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Guqin Handbooks   /   Sample tablature page (248 KB)   /   Historically informed qin performance 古琴目錄
Qin tablature and playing technique
See also Teaching HIP		 古琴簡字譜和指法
Top: juan (three fingers pluck inwards as one) is compared to a flowing spring;
Bottom: pi (thumb plucks inward) is compared to a crane dancing in the wind1
Qin music is written in a type of notation called tablature. Developed from ancient longhand descriptions,2 it can be used to bring old music to life. However, when examining this it is important to consider such issues as whether this tablature was intended to be prescriptive or descriptive, and the role it may have played in the creative process of forming qin melodies.

Qin tablature shows finger positions and stroke techniques, rather than notes. Of
ancient origin, it is much more complex than the best known Western music tablature, which shows finger positions for guitar chords.

The sample page of Shen Qi Mi Pu (248 KB) gives some description of this
qin tablature and qin fingering technique. At right is a more traditional
example. This site will eventually have more of these.

This page has some explanations along with the Hand Gesture Illustrations translated from Taiyin Daquanji. In addition, at least two other people currently have detailed explanations of such techniques on their websites:

  1. Judy Chang Pei-You; see "Finger Technique and Notation"; and
  2. Christopher Evans, see Technique and Notation

Although modern qin tablature is remarkably similar to the earliest surviving versions of the shorthand form that developed from the original longhand tablature over 1,000 years ago, there are some important differences. Some forms of ornamentation and ways of indicating strokes have changed. And in the 17th century the method of indicating finger position changed to what is considered a more precise decimal system.

 
Footnotes (Shorthand references are explained on a separate page)

1. The illustrations are from Taiyin Daquanji. Of particular note is the length of the fingernails. It is said that in the old days scholars grew their fingernails long to show they were not laborers. However, fingernails as long as in these illustrations would be an impediment to play. In my experience the ideal right hand fingernail length is about 3mm (1/8"), tapered from the center. Longer may have some playing advantages, but makes them more likely to break. Shorter is also possible: it is said that the famous player Guan Pinghu had a disease that prevented him from having any fingernails at all, yet he played marvelously. For the left hand the fingernails can be cut completely short, though leaving them slightly out should not be an impediment.

If I break a nail but it hasn't completely fallen off, I usually try to repair it using a special "nail resin" and some silk gauze specifically intended for such purpose: I alternate resin and gauze in four layers, then put nail glue on top. This makes the nail look a bit thick but not does not seem to affect playing as long is the top layer is made smooth.
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2. The earliest written qin music
See longhand tablature (文字譜 wenzi pu)
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