Japanese qin players have produced numerous handbooks over the years. Most of the important early ones are mentioned in Guqin Handbooks Published in Japan巨臀 波多黎各 女神， with some information on later ones also given on that page. Included in Qinqu Jicheng Volume XII are reprints of three of the most important handbooks. All are said to contain the music passed down by 蔣興疇 Jiang Xingchou (1639-1695)， who arrived in Japan from Hangzhou in 1676. There， as the monk 心越 Shin-etsu， he became the source of virtually all the qin music played in Japan until the 20th century (the fact that the actual music survived only in handbooks that survive from after he died perhaps led to the inclusion of some extra pieces).
The three Japanese handbooks published in QQJC XII (with 38+4+8 = 50 distinct pieces) are as follows:
和文注音琴譜 Hewen Zhu(yin) Qinpu (Wabun Chuyin Kinpu)， <1676 (38 pieces; Appendix I) &東皋琴譜 Donggao Qinpu (Toko Kinpu)， 1709? 明和本 Meiwa period edition (1772) by 鈴木龍 Suzuki Ryu (Appendix II) 15 melodies， all with lyrics; 4 of them were not in 1676; 大原止郎本 Ohara Shiro (?) edition (1898) based on one by 仁木斯祐 Niki Siko (Renmu Siyou) (Appendix III) 35 melodies， all with lyrics; 8 were not in either 1676 or 1709
Until 2016 my work on qin melodies in Japan was confined to the above volumes. However， in 2016 I acquired information about two other important sources:
The Correct Toko Kinpu Published in Japan in 2001 as a limited edition of 50 copies， then re-published in a facsimile Chinese edition in China in 2016， this is a reconstructed version of what was apparently the most complete handbook of the repertoire of Jiang Xingchou (Toko Etsu; Shin-Etsu) after he arrived in Japan in 1676. As such it has information that is particularly important in trying to determine which melodies he actually brought to Japan， which ones he revised or otherwise added after arriving there， and which came later. It should be emphasized that this is an ongoing process， and quite likely there are errors here on these matters.3
Gyokudo Collection Qin Handbook Gyokudo Uragami (1745-1820) apparently studied the above tradition but then developed an entirely different repertoire. Details of this are presented on a separate page.
The music in those two handbooks are dicussed separately. Meanwhile， the present page outlines the contents of the three handbooks published in Volume XII of Qinqu Jicheng; this should then be compared against the details in the "Correct Toko Kinpu".
Because the three handbooks have considerable overlap in content， these contents are given here as three appendices on a single page rather than separately. 巨臀 波多黎各 女神-------------------------------------------------------
Appendix I
Wabun Chuin Kinpu (?; <1676?) 和文注音琴譜 Hewen Zhu(yin) Qinpu Qinqu Jicheng， Vol. XII/167 - 241 "Qin Handbook with Lyrics having Japanese Pronunciation"
38 melodies (34-1st); all with lyrics， hence the title. Except for the Fusang cao， these were intended to represent the melodies 蔣興疇 Jiang Xingchou took from Hangzhou to Japan in 1676， though the fact that it survives only in an edition apparently compiled some years after his arrival in Japan has perhaps led to the inclusion of some extra pieces that Jiang either created or wrote down after his arrival. In Japan， as the monk 心越 Shin-etsu (and other names)， Jiang taught many students. Many handbooks following the Shin-Etsu tradition were published later in Japan， generally with the title Toko Kinpu.
The volume used for QQJC， now in the Shanghai Library， was brought from Japan to China around 1900 by Zhou Qingyun. In his QSCM (#321) Zhou Qingyun writes that the book， which he calls 和文注琴譜 Hewen Zhu Qinpu， is a hand copy said at one time to have been in 桂川家藏 the collection of the Katsuragawa family.4 He adds that 每譜前有桂川家藏印記 in front of each melody was the Katsuragawa family seal. The copy in QQJC has the seal marks only in front of a few of these.5 This brings up the question of whether Zhou may have made his own copy， or had someone make a copy， from the original.
Based on the information in Yang (p.59 & 62)， of the versions he examined the one closest to Hewen Zhuyin Qinpu (which Yang refers to as Hewen Zhu Qinpu) seems to have been based initially on a third edition of Katsuragawa， "compiled by Kojima Hyaku’ichi 兒島百一 (1778‐1835) in early nineteenth century"， with 46 pieces in three volumes. If so， the edition in QQJC was considerably edited， in particularly missing melodies from the latter half of Toko Kinpu Zhengben (referred to below as simply "the Zhengben").
Zha Fuxi in his preface ascribes the date of this collection simply to "before 1676". He also says that it was compiled by the monk Toko Etsu. This must be based on a belief that the melodies were brought to Japan by the Buddhist monk Jiang Xingchou when he arrived there from Hangzhou in 1676; in Japan he was known as Toko Etsu (also other names).
However， as the QQJC preface itself points out， in this handbook most of the melodies have indications that either Shin-Etsu himself or one of his students revised them.6 In addition， the handbook itself labels two of the melodies (#34 and #35) as 扶桑操 Fusang Cao， Japanese melodies (Fusang was an old name for Japan).7
The evidence suggesting that many of these melodies were at that time actively played in China is largely circumstantial. Although very few of them can be found in handbooks published in China， there were probably many qin songs that were sung but， though perhaps hand-copied， never published. And before Jiang Xingchou arrived in Japan and became Shin-Etsu， he was active as a qin player in both Nanjing and Hangzhou. Nanjing was a center of the so-called Jiang School， which emphasized qin melodies with lyrics.
Cipai (lyrics that use the structures of old ci poems)
Moved; cipai deserve special mention here， as qin handbooks in Japan have many. Zui Weng Cao; qin only (XII/190)
Melodies published in both China and Japan
So far I have found the following connections between the melodies published in Japan and melodies surviving in handbooks produced in China.
Hewen Zhuyin Qinpu has at least four songs with the same lyrics as and a clear melodic connection to pieces surviving in handbooks published in China:
Tiaoxian Runong Gui Qu Lai Ci Xiang Si Qu Gao Shan.
It has seven melodies with the same lyrics as versions published in China， but the melodies seem unrelated (lyrics of the first four are cipai):
Qing Ping Yue (Qing Ping Yue) Lang Tao Sha Zui Weng Cao Chang Xiang Si You Jian Quan Cao Tang Yin (first four of ten sections) Le Ji Yin
It has three with the same titles as melodies published in China， but otherwise there seems to be no connection:
San Cai Yin Fei Qiong Yin Mei Hua
See also Yu Qiao Wenda and Yangguan Sandie below under the Toko Kinpu. Table of Contents for Hewen Zhuyin Qinpu
調絃入弄 Tiaoxian Runong (XII/167; video at Ryoanji Temple Rock Garden， Kyoto， dubbed with music) The original is top right (expanded version); no commentary; version of the beginners' melody aka 操縵引 Caoman Yin and 仙翁操 Xianweng Cao; Music and lyrics unattributed; lyrics begin "得谈仙翁，得谈陳摶仙翁，得谈陳摶仙翁，...." (not sung on video)
Gong Mode (宮音 Gong Yin)
清平樂 Qing Ping Yue (Clear Peaceful Music); subtitle: 七夕 Qi Xi (7th night [of the 7th month]; XII/168) Qing Ping Yue is the name of a 詞牌 cipai with 46 characters (as here: 4，5;7，6. 6，6;6，6). For the version in Japanese handbooks the lyrics ("The magpie bridge forms....") by 孫蒼虬 Sun Cangqiu concern the legend of the cowherd and weaving girl (牛郎織女)， as follows:
鵲橋成了，猶限歡娛少。爭似秦樓瓜菓早，盡向斯時乞巧。 凝眸斗渚迢遙，浮槎定擬今宵。誰識海角此際，教东谈主暗裏魂銷。 (translation)
浪淘沙 Lang Tao Sha (Waves Scouring the Sands); subtitle 懷舊 Huai Jiu (Yearning for the past; XII/169) Zha Guide 32/--/471: 1618 (only VIII/342 [1-string qin] and Japan [same lyrics， different music]). Also transcribed in Wang Di (#30， pp.103) The lyrics by 歐陽修 Ouyang Xiu， in the cipai of this name (structured [5，4;7;7，4.] x 2)， begin
把酒祝東風，且共從容...."
東風齊著力 Dongfeng Qi Zhuo Li (East Winds Work Together; XII/170) Subtitle: 大除夕 Chuye (New Year's Eve) Zha Guide 34/--/502: only in Japan; name of a cipai. Lyrics by the Song dynasty poet 胡浩然 Hu Haoran. It begins，
殘臘收寒，三陽初轉，已換年華。....
Shang Mode (商音 Shang Yin)
三才引 San Cai Yin (Three Powers Prelude; XII/172) 10.126 三才 says "所謂天、地、东谈主 it refers to heaven， earth and people"; see the 孝經 Classic of Filial Piety in ctext: "夫孝，天之經也，地之義也，民之行也 Filial piety is the constant (method) of Heaven， the righteousness of Earth， and the practical duty of Man." The body of this melody concerns heaven and earth， while the harmonics at the end honor Confucius himself， "All who have blood and breath unfeignedly honor and love him. Hence it is said， "He is the equal of Heaven." Zha Guide 25/208/502 has one other listing， 1559 (no lyrics; unrelated melody; phrasing doesn't seem to fit) Lyrics are identified as from from 中和 Doctrine of the Mean， Chapter 25 (ctext.org: most of #27 (omit poem at end)， then (in harmonics) the end of #32; translation from Legge 26 also in Confucius， Dover， p.420-21 and 429); see Wang Yiheng (?)
宇宙之谈，可一言而盡也。 其為物不二，則其生物不測。 宇宙之谈，博也厚也，高也明也，悠也久也。 今夫天，斯昭昭之多，偏激無窮也，日月星辰系焉，萬物覆焉。 今夫地，一撮土之多，偏激廣厚，載華岳而不重，振河海而不泄，萬物載焉。 今夫山，一拳石之多，偏激廣大，草木生之，禽獸居之，寶藏興焉。 今夫水，一勺之多，偏激不測，黿鼉、蛟龍、魚鱉生焉，貨財殖焉。
（泛起）凡有血氣者，莫不尊親，故曰配天。
大哉引 Da Zai Yin (Prelude to How Great; XII/174) Zha Guide 34/--/502 only in Japan Lyrics are from 中和 Doctrine of the Mean， Chapter 27 (ctext.org #28; Legge， Confucius， Dover， p.422-3); again see Wang Yiheng (?)
大哉，聖东谈主之谈！ 洋洋乎發育萬物，峻極于天。 優優大哉！ 禮儀三百，威儀三千，待其东谈主然後行。 故曰： 苟不至德，至谈不凝焉。 故正人尊德性而谈問學，致廣大而盡精微，極高尚而中和。 溫故而知新，老实以崇禮。 是故园上不驕，為下不倍； 國有谈，其言足以興，國無谈，其默足以容。 尾：《詩 [260]》曰：（泛起） 「既明且哲，以保其身。」 其此之謂與！
For comment on the Doctrine of the Mean and Zen Buddhism see Hsueh-Li Cheng
秋風辭 Qiu Feng Ci (XII/177) Zha Guide 34/260/503 lists it here and in 1840 (XXIII/347) See also below; "聖湖野樵訂 Edited by Seiko ...."(?) Lyrics are a poem in YFSJ (p.1180) attributed to 漢武帝 Han emperor Wudi (called 辭， not 詞)
秋風起兮白雲飛，草木黃落兮雁南歸。....
Transcribed in Wang Di， #44 (pp.109-110).
歸去來辭 Gui Qu Lai Ci (XII/178) Zha Guide 13/145/251; main intro and translation at 1511 Lyrics by 陶淵明 Tao Yuanming; similar music to the common ones， but divided into sections as in Taigu Zhengyin Qinpu (Yangchun Tang Qinpu， 1611; VII/455)
歸去來兮....
子夜吳歌 Ziye Wu Ge (XII/185) Zha Guide 34/--/503; only in Japan Lyrics by 李青蓮 i.e.， 李白 Li Bai.
長安一派月，萬戶擣衣聲。 秋風吹不盡，總是玉關情。 何日平胡虜，良东谈主罷遠征。 Also transcribed in Wang Di (#36， pp.101)
幽澗泉 You Jian Quan (Secluded Cascading Spring; XII/186) Zha Guide 34/260/504: only Japan and the musically unrelated 1739 (XVIII/161) Lyrics by Li Bai; further detail.
久別離 Jiu Bieli (XII/188) Zha Guide 35/--/504: only in Japan; 122.23 jiu bie: long separated Same as Jiu Libie below; lyrics by Li Bai
別來幾春未還家。 玉窗五見櫻桃花。 況有錦字書。 開緘使东谈主嗟。 至此腸斷彼心絕。 雲鬟綠鬢罷梳結。 愁如回飆亂白雪。 (飆 here written 一 over 儿 with 百 inside plus 炎 at right) 旧年寄書報陽台。 本年寄書重相催。 東風兮東風。 為我吹行雲使西來。 待來竟不來。 落花寂寂委青苔。
Transcribed in Wang Di， #43 (pp.107-8).
醉翁操 Zui Weng Cao (Old Toper's Melody; XII/190) Zha Guide 16/--/362 醉翁亭 (also 醉翁吟， e.g， 1539) lists various versions with differing music and sometimes differing lyrics (details) The lyrics of Sections 1 and 2 are， as in 1539， by Su Dongpo; Section 3
琅然清圓，誰彈響空山無言？ 惟翁醉中知其天。 月明，風露娟娟，东谈主未眠。 荷蕢過山前， 曰﹕有心也哉此賢。
醉翁嘯詠，聲和流泉。 醉翁去後，空有朝禽、夜猿。 山有時而童顛，水有時而回川， 想翁無歲年。 翁今為飛仙，此意在东谈主間﹕ 試聽徽外三兩絃。
琴在手，月在天， 彈琴招明月，明月落我絃。 清風月明东谈主亦仙， 曲罷月落風当然， 曲罷月落風当然。
Transcribed in Wang Di， #46 (pp.111-2).
八聲甘州 Basheng Ganzhou (Eight Beats of a Gangzhou Song; subtitle: 送东谈主 Song Ren (Seeing off a Friend; transcription; XII/192 and ) Zha Guide 35/--/504: only here; 甘州 Ganzhou is today called 張掖 Zhangye (Gansu province) Lyrics by Su Dongpo; the earliest poem in this form was by Liu Yong， discussed further here. Also transribed in Wang Di， #49 (pp.115/6).
多情風萬里捲潮來，無情送潮歸。....
瑞鶴仙 Rui He Xian; subtitle: 醉翁亭 Zui Weng Ting (Old Toper's Pavilion; XII/194) Zha Guide 35/--/505: only here; Rui He Xian (21606.133) is a cipai from a 周邦彥 Zhou Bangyan Northern Song poem (compare Qiliang Fan as well as Ruilong Yin). The lyrics here are by 黃山谷 Huang Shan'gu (i.e.， Huang Tingjian)， retelling Ouyang Xiu's 醉翁亭記 Record of the Old Toper's Pavilion Although it reads like a narrative， it does follow a version of the ci pattern.
環滁都山也，望蔚然深秀....
鳳凰台上憶吹簫 Fenghuangtaishang Yi Chui Xiao; subtitle: 離別 Li Bie (Departure; XII/196) 43079.41: On Phoenix Terrace Recalling the Playing of a Flute; no mention of cipai Zha Guide 35/--/505: only here， adding "different from 1609" (Gui Yuan Cao)， which has the same lyrics but a different melody The title is a cipai; the lyrics by 李易南， i.e.， 李清照 Li Qingzhao (1084 - ca.1151)， are about her absent lover:
香冷金猊，被翻紅浪，起來慵自梳頭....
太平引 Taiping Yin (XII/198) Zha Guide 35/--/505: only here; 5965.xxx; an old title Transcribed in Wang Di (#41， pp.105; first verse only) The piece has two verses; both have 40 characters but their phrasing is different
By 賀東山 He Dongshan (賀鑄 He Zhu 1052 - 1125; from his 豔聲歌 [太平時七首] Yan Sheng Ge [7 pieces from Taiping Shi]; compare Lu You): 蜀錦塵香生襪羅，小婆娑。個儂無賴動东谈主多，是橫波。樓角雲開風卷幕，月侵河。纖纖捏酒艷聲歌，奈情何。 By 辛棄疾 Xin Qiji (d.1198); from his《昭君怨·長記瀟湘秋晚》 Zhaojun Yuan 長記瀟湘秋晚，歌舞橘洲东谈主散。走馬月明中，折芙蓉。当天西山南浦，畫棟珠簾雲雨。 風景不爭多，奈愁何。
鶴沖霄 He Chong Xiao (Cranes Pierce the Clouds; XII/200) Zha Guide 35/--/506， only in Japan; 48157.42 and 12/1145 have only 鶴沖天 He Chong Tian (see in 1511): Cranes Pierce the Heavens (or A Crane Pierces the Heavens， i.e.， a person becomes an immortal in the form of a crane). Lyrics， by 和凝 He Ning are verse 2 of his poem in cipai 春光好 Chun Guang Hao， as follows:
蘋葉軟，杏花明，畫船輕。 雙浴鴛鴦出綠汀，棹歌聲。 春水無風無浪，春天半雨半晴。 紅粉相隨南浦晚，幾含情。
南浦月 Nan Pu Yue (XII/201) Zha Guide 35/--/506; only here. Lyrics by 何籀 He Zhou (Bio/xxx; Song). Also called 點降脣 Dian Jiang Chun. Lyrics here have same the structure as in 1682 (滴瀝新晴，高秋雲薄渾如削....) as well as in Cao Tang Yin #2， below. The lyrics are，
(Compare structure of 點絳唇) 鶯踏花翻，亂紅堆徑無东谈主掃。 (鶯 is elsewhere written 鸎) 杜鵑來了，梅子枝頭小。 撥盡琵琶，總是相想調。 知心少。 暗傷懷抱，門掩芳华老。
飛瓊吟 Fei Qiong Yin (Flying Snow Crystals; XII/202) Zha Guide 24/203/506 has two， the other an unrelated melody from 1559 with no lyrics Lyrics are from one of the Three Poems on Snow (雪三首 Xue San Shou) by 林和靖 Lin Heqing， i.e.， 林逋 Lin Bu:
瓦溝如粉疊樓腰，高會誰能解酒狗尾续。 清夾曉林初隐衷，冷和春雨轉飄蕭。 堪憐雀避來閒地，最愛僧衝過短橋。 獨有閉關孤隱者，一軒貧病在顏瓢。
梅花 Mei Hua (Plum Blossoms; also called 瑤芳引 Yao Fang Yin; XII/203) Page includes my recording together with the lyrics by Lin Bu.
山園小梅 Shan Yuan Xiao Mei (How Plum Flowers Embarrass a Garden)
眾芳搖落獨鮮妍，佔盡風情向小園。 （鮮 elsewhere 暄） 疏影橫斜水清淺，暗香浮動月黃昏。 霜禽欲下先偷眼，粉蝶如知合斷魂。 幸有微吟可相狎，不須檀板共金尊。
(Listen also to Mei Shao Yue)偶成 Ou Cheng (short for 秋日偶成 Qiuri Oucheng: Stray Thoughts on an Autumn Day; XII/204) Only in Japan; melody clearly related to #20; lyrics are a poem by Cheng Hao:
閑來無事不從容，睡覺東窗日已紅。 萬物靜觀都知足，四時佳興與东谈主同。 谈通宇宙有形外，想入風云變態中。 富貴不淫貧賤樂，男兒到此是豪雄。
The introduction to Jing Guan Yin dated 1609 quotes the second line of these lyrics.
Yu Mode (羽音 Yu Yin)
離別難 Libie Nan (Parting is Such Sorrow); subtitle: "送蔣馭鹿遊建溪 (Seeing Jiang Yulu off to Jianxi; XII/205) Lyrics by 鄒訏士 Zou Xushi (鄒祇謨 Zou Zhimo); see also #23， #24 and #26. Further detail here， including alternate lyrics by Liu Yong. Zha 35/--/507: only in Japan.
越水吳山，待扁舟，久矣棲遲。只丈夫，南北東西。著征衫，何须贈將離。 應只好，奇字盈囊。虎跳龍臥。落紙徵飛。過嚴灘。為訪富春舊跡。重上釣魚磯。
雲渐渐。草萋萋。憶臨岐，秋士休悲。聽武夷幔亭仙樂。便驂鸞梅福也相期。 何況是，到處谄媚。海角亲信，斫鱠銜杯。懷故苑。暢好荔枝未熟。勸汝莫忘歸。
離別難，又譜 Libie Nan #2; subtitle as above (XII/207) Zha 35/--/507 as above; further comment here.Lyrics as #22 but differences in the music.
華清引 Hua Qing Yin (XII/209) Zha Guide 35/--/508: only in Japan; 華清引 31910.208 only 華清 Hua Qing (man's name) Lyrics by 鄒訏士 Zou Xushi (鄒祇謨 Zou Zhimo); see also #22， #23 and #26 (Elsewhere the poem has the added comment "晏起 (評語：羡門雲，非玉台金屋东谈主不明。")
重重珠幕護窗紗。春想方佳。一種嬌慵如夢。微聞鶯語嘩。 丁香輕掩扣微差。綠雲半側堆鴉。枕痕紅暈重。不敢見菱花。
霹靂引 Pili Yin (Thunderbolt Prelude; XII/210) The music here is unrelated to that of the Pili Yin used for Feng Lei Yin Lyrics by 唐，沈佺期 Shen Quanqi (c.650-713)， also in YFSJ， begin
歲七月，火伏而金生。 客有饱读瑟於門者，奏霹靂之商聲。
月當廳 Yue Dang Ting; subtitle: 秋夜聞蟋蟀聲 (On an autumn evening hearing cricket sounds; XII/213) Only here; cipai; Lyrics by 鄒訏士 Zou Xushi (鄒祇謨 Zou Zhimo; see #22， #23 and #24 above)
小窗煙雨冥冥。響颼飀。吹墜落葉空庭。急杵浮砧。淒淒石竹牆陰。 偏與愁东谈主作楚。細想量、甚事恰關卿。無端似。空床泣恨。斷軫傳情。 年年慣作念西風伴。隱荒苔。啼殘青穗余燈。哀笳遠笛。飛來何處秋聲。 二十五番寒照靜。聽清鉦、歷歷嚴更。偏怨汝。叫回孤夢。短發星星。
憶王孫 Yi Wangsun (Recalling a Prince; XII/215) Zha Guide 35/--/509: only in Japan; 11558.1: cipai; 7，7，7.3，7. (here the last 7 is repeated) Opening four notes same as Zhu Zhi Ci but with harmonics on first two (the Zhengben is the same); Lyrics by 秦少游 Qin Shaoyou (秦觀 Qin Guan， 1049 - 1100)
萋萋芳草憶王孫。柳外樓高空斷魂。 杜宇聲聲不忍聞，欲黃昏， 雨打梨花深閉門。 (This line written out again for the closing harmonic passage.)
草堂唫（吟） Cao Tang Yin (Thatched Cottage Intonation; XII/216; .pdf) Zha Guide 35/--/509: only here; 31629.173 etc. xxx; "from 曲肱軒 Qu Gong Xuan" The lyrics here are the same as those of the first four sections plus the first line of the fifth section， of the 10+1 section melody 梨雲春想 Li Yun Chun Si， which attributes them to 錢塘毛先舒 Mao Xianshu， who lived in Hangzhou when Jiang Xingchou was there.
鵲橋仙 Que Qiao Xian (Magpie Bridge Immortal; ci structure [from 秦觀 Qin Guan?] unrelated to Qing Ping Yue) 輕暖破寒，檐雲閣雨，庭院深深鶯語。 夭桃枝半出牆頭，見無數蜂狂蝶舞。 柳外繡鞍，花前羅襪，陌上喧天簫饱读。 春風意惱东谈主腸，問何處江皋湘浦。 點絳唇 Dian Jiang Chun (ci structure same as that of Nan Pu Yue) 細雨斜風，十二高樓煙幾寸。 誰相廝讓？傳與青鸞信。 倦倚珠簾，長抱芳华恨。 悶悶悶。 亂紅成陣，又是晴明近。 功德近 Hao Shi Jin (name of a cipai; compare this one by Fan Chengda) 獨自步苔階，驚訊海棠開遍。 怪得東皇有利，也到深深院。 惜花常是為花愁，羞妬春風面。 閉門岂论韶華，付與驚和燕。 畫堂春 Hua Tang Chun (name of a cipai; #4 in 1664; compare this one from 1687) 借問東風來幾時，玉堂彩燕雙飛。 浮花浪蘃弄春暉，蜂蝶潸潸。 門巷輪諦雜沓，園林紅紫芳菲。 海棠自惜是花妃，着意踌躇，着意踌躇。 尾 Wei (coda) 昨夜東風入畫屏，欹杴不勝情。
長相想 Chang Xiang Si (Everlasting Longing); subtitle 春閨 Chun Gui (Spring Chamber; XII/220) Zha Guide 35/--/510; as with #2 Qing Ping Yue， same lyrics as but different music from: 1677 (XII/374)， 1677 (XII/392) and 1802 (XVII/549); it is not in 1738 (?) Lyrics by 馮延巳 Feng Yansi (903? - 960; ICTCL) follow the cipai:
紅滿枝，綠滿枝，宿雨厭厭睡起遲，閒庭花影移。 憶歸期，數歸期，夢見雖多相見稀，相见知幾時。
春閨 Chun Gui has no connection with 春閨怨 Chun Gui Yuan.
Also transcribed in Wang Di， #52， p.124 (compare my transcription).
相想曲 Xiang Si Qu (Melody of Mutual Love; XII/221; six recordings with further comment
Zha Guide 26/215/408: 3rd of 5 with this title; same lyrics and music as in 1618; compare 1585 Lyrics， which have no connection to those in YFSJ， are from a ghost story about Su Shi and a female qin player; for this reason they are generally attributed to Su Shi himself.音音音，真負心，恁負心....
竹枝詞 Zhu Zhi Ci (Bamboo Branch Lyrics; XII/222) Zha Guide 35/--/510: only in Japan; zhu zhi ci were (ABC) "ancient folk love poems" or "classical poems on local themes". Compare Yi Wangsun. The anonymous lyrics begin
"非商非羽聲吾伊...." (complete).
小操 Xiao Cao (XII/223) Zha Guide 35/--/511: only in Japan; "Little Melody" Lyrics unattributed. Also transcribed in Wang Di (#37， pp.102)
嫌庸东谈主而踏高位，鶴有乘軒。 惡利口之覆邦家，雀能穿屋。
Shangjiao Mode (商角音 Shangjiao Yin)
箕山操 Jishan Cao (XII/224) Zha Guide 35/--/511: only here; see comment under Dun Shi Cao Lyrics are unattributed but can be found in earlier sources such as #3 in the Qin Cao of Yang Weizhen. (N.B.， baike.baidu.com specifies they are from Yang's 鐵崖樂府 Tiěyá Yuèfǔ.
箕之山兮可耕而樵，箕之水兮可飲而游。 牽牛何來兮飲吾高尚，彼以六合讓兮我以之逃。 世豈無堯兮應堯之求，吾與堯友兮不與堯憂。
Transcribed in Wang Di， #47 (p.113).
Shang Mode (商音 Shang Yin)
扶桑操(之一) Fusang Cao ("Fusang" is an old name for Japan， but the following three melodies do not sound Japanese， so this comment is thought to mean they were created in Japan by Shin-etsu himself. See also more.)
熙春操 Xi Chun Cao (扶桑操 Fusang Cao #1; XII/225) Zha Guide: 35/--/511: only in Japan Lyrics unattributed;
熙熙日永熙扶桑，君聖臣賢來萬方。 淳風穆穆，厚德洋洋。 禮樂聲久，詩書音義長。 物阜兮，廣貯廣積，民安兮，多善多良。 山川萃秀兮，水色微茫。 亰國生奇兮，樹影菁蒼。 衆好意思具兮，东谈主齊暢，恍疑遊世羲皇。
想親引 Si Qin Yin (扶桑操 Fusang Cao #2; XII/227) Zha Guide: 35/--/512: only in Japan (no connection to 想親操 Si Qin Cao) Lyrics unattributed; also transcribed in Wang Di (#38， pp.102)
白雲不共海東齊，東海茫茫望轉迷。 終日想親东谈主不知，一日想親十二時。
Jiao Mode (角音 Jiao Yin)
安排曲 An Pai Qu (XII/228) Zha Guide 35/--/512: only in Japan (fusang); 7221.314 only an pai Lyrics "by a person of the Song dynasty" (compare 本分咏 An Fen Yong in 解东谈主頤 Jie Ren Yi by 錢德蒼 Qian Decang [18th c.]) 功名大小，天已安排了，何用各式機巧。 榮休喜，辱休惱，開先謝早，此理东谈主知少。 萬事算來由命，聽当然真個好。
榮枯得失，天已安排畢，何用強勞心力。 得一日，過一日，泰來否極，機巧終可益。 萬事付之一笑，前景事，暗如漆。
Ruibin Mode (蕤賓音 Ruibin Yin)
樂極吟 Le Ji Yin (XII/229) Zha Guide 24/201/384: see introduction at Yu Ge Diao Same Liu Zongyuan lyrics but melody is quite different
漁翁漁翁漁翁夜傍西巖宿....
Gong Mode (宮音 Gong Yin)
峻岭 Gao Shan (XII/230-41) Zha Guide 2/21/14; a comment at end says， "神品執徐孟冬再矫正". The melody and lyrics are similar to some of the versions published in China，
The present version is in particular similar in music and lyrics to the only other version with lyrics， i.e.， the one in Chongxiu Zhenchuan Qinpu (1585). Both have four sections， though in Japan the sections are not numbered. The lyrics amount to about 700 characters in all， beginning:
懸崔削壁，太空雲間，蓬萊第一山.... (The entire Gao Shan lyrics can be seen on this .pdf file [146.5 KB]).
-------------------------------------------------------Appendix II
Meiwahon Toko Kinpu (Meiwa Toko Kinpu?; 1772) 明和本東皋琴譜 Minghe Ben Donggao Qinpu Qinqu Jicheng XII/245-59 Four pieces are not in Hewen:
Canglang Ge Ji Yinzhe Nanfeng Ge Yanguan Qu
Although Van Gulik says that Toko Kinpu has Japanese copies of pieces Shin-etsu (Toko Zenji) taught beginners， this might not have been completely true; Zha Fuxi mentions numerous editions. The earliest (1709) was not available for QQJC， so Zha Fuxi took two of the many later editions and appended them to Hewen Zhuyin Qinpu:
This edition was compiled in the 9th year of Meiwa， 1764 - 1772.
Table of Contents操縵 Cao Man (XII/248) Lyrics unattributed; same as the Tiaoxian Runong in 1676
浪淘沙 Lang Tao Sha (XII/249) Lyrics by 歐陽修 Ouyang Xiu; also in 1676
滄浪歌 Canglang Ge (XII/250) Lyrics (滄浪之水清兮....) by Qu Yuan; Zha Guide 39/--/552; no musical relation to Fan Canglang; transcribed in Wang Di (#34， pp.100) Also included below
鶴沖霄 He Chong Xiao (XII/250) Lyrics; also in 1676
想親引 Si Qin Yin (XII/251) Lyrics; also in 1676
子夜吳歌 Ziye Wu Ge (XII/252) Lyrics; same as 1676
秋風辭 Qiu Feng Ci (XII/252) See also 1676 above
寄隱者 Ji Yinzhe (XII/254) Lyrics by 杜牧 Du Mu; also below; Zha Guide 40/--/553 not in QQJC XII; Wang Di (#35， p.100) transcribes this as 送隱者 Song Yinzhe
無媒徑路竹蕭蕭，自古雲林遠市朝。 松谈世間唯白髮，貴东谈主頭上不會饒。
南風歌 Nanfeng Ge (XII/254) Zhiyin; lyrics only 南風之薰兮，不错解吾民之慍兮。南風之時兮，不错阜吾民之財兮。 Same as Nanxun Cao below; see my transcription and listen to my recording. These lyrics were also in the musically unrelated Nan Feng Ge (1.B.)
竹枝詞 Zhuzhi Ci (XII/255) Lyrics; same lyrics and music as in 1676
憶王孫 Yi Wangsun (XII/255) Lyrics; same as 1676
華清引 Hua Qing Yin (XII/256) Lyrics; also in 1676
小操 Xiao Cao (XII/257) Lyrics; also in 1676
長相想 Chang Xiang Si (XII/258) Lyrics; also in 1676
陽關曲 Yangguan Qu (XII/258) Lyrics: only the four lines of Wang Wei's poem， thus different from (shorter than) the Yangguan Sandie below; also qiliang tuning
Transcribed in Wang Di， #54， p.126.
-------------------------------------------------------
Appendix III Ohara Shiro's Toko Kinpu (1898) 大原止郎本東皋琴譜 Dayuan Zhilang ben Donggao Qinpu Qinqu Jicheng， XII/261-285 No further information as yet on Ohara Shiro Eight pieces are not in either of the above two handbooks:
Ming Feng Zhaoyang (Call of Phoenix at Sunrise) Shi Jiao Yin Yu Qiao Wenda Yangguan Sandie Yi Lan Cao Ye Zuo Zhou Ye Cao Man Yin Table of Contents
調絃入弄 Tiaoxian Runong (XII/263) Lyrics; also in 1676
長相想 Chang Xiang Si (XII/263) Lyrics by 馮延已 Feng Yanyi (not in YFSJ 69， pp.990-5); also in 1676
南熏操 Nanxun Cao (XII/263) Lyrics and music same as in Nanfeng Ge above but mode called shangyin
滄浪歌 Canglang Ge (XII/263) Lyrics; also above in 1772
梅花 Mei Hua (XII/264) Lyrics by Lin Bu; virtually identical to 1676
偶成 Ou Cheng (XII/264) Lyrics; same as 1676
秋風辭 Qiu Feng Ci (XII/264) Same as 1676 and 1772
熙春操 Xi Chun Cao (XII/265) Lyrics; also in 1676
鳴鳳朝陽 Ming Feng Zhaoyang (XII/265) 47641.102xxx; only here; not in Zha Guide; not related to 1525. The lyrics are:
丹鳳五色羽，其名為鳳凰。 昔周有盛徳，此鳥鳴髙岡。 和聲隨翔風，窈窱相飄揚。 鳳凰鳴矣，于彼高岡。 梧桐生矣，于彼朝陽。 梧桐生矣，于彼朝陽。
Although the lyrics are here unattributed (101.237xxx?)， some online sources say the first three lines form 岐山下 Qi Shan Xia by 韓愈 Han Yu. The rest is said to be from 說苑，辨物 the chapter Bian Wu in the Shuo Yuan.
安排曲 Anpai Qu (XII/266) Lyrics; also in 1676
子夜吳歌 Ziye Wu Ge (XII/266) Lyrics; also in 1676
相想曲 Xiang Si Qu (XII/266) Lyrics; also in 1676
小操 Xiao Cao (XII/267) Lyrics; also in 1676
東風齊著力 Dongfeng Qi Zhuo Li (XII/267) Lyrics; same as 1676
久離別 Jiu Libie (XII/267) Lyrics; same as Jiu Bieli in 1676
浪淘沙 Lang Tao Sha (XII/268) Lyrics by 歐陽修 Ouyang Xiu; also in 1676
石交吟 Shi Jiao Yin (XII/268) Lyrics unattited ; not in Zha Guide; only here (and TKKP 26)
相见此地亦雲奇，感謂吾儕谈在斯。 志合若彈活水操，機總常着不爭棊。 一時意氣排萃岳，千古著作重楚辭。 幼年終童君莫讓。長纓何日繁龜茲。
後記 Afterword： 右《石交吟》者馬季良之諧譜也，師絕愛此曲之詞調，雖非師所諧乃手澤之舊譜也，其情可見又何不附載耶。 .... this tablature was harmonized by Ma Jiliang.... 庚寅冬，葛村漁長識。 The comment (winter of gengyin: 1710? 1770? etc) was by Kuzumura/Katsumura Rryonaga/Isanaga
Ma Jiliang (zhwiki) was from a family of tea merchants， married a daughter of 劉好意思 Liu Mei (1547－1606)， the elder brother of the third empress of Zhao Zhenzong.幽澗泉 You Jian Quan (XII/269) Lyrics; also in 1676
醉翁操 Zui Weng Cao (XII/269) Lyrics; also in 1676
三才引 Sancai Yin (XII/270) Lyrics; also in 1676
寄隱者 Ji Yinzhe (XII/271) Lyrics; also above in 1772
清平樂 Qing Ping潛龍潛龍ziye Yue (XII/271) Lyrics by 孫蒼虬 Sun Cangqiu (孫蒼虯? 7135.xxx); also in 1676
大哉引 Dazai Yin (XII/272) Lyrics; same as 1676
霹靂引 Pili Yin (XII/272) Lyrics; also in 1676
離別難 Libie Nan (XII/273) Lyrics; also in 1676 (2)
歸去來辭 Gui Qu Lai Ci (XII/274) Lyrics; also in 1676
樂極吟 Leji Yin (XII/276) Lyrics; also in 1676
想親引 Si Qin Yin (XII/276) Lyrics; also in 1676
漁樵問答 Yu Qiao Wenda (XII/276) Lyrics; related to various Yu Qiao Wenda Chinese versions， especially the one dated 1589? Transcribed in Wang Di， #51， pp.117-123.
陽關三疊 Yangguan Sandie (XII/280) Lyrics; qiliang tuning; related to the short Chinese versions but longer than the Yangguan Qu above; Transcribed in Wang Di， #50， p.116.
猗蘭操 Yi Lan Cao (XII/281) Lyrics (習習谷風....) as section 1 of 1511 and of 1618， but melody seems unlike any Chinese version; not in the other Japanese handbooks
瑞鶴仙 Rui He Xian (XII/281) Lyrics; also in 1676
夜座 Ye Zuo (XII/282) Only lyrics， no music; not in the other Japanese handbooks
舟夜 Zhou Ye (XII/282) Only lyrics， no music; not in the other Japanese handbooks
操縵引 Caoman Yin (XII/283) One section， no lyrics， only music; any lyrics would be similar to those in #1 above， but although the music is in the same style， it is rather different
Footnotes (Shorthand references are explained on a separate page)
1. Japanese Guqin Handbooks These three handbooks are all in 琴曲集成 Qinqu Jicheng (QQJC)， Volume XII/165-381. The QQJC preface by Zha Fuxi (p. ii)， entitled "和文注音琴譜 Hewen Zhuyin Qinpu" (the other two volumes included here are mentioned only in the last line) begins as follows:
This volume was in the collection of 烏程周慶雲 Zhou Qingyun of Wucheng; it has now "returned" to the Shanghai Library. Its entry in Mr. Zhou's Qinshu Cunmu says it was "日本東皋越杜多撰 compiled in Japan by Toko Etsu the Monk" (1639-1695)， whose common name was Jiang Xingchou， style name Dongyue (Etsu in Japanese). He was from 浙江金華浦陽 Puyang in the Jinhua district of Zhejiang province. When young he left home. In 1676， while residing at the 杭州永福寺 Yongfu Temple in Hangzhou， to flee local difficulties he moved to Japan， using his studies of Chan (Buddhism) to make connection with the 關東幕府 Kanto bakufu (military govenment in the Tokyo region). He died at the 江戶祇園寺 Gion Temple in Edo (this was actually the Gion Temple in 水戶 Mito). Mr. Jiang while in China studied qin with Zhuang Zhenfeng and 褚虛舟 Zhu Xuzhou. While stuck in (滯) Japan he transmitted his qin art to the 日儒 Japanese Confucian Hitomi Chikudo and the 幕府貴官 Bakufu Chief Officer (?) Sugiura Kinsen....
Zha Fuxi goes on to suggest that this handbook， though copied later by various people， came directly from Shen-Etsu. However， the account above suggests questions this. (Return)
2. Hewen Zhuyin Qinpu， p.1 From QQJC XII/167. The expanded version is from pp. 167-8. The larger seal below the title of the first piece says， "桂川家臧 Katsuragawa Family Collection" (see below"). (Return)
3. "Correct Toko Kinpu" To determine the accuracy of this handbook compared to the ones in Qinqu Jicheng， discussed here， required comprehensive study of completed reconstructions. As with those handbooks， the "Correct Toko Kinpu" has its own mistakes. (Return)
4. Katsuragawa Family Collection (桂川家藏) 桂川月池 Katsuragawa Etchi (1751 - 1809)， a doctor of Chinese medicine， was also a qin player. See Van Gulik， Lore， p.239. (Return) . (Return) -->
5. Pieces with the Katsuragawa family seal There are four: QQJC/XII/pp.167， 190， 205 and 220. The image at top shows p.167. (Return)
6. "訂正、矫正"; it is not clear whether the revisions were to the melodies， to the lyrics， or to both. (Return)
7. A preliminary investigation suggests they are still in a Chinese style. (Return)
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