T of C
|Personal||email me search me|
|WSQP ToC||錄音、五線譜 My recording and transcription 首頁|
03. Moon over the Immortals' Mountain
- jue mode2 ( 5 6 1 2 3 5 6 )
Xian Shan Yue
|Opening of the 1457 tablature 3|
This only other publication to include Xian Shan Yue is Xilutang Qintong (1525). Its afterword says the following: 4
Although the Wusheng Qinpu afterword to Xian Shan Yue suggests that Xian Shan Yue was revised from an old melody, the Xilutang Qinpu afterword does not seem to accept this. However, simply saying this melody could not be found in other handbooks does not necessarily mean Lan Xian himself created it. Likewise, the fact that its commentary in Wusheng Qinpu singles out Xian Shan Yue as an old melody says nothing about whether none, any or all of the melodies in Wusheng Qinpu were revisions from older melodies or tablature.5
In a few places the Xilutang Qintong tablature is different from that here in Wusheng Qinpu (single clusters, not whole phrases or more; compare the tablatures).
In 2022 the Tianjin-based qin player Shi Yu published a CD with a transcription and recording (using a qin with composite strings) of each of the melodies in Wusheng Qinpu. His recording of Xian Shan Yue has almost the same notes as here but quite a different rhythmic interpretation.6
There is no preface, but there is an afterword that says:7
Music8 (see my transcription; timings follow my recording)
Nine Sections (untitled)
Xianshan Yue 仙山月 references
391.33 仙山 mountain where immortals live:
1/1140 same, with more references but also nothing about the moon.
"Xianshan" often refers to the three "islands of immortals" in the east: 蓬萊 Penglai, 方丈 Fangzhang and 瀛洲 Yingzhou.
"Enchanted mountain" is the translation in this rendering" of 白居易，長恨歌 Bai Juyi's Song of Everlasting Regret (see「忽聞海上有仙山」)
Also see Gao Lian's Story of the Jade Hairpin （高濂，玉簪記，幽情：「芳草掩重門。住仙山欲避秦。」）
Jue mode (角調 jue diao)
Jue mode melodies generally consider their relative tuning as 5 6 1 2 3 5 6, one of the two common versions of standard tuning. Other melodies in this mode generally have the relative pitch 1 (do; C in my transcription) as their main tonald center: this is the pitch of the open third string, called the jue string. These melodies will, perhaps more often than with melodies in other modes, use the note 3 (jue as a secondary tonal center: these two jue then combine to give the mode its name. Here the note jue seems in fact sometimes to be a tonal center (e.g., beginning of Section 2; phrase endings in Sections 5 and 7).
Generally speaking, though, the jue credentials of Xian Shan Yue seem a bit weaker than those of other jue mode pieces. It also seems more modally adventurous than other melodies, mainly by making sudden and unexpected modal shifts. Not having examined the other melodies in this handbook closely enough it is difficult to say whether the creator of the melody did this intentionally to express something about jue mode. (See also the comment below about "strange" notes.)
Here is some preliminary modal data on this melody:
Note count: 845 notes with the following relative pitches (i.e., C=do)
As can be seen, the most common notes are from the pentatonic scale 1 2 3 5 6 (relative pitches but transcribed here as C D E G A). Of these E is relatively common followed by B/B#. E is moderately strong; sometimes it is played repeatedly but it almost never ends a phrase. D and A are the most common phrase endings as well as the most common notes, but C is most common in ending sections: 6 of 9 as well as the melody end (4 ends on D, 6 on A, 8 on G). Sometimes, as at the end of Section 5 the change to C is quite sudden.
For further information on jue mode see Shenpin Jue Yi as well as Modality in Early Ming Qin Tablature.
|3. Image: Page 1 of 1457 tablature||Compare opening of the 1525 tablature|
From my understanding, this tablature has many uncommon (strange) notes but very few obvious mistakes: notes which simply cannot be played as writting (e.g., "slide up from the 7th position to the 8th must be a mistake because from the 7th to the 8th position would be going down, not up. The most common strange notes result from shifting tonal centers. After that are harmonic notes played at one of the just intonation positions (hui): some interpreters wish either to change or gloss over such notes
(details); my tendency is to assume they are intentional and so to highlight any "strangeness".
仙山月 Xian Shan Yue 1525 afterword
Singled out for inclusion in 1525
For example, "old" could mean Lan Xian had created it many years earlier. Likewise, if someone found old tablature, could find no one else who could play it and also found it difficult to play as written, but then they themselves went ahead and played it and wrote new tablature based on this interpretation, might the tablature of the resulting interpretation be considered as a new melody or as the re-interpretation of an old one?
Recording by 石玉 Shi Yu
The 2022 CD by Tianjin qin player Shi Yu, 五聲琴譜樂詮 Wusheng Qinpu Yue Quan, is discussed here.
Original 1457 afterword
Comment to be added.
Return to the Wusheng Qinpu ToC or to the Guqin ToC.