簡介古琴與古箏的不同 Comparison of Qin and Zheng

琴與箏的不同

簡介古琴與古箏的不同

2007/11/23 21:36

說到箏 就一併將韓國與日本的箏也拿進來說 因為不管是中國箏 韓國十二絃箏(Kayagum 枷耶琴) 或是日本十三絃箏 (koto) 相信最早都是源自中國的秦箏

Chinese Guzheng 中國現代箏 (架起彈), Japanese Koto 日本十三絃箏 (koto) (擺在地上 右手邊架起彈)

Korean Kayagum

韓國十二絃箏(Kayagum 迦耶琴)(右手邊擺在大腿上 左邊斜放在地上彈)(以上照片都是網絡上抓下來的)
For more about Kayagum, please visit: http://peiyouqin.blogspot.com/2013/12/kayagum-12_23.html

There is another kind of Korean String instrument, Komungo 玄鶴琴, please read the other article :http://peiyouqin.blogspot.com/2013/12/komungo.html

Chinese Guqin

古琴(在琴桌上彈, 也可以盤腿席地而坐如迦耶琴那樣彈但要練功方能坐定)

一 絃柱: 琴與箏最大不同就是 箏 有柱 琴 無柱

1, Moveable bridges: Zheng, koto and kayagum have moveable bridges but Qin does not have. 

二 絃數: 箏有(韓國迦耶琴十二絃)(日本的koto十三絃)到二十六絃不等 琴只有七條絃 所以又稱七弦琴

中國箏與韓國迦耶琴絃之粗細不等

古琴絃之粗細亦不等

日本的koto絃之粗細均等

2, String Numbers: Korean Kayagum - 12 strings. Japanese koto - 13 strings. Guqin - 7 strings. Chinese Zheng- 13, 16, 21 and 26 strings. 

Chinese Zheng and Korean Kayagum and Guqin has variety of thickness of strings. 

Japanese koto has same thickness of strings.

 三 彈指: 韓國迦耶琴與日本箏右手只用三指彈(大 食 中指) 中國箏和琴用四指(大 食 中 無名指) 

日本箏和中國箏右手都戴假指甲 迦耶琴和古琴不戴假指甲

左手則是 箏左手將弦下壓改變音高半音左右 或到柱的右邊與右手一起撥弦

琴的左手變化就比箏多很多 可以將弦按住後左右移動改變音高半音或一個音或更多不等 也可輕點弦產生許多泛音

3, Playing: Kayagum and Koto are using right hand, the thumb, index and middle fingers to pluck strings.

Chinese Zheng and Qin are using right hand, the thumb, index, middle and ring fingers to pluck strings.

Artificial Nails: Chinese Zheng and Japanese Koto are using artificial nails but Korean Kayagum and Chinese Qin don't use artificial nails. 

Left hand: Zheng, Kayagum and Koto - pressing the string vertically down to change pitch.

               Guqin - pressing down then move horizontally to change pitch. + lightly touch strings to create harmonics. (Zheng can have harmonics as well but only happened on the right side of bridges.)

四 琴徽: 琴有十三個徽 筝則無

4, Hui (dots): Qin has 13 huis. Zheng, koto and kayagum do not have Hui.

五 聲音: 箏(中國箏和日本箏) 較大聲 外放 聲高亮 琴 較小聲 內斂 聲低沉 (迦耶琴則與古琴聲量近似) 這與有效絃長(箏因絃被柱架起 有效絃長縮短了) 共鳴箱的結構 及木頭的厚薄度都有關 在此暫不多做說明

5, Sound: Chinese Zheng and Japanese koto have louder and brighter sound. Chinese Guqin and Korean Kayagum have softer and deeper sound.

六 演奏性: 因為箏(中國箏和日本箏)的聲音較大聲 外放 一般人較容易聽到 也較容易引起注意 是比較適合做公眾的表演 

6, Performance quality: Chinese Zheng and Japanese Koto have louder sound, therefore more sutiable for public performance in a bigger concert hall. Chinese Guqin is more suitable for intimate and small gathering performance. 

但琴聲較小與內斂低沉 極適合獨自一人靜夜品味 或三五好友雅集共賞 並不適合做公眾大型表演  

也因此 早在唐朝 許多詩人就寫了感嘆琴的詩 由這些詩也可感受琴"獨"的個性:

Due to Guqin's special solo character, there are many ancient poems describing this "lonely" quality of the qin already...

鄧魴、張徹落第

白居易

古琴無俗韻, 奏罷無人聽.

寒松無妖花, 枝下無人行.

春風十二街, 軒騎不暫停.

奔車看牡丹, 走馬聽秦箏.

眾目悅芳豔, 松獨守其貞.

眾耳喜鄭衛, 琴亦不改聲.

懷哉二夫子, 念此無自輕.

廢琴

白居易

絲桐合為琴, 中有太古聲.

古聲淡無味, 不稱今人情.

玉徽光彩滅, 朱弦塵土生.

廢棄來已久, 遺音尚泠泠.(音玲)

不辭為君彈, 縱彈人不聽.

何物使之然? 羌笛與秦箏.

(今人:一作今日) 

船夜援琴  

白居易

鳥棲魚不動，夜月照江深。

身外都無事，舟中只有琴。

七弦為益友，兩耳是知音。

心靜聲即淡，其間無古今。

 夜琴 

 白居易

蜀桐木性實，楚絲音韻清。

調慢彈且緩，夜深十數聲。

入耳澹無味，愜心潛有情。

自弄還自罷，亦不要人聽。

《琴》·王昌齡

孤桐秘虛鳴，樸素傳幽真。

仿佛弦指外，遂見初古人。

意遠風雪苦，時來江山春。

高宴未終曲，誰能辨經綸。

《竹裏館》·王維

獨坐幽篁裏，彈琴復長嘯。

深林人不知，明月來相照。

《彈琴》·劉長卿

泠泠七弦上，靜聽松風寒。

古調雖自愛，今人多不彈。

 《聽蜀僧濬彈琴》·李白

蜀僧抱綠綺，西下峨眉峰。

為我一揮手，如聽萬壑松。

客心洗流水，余響入霜鐘。

不覺碧山暮，秋雲暗幾重。

《月夜聽盧子順彈琴》·李白

閒坐夜明月，幽人彈素琴。

忽聞《悲風》調，宛若《寒松》吟。

白雪亂縴手，綠水清虛心。

鐘期久已沒，世上無知音。

良宵引 Song of Pleasant Night

2006/08/13 03:02
良宵引 在<吳門琴譜>內的解釋:
最早刊於<松弦館琴譜>*1…此曲雖較短小,卻蘊含著籟靜窗虛,懷人不見及尾聲兩鬢秋霜的情境.
<琴學初律>*2後記有曰:”…起承轉合, 井井有條,濃淡合度,意味深長.”

<天聞閣琴譜>*3的解題:賀若弼*4所作. 當其天高氣爽,月朗星輝,可以彈琴味道,飲酒賦詩,此曲節短韻長,指法簡易,可為初入門之曲.

<琴譜析微>*5的後記:此曲雖止二段,然音韻大雅,有縹緲凌雲之致.彈者加意體認,自足怡情悅性,勿謂其詞減而忽之也.

註1:撰輯人 嚴澂(1547-1625),明朝人,撰刊於1614年,為<四庫全書>所收唯一明代琴譜,亦為虞山派代表琴譜
註2:撰輯人 陳世驥, 清朝人,撰刊於1894年
註3撰輯人,唐彝銘,清朝人. 撰刊於1876年
註4:賀若弼(543─607)字輔伯，河南洛陽人,隋代民間琴師.他的琴藝曾被蘇軾將其與陶淵明的詩相題並論：“琴裡若能知賀若,詩中定會愛陶潛.”
註5:撰輯人,魯鼎,清朝人. 撰刊於1692年

Liang Xiao Yin (Song of Pleasant Night), According to “Tian Wen Ge Qin Pu “*1, was composed by He Ruo Bi *2 (543-607), a Sui Dynasty Qin player. This piece was first published in “Song Xian Guan Qin Pu.”*3 It is a short qin piece, yet the structure is well-arranged and the melody is very elegant and peaceful. The finger techniques of this piece are easy enough for a beginner to start with.
*1, Tian Wen Ge Qin Pu was edited by Tang Yi –ming from the Qin Dynasty and was published in 1876.
*2, He Ruo Bi’s qin composition was once placed on a par with Tao Yuan-ming’s poetry by Su Shi: If one can find He Ruo in qin, one must love it as much as a Tao Qian poem.
*3, Song Xian Guan Qin Pu was edited by Yian Cheng from the Ming Dynasty and was published in 1614. This Qin Pu is the representative work of “Yu Shan” School of Qin music.

憶故人 Memory of an Old Friend

2006/08/14 09:37
憶故人今虞譜(借正調 不慢三弦)

憶故人神奇祕譜(黃鐘調 慢三弦)

憶故人吳門譜(借正調 不慢三弦)

憶故人又名山中思友人, 山中思故人或空山憶故人

神奇秘譜*1稱此曲為東漢蔡邕所做. 然現今所傳之憶故人是於1937年首次出現於今虞琴刊*2彭祉卿家傳之憶故人. 據說為清末蜀僧竹禪所作.並非與神奇秘譜之山中思友人同一曲.

吾所彈之憶故人是跟據吳兆基先生的版本入手,然吳先生之憶故人又與今虞之憶故人有些出入.因而又參習今虞之憶故人中後段以及聆聽琢磨部份當代琴家所演奏之憶故人而表現成此曲.

憶故人所要傳達的是一種思念之情.可以是思念相會無期的友人,親人,愛人甚或是故鄉.

註1: 撰輯人,臞仙,明朝人. 撰刊於1425年
註2: 撰輯人, 今虞琴社, 撰刊於1937年

Yi Guren (Memory of an Old Friend) is attributed to Peng Zhichin and was first published in the Jin Yu Qin Kan of 1937. There is another version of Yi Guren in Shen Qi Mi Ru, which is a different piece from this one. Nowadays qin players usually play according to Peng’s version which is said to have been composed by a late Qin Dynasty monk, Zhu Chan from Si Chuan province.

Peiyou first learned Yi Gu Ren from the Wu Men Qin Pu by Master Wu Zhao Ji. However Wu’s version is a little different from Peng’s version as well. Peiyou therefore studied some parts from peng’s version and also listened to several qin players interpretation to come up with her own impression of this piece. This music tells of a sentimental loneliness and of missing an old friend, or perhaps a lover, family member or even a hometown whom and where you could never meet again.