There are two particularly interesting precedents to Liang Xiao Yin. First, its opening phrase is intriguingly similar to the opening phrase of the Shen Qi Mi Pu melody Wu Ye Ti. This is probably not a coincidence, but there seems to be very little other connection between the two.

Secondly, a melody called Cangwu Yin, as printed in Wenhuitang Qinpu (1596), is very similar to the Liangxiao Yin that first appears in 1614.⁸ The title Cangwu Yin suggests it may originally have been a prelude to a melody called Cangwu Yuan, which is a lament on the death of Emperor Shun;⁹ both melodies are in jiao mode. However, the 1596 Cangwu Yin, instead of being placed just before Cangwu Yuan, comes just before a version of Liezi Yu Feng, with which is has no apparent connection.¹⁰ And although at least one later handbook (1647) does use Liangxiao Yin as a prelude to Cangwu Yuan, at least until 1722 it more commonly continued to precede Liezi Yu Feng or even the zhi mode melody Yu Hui Tushan.

Wenhuitang Qinpu has no commentary on any of its melodies, nor does Songxianguan Qinpu. It is thus difficult to say how this melody, called Cangwu Yin only in 1596, came to be called Liang Xiao Yin in 1614. (In fact, the dates are close enough that it is possible the title Liang Xiao Yin came first.) And although seven later handbooks do have commentary on Liangxiao Yin,¹¹ the earliest commentary is not until the sixth handbook (1692), and the only preface with specific information about the melody's origin is one published 250 years later, in Tianwenge Qinpu (1876). Here it is attributed to a Sui dynasty general with literary talent, Heruo Bi.¹² Presumably this attributation is due to the fact that Heruo Bi is said to have created a melody called Qingye Yin,¹³ which has the same meaning, but Tianwenge Qinpu itself does not specifically make a connection with that title.

Thus, because of the dual title and since none of the other prefaces makes any comment on the origin of the melody, one can only speculate as to what its original title might have been, or its age. As for its aim, early poetic references suggest there is no reason to think that it is anything other than simply to evoke the mood of a peaceful evening, either at home or in nature. However, later references might suggest a couple having such a peaceful evening, and the lyrics of the song versions suggest also someone in the quiet of an evening thinking of their separation from a loved one or loved ones.

Finally, the modality of all the versions of Liang Xiao Yin seem to be purely pentatonic, and the versions played today are all quite similar to the one published here in Songxianguan Qinpu (1614). Some of the differences appeared quite early. These can be seen by comparing transcriptions of the versions played today with my transcription of my own reconstruction of this earliest version.¹⁴ Thus, although Xu Jian, in discussing Liang Xiao Yin in his section on Qin melodies of the Ming dynasty, suggests that he is using examples from the Ming dynasty original, by comparing versions one can see that his examples come from a Qing dynasty handbook, specifically the reconstruction made by Guan Pinghu from Wuzhizhai Qinpu (1722) as published in Guqin Quji.¹⁵ And the transcription in Guqin Quji of the version played by Zhan Chengqiu, although it is said to come from 1614, clearly also comes from a later version.¹⁶

 
Preface
None in 1614: see 1692¹⁷

 
Melody
Two sections, untitled¹⁸

(00.00)   1.
(01.05)   2.
(01.49)       Harmonics
(02.15)       End

 
Footnotes (Shorthand references are explained on a separate page)

1. Peaceful Evening Prelude (良宵引 Liangxiao Yin) (QQJC VIII/114)
This title could also be given such translations as "clear evening" (see the comment with Qingye Yin), "lovely evening", "happy evening", "enjoyable evening" and so forth. With regard to the latter see the comments below concerning the illustration above.

As for references, 31289.112 says "良宵，良夜也 liangxiao means peaceful evening"; it gives four poetic references:

1. 李嶠，餞駱詩 Li Jiao (644-713):
   甲第驅車入，良宵秉燭遊。
2. 李白，友人會宿詩 Li Bai (ca 705-762):
   良宵宜且談，皓月未能寐。
3. 劉兼，海棠花詩 Liu Jian (8th c.?):
   良宵更有多情處，月下芬芳伴醉吟。
4. 朱慶餘，湖中閑夜詩 Zhu Qingyu (b. 791 CE, a follower of Han Yu)
   釣艇同琴酒，良宵背水濱。 This is the poem's opening couplet:

   Fishing from a boat with qin and wine; a peaceful evening with our backs to the shore.

There are more references at 9/263, which says 良宵 liangxiao is a "景色美好的夜晚 happy and beautiful evening", then has quotations from

1. 皇甫冉 Huangfu Ran (715-768)
   《秋夜宿嚴維宅》詩：世故多離別，良宵詎可逢。
2. 段克己 Duan Keji (1196-1254),
   《中秋》之二：良宵方喜故人共，醉語那知鄰舍驚。
3. 李漁 Li Yu (1610—1680)
   《奈何天·虑婚》：良宵莫把銀釭照，最喜相逢似夢中。
4. 郭沫若 Guo Moruo (1892-1978).
   《長春集，遊埃及雜吟之三》：春申相仿佛，熹茗話良宵。

It also gives two further definitions, "長夜，深夜 deep into the evening", and "元宵節得夜晚 evening of Yuanxiao Jie, the 15th day of the first lunar month (a full moon), also called Lantern Festival.
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2. Jiao mode (角調 jiao diao)
For more on jiao mode see Shenpin Jiao Yi and Modality in early Ming qin tablature.
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3. Image: 高馬得，良宵圖 Gao Made (1917-2007): Peaceful Evening (1981)
For more on Chen Made see a relevant article. The above image was viewed cached in 2009 at www.shuobao.com/arts/d27789.html, where it was for sale. An image search for "良宵圖" gave numerous hits showing famous couples out in public for a "peaceful evening". The early references above do not suggest this type of evening, but references from after 1600, when Liangxiao Yin first appeared, seem more mixed (see also the lyrics below).
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4. Tracing Liang Xiao Yin
Zha's Guide 30/236/443 lists Liangxiao Yin in 31 handbooks from 1614 to 1914. It has prefaces for one version (in 1876) and afterwords for seven (from 1692 to 1914, 1692 having the sixth known version). The first ten handbooks with Liangxiao Yin are:

1. Songxianguan Qinpu (1614; VIII/114)
2. Huiyan Mizhi (1647; X/109; called 良宵吟 Peaceful Evening Intonation, but almost same melody; followed by Cangwu Yin!)
3. Dahuange Qinpu (1673; X/376)
4. Deyintang Qinpu (1691; XII/533)
5. Huiyan Mizhi Ding (1692; facsimile; same as 1647)
6. Qinpu Xiwei (1692; XIII/83; afterword [earliest commentary])
7. Liaohuaitang Qinpu (1702; XIII/231)
8. Wuzhizhai Qinpu (1722; XIV/471; "熟派 Shu School"; no other commentary)
9. Woyunlou Qinpu (1722; ZGSD facsimile reprint, Folio 2; afterword same as Qinpu Xiwei)
10. Lixuezhai Qinpu (1730; first with lyrics, only one with section subtitles: see next footnote)

All are very similar. The 1596 Cangwu Yin (VI/226) is also very similar except for not having the closing harmonics.
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5. Liangxiao Yin with lyrics
The two listed versions with lyrics are dated 1730 and 1894:

1. Lixuezhai Qinpu (1730; Zha Guide p. 443 and facsimile I/31)
   第一段，籟靜窗虛：籟靜窗虛，正皎皎月明當戶。看花蔭低嚲，樹色也扶疎，芳草王孫，浸滿庭清露。歎明月與那清風，和誰共也。只有蕭條劍佩，慘淡琴書。把只良宵，怎生發付。是何人問高山流水，此際獨踟躇，則只寸心兒照千古。
   第二段，懷人不見：更闌夜靜，風清月白。那更窗明几淨，此時兒展殘編也，閒把詩書誦讀。古道分明照顔色，爭奈人遠天涯，卻只許夢魂兒相接 美人何處也，在那蒼茫白露與蒹葭之域。
   尾聲，兩鬢秋霜：兩鬢秋霜，只為著懷古思鄉頭白，今夜更愁難寐。

2. Qinxue Chujin (1894; Zha Guide, p.443)
   第一段：上畵樓，簾捲遍，竹外新雨收煙幕，倦鳥啾啾宿枝頭。笛喚起，清清月輪浮，要將酒樽酬。 見他幾時留，且散閑愁。休休，且散閑愁。
   第二段：此生半是離憂，好夜憶良儔。朅來不自由，髯髮偏驚秋，悲樂散聚無定謀。將使璧月影常圓，問天杳杳肯應否。
   第三段：憑欄四望，不見碧雲流。坐看織女牽牛，遠雁入蘆洲。這來莫負今夜月，觴詠良游。那便求桂宮，夜夜開挂上玉毬。 這來莫負今夜月清幽。
   收音：？ (see Zha Guide [231]189: no words? Also says the melody 附良宵母律 has something attached, plus an afterword.)

As can be seen, the lyrics of these two are completely different from each other. The melody of 1730 is little different from the common instrumental version and is paired by the traditional manner. I have not seen the 1894 handbook, but because its title is actually 良宵母律.
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6. Beginners' melody
Several of the afterwords comment on this as a beginners' melody, adding however that it is very elegant.
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7. The difficulty of simplicity
My teacher Sun Yü-ch'in said that anyone can learn complicated fingering: you practice it a lot and then just play. What in fact were often the most difficult were melodies that at first seemed the simplist. He said this specifically about Xiang Jiang Yuan, but from the commentary here it seems that this is said even more often about Liangxiao Yin.
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8. Cangwu Prelude (蒼梧引 Cangwu Yin; Wenhuitang Qinpu, 1596; see QQJC, VI/226)
The main difference between Cangwu Prelude and Peaceful Evening Prelude is that the latter has inserted one phrase, has generally more ornamentation indicated, and has added at the end a closing passage in harmonics. As for theme of the earlier melody, although the title Cangwu Yin suggests that it should be a prelude to the melody Cangwu Yuan, as pointed out in a footnote under Cangwu Yuan, all but the first of the five entries called Cangwu Yin (see Zha's Guide 28/221/--) are in fact versions of Cangwu Yuan. The only one that isn't is the first of them, published as mentioned in 1596. That version has no apparent musical relationship to Cangwu Yuan other than being in the same musical mode (jiao), being apparently a predecessor of Liangxiao Yin, to which as mentioned above it is closely related throughout. The 1596 handbook has no commentary on individual melodies, and it places Cangwu Yin just before the melody called Liezi (a version of Liezi Yu Feng); it does not include a Cangwu Yuan. On the other hand, Songxianguan Qinpu does include a Cangwu Yuan, but it is placed two entries earlier than Liangxiao Yin (but compare 1647). Neither of these two handbooks has commentary on individual melodies; and Songxianguan Qinpu does not follow the earlier custom of placing short melodies before related longer ones. Note from the comment on 1647 above, though, that Liangxiao Yin does seem to serve at least once as a prelude to a Cangwu Yin that is in fact a version of Cangwu Yuan.
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9. Further comment on a possible connection between Cangwu Yin and Cangwu Yuan
In the notes (Chinese only) for Liang Xiao Yin on her double CD 嘯樂琴韻 Qin Sounds Calling to the Moon, 李楓 Li Feng mentions the connection between Liangxiao Yin and Cangwu Yin, adding her opinion that Cangwu Yin quite likely originated as a prelude to Cangwu Yuan. Compare my comments above.
(Li Feng's comments were pointed out to me by Julian Joseph.)
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10. Positioning Cangwu Yin and Liangxiao Yin
Although Wenhuitang Qinpu does seem to try to pair melodies with apparent prefaces (see its ToC), there is no apparent connection between Liezi and the Cangwu region. As for Liangxiao Yin, although it also has no apparent conection to Liezi, the early versions (listed above) still generally precede Liezi Yu Feng (alternatively: Yu Hui Tushan). Later it is more rare to find handbooks arranged so that melodies are preceded by preludes.
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11. Commentary on Liangxiao Yin
The commentaries quoted at Zha Guide 236-7 are generally quite late:

1. Qinpu Xiwei (1692; XIII/83; q.v.)
2. Shuangqin Shuwu Qinpu Jicheng (1884)
3. Luqi Qingyun (1884)
4. Qinxue Chujin #1 (1894)
5. Qinxue Chujin #2 (1894)
6. Yazhai Qinpu Zongji (20th c.)
7. Shimengzhai Qinpi (1914)

An internet search for "Liangxiao Yin", "Liang Xiao Yin", will show various other commentaries as well as recordings.
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12. 賀若弼 Heruo Bi (544 - 607)
See separate biography.
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13. Peaceful Evening Intonation (Qingye Yin 清夜吟)
"Qing" can also mean "clear". Although this title is the seven entry in the Heruo Bi melody list, there is no reason to think there is any melodic connection. There was also a melodically unrelated Qingye Yin published in 1549.
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14. Similarity of modern version with the one in Songxianguan Qinpu 松絃館琴譜
Most melodies as actively played over the years as Liangxiao Yin undergo gradual, often considerable, change. Some such melodies in the modern repertoire have reverted to earlier forms as a result of studying the original tablature, but a preliminary examination of earlier tablature for Liangxiao Yin in fact suggests that it has changed over the years it relatively minor ways. Because Songxianguan Qinpu is attributed to 嚴澂 Yan Cheng, also known as 嚴天池 Yan Tianchi, and he is considered to be the founder of the famous Yushan school, one can speculate that it was due to respect for Yan Tianchi, perhaps combined with the fact that it was treated as a beginners' melody, that Liang Xiao Yin did not change very much despite its popularity.
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15. Xu Jian's discussion of Liang Xiao Yin
Xu Jian's three examples are in Qinshi Chubian, Chapter 7.B.5. (p. 143); they correspond with the transcriptions on the first, then second and third, then sixth lines of Guqin Quji, Vol. 1, p. 226. In addition, his first corresponds with measures 1-6 of mine; his second corresponds with my measures 7-14; his third corresponds with my measures 26-28. Note that the other transcriptions consider the open first string as C while, because I consider the open third string to be do, C is played on the open third string.
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16. Version by 詹澄秋 Zhan Chengqiu
The transcription is in Guqin Quji, Vol. 1, p. 226. It is not stated whether the tablature was made to follow Zhan, or whether it is copied from a handbook and Zhan was following that handbook. In any case, it is not, as stated, from Songxianguan Qinpu.
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17. Preface
The earliest preface does not come until the sixth handbook, dating from 1692 (see Tracing). It goes as follows,

Thanks to Chang Peiyou for help with translating the final part.
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18. Subtitles
The only version Zha lists with subtitles is Lixuezhai Qinpu (1730; facsimile I/30). There are three, the third applied to the closing harmonics:

1. ：籟靜窗虛
2. ：懷人不見
3. 、尾聲：兩鬢秋霜

The melody, which also has lyrics, is still quite similar to the original.
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Return to the annotated handbook list or to the Guqin ToC.