The following explanation is added under the name of the mode:

In addition to Ruibin (Shenpin Ruibin) and Jinyu, several other names have been used for this tuning.³ For example, Xilutang Qintong includes a Qingyu mode.⁴

As discussed in Modality in Early Ming Qin Tablature.⁵ "diao" can refer either to a tuning or to a mode. "Ruibin" seems to be discussed usually as a tuning, but the modal characteristics are intriguing, especially in comparison to those of the shang mode.

The two melodies which Shen Qi Mi Pu has in this mode have a similar theme:

1. Fan Canglang
2. Xiao Xiang Shui Yun

The former is a short melody that might have been created as a prologue to the more famous latter one. HOwever, they share no musical motifs.

The short ruibin modal prelude has 6 (la) as the main tonal center, secondarily 3 (mi), but with 2 (re) also very important. Both melodies in this mode also have 6 as the main tonal center, with 3 as a secondary center. However, 1 (do) is also an important tonal center. It should be noted that re also may have a special prominence particularly in later melodies or versions of these melodies. This is where comparison should be made to shang mode.

Other pieces using this tuning include later versions of #46 Longshuo Cao, the version of Yu Ge later usually called Ao Ai, later versions of Yangguan Sandie (earlier versions use qiliang mode), and the Mei'an piece Yulou Chunxiao.⁶

 
Original preface
None⁷

 
Music
One section

(01.01) -- harmonics
(01.19) -- Modal prelude ends

Return to the Shen Qi Mi Pu ToC or to the Guqin ToC.

 
Footnotes (Shorthand references are explained on a separate page)

1. 神品蕤賓意 Shenpin Ruibin Yi
32719.4 蕤賓 ruibin: 十二律陰陽各六陽六為律， 其四曰蕤賓。。。 (Matthews: luxuriant vegetation; f#)
For more information on modes see Modality in Early Ming Qin Tablature.
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2. Jinyu 金羽 41049.xxx ("golden feather")
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3. Zha Guide has the following entries with this tuning (see also Yu Lou Chun Xiao):

4. In 1549 the 清羽 Qingyu section includes the qingyu modal prelude and one melody, Taoyuan Chunxiao; neither is found elsewhere. Also in 1549, the ruibin modal prelude is quite different from here, and the qingyu prelude is complerely different.
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5. See also Qin Tunings, some theoretical concepts.
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6. 玉樓春曉 Yu Lou Chun Xiao
Mei An Qinpu categorizes this melody, which has raised fifth tuning, not as ruibin diao but as 仲呂調 zhonglü diao. However, the only modal prelude using that name (in 1549) uses standard tuning. The 中呂均 zhonglü jun commonly ascribed to melodies in today's repertoire seems to refer to mode rather than tuning; most melodies using it have standard tuning.
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7. Although SQMP modal preludes have no prefaces, those in Zheyin (which all have identical music) do. In Zheyin the preface to the ruibin modal prelude is as follows:

Return to the Shen Qi Mi Pu ToC or to the Guqin ToC.