Modality in Early Ming Qin Tablature for further information about kaizhi and diaoyi. (Return)

2 Huangzhong (Yellow Bell) Mode 黃鐘調
For Yellow Bell mode (黃鐘 48904.1327 yellow bell), slacken 1st and tighten 5th strings each a half step. For more details on this mode see Shenpin Wuyi Yi. For more on modes in general see Modality in Early Ming Qin Tablature.

For some reason this tuning is used for all the Shen Qi Mi Pu melodies with a Central or Northern Asian theme. See, e.g., #45 Huangyun Qiusai, #46 Longshuo Cao, and both Hujia (#15 and #47). (Return)

3 Presumably because it is not included in the SQMP Table of Contents. See the Appendix below. (Return)

4 Kaizhi Lushang Yi
Kaizhi Lu Shangyi 開指魯商意 is the first entry in the shang mode section of Wenhuitang Qinpu (1596) (QQJC. VI. p.194). It is rather like a standard shang mode prelude, with lyrics similar to those of other shang modal preludes (see also those of Gu Qiu Feng). (Return)

5 A Taiwan recording entitled Xiaoxiang Shuiyun (SMT or SMCM 1017). (Return)

6 無射調 Wuyi Diao (Return)

 
Appendix: Chart Tracing the lack of Kai Zhi;
Compared with occurrences of Qiuyue Zhao Maoting

琴譜     (year; QQJC Vol/page)	Further information (QQJC = 琴曲集成 Qinqu Jicheng; QF = 琴府 Qin Fu)
1.  神奇秘譜       (1425; I/117)	One section, no phrasing indicated
2.  浙音釋字琴譜       (<1491; I/--)	See p.232: no kaizhi to go back to, and no lyrics are provided for the closing notes
3. 風宣玄品       (1539; II/--)	See p.375: no kaizhi
4.   重修真傳琴譜       (1585; IV/--)	See p.492: no reference to a kaizhi
5. 思齊堂琴譜       (1620; IX/--)	See p.34: none: Its Qiuyue Zhao Maoting is unrelated
6. 琴苑新傳全編       (1670; XI/--)	See p.405: Qiuyue Zhao Maoting ends by adding the Wuyi Yi harmonics (see p.402), then gives the five figures of the old Kaizhi, but again no mention of it

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