Sunday, January 1, 2017

Journals from FB in 2012

覺今是而昨非... 樂琴書以消憂
(Jué jīn shì ér zuó fēi... Lè qín shū yǐ xiāo yōu)
You feel the difference between today and yesterday... enjoy qin music and reading (or calligraphy) to let go worries.
12/21/2012
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We knew Jiang Kui 姜夔 was the famous Song dynasty poet and composed several beautiful songs such as 暗香, 疏影, 鬲溪梅令... but today is my first time saw his calligraphy from the book [Four Thousand Years of Chinese Calligraphy]. This is Jiang Kui's handwritten colophon to the rubbing, Ting Wu Lan-ting Xu. 
Compare Jiang Kui's calligraphy to the Tang poet Li Bai, both shows completely different personality. 此為姜夔臨摩定武蘭亭序後的跋文. 字跡清秀, 與唐朝大詩人李白可真是完全不同個性呀!
10/24/2012
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太音大全集之品絃法
Tuning Method from Ming Dynasty Qin book Tai Yin Da Quan Ji, which was based on the Qin book, Tai Gu Yi Yin 太古遺音, from Song Dynasty. This tuning method has been using since then till now, and is using the pressing down vs. open string method. (Another method is using harmonic to check.)

My brief translation: When do the tuning...
A, 間四應九 (Within 4 strings, Correspond on the 9th dot)

1, tune the 7th string by plucking the open 7th string and then press down the 4th on the 9th dot, and listen if they are sound the same. (My note: If the 7th string is already very tight, then adjust the 4th to match the 7th)
2, pluck the open 6th string, vs the pressing down 4th on the 10th dot. If they are not sound the same, adjust the 6th string.
3, pluck the open 7th string, vs pressing down the 5th string on the 10th dot. If they are not sound the same, adjust the 5th string.

Now the 4, 5, 6, and 7 strings are tuned.

4, pluck the open 6th, vs the pressing down 3rd string on the 9th dot.
5, pluck the open 5th, vs the pressing down 2nd string on the 9th dot.
6, Pluck the open 4th, vs the pressing down 1st string on the 9th dot.

If any of the pressing down string that has the sound different from its corresponding open string, check if slightly moving the pressing down finger up or down will make the sound the same; if it is slightly above the dot (on player's right side) then loose that string a little bit to match the open string. Vise versa.

B, 間三應十 (Within 3 strings, Correspond on the 10th dot)(except open 5th)

1, pluck the open 3rd, vs the pressing down 1st on the 10th dot
2, pluck the open 4th, vs the pressing down 2nd on the 10th dot
3, pluck the open 5th, vs the pressing down 3rd on the 11th dot
4, pluck the open 6th, vs the pressing down 4th on the 10th dot
5, pluck the open 7th, vs the pressing down 5th on the 10th dot

That is for the Zheng Diao 正調 Standard Tune's tuning. If change to different tune, the changes will also based on the Zheng Diao tuning and then adjust one or two or three strings to become other tune.

At the end, the author reminded qin players that do not think that if one can play a lot of pieces and think that is good way. One must know that quantity does not equal to quality.

10/24/2012
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"古谱中琴曲不记具体的节奏,所以除了一种活的传承,即师承以外,很多古谱必须由自己去进行二度创造,从而形成一个总的风格,即自己的流派风格。" -- [吳文光先生訪談錄]

從開始接觸古琴是喜歡她的聲音, 到會彈, 再到近一年真正地認真打譜, 才愈發覺得古琴真可堪稱得上是中國音樂藝術之冠, 雖然打譜的過程是如同任何藝術創作的過程一般辛苦, 但他是掘之不盡, 如倒吃甘蔗般地甜美.

Just read an article about an interview of Master Wu Wen-guang talking about his father. He mentioned something about dapu (interpret ancient qin msuic by one's own understanding) that there is no specific indication of rhythm on ancient Guqin notations, so one has to recreate the ancient qin music either by following his or her teacher's instruction or study by oneself, and therefore one's own style will gradually developed.

I quoted Master Wu Wen-guang's saying down because I deeply felt recognition of what he said. After the recent years of my seriously doing dapu that I really think guqin can arguably worthy regarded as the highest of Chnese Musical Arts. Like all the process of art creation, the process of dapu is hard but the joy is endless as you dig deeper and deeper, as you are eating sugarcane from the tip to the root.
10/15/2012
管平湖 - 白雪 http:// www.tudou.com/programs/view/b5myDFXuOeg/
also from SQMP 
神奇秘譜
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略談音樂理論
以西樂十二平均律輔助瞭解古琴調音問題
鋼琴鍵是我認為最易瞭解西樂十二平均律的工具
每一個白鍵與緊臨的黑鍵其音距為半個音(half step), 兩個半音為一個全音(whole step)
C D E F G A B 等為西洋音名(western note name)
一個#記號或一個b記號代表升半音或降半音(#-raise half step, b-lower half step)
Do, Re, Mi, Fa, Sol, La, Si 為唱名(singing name)
1, 2, 3, 4, 5, 6, 7 為數字音名(numeral note)
Do 到Re 的音距是一個全音, Mi 到 Fa 的音距是一個半音
(From Do to Re is one whole step, from Mi to Fa is half step)

請注意: Pleaase note:

C 可以是Do, 但不恆等於Do (C can be Do but not identically equal to)
同理, 1 可以是C, 但不恆等於C (1 can be C but also not identically equal to)

如果以中國五聲音階來說:Do Re Mi Sol La (1, 2, 3, 5, 6)其音距為:
全,全, 半全, 全
則只要符合"全,全, 半全, 全"這個型式的音都可以唱成Do Re Mi Sol La,
如: C D E G A, 或 Bb, C, D, F, G, 或 G, A, B, D, E 等等.
The steps of Chinese Pentatonic: Do, Re, Mi, Sol, La are: Whole, Whole, Half+Whole, Whole. So, as long as following this pattern -- W W HW W, any key can be Do. For example if C is Do, then the pantatonic will be C D E G A; if Bb is Do, then the pantatonic will be Bb, C, D, F, G, etc.

這是一個網上鋼琴鍵可實際操作聽其一個八度間聲音的關係:
http://www.bgfl.org/custom/resources_ftp/client_ftp/ks2/music/piano/
Here is a Virtual Keyboard, one can actually hit the key to listen the note and get familiar with the sound distance and their relationship in one octave.

古琴正調可唱成:Do Re Fa Sol La Do Re 或 (Sol La Do Re Mi Sol La), 並不一定第一條弦就必須是C, 如上所說只要是符合"全,全半,全, 全"的音程, 第一弦也可以是Bb, 特別是在絲絃若不想上太緊的情況下可相對調低一度音或半度音甚至一個半度音都可以. 其他絃也就相應調整到符合"全,全半,全, 全"的音程.
For silk string qin, those 7 strings do not have to tune to C D F G A C D, as long as it follows that W, WH, W, W pattern; the first string can be half step or whole step lower and the rest just lower accordingly.

Add: Si to Do is half step. Si 到 Do 是半音.


回答為什麼緊五是升半音?
首先要先知道正調的唱名與緊五絃的蕤賓調的唱名:
正調: sol la do re mi sol la

蕤賓調: re mi sol la do re mi
如果彈過鋼琴的人就知道沒有#mi 只有fa
緊五絃是一種"轉調"
當五絃升高半音後要唱成Re Mi Sol La Do Re Mi
不能唱成sol la do re FA sol la 
因為fa 在中國的五聲音階是不存在的
但是以相同的音距來說 fa sol la 就是 Do Re Mi
所以相對法其它四絃就唱成 re mi sol la

如果覺得還是太複雜就先死記:

正調唱成sol la do re mi sol la

蕤賓調(緊五絃)唱成 re mi sol la do re mi
然後用泛音調音法來檢查三絃四徽跟五絃五徽要一樣的音
不動三絃只動五絃

回到問題, 緊五為什麼五弦是升半音? 沒有為什麼就是轉絃換調 換一個調而已
為什麼不是升一個全音
因為升一個全音就不成調
mi 變成#fa (or #do) 不成調
就是這樣
10/1/2012
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有朋友問如何挑選好的古琴? 我的建議是: 
People often ask me how to pick a good guqin, my suggestions are:

1, 如果是初學者則請老師幫忙挑, 
For Beginner, please ask your teacher to find one for you.

2, 如果自己挑:確定一下每一個按音都沒有雜音, 每一個泛音都是準確與清亮的,
Make sure each press down sound has no buzzing, each harmonic sound is accurate and clear. Which means all the 13 hui are inlaid accurately.

3,絃距離面板不要太高也不能太低, 龍齦處要能容一張名片的厚度, 岳山處要能容一食指, 如果絃距琴面太高, 容易抗指, 左手會按的很吃力.
The distance between strings and the surface of qin board should not be too high or too short. At the tail, it should be able to fit the thickness of a business card. Under the bridge area, it should be able to fit the thickness of one index finger.

4, 七條絃距要很平均(在岳山與龍齦處都是)間距不宜太大或太小, 要適合自己右手能掌握運作的距離.
The distance of each strings has to be even, also not too wide or too narrow. Your right hand should be able to pluck strings within a comfortable range.

5, 琴身沒有裂痕, 絃軫轉動不太困難 ,
There is no wood cracks. Tuning pegs are comfortable to turn.

6, 如果對聲音夠敏感的人且知道自己喜歡什麼樣音質的琴聲就去聽其聲音是否太火太亮((聲音很快散出來大聲不凝聚)還是溫潤飽滿沒有火氣(通常是木頭已有年代了) ,餘韻平穩慢長.
If you have good ear, and knowing what kind of sound quality you like, try to listen if the sound comes out evenly, not too loud, not too soft, and the leftover sound is smooth and last long enough.

7,不要在溼度很大的情況下挑琴, 聲音一般在這種時候會悶悶的,濕度保持在50%-70% 之間最好.
Try not to listen a qin in a very humid environment, such as if it has been raining for several days, it will affect the sound quality, most likely will sound kind of muffled. The best humidity, my experience is between 50%-70%.

8, 如劉善教先生所說最後就是還是需要一點好運
As master Liu Shan-jiao says, finally you also need some good luck. :)





9/21/2012
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Would like to give this page a Chinese name, therefore "木上絲" is created. 木上絲 literally means silk on wood, which is also the ancient pictographic Chinese character "Yue" 樂 (music).
9/5/2012
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The Guqin Right Hand Fingering: Juan 蠲, 有兩種彈法, seems has two ways of playing: (1) Ex, mo 3 gou 3, 例如抹三勾三連續; uninterrupted two sounds - 共兩聲 do do. (2) Ex, mo 3 , 4 and the middle finger rest on the 3, 例如抹三四連續,中止在三; uninterrupted two sounds - 共兩聲 do re. I use (1) more often.
蠲=涓(或姢,把女改為三點水) = 捐 = 益 = ㄙ = 如天馬攢蹄, 攢有彎曲,捲曲之意, 故蠲有如馬之彎曲其兩前蹄狀

Guqin Right Hand Fingering : Die Juan 疊蠲, similar to Quan-fu 全扶 but different rhythm. For example: 疊蠲= 抹一, 稍息, 抹二, 勾一, 勾二連續; mo 1, a pause, mo 2, gou 1, gou 2; total 1+3 uninterrupted sound.
Guqin Right Hand Fingering: Quan-fu 全扶 = 例如:抹一二,勾一二,名止在一 Example: mo 1 2, gou 1 2, then ring rest on the 1, 共四聲, sol la sol la, or do re do re in a rather fast speed to make a total 4 uninterrupted sound.


9/2/2012
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This picture shows the basic 4 instruments, Sheng 笙, Se 瑟, Qing 磬 and Gu 鼓. This picture is the scenery of a musical ensemble accompanying acrobats. Excavated in 1969 from Tomb 1 at Wuyingshang, Ji'nan, Shandong Province. Painted terra-cotta. Second to first century B.C. (on page 103 of the book, [Music in the Age of Confucius] Published by the Freer Gallery of Art and Arthur M. Sackler Gallery Smithsonian Institution, Washington, D.C.)
David Badagnani The original "rock music"
August 4, 2012 at 8:00pmUnlike1Message
David Badagnani I attended that Smithsonian exhibition but unfortunately I don't own the book.
August 4, 2012 at 8:01pmLikeMessage
8/4/2012
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"During the period of the Western Han 西漢 (206 b.c. - a.d. 9), a public servant named Shih Yu 史游 recopied the text of the reader created by Shih Liu 史籀 of Chou 周 in Li-Ts'ao 隸草, a mixture of the Li and Ts'ao script forms. Today, only the opening six sentences of the text, called Chi-chiu 急就, meaning "done in a moment," have survived on handwritten Han woodsticks... " -- [Four Thousand Years of Chinese Calligraphy bu Leon Long-Yuen Chang and Peter Miller].
I wish to find an image of the survived Han woodsticks of Chi-chiu... The image here is the copy by Yang Zheng 楊政 in 1439 from Ming dynasty. Yang's copy was based on the Song dynasty replica by Ye Meng-de. 葉夢得. And Ye's copy was based on Huang Xian's replica, 皇象 Huang Xiang was from The Wu of the Three Kingdoms Period (220-280) 三国吴。

7/19/2012
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在查看查老的[存見古琴指法譜字輯覽]內第六冊中關於[打圓]之解釋
發現明以前包括明都說是挑勾稍息再二作共六聲
由此我相信明代對二作就是再兩作而不是共兩作
因此省三作有可能就明代相對於二作的邏輯應是稍息再三作(而不是共三作)
希望能看到不同的佐證
4/3/2012

打圓: 打挑或勾挑來回做三次共六聲
4/6/2012
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From the book "In Praise of Blandness" by Francois Jullien, page36 & 38. there are these two pictures, on the left side is the Landscape of Ni Zan 倪瓚 1372 (National Museum of Taipei), and the right side is the same landscape that Ni Zan painted 33 years earlier in 1339 (John M Crawford Collection, New York). It is quite interesting to see how Ni Zan treated the same scenery differently when he wasyounger and older. The book says: "The artist, Ni Zan painted virtually the same landscape throughout his life. He did this not, it seems, because of a particular attachment to these motifs but, on the contrary, to better express his inner detachment regarding all particular motifs and all possible motivations."

It makes me think of guqin playing. 清微淡遠是一個追求的目標, 但30 年前的清微淡遠仍只是形式上的做到, 30 年後,是否能如倪瓚那樣,把自己曾經執著的東西,都讓他們與自我分離,而達到真正的意遠?
3/24/2012
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from qin qu ji cheng the 明和東皋琴譜長相思(羽音)
3/29/2012
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Today, received the package from 中華古琴學會 listened again my playing during the Taichung concert and crop a picture from the video.
11/29/2011
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