Standards for

the Guqin
A Contemporary English Guide to learning the Chinese Seven-
Stringed Zither

First Edition

Juni L. Yeung
Toronto Guqin Association

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Standards for the Guqin
 (Dedication)

1
Standards for the Guqin
Forward

2
Standards for the Guqin
Table of Contents
Forward 2
Table of Contents 3
The Root of All Fundamentals 4
The Instrument 5
Technical Aspects of Playing
Posture 6
Notational Overview 8
Fingering Notation – Right Hand 9
Fingering Notation – Left Hand 13
Tuning 22
Essay: Ruibin Tuning: A Misplaced Name for the Tightened 5th String Tuning” 26
A Brief on Modern Guqin Culture
Reading List – A Source Guide to Learning and Research

A Preface to the Repertoire

On the tablature interpretation process – Dapu

Repertoire A – Standard Tuning Etudes

仙翁操 Xianweng Cao
“Etude of the Transcendent Venerable One”
 酒狂 Jiu Kuang
“Mad with Drunkeness”
 關山月 Guanshan Yue
“Moonlight Upon The Mountainous Pass”
 流觴 Liu Shang
“Flowing Goblet”

Repertoire B – Non-Standard Tuning Etudes

秋風詞 Qiufeng Ce
“Lyrics to the Autumn Breeze”,
Mangong Tuning (Slacken 3rd String)
 陽關三疊 (渭城曲) Yangguan Sandie (Weicheng Qu)
“Three Variations to the Yang Pass Theme (Wei City Song)”,
Ruibin Tuning(Tighten 5th String)
 華胥引 Huaxu Yin
“Prelude to the Utopian Land”,
Qiliang Tuning (Tighten 2nd, 5th Strings)

Repertoire C – Standard Tuning Pieces

古風操 Gufeng Cao
“Etude to the Style of Antiquity”
 漁樵問答 Yuqioo Wenda
“Dialogue of the Fisherman and Lumberjack”
 孔子讀易 Kongzi Duyi
“Confucious Reading the I Ching”
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Standards for the Guqin
  平沙落雁 Pingsha Luoyan
“Geese Landing on Flat Sand”
 松下觀濤 Songxia Guantao
“Watching the Waves from Under the Pines”

Repertoire D – Non-Standard Tuning Pieces

離騷 Li Sao
“Grievance to Departure”,
Qiliang Tuning (Tighten 2nd, 5th Strings)
秋宵步月 Qiuxiao Buyue
“Strolling under the Moon in Autumn Evening”,
Biyu Tuning (Tighten 3rd, Slacken 1st,4th,6th strings)
孤竹君 Guzhu Jun
“The Lord of Guzhu”,
Chuanming Tuning (Slacken 1st, 3rd, 6th strings)

Afterward

“Les Jeunes-Filles en Heptachordia Sinesis et Clavichordia” (琴の少女達)

Acrylic on Canvas, 42” x 30”, painted by the author, 2007.

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Standards for the Guqin
 The Root of all Fundamentals: A Few
Basics
 Reading Guqin scores require memorization of numerous symbols which may
appear alien even to the native Chinese reader. However, knowledge of Chinese
characters for the numbers 1 to 10 ( 一 二 三 四 五 六 七 八 九 十) by heart is a
must. 11, 12 and so on are expressed as 10-1 or 10-2 (十一, 十二…) in Chinese. For
sake of information, numbers past 20, such as fourty-seven, is expressed as “four-
tens seven”, or “四十七”. The importance of this will be explained later regarding
the left hand tablature.
 Know the difference between a guqin and a guzheng – this is a common
mistake to many people. The guqin has only seven strings and is smaller (hence
more portable) than the guzheng. The guzheng has more strings (16 to 21), have
movable bridges that determine the tone of each string, and can be up to twice
the size of a standard guqin. The sound of the guzheng is harpy and flamboyant,
whereas the guqin is deep and meditative-sounding, with rich, speech-like
glissando notes.

 guqin guzheng 
(from http://www.geidai.ac.jp/~odaka/gcat/japanese/tubezithers.html)

 Given our modern environment and resources, network with other guqin players
in your area – ask around, and utilize the Internet. Numerous websites are
linking players worldwide in forms of forums and newsgroups.
 While a music background or previous music knowledge is not required to begin
learning the guqin, developing a sense of music elements (such as determining
relative pitch, a sense of melody and rhythm) is crucial to mastering it.

5
Standards for the Guqin
The Instrument

The guqin (Ku Ch’in in Wade-Giles) is

composed of two wooden boards glued together and
lacquered to give its shiny and smooth surface. Since
the sound emanates from the underside of the
instrument, the top board is a rounded piece of a
light, porous wood, while the bottom is a flat piece of
a heavier, dense wood. In China, Paulownia and
Catalpa wood are often used for the top and bottom
respectively. The wood must be completely dry in
order to produce the crisp sound and be able to
preserve over the ages, hence the wooden pillars and
beams of old buildings are often considered prime
material for making instruments. In more recent
times, pine and spruce woods have been used in
making guqin as well.
The Yin-Yang School of ideology considers the
roundedness and flatness (square-ness, rectangular),
lightness and heaviness, hardness and softness, and
various other characteristics of the woods to represent
the characteristics of heaven and earth.

The guqin has thirteen round markers ( 徽 ,

“hui”, insignias or marks) above the first string,
usually made of mother-of-pearl or small plates of
precious stone or metal. These markers are laid out in
a parabolic variable distance from each other. The
distances are calculated by dividing the effective
length of the string (from the Yueshan bridge to the
Dragon Gums’ end) in a Pythagorean pattern. To be
more precise, the 13 marks are calculated by dividing
the effective length by twos thrice and threes twice.
These hui represent the 12 months of the year
in addition to the leap month of the Lunar calendar.
The enlarged centre hui (7th) also symbolize the sagely
sovereignty.

Seven strings span across the top board, named

“gong,shang,jue,zi,yu,wen,wu ( 宮 商 角 徵 羽 文 武 )”
starting from the lowest string positioned furthest
away from the player.
The first five names represent the five ‘proper’
sounds of the Chinese (pentatonic) scale, while Wen
and Wu originate from the first two kings of Zhou
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Standards for the Guqin
Dynasty. According to Yin-Yang school teachings, these strings also relate to other
natural hierarchies and elements. In order, the five sounds reflect “sovereign/master,
subject/servant, people, subject-matter, object”.
Over the ages, musicians and kings
attempted to add more strings onto the
instrument while citing the Wen and Wu
kings as a role model, but were all deemed
as unnecessary and redundant.
A 10-stringed guqin found in Mawangdui Tomb, ca. By the Tang Dynasty, the basic
Western Han Dynasty. Image from Answers.com structure of the instrument has become pre-
established. As the guqin was perfected in
its technical and musical design, the original nomenclature of the first five strings
sparked debate. This will be explained in further detail in the “Tunings” section.

Technical Aspects of Playing

Posture
The Chinese did
not sit in the piece of
furniture we know as the
chair today back in the
time of the guqin’s
invention, and played
the instrument cross-
legged, with the
instrument on both shins
or the end standing on
its goose feet on the
On the floor or in a chair, guqin is meant to be played sitting down. Image from ground. At times, low
Taigu Yiyin (1280) and Xilutang Qintong (1549), compiled courtesy of tables support the
silkqin.com.
instrument.
About the Tang Dynasty, when chairs became
more prevalent, guqin playing took form to the regular
table-and-chair posture as we know it today.
When choosing a table for playing the guqin, a
hard but somewhat permeating surface (such as an old
hardwood desk) is ideal. Avoid use of tablecloths and
glass tables. When authentic guqin tables aren’t
available, a desk at “writing” or “keyboard” height is
ideal. The right side of the table should always be left
open to let the instrument “fall off”. If one has to use a
dining table, a phone book or two on the chair should be
suffice to counteract the height difference. When table heights are too high, elevate
the chair to compensate.
Place the instrument as pictured. The tuning pegs Photo from UTQA archives, student David
should fall off the side of the table and not touch the Powell performing.
tableside. Therefore, always look for a table with the
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Standards for the Guqin
right side open. Position your heart inline with the 5 th marker (hui) on the board. Sit
straight with a slight forward (so that strength will pour in from your shoulders down
to the wrists to the fingers) and feet planted to the ground. Avoid leaning on the back of
the chair.

On Posture of Fingers

Right hand fingers act like little hammers, moving straight back and forward
when playing single notes. This is so that the notes are to sound confident and affirm
the player’s intentions as it is. The first joint of the finger (the one closest to the palm)
should be the only joint that bends in a motion. Tiao (index finger outward) should
always be supported by the thumb on the index finger pad for a firm enunciation. The
ancients assigned notes to fingers according to the characteristics of the sound each
finger produces, therefore the fingering (or the style) should be carefully observed.
The index finger is agile and produces a balanced sound.
The middle finger supports the index finger and produces a stronger note.
The ring finger adds complexity and is soft-spoken in tone.
The thumb adds a sense of affirmation to the musical phrase.
Modern players tend to replace ring finger movements with the middle finger,
but often forget the difference in tone quality and volume between these two fingers.
Hence it is important that if one does replace the fingering, the effect of the ring finger
(gentle, soft-spoken) must be emulated, or adapt to use the original fingering.
After every pluck, the fingers should stop just before the adjacent string on an
outward movement, or perch on the adjacent string if an inward movement (stopping
that string). If there is no string adjacent, control one’s hand with the mind so that the
hand does not wander off too far away. The right hand should not fly high with
exaggerated movements.

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Standards for the Guqin
 Notation Overview
Guqin scores are written since the late T’ang Dynasty in a
system known as “Jianzi-pu ( 減 字 譜 , Ch’ian Ts’u P’u in Wade-
Giles, literally reduced ideograph notation”)”. The system consists
of compiling and compacting a series of left and right hand
movement syntaxes into one Chinese-like character.
There are three main categories of Jianzi Pu: “Actual
notation ( 正 字 )”, “Accompaniment notation ( 旁 字 )”, and
“Appending notation ( 旁 註 )”. Actual notation records the
“proper tones” produced by obvious plucking, while Jianzi-pu Character Layout
accompaniment notation records the “resonance” or the (1-String actual notation)
sound(s) after the pronounced tone. Appending notation
records rhythm modifiers.
The most fundamental type is the actual notation, but is the most complex. They
consist of three mandatory components and several optional modifiers. First, string
number(s) are recorded in larger font on the bottom half portion of the character. The
string number is then surrounded or topped by a symbol that originates from the
reduction of the right hand movement’s name. Finally, the left hand fingering and
position is recorded on top of the previously mentioned components.
Should these components be missing on any given character, it is assumed that it
would follow suit from the most recently mentioned state. For example, a character
denoting right hand middle finger makes an inward movement to pluck the 3 rd string
while left hand plays a harmonic on the 10 th hui. Should the next two jianzi characters be
simply the numbers “4” and “5”, it would assume that the right middle finger continue
to pluck these strings in an inward movement while the left hand would be placed on
the 10th hui to produce the harmonics in similitude to the aforementioned 3rd string
At times, stylistic accidental modifiers (Zuo and Zhu, explained in the next
section) are added to the side or the top of the right hand movement, below the left
hand movement component. Harmonics may also be denoted by a special character on
top of the whole character, but its use is similar to accidental notation in Western music
and is sparingly used, for pieces usually have entire phrases played in harmonics and is
noted by its own detached start and stop symbols, similar to pedal notation on the
piano.
Right hand movements may not be limited to only
plucking one string. In this case, the right hand movement’s
(reduced) character would go on top of (and sometimes
between) two sets of string numbers (one set may include more
than one string at times). Left hand positions are placed directly
on top of the string number instead, allowing the right hand
movement character to completely envelop the other
components inside it.
Left-hand movements in terms of vibratos and glissandos
are written separately from the tonal notes, and will be
Jianzi-pu Character Layout
covered more in detail in the related section below.
(Dual/Multiple String)
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Standards for the Guqin
 Fingering – Right Hand
Script Name Details
Basic Fingering (single string with single sound)
托 Thumb plucking in an inward movement, see Note 1.
Tuo1
擘 Thumb plucking in an outward movement, see Note 1.
Bo4
抹 Index finger plucking in an inward movement
Mo3
挑 Index finger plucking in an outward movement.
Tiao1 Posture: Should be supported by thumb when pushing out.
勾 Middle finger plucking in an inward movement
Gou1
剔 Middle finger plucking in an outward movement.
Ti1
打 Ring finger plucking in an inward movement
Da3
摘 Ring finger plucking in an outward movement
Zhai1
Single-string movements (multiple sound movements)
抹挑 Index finger plucking inward then outward motion. This may
have an implication to play the two notes faster than if written
separately.
勾剔 As above, middle finger.

打摘 As above, ring finger.

疊蠲
in rapid succession on the same string. Produces two
or Die3 quick but clear sounds. The simplified version of this shorthand
Juan1
is not to be confused with Quanfu and Banfu (全扶,半扶).
However, some old scores will record this movement with
multiple strings. In that case, perform a quick on all involved
strings, while using the middle finger to stop the previous string
as the next is played.
抹勾 Similar to above, but has implication to play slower, making the
Mo3 two sounds distinct from each other.
Gou1
1
The debate on the definition of “in/outward” becomes especially important for the thumb movements for its
identity as the opposing finger. Most agree on “inward” defined as “toward the center of the palm” and vice versa,
but a some groups (and some prominent traditional handbooks) still agree on “inward” as “towards the player’s
body”. One must make sure which definition is taken when interpreting or playing a piece by examining the original
document’s fingering section.
10
Standards for the Guqin
 半輪 in rapid succession on the same string. Knuckles should
Ban1 be bent and lined against each other, firing off in an unrushed
Lun2 manner. Speed of playing this movement depends on context of
the piece.
輪 in rapid succession on the same string. Produces 3
Lun2 sounds. Knuckles should be bent and lined against each other,
firing off in an unrushed manner. Speed of playing this
movement depends on context of the piece.
背鎖 or in rapid succession on the same string. Produces 3
北 小鎖 sounds. Please see note 2 regarding rhythm.
くくく
or
Bei1
Suo3
小 or
くくく Xiao3
Suo3
短鎖 on the same string. Produces 5 sounds. See note
矢 Duan2 2 regarding rhythm.
くくく
Xuo3
長 長鎖 ( ) on the same string. Produces 7
Chang2 sounds (sometimes specified as 9 sounds with the term 九声).
くくく
Xuo3
See note 2 regarding rhythm.
Multiple-String Movements (single/double-sound
movements)
歷 A movement on two (or more) consecutive strings. The focus
Li4 is on being light, brisk, and clear.
如一 “As one”, perform a on two strings simultaneously to produce
Ru3 Yi1 one whole sound. This character is usually written in subscript (and
looks like accompaniment notation) and includes one pressed and one
open string. E.g. (4th string at 7.6 hui, open 3rd string )
撮 There are two variations of this movement:
Cuo1 on two separate strings to produce 1 sound for smaller
distances (2~4 strings apart), OR
on two separate strings to produce 1 sound for larger

2
Different masters have different explanations on the suo patterns. While variations may seem endless and
confusing when cross-referencing different schools of teaching, the basic pattern must be noticed: the rhythm for
dividing the series of notes are fixed, and are played out from combinations of and in-out sequences (such as
). The formula for suo rhythms are as follows:

11
Standards for the Guqin
 distances (5 strings apart or more, usually used for perfect
T octaves)
The sound that is produced from this movement should always
be a perfect chord. Any or both of the strings may be pressed
according to situation.
反撮 Same as above, reverse motion:
Fan2 for smaller distances (this movement may require some
Cuo1 practice), OR for larger distances. Appears only after a .
潑 simultaneously to produce 1 sound. The fingers are
Bo1 lined up close to each other and act as one moving body part to
produce a powerful sound from the string(s).
剌 simultaneously to produce 1 sound. The fingers are
La2
lined up close to each other and act as one moving body part to
(NOT
produce a powerful sound from the string(s).
ci4)
潑剌 A combination of the above, playing followed by a .
Bo1 La2
打圓 Play (moderately, then pause) (quickly, then
Da3 pause) and (drift out) on the two previously mentioned
Yuan2 strings. This character is written in subscript, separately from
the indicated strings.
摟圓 Play and on two separate strings simultaneously.
Lou1 Produces 1 sound. The effect is similar to a small , but only
Yuan2 used for harmonics and gentler in strength.

There is another movement played similarly, but can be used for open
and pressed notes called chuo4 齪, denoted by the simplified symbol 足.
雙彈 on two strings simultaneously with power, each finger in
Shuang1 consecutive order.
Tan3 An alternative name for this is (鼓, Gu3)
三 三彈
San1
on two strings simultaneously with strength, each
口口 finger in consecutive order. (For emphasis, some may replace
Tan3 the first with another )
Multiple-String Movements (Multiple-sound movements)
滾 A series of played continuously. The accompanying string
Gun3 numbers indicate the starting point to the final string. This
symbol is not to be confused with the number six.
臨 Similar to above, but played with (the index finger). Only used
Lin2 for harmonics.
沸 A series of played continuously. The accompanying string
Fu2 numbers indicate the starting point to the final string.
滾沸 A combination of and , producing a back-and-forth wave
Gun3 of sounds.
Fu2
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Standards for the Guqin
 索鈴 “A string of bells”, Similar to , but played as a series of
Suo3 (index) instead of (ring). Usually played with harmonic
Ling2 notes.
全扶 On two consecutive strings, on the top string. As the
Quan2 continues to the bottom string, the middle finger stops the top
Fu2 string sound by touching it, then proceeding with on the
two strings. When playing the bottom , the ring finger stops
the top string’s sound by touching it. Produces 4 sounds in one
continuous chain.
半扶 On two consecutive strings, on the top and bottom strings,
Ban4 Fu2 with middle finger stopping top string by touching it during
the on the bottom string. Used for harmonics only,
produces 2 sounds in one continuous chain.
掐撮三聲 On the aforementioned two strings (of which one is pressed),
Qia1 perform a and with the left hand (refer: Left hand “Yan
Cuo4 罨, to cover” and “Qia Qi 掐起, to dig up”), the two strings,
San1
Sheng1 and two more times, and another . Produces 8
sounds.
(Quick reference: , )
掐潑刺 On the aforementioned two strings (usually consecutive, of
三聲 which one is pressed), perform a and with the left
Qia1 Bo1
hand, followed by a , and two more times, ending
La2 San1
Sheng1 with a . Produces 8 sounds.
(Quick Reference: , )
摘潑刺 On the mentioned two (consecutive) strings, perform a on
Zhai1 Bo1 the lower string, then the upper string, and then a on both
La2 strings. Produces 4 sounds.
Involves 3
小 strings, of
which the
日小間勾
top 2
Xiao3
must be
Jian1
Gou1 consecuti
ve (e.g.
strings
3,4,5 or
2,3,6).
Begin
with
on the
lower
string of
the
consecuti
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Standards for the Guqin
 ve set,
followed
by on
the top
string,
finally a
on
the
remaining
untouche
d string.
Produces
3 sounds.
SEE
NOTE 3.
大間勾 Involves 3 strings, of which the top 2 must be consecutive (e.g.
大 Da4 strings 4,5,7 or 5,6,7). Begin with a on the lower string of
Jian1 the consecutive set, followed by on the top and lower
日 Gou1 strings. As the middle finger hits the lower string, ring finger
stops the top string, followed by on the two strings. Finally,
the remaining untouched string. Produces 5 sounds.
(e.g. 5, 4, 5, 4, 7), SEE NOTE 3.

3
Some textbooks may explain the Jian Gou movements to be simply a and with 1 string in the middle
for the smaller and 2 strings for the larger movement. This is a mistake.
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Standards for the Guqin
 Others
伏 “To prostrate oneself”. Use palm of right hand to cover the
Fu2 vibrating strings to abruptly stop the sound. This movement is
usually used in conjunction with , therefore also has a
variant known as (la fu 剌伏). It is suggested that one plays
this with the right hand near the 4~5th hui, so that the covering
motion creates a slapping sound like the ripping of silk.

Fingering – Left Hand

Right-hand Movement Related
大指 Left hand thumb.
Da4 Zhi3 Tip: Using a “half-flesh, half-nail” area of the thumb to press
on the string produces the best result. When playing multiple
strings, the thumb joint can also be used.
食指 Left hand index-finger.
, Shi2 Zhi3
中指 Left hand middle finger.
Zhong1
Zhi3
名指 Left hand ring finger.
Ming2 Tip: Rotate the finger so that it is on the left side, using near the
Zhi3 “half-nail, half-flesh” area to press on the string. This would
allow greater control to press or touch the string properly and
accurately.
跪指 Literally “kneeling finger”, left hand ring finger’s second joint
Gui4 Zhi3 (the upper joint, closer to the fingernail).
Tip: Instead of using the palm muscles exerting downwards to
support the finger against the string, practice using the end of
the finger to exert downward force on its own. When using this
movement, pretend as if the end joint is kicking out and onto
the board.
就 Assume the same left hand fingering as from the previous description
Jiu4 (on the music score).
Tip: Unless otherwise stated, jianzi-pu without left hand fingering
automatically assumes whatever movement was stated before.
Tone Quality
散 Open String. Play with right hand only (Left hand not pressing
San3 or touching).

15
Standards for the Guqin
 按 Stopped/Pressed note. Press down string firmly onto board
,安 An4
泛 Harmonics. Place finger accurately on the marked position on
Fan4 the string (touching, but applying no force whatsoever) while
plucking with the right hand.
Tip: As tradition describes, “like a dragonfly skimming on a
surface of water”, the touch must be light in order to make the
sound crisp and clear (which lasts about 6~8 seconds on a
typical instrument). As skill improves, try removing the left
finger directly after obtaining the sound.
泛起/止 Begin / stop playing described notes as harmonics. These
Fan4 characters are written in subscript, and both must be used to
Qi3/Zhi3 bracket a selection of movements that is to be played as
harmonics. A note in the middle of the bracketed sentence
cancels the effect for that note, however.

An Explanation of Position-Marking on the Instrument

The thirteen markers laid across the effective length of the top board mark the Guqin’s
finger positions for harmonics. These are laid out by dividing the effective vibrating
length of the string by 2 and 3 for several times. There are 91 harmonics positions (plus
two sets of seven more for yet another set approx ½” away from the 1st and 13th hui.
The hui number of every harmonic note is shown on the upper-right corner.

Pressed note positions are also recorded on the same spot, but with further variation.
Since the basis of the pentatonic scale works differently on pressed notes and
harmonics, pressed notes use a “decimal system” where the space from one hui to the
next one is divided into tenths. Since there is no space to obviously denote the decimal,
the Chinese simply state the decimal after the hui number, such as (10-8, or 10.8, read
“tenth hui, eighth fen”), (6-4, or 6.4).

The Qin textbook Yuguzhai Qinpu (1855) also noted an even more precise system by
further dividing the fen into tenths, hence totaling the divide of the distance of 2 huis by
100. This obviously is impractical for recording (as hand-copied and printed handbooks
both could easily smudge and become illegible with such gross amount of detail) and
actual playing, so rarely anyone put this into practical use.

A final note is that for 0.5 positions, the character キ (Shorthand for 半) is used instead
of 五, example such as 8.5: .

16
Standards for the Guqin
 Basic glissandos
Shang2 A firm upward glide from the previous position to the marked
coordinates, e.g. shang 7.6 (from a position lower than 7.6).
At times, a number may be attached before the shang symbol,
indicating how many stops the player makes in order to reach
the position, e.g. 2 shang 7 (from 9th hui) would involve sliding
firmly up from 9th  7.6 (or 7.9 depending on string) 7th. See
note 4.
Xia4 A firm downward glide from the previous position to the
marked coordinates, e.g. xia 9 (from a position higher than 9).
At times, a number may be attached before the xia symbol,
indicating how many stops the player makes in order to reach
the position described below, e.g. 2 xia 9 (from 7th hui) would
involve sliding firmly down from 7 th  7.6 (or 7.9 depending
on string)  9th. See note 4.
拖 Drag. Slide left hand in a dragging manner to indicated
Tuo1 location.
拖 “Lead to”. Drag naturally (unhurried, up once or twice) to
拖 Yin3 exact location.
拖 Sliding up onto tone. Begin from a slightly lower position
Chao1 (away from the bridge) and slide up to position as the sound is
(NOT produced.
Chuo4) For example, a Chuo 9 would mean pressing the string at a
certain distance lower than 9 (anywhere from 10 to 9.5 is
acceptable), pluck as the left finger slides up to 9 and hold.
拖 Sliding down onto note. Begin from a slightly higher position
Zhu4 (closer to the bridge) and slide down to position as the sound is
produced.
For example, a Zhu 9 would mean pressing the string at certain
distance higher than 9 (7.9 is acceptable), pluck as the left
finger slides down to 9 and hold.
拖 Advance. From a pressed note, move up one note (on the
Jin4 pentatonic scale) while ensuring an audible volume after the
transition.
退 Retreat. From a pressed note, move down one note (on the
Tui4 pentatonic scale) while ensuring an audible volume after the
transition.
復 “Return”. From a previous advance or retreat movement, return back
Fu4 to original pressed note position. Advance-return can be written
together as and retreat-return as .
Glissando Tempo Descriptors

4
These multi-step slides require familiarity of the pentatonic scale and its corresponding positions
represented on each string.
17
Standards for the Guqin
 急 “hurriedly, quickly”.
Ji2
緩 “unhurried, slowly”.
Huan3
連 “Legato, connected”.
Lian2
滸 After playing a pressed note, pause briefly and glide up lightly
hu3 several positions (usually 3 or 4 notes on the pentatonic scale,
but not strictly controlled).
輕 “Lightly”. (piano)
Qing1
重 “Heavily”. (forte)
Zhong4
硬 “Firmly”. Similar to Shang (up), but quicker and should have a
Ying4 firmer remaining sound than after a shang movement.
淌 When playing a shang, push note back down (return to or
Tang3 beyond original position) just before the note drifts out.
Vibratos – Yin (吟)
吟 A small-degree vibrato performed closely around the actual
Yin2 tone (¾ tones or less on the pentatonic scale). Begin by playing
the actual tone, then move slightly back and forth for two to
three revolutions, finishing on the original position. The
movement is described as “in style of reciting a poem”, and the
movement should be rounded, natural (as to human speech),
and gradually decreasing. A graphical representation is
presented below:

绰吟 Perform a chuo in precedence to a pressed note with a yin.

Chao1
Yin2
注吟 Perform a zhu in precedence to a pressed note with a yin.
Zhu4
Yin2
落指吟 Begin to perform the vibrations in the yin movement as soon as
Luo4 the pressed note is being plucked.
Zhi3 Yin2
長吟 “Long yin”. Extend the sound of the pressed note for a longer
Chang2 time (a slower yin).
Yin2
細吟 “Small yin”. The pitch variation is more subtle than a standard
Xi4 Yin2 yin (For example, what was originally ¾ of a tone is now ½ of a
tone).
18
Standards for the Guqin
 急吟 “Hurried yin”. Play with urgency and rushed feeling.
Ji4 Yin2
緩吟 “Unrushed, slow yin”. Play at ease and in a relaxed pace.
Huan3
Yin2
緩急吟 “Unrushed, then hurriedly yin”. Play the note with the yin two
Huan3 times, with the first with an unrushed yin, then the second time
Ji4 Yin2 with a rushed one.

雙吟 “Double yin”. On the same string, play the note and its
Shuang1 accompanying yin twice (in the same manner, unlike Huan-ji
Yin2 yin).
定吟 “Fixed yin”.
Ding4
Yin2
逰吟 “Roaming yin”.
You2
Yin2
往來吟 “Back-forth yin”.
Wang3
Lai2 Yin2

飛吟 “Flying yin”.
Fei1 Yin2
Vibratos – Nao (猱)
猱 A medium-degree vibrato performed only either above or
Nao2 below the actual tone (about 1 note on the pentatonic scale).
Begin by playing the actual tone, then move slightly back and
forth for about four to five revolutions, finishing on the
original position. The movement is described as “like a sloth
climbing a tree”, and the movement should be rounded and
gradually decreasing in tone variation. A graphic
representation is presented below:

緩猱 “Unhurried nao”.
Huan3
Nao2
急猱 “Hurried nao”.
Ji4 Nao2
落指猱 Perform the vibrations of nao as soon as the right hand
Luo4 produces the pressed note.
Zhi3
Nao2
19
Standards for the Guqin
 撞猱 Perform a zhuang (See next section) followed by a nao (without
Zhuang4 striking a tone on the right-hand again after the zhuang).
Nao2
蕩猱 “Wavy nao”. A deliberate yet natural nao, similar to objects
Dang4 yielding to the wind or splash waves from a stone thrown into
Nao2 a pond.
Abrupt Portamento and Vibrato
撞 “To collide (or bump)”. Perform a rapid zhuo after obtaining a
Zhuang4 sound with the right hand lightly above the original intended
pitch, then rapidly return to original position with a firm
movement. The result is 1 actual tone, followed by 2 empty
tones.

虛撞 “Empty zhuang”. After playing a pressed note, go up or down

Xu1 (shang, xia) 1 tone (on the pentatonic scale), then perform a
Zhuang4 zhuang. Because the right hand did not play immediately
before the zhuang part, the note should be an empty one.
逗 “To provoke”, “To skilfully vie for (something)”. Move 0.1 to
Dou4 0.2 of a tone up before actually plucking with the right hand,
then after obtaining the sound, continue firmly moving
upwards, followed by a quick, empty fall back to the original
intended tone position. The note should not be played too
heavily in order to prevent a convoluted sound. The result is 1
tone slightly higher than intended (produced by the right
hand) merged into an empty tone (the actual pitch).

使 Assuming that a previous pressed note was played, perform a

Shi3 zhuo* followed by a yin (as below) or nao. Then perform a
zhuang from the raised position back to the original sound. This
move is different from xu-zhuang and dou because the right
hand does not play immediately before this movement. Make
sure that this movement is played continuously and very
smoothly. The diagram below will attempt to explain the
movement:

20
Standards for the Guqin
 * Up to this point, it is similar to xu-zhuang.
喚 After obtaining the pressed note, move slightly upwards, then
Huan4 quickly down past the original pitch by about another 1 or 2
positions in a firm manner, then return to original position in a
hollow manner. The movement should be light-hearted, as it
resembles “a swan calling for rain”.

Left Hand Finger Replacement Techniques

起 “To rise up”. General term that can be further defined, but
Qi3 otherwise lifting up the left finger pressing on string. Other
definitions include: Qia-qi, Dui-qi, Zhuo-qi, Dai-qi, Pié-qi, Tong-qi
掐起 Pick-up, lit. “hold/gather up” While the thumb is pressing on a
Qia1 Qi3 previously mentioned position, the ring finger presses onto the
movement’s indicated position, then the thumb removes itself
from the string in a diagonal direction, while slightly
dragging the string to produce a lower pressed note (the pitch
is whatever the location the ring finger is on).
對起 Similar to Qia-qi, but the first note (the note involving the left
Dui4 Qi3 thumb’s position) involves the right hand playing the string,
while Qia-qi does not. Modern scores use this and Qia-qi
interchangeably.
爪起 “To hook up”. Remove thumb from pressed string by slightly
Zhua3 arching it inwards (a clawing manoeuvre), pulling the string
Qi3 slightly backwards, then lift up, producing one open note.
帶起 “To bring up”. Remove ring finger from pressed string by
Dai4 Qi3 slightly pulling string backwards and lift up, producing one
open note.
撇起 After obtaining the pressed note (with the left thumb), perform
Pie2 Qi3 a zhuo, then lift up the thumb in a diagonal direction,
producing an open note in the process. This move is now
obsolete, as modern pieces use zhuo-qi in replacement.
放 Release. Similar to 帶起, produces one open note. Difference is

方 Fang4 in the hand movement: instead of going upwards away from

the instrument, the hand moves directly towards the next
pressed position (on a different string).

21
Standards for the Guqin
 放合 From a previous pressed note, jump onto the next string,
Fang4 position, and right finger movement mentioned by plucking
He2 this next note while simultaneously releasing the previous
string. Produces one sound that should be harmonious or
matching.
同聲 The two previously mentioned notes/movements should be
Tong2 played simultaneously, producing one sound.
Sheng1
同起 Similar to above, except applied to one plucked string, while
Tong2 another one (the formerly pressed string) is being brought up,
Qi3 producing one sound together.
推出 “To push out”. Using indicated left finger (usually middle),
Tui1 push out and release string, producing one open note.
Chu1
應合 After playing a certain stopped note, slide up or down to
Ying1 match with the sound that is produced from an open note
He2 recorded before this symbol.
(e.g. A sound at 10th hui on the fourth string, then slides up to
the 9th hui just as an open seventh string is played.)
分開 “To divide apart”. Play the previously noted compound note
Fen1 separated, by playing the first sound, perform a , then play
Kai1 the remaining note.
Left-Hand Notes
罨/掩 “To cover”. Assuming that a previous note was a pressed note,
Yan3 using the indicated left hand finger, strike down and hold onto
the indicated string (likely the same one) and position,
producing one sound.
虛罨 “Empty cover”. Similar to the above, only that a pressed note
Xu1 was not previously played. The left finger would have to
Yan3 produce one sound from relying solely on striking the string,
instead of altering a previous tone.
虛按 After obtaining a certain sound (assuming open string), lightly
Xu1 An4 press on the marked position as if playing a harmonic (which
will restrain the sound), then remove finger.
Tempo & Rhythm Modifiers
緊﹐慢 “Tighten” and “Slacken”, respectively. (Used for string tuning)
、
Jin3
man4
句號 Footstop. End of a musical phrase.
。 Ju4 Hao4
入拍 Play according to rhythm. (On beat, alla tempo)
Ru4 Pai1
入慢 Play section, slowed down. (Ritardando)
Ru4
Man4

22
Standards for the Guqin
 入殺 Play broadly, declaratively while hushing any drifting tones.
入 Ru4 (Marcato)
杀 Sha1
再作 “(Perform) again”. Repeat bracketed/implied section once
, Zai4 more, totalling two times.
Zuo4
二作 “(perform) again two times”. Repeat bracketed/implied section
Er4 Zuo4 twice more, totalling three times.
從頭再作 Repeat from start. This is similar to the Western “Da Capo”. If
Cong2 in middle of a piece, refer to the start of the section instead of
Tou2 the whole piece.
Zai4
Zuo4
從『再作 Repeat from (open quotation symbol). This is similar to the
Cong2 Western “Dal Signo”.
(symbol)
Zai 4
Zuo 4
少息 A brief pause.
Shaao1
Xi1
大息 A longer pause.
Da4 Xi1
不動 (Left hand) immobile. Keep left hand on string and position in
Bu2 preparation for a note on the same position further down in the
Dong4 piece.
曲終 End of piece.
Qu3
Zhong1

23
Standards for the Guqin
 Tuning
Past and Present Standards
The guqin is tuned in absolute pitch when playing in harmony with another
instrument or a group of instruments, but is not confined to this during solo play. In
replacement of practicing scales on other instruments, tuning and string position would
be a rough equivalent to technical exercises for a guqin student in addition to fingering
techniques.
For students who are uncertain of their aural capabilities in determining if two
given strings are producing the same pitch, purchasing a guitar tuner with automatic
pitch detection may help. However, due to the era and nature of the instrument’s
original design, the tuner’s tuning technically is slightly off from the traditional Chinese
pentatonic scale system (albeit only a small difference of several Hertz).
In the past, the guqin had five strings, named “gong(宮), shang(商), jue(角), zi(徵),
yu( 羽 )” respectively. The scale began with the open note of the first string. With the
standardization of the seven-stringed zither and its plethora of tuning variations, a
debate for which is the 'standard tuning' sparked up, with some musicologists arguing
for the first string as the basis of the scale, while others on the third string.
According to our current standard tuning, should the first string be tuned as C,
the open notes of the seven strings would be CDFGAcd, and conventions would
indicate that the scale begins on the third string (on F pitch). In other words, the scale is
sung "so-la-do-re-mi-so-la" or 5612356.
In retrospect, the first-string tonic system would mean that in order to fit with
the standard pentatonic scale (do-re-mi-so-la, or 12356), the strings must be tuned to
CDEGACD, or lowering the third string by one semitone (one 'lü'), so that the tonic or
gong string would be on the
FYI: What pitch is “1”? A historical issue
first instead of the third.
The tonic string usually Huangzhong is the standard for the scale in Chinese music, and
can be conveniently identified the exact pitch of this note varies per dynasty (It was deemed ritual for
on the guqin by a stopped note the first emperor of each dynasty to set it, actually).
By the end of the Qing Dynasty and the prevalence of Western
on the 11th hui matching with music standards in China, the more developed Western music theory
the open tone 2 strings down standards have already been taken in as common ground for the
(otherwise expressed as “1 international community. As a means of allowing common ground in the
string in the middle”). sharing and discourse of music and music theory, Chinese musicians
have decided to relate Huangzhong with the modern C. Once that was
Nonetheless, the effects from set, the 12 tones of an octave could then be interrelated one by one. The
the old belief in the “first string modern interrelations are:
as ‘gong’” lingered onto the
classification of pieces and in C (黃鐘 Huangzhong), #C (大呂 Dalü), D (太簇 Taicu),
certain older tuning systems. #D (夾鐘 Jiazhong), E (姑洗 Guxian), F (仲呂 Zhonglü),
#F (蕤賓 Ruibin), G (林鐘 Linzhong), #G (夷則 Yize),
A (南呂 Nanlü), #A (無射 Wuyi), B (應鐘 Yingzhong)

24
Standards for the Guqin
Standard Tuning - Setting

Guqin strings are tuned in consecutive order of the pentatonic scale, one tone at a
time, unlike most Western stringed instruments, which are tuned by dominants (one
string is 5 whole tones up or down from the next/previous one). This results in many
recurring pitches in harmonics and stopped notes. The diagram below clearly shows the
positions of all similar harmonic notes on the instrument. Note that there is always (at
least) one set of harmonics in any given tuning that will not match.

To set the modern standard tuning, use a tuner to set either the first string as C
or the third string as F (This is optional if you are unable to tighten a certain string any
higher, but if this happens on a new instrument, that string should be restrung. Older
instruments with aged, unchanged strings should be tuned lower to avoid breaking).
Tuning pieces, beginner etudes, or simply set lines all work around the principle
of using a single string as standard, then compare with an equivalent pitch (on a
different string). Since any position is considered “correct” once a standard is set on a
string, one is given many choices on which other string to compare.
For example, if the first string is set, one can compare its 4th/10th harmonic with
the third string’s 5th/9th harmonic, or the 7th harmonic of the fourth string. Varying these
alternatives, one way (of many) to tune all seven strings is shown below, starting from
the 9th harmonic of the first string:

1st string 9th marker (Standard) = 4th string 7th marker (tune this string)
4th string 9th marker = 2nd string 10th marker (OR 7th string 7th marker)
2nd string 9th marker = 5th string 7th marker…

The pattern is variations of two sets of positions that have equivalent pitch,
which are the 9th/10th (5th/4th) harmonics and the 9th(4th)/7th harmonics, while avoiding
the exception pair. Cross-check into pairs that have been checked before in the tuning
session after coming halfway through the cycle – you may find that somewhere during
the tuning process, a pair may have led the whole gamut up to a whole tone higher.

25
Standards for the Guqin
 When listening to the two sounds being played consecutively, here is a mental
checklist:
- Which strings am I playing? Which one is the “standard”?
- Did I play the “standard” note first? Last?
- Is the standard note higher than the other note? Lower? By how much?
- Did I find the corresponding knob on the right for the string, and turned it
accordingly? (About 1 twist per semitone, may vary per instrument)
- Do the strings sound the same? Am I playing on the right position
- Move on to the next set.
- Crosschecking (Playing a pair that has already been tested again) is good!

On Wai-diao (External Tunings) – System & Nomenclature

Guqin tunings are named in various ways, either by key (such as the standard
tuning also named Zhonglü, the Chinese name for the tone equivalent to the Western F),
by indicating which strings are altered (in comparison to standard tuning), by historical
aspects, or by poetic or emotional descriptors.
There are also two systems for classifying external tunings. There are cyclical
tunings, utilizing the circle of fifths to change the location of gong or tonic sound; and
irregular tunings that do not follow this pattern.
Keeping in mind that the guqin’s strings are not pitch-specific, the role of each
string is free to interpretation as to what pitch and part of scale it is. Say in the standard
tuning, it is said that F on the third string is the gong/tonic of this scale, since this
arrangement is laid out to suggest the FGAcd part – a complete pentatonic scale. Should
we choose to have the first string as gong, we can lower the 3rd string by one lü to make
the scale CDEGAcd, with the first five notes suggesting the pentatonic scale.
A chart can clearly explain the variations that can be done on the seven strings:

Gong/tonic # Mode (key) Name / Tuning Name Strings altered

1 /6 string
st th
大呂均 Dalü Mode (#C #D F #G #A #c #d) ‘ +1,2,4,5,6,7
(黃鐘調 Huangzhong Tuning)
4th string 夷則均 Yize Mode (C #D F #G #A c #d) * +2,4,5,7
泉鳴調 Chuanming Tuning, 夷則調 Yize Tuning, 慢宮調 Mangong Tuning
2nd/7th string 姑洗均 Guxian Mode (C #D F G #A c #d) ^ +2,5,7
清商調 Qingshang Tuning, 姑洗調 Guxian Tuning, 夾鐘調 Jiazhong Tuning
5th string 無射均 Wuyi Mode (C D F G #A c d) “ +5, one lü
蕤賓調 Ruibin Tuning, 金羽調 Jinyu Tuning, 清羽調 Qingyu Tuning
3rd string 仲呂均 Zhonglü Mode (CDFGAcd) --------
正調 Standard Tuning
1st/6th string 黃鐘均 Huangzhong Mode (C D E G A c d) ‘ -3, one lü
慢角調 Manjue Tuning
4th string 林鐘均 Linzhong Mode (‘B D E G A B d) * -1,3,6
泉鳴調 Chuanming Tuning, 夷則調 Yize Tuning, 慢宮調 Mangong Tuning
2nd/7th string 太簇均 Taicu Mode (‘B D E bG A B d) ^ -1,3,4,6
清商調 Qingshang Tuning, 姑洗調 Guxian Tuning, 夾鐘調 Jiazhong Tuning
5th string 南呂均 Nanlü Mode (‘B bD E bG A B bd) “ -1,2,3,4,6,7
蕤賓調 Ruibin Tuning, 金羽調 Jinyu Tuning, 清羽調 Qingyu Tuning

26
Standards for the Guqin
 * The tuning methods marked by the symbol parings sound the same, should the tonic be unspecific in
pitch.

It becomes clear that doing a perfect transition based on the circle of fifths allow
only certain variations on the instrument. Hence guqin players have intentionally
omitted the changing of certain strings during a certain transition to provide an
‘accidental’ key, and acts somewhat similar to a minor key in Western music. The
following is an exhaustive chart of these irregular variations used:

Gong Tuning Name Strings changed Missing string from

string closest perfect tuning
1st 慢商調 Manshang Tuning (C C F G A c d) -2 two lü 2nd by 2 lü to standard
1st/5th 黃鐘調 Huangzhong Tuning +5 one lü, 1st by 3 lü to Ruibin
無射調 Wuyi Tuning -1 two lü
復古調 Fugu Tuning (‘bB D F G bB c d)
5th 淒涼調 Qiliang Tuning +2,5 one lü 7th by 1 lü to Qingshang on
楚商調 Chushang Tuning (C #D F G #A c d) Guxian Mode

2nd/7th 碧玉調 Biyu Tuning (B D F F A B d) -1,4,6 one lü 3rd by 2 lü to Qingshang on

+3 ½ lü, match 4th. Taicu Mode
4th or 無媒調 Wumei Tuning -3,6 one lü 1st by 1 lü to Chuanming
1st 慢角調 Manjue Tuning (C D E G A B d)
1 /6
st th 間弦調 Jianxian Tuning (C D E G bB c d) +5 one lü 3rd by 1 lü to Ruibin, or 5th
–3 one lü by 1 lü to Huangzhong Mode
1st/5th 離憂調 Liyou Tuning (‘bB C F G bB c d) +5 one lü 1st and 2nd to Ruibin
-1,2 two lü
3rd 玉女調 Yunü Tuning (‘B D E G A c d) -1,3 one lü 1st to (Huangzhong Mode)
2nd/7th 側商調 Zeshang Tuning (C D E #F A B d) -4 one lü 1st to Qingshang on Taicu
-3,6 two lü Mode
or 1st
By now, it becomes apparent that the names have become somewhat confusing –
while the names of tunings and modes sound similar (e.g. “Huangzhong Tuning”
versus “Huangzhong mode”), they are completely different in sound. As for why and
how guqin tuning names have become so nondescript to its mode or even
musicologically misleading, additional reading has been provided on the next page.
Despite the confusing nature of the guqin tuning system’s nomenclature, the
belief in maintaining tradition and the effort required in restructuring all classical texts
from the last half-millennia makes the reorganizing and re-standardization of tuning
names impractical. Hence, it is important for the guqin player to understand the origins
and effects of this effect, and that one does not confuse the standards of “Tuning” with
“Mode”.

For the Advanced Musician and Amateur Musicologist

You probably may have realized that some pitches on certain strings don’t exactly sound right when
compared to, say, an electric tuner or piano – even when the fifth string is tuned to a perfect A. You
may also know that this is because the strings are not tuned using equal temperament, but another
form of musical temper known as Pythagorean temperament, which calculates the twelve sounds of
an octave by dividing, subtracting, and adding frequencies and finding its perfect third, fourth, fifth,
and sevenths. That’s why in Chinese, this tonal system is called “三分損益律” (San-fen-Sun-Yi-Lü,
“Thrice-divide, Subtract, and Add Temperament”).

27
Compared to equal temperament used in modern Western music, certain notes are off by several half-
Standards
steps for of
(fractions thea Guqin
semitone).
Further Reading FYI: Translated Text
“Ruibin Tuning: A Misplaced Name for the Tightened 5th String Tuning”, by Nanfeng (Chen Lei, 2005)

“Wuyi mode tuning” refers to a tuning with the seven strings tuned to Huangzhong, Taicu, Zhonglü, Linzhong, Wuyi, Qing-
Huangzhong pitches (equivalent to the modern C,D,F,G,A#,c,d), and is named so because of the Wuyi (#A or bB) on its fifth
string as the Gong (tonic) sound. Wuyi mode tuning has many other names in guqin history, such as “Ruibin(蕤賓) tuning”,
“Zhonglü (仲呂) tuning”, “Zhi (徵) tuning”, “Jinyu (金羽, golden yu) tuning”, “Qingyu (清羽) tuning”, et cetera. This essay
will attempt to investigate the legitimacy of these aliases.
Using the word yun (均) after the twelve tones’ (十二律,lü) actual name is a relatively reasonable method in
identifying and naming the untransposed mode. The ‘scientific’ aspect of this nomenclature is that the name contains the
name of the mode’s pitch, allowing the reader to directly relate the name to its pitch. But “Wuyi mode tuning (with its tonic
pitch at Bb)” being called “Ruibin Diao/Tuning”, “Zhonglü Tuning” etcetera not only cannot show where the pitch is, but
can also cause misunderstanding to the person reading the score, thinking that the tuning is in a Ruibin (#F) or Zhonglü (F)
key or mode. What’s more important, is that when the tuning is used to explain the interpretation of the pitch and the
transpositions of the guqin pieces, these alternative names or aliases become even more difficult to explain themselves.
Here are two examples: In Zha Fuxi’s Dongting Qiusi (In Vol.III of the Classic Guqin recordings), although the
strings are set to Zhonglü mode tuning (CDFGAcd), the melody in the first section did not use the F mode (a la tonic/gong
on 3rd string, 1=F), but is actually side-transposed to Linzhong mode (tonic/gong on 4th string, 1=G) in performance. The
second section then shifts to Wuyi mode (1=bB). Or, in Wuxue-Shanfang Qinpu’s Bijian LiuQuan (Flowing Stream of an
Azure Creek, 碧澗流泉), although it says the strings are set to “Zhonglü mode tuning”, the 6th section is actually a side-
transposition to Huangzhong (C) mode, and the one after that onto Wuyi (bB) mode. If we don’t use “Huangzhong
Yun/mode”, “Wuyi Yun” and so forth proper mode nomenclature, not only will we confuse ourselves with modal names’
relations with the piece itself, we can’t even say much for the functionality of traditional jargon to explain modality, and
students won’t even know where to begin to learn about pieces and their mode transpositions. “Ruibin Tuning, Zhi
tuning…” and other names cannot properly and clearly describe these guqin pieces’ modality changes.
The first five names in the Gong, Shang, Jue, Zhi, Yu, Wen, Wu (宫、商、角、徵、羽、文、武)reference refers
to the order of the guqin strings (In similitude to jia, yi, bing, ding, wu 甲乙丙丁戊 used for order of precedence in
Chinese), and not the pitches (i.e. “Do, Re, Mi, So La”). This reason works well for explaining tunings such as “Manshang
Tuning 慢商調” (lit. Loosen-Shang Tuning), in which the 2nd string (Shang) is loosened two semitones (or in proper
Chinese terminology, lü). As for “Wuyi mode tuning” being called “Ruibin Tuning”, “Zhonglü Tuning”, “Zhi Tuning” etc., it
does not share similar reasons.
Wuyi mode tuning being named as “Zhi Diao/Tuning” originated with Wang Tan’s thesis Qinzhi in the Qing
Dynasty, where he used the third string as basis of all tunings’ names. Since Zhonglü (F) mode’s tonic (Gong) is on the third
string, it is called “Gong Tuning”. In Huangzhong mode tuning, the third string is a mediant (Jue), it is called “Jue Tuning”.
As for Wuyi, the third string is the dominant (Zhi), hence named “Zhi Tuning”. But in reality, Guxian (E) and Zhonglü
mode’s third string are both tonics, so they should be in theory both called “Gong Tunings”. This obviously is unreasonable,
and is easily mixed up with other modes – too casual of an arrangement.
Wuyi mode tuning being named as “Zhonglü Tuning” originated from Wang Binlu of the Zhucheng school, who
suggested that the third string of the guqin in standard tuning should be Huangzhong (C), and the fifth string after tightening
would be Zhonglü (F), hence the name. This is because the starting point of the mode itself is different, therefore it has no
tradition nor reasonable logic backing it.
As for the other two names “Jinyu Tuning” and “Qingyu Tuning”, it is probable that because it is tightening the
Yu (5th) string, the words “Jin1 金” and “Qing1 清” were passed down (as a mistake, or perhaps to beautify) instead of the
original word “to tighten (緊,jin3)”, a close homonym to the two.
If the reason why Wuyi mode tuning being called “Zhonglü Tuning” because the starting point is different is still excusable,
then because “Ruibin Tuning”’s name has absolutely no relationship with the Ruibin (#F) pitch, it is absolutely unprovable.
As for the name “Ruibin Tuning”, Xilutang Qintong in the Ming Dynasty gives a point of view: “Taking the Zhonglü string
and tightening the 5th, letting its 11th hui match the (open) seventh, is what we call Ruibin Diao today. The Ruibin (tuning)
actually has its own proper modality, and by (calling) Wuyi as Ruibin, is just a common (俗, can also be interpreted as
‘vulgar’) name.”
The Chinese Music Dictionary contains a precise definition on the issue of improper naming of modes with other
pitch names: “[The issue is caused by the reasons of] Having a different starting point for Gongshang or modes, in addition
to improper passing down of tradition. For example tightening the fifth string being called “Qingyu Diao”, “Jinyu Diao”, or
“Ruibin Diao” and so forth.”
Using the names of pitches that cannot describe the mode’s actual modality makes the name no more than just a
decoration, and is suspect of being ‘dilettante’.

28
Standards for the Guqin
 A Brief on the late 20th, early 21st
Century Culture of Guqin

Since UNESCO’s recognition of the music as a piece of Cultural or Intangible

Heritage in 2003, the instrument has gone through a worldwide fad for learning this
once elite practice closely related to personal refinement and transcendence. Despite the
official narrative claiming that the number of guqin players are constantly on the
decline (such as during the Opening Ceremonies of the XXIX Olympiad in Beijing 2008,
reporters were given statistics that less than 50 players remain), a new generation of
young cultural enthusiasts and students are keeping the torch alive, if not burning
brighter with new innovations and research results.
The Internet is the key source of general information, new theories, and
intercourse between the global communities of players, who have organized themselves
in major cities to share their music and insights with fellow players. The Internet has
also allowed easier access to the older archives stored in libraries around the world to
be widely available for audience and researchers alike.
There were various attempts on the digitization of Guqin tablature, but no
widely recognizable consumer-based program is available. CAD-edited prints or
scanned hand-copies, coupled with a five-line or number-staff are still the standard
today.
Toronto is one of the four most active
guqin communities in North America,
sharing the buzz with San Francisco, New
York, and Vancouver. Other active
communities outside the Chinese
geographical area include England, Spain,
Germany, and Singapore.
Guqin is also often related to the recent
Hanfu Restoration Movement since 2003, as
advocates for proper traditional (Han)
Chinese dress promote themselves with
demonstrations and practice of the Four Scholarly Arts, the first of which is this
instrument. Increasingly during elegant gatherings people are witnessing participants
are coming in the traditional y-shaped collar and wide sleeves of the scholarly robe and
the tall caps, and sought to promote the Chinese as a wide and accepting culture, while
maintaining a 5,000-year old tradition of the Mean/Middle Way.

29
Standards for the Guqin
Reading List
Guqin players are often trained under the guidance of teachers and a textbook of the
said tradition, but since the advent of communications technologies and
institutionalized curricula, players have sought for learning from different schools and
styles, as well share ideas on music and musicological findings. Thanks to research
efforts in China, Hong Kong, Taiwan and the United States, much modern scholarship
provide detailed aspects for further research into musicology, aesthetics, and more.

Essential Scorebooks:
 Zhongguo Yishu Yanjiuyuan Yinyue Yanjiusuo & Beijing Guqin Yanjiuhui. 古琴
曲集 Guqin Quji, Vol.1&2. Renmin Yinyue Chubanshe. ISBN 7-103-01170 & 7-
103-01171.

Scholarly Work on Manuscripts and Handbooks:

 唐建垣 Tong Kin-woon (Tang Jianyuan). 琴府 Qin Fu, Vol.1 & 2. Taipei.
 Beijing Guqin Yanjiuhui & Wenhuabu Wenxue Yishu Yanjiuyuan Yinyue
Yanjiusuo. 琴曲集成 Qinqu Jicheng, Vol.1-14, 16-17. Beijing/Shanghai Zhonghua
Shuju Chubanshe. 1981.
 Lieberman, Frederic (transl.). Chinese Zither Tutor - Mei-an Ch'in-p'u. Hong
Kong University Press. 1991. ISBN 978-962-209-042-2.
 Binkley, James (transl.). Abiding Antiquity: Translations from the Yu-ku-chai-
ch’in-pu 與古齋琴譜. Lulu.com, 2006. ISBN 978-1-4303-0346-6

On Dapu and Aesthetics:

 Yung, Bell. Celestial Airs of Antiquity, Music of the Seven-String Zither of China,
Madison, A-R Editions. 1996.
 Yung, Bell. Da Pu: The Recreative Process for the Music of the Seven-string
Zither in Music and Context: Essays in Honor of John Ward ed. Anne Dhu
Shapiro, Music Department, Harvard University, pp. 370-384.

Sources in Chinese
 葉明媚 Yip Mingmei. 古琴音樂藝術 Guqin Yinyue Yishu. Commercial Press,
Hong Kong. 1991. ISBN 9620741447
 顧梅羹 Gu Meigeng. 琴學備要 Qinxue Beiyao. Shanghai Yinyue, 2003.
 成公亮 Cheng Gongliang. 是曲不知所從起-成公亮打譜集 Shiqu Buzhi Suocong Qi
– Cheng Gongliang Dapu Ji. Shuzhizhai Publications, 2005. ISBN 988987392-3.
 姚丙炎 Yao Bingyan. 琴曲鉤沉 Qinqu Gouchen. Shuzhizhai Publications, 2007.
ISBN 9789889873936

30
Standards for the Guqin
 A Preface to the Repertoire

31
Standards for the Guqin
 On the tablature interpretation
process – Dapu

32
Standards for the Guqin
 Repertoire A
♫
Standard Tuning Etudes

Xianweng Cao
Jiu Kuang
Guan Shan Yue
Liu Shang

33
Standards for the Guqin
Xianweng Cao

Xianweng
traditionally the
Cao is
introduction
仙
翁
piece to a guqin student, after
having learned basic left and
right hand movements mo 抹 ,
tiao 挑 , gou 勾 , ti 剔 for the right
hand, and pressing properly

操
with the thumb and ring finger
on the left hand along with
simple slides and a pickup (Qia-
qi 掐起).
Melodically, the piece
serves two purposes: The A figure of an old fisherman, found in
Toronto’s Chinatown.
student learns the pattern of Photo by the author, 2005.
positions on adjacent strings that
give perfect unison pitches; and from such, to correct the strings by tuning and cross-checking
using this piece.
Literally “Etude of the Transcendent Venerable One”, the piece got its name from the
continual matching tones sounding similar to the words “Xian Weng”. This piece also related to
the story of a famous Daoist named Chen Chuan, who was known to hide in the deep
mountains, away from strife and chaos in the world, and sleep for hundreds of years. However,
given the nature of the piece’s composition and arrangement, it is not to be classified as a Daoist
musical piece.

34
Standards for the Guqin
Jiu Kuang
In modern tutelage of
the guqin, Drunken Madness
has become an ubiquitous
酒
piece shared by all schools

狂
and generations.

Wine goblets c.a. Eastern-Zhou

Dynasty, on display at the Royal
Ontario Museum.
Photo by the author, 2006.

35
Standards for the Guqin
Guanshan Yue

36
Standards for the Guqin
Liu Shang

37
Standards for the Guqin
 Repertoire B
♫
Non-Standard Tuning Etudes

Qiu Feng Ce
Yang Guan San Die
Hua Xu Yin

38
Standards for the Guqin
 Repertoire C
♫
Standard Tuning Pieces

Gu Feng Cao
Yu Qiao Wen Da
Kong Zi Du Yi
Ping Sha Luo Yan
Song Xia Guan Tao

39
Standards for the Guqin
Gufeng Cao
The Etude to the Style of Antiquity first appeared in the Ming
Dynasty manuscript Shenqi Mipu (1421) under the Taigu Shenpin
collection of pre-Song Dynasty pieces.
古
風
操

Coming-of-age ceremony organized by

HanfuTor, at CPAC Huaxia Festival,
Toronto, Aug. 2008.
Photo taken by the author.

40
Standards for the Guqin
 1. Can be played as (ring finger @ outside, mo 4th ; [assume same LH, RH mvt.] 2nd)
2. Originally (thumb @ 11th, da 1st; three-advance-to 8th retreat between 9th/10th to-”
3. Originally (Cuo ring @ 12th on 2nd string/thumb @ 10th on 4th string), actually a misprint.

41
Standards for the Guqin
  The compiler adds this when performing. Originally no such mark existed.
4. Originally (Ring @ 12th Juan 1st string TO 3rd string), deemed as a misprint of oversimplification, and has been changed to
this.

42
Standards for the Guqin
  The compiler adds this in performance. Originally no such mark existed.
7. Originally 6th hui, probably a misprint.
8. Originally 7th hui.
43
Standards for the Guqin
 9. Can be played separate as (Index @ 7th Gou 1st string; thumb @ 7th Mo 3rd string)

Yuqiao Wenda

44
Standards for the Guqin
Kongzi Duyi

45
Standards for the Guqin
Pingsha Luoyan

46
Standards for the Guqin
Songxia Guantao
From Yanlulou Qinpu (1766)

松
下
觀
濤

47
Standards for the Guqin
 Repertoire D
♫
Non-Standard Tuning Pieces

Li Sao
Qiu Xiao Bu Yue
Gu Zhu Jun

48
Standards for the Guqin
 Li Sao

49
Standards for the Guqin
 Qiuxiao Buyue

50
Standards for the Guqin
 Guzhu Jun

51
Standards for the Guqin
 Sources Referred

Gu Meigeng. Qinxue Beiyao. Shanghai Yinyue Chubanshe (Shanghai Music

Publishers), 2003.
Zhang Huaying. Gu Qin (part of series). Jiejiang Renmin Chubanshe (Jiejiang
People’s Publishers), 2005.
Huang, Charlie et al. Guqin (Wikipedia), http://en.wikipedia.org/wiki/Guqin
Chen Lei (Nanfeng). Ruibin Diao: A misplaced name for the tightened 5th string
tuning (Chinese). Posted on Chineseguqin.com forums 2005.
Thompson, John. John Thompson & Guqin Silk String Zither. http://silkqin.com
Binkley, Jim. Yu-ku-cha’i-ch’in-pu English Translation.
http://www.cs.pdx.edu/~jrb/chin/

Wang Zhi. Xilutang Qintong (reprinted in Qinqu Jicheng, Vol.3). Beijing Guqin
Yanjiu Association. 1549, 1982.

52
Standards for the Guqin