Sunday, January 1, 2017

Journals from FB in 2013








午牕夢醒渾無事, 偶解琴囊自在行
Banana tree symbolizes female fragility, hmm... did not know that... and still don't know why?
12/19/2013
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姜夔 一萼紅

[序]

丙午人日,予客長沙別駕之觀政堂。堂下曲沼,沼西負古垣,有盧橘幽篁,一徑深曲;穿徑而南,官梅數十株,如椒如菽,或紅破白露,枝影扶疏。著屐蒼苔細石間,野興橫生,亟命駕登定王台,亂湘流入麓山。湘雲低昂,湘波容與,興盡悲來,醉吟成調.

[辭]

古城陰,有官梅幾許,紅萼未宜簪。池面冰膠,牆腰雪老,雲意還又沉沉。翠藤共閒穿徑竹,漸笑語驚起臥沙禽。野老林泉,故王台榭,呼喚登臨。南去北來何事?蕩湘雲楚水,目極傷心。朱戶黏雞,金盤簇燕,空嘆時序侵尋。記曾共西樓雅集,想垂楊還裊萬絲金。待得歸鞍到時,只怕春深。

--1186年正月初七


椒:Prickly-ash('s fruits), 菽: beans and peas
Song dynasty poet Jiang Kui 姜夔 saw beautiful red plum blossom in snow and thought about his lovers. His mood changed from pleasant to regrets, and made this poem and its preface.
I saw the Green Hawthorn tree in snow in front of my window and thought about his poem.

12/15/2013
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Oct 3rd, 2013 traveled to Hakone 箱根 Japan, stay in a historical hotel 一の湯 Ichinoyu, and saw this calligraphy hanging in front of the room we were staying. Just found out that this is a quot from a Song dynasty poem by Hu Zhonggong - 耕田 Plow the Field.
十月訪日本箱根時在住的老旅館內看到此字, 剛才查出是宋代的鬍仲弓 所作的[耕田]詩中之兩句--
鬍仲弓字希圣,号苇航,清源(今福建仙源)人,流寓杭州

  田可耕兮圃可蔬,幾年夢不到亨衢。
  山林受用琴書鶴,天地交遊風月吾。
  事變無涯人老矣,死生有命汝知乎。
  客來時復一杯酒,盡作鱸鄉醉隱圖。

12/12/2013
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Nov 16, 2013 the bamboo qin first met the bamboo flute. Peiyou and Glenn improvised a short piece. I never tried playing music like this before, it was a wonderful experience, a heart to heart conversation. You really have to listen what the other is trying to say... Here is the recording from that day. 請聽現場錄音:
https://soundcloud.com/peiyouqin/bamboo-qin-and-shakuhachi

11/18/2013
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Another method to prevent the rebound of the tuning pegs -- add a piece of leather on top of the peg. This is not a beautiful done however. Better to cut the leather exactly same size as the diameter of the peg and make a hole in the middle of the leather piece. Take apart the string and rongdo. Put the leather piece on before stringing.
Jim Binkley Peiyou - what do you mean by the rebound of the tuning pegs - not sure I understand?
LikeReplyMessageNovember 8, 2013 at 2:35pm
Peiyouqin 木上絲 sorry for my bad english, 有時候琴軫會反彈回來如果轉到一個程度的時候.
Peiyouqin 木上絲 and you are lazy or don't know how to adjust the length of the rongdo, then you can use this method.
Jim Binkley I understand. This can happen if the pegs or the under-side of the qin are too "slippery". A little chalk dust or baby talcum powder under the pegs will help too.
UnlikeReplyMessage1November 8, 2013 at 2:42pm
Yung Sun Wu Good idea, if you already have the strings on you can just cut like a C and insert it without stringing the string through it.
UnlikeReplyMessage1November 8, 2013 at 2:43pm
Peiyouqin 木上絲 Ng Vincent, that is right, but i found that open C sometimes will open too wide and cam out while turn the pegs. so if it is like a donuts, will be more secure.
Peiyouqin 木上絲 i was too lazy to take apart all the string, so I did it as a C  so I have to pay attention if one day they fall off after many times of turning back and force.
Peiyouqin 木上絲 Jim, I haven't try chalk dust or baby powder since I don't have those stuff around.
Jim Binkley traditional approach is: loose pegs -> chalk dust, tight pegs -> candle wax
LikeReplyMessageNovember 8, 2013 at 2:55pm
Peiyouqin 木上絲 where did you put the candle wax? and why it is after tight pegs?
Peiyouqin 木上絲 traditional also say cut some marks on top of the peg, but the leather method for me is the easiest way and it works perfectly.
Jim Binkley I mean: if you can't turn the pegs (hard to turn) and the rongkou isn't messed up of course ... you put the wax between the peg and the bottom of the qin to make the peg turn more easily.
LikeReplyMessageNovember 8, 2013 at 2:58pm
Charles Tsua Are the tops of the pegs concave or flat? Generally, if the tops are concave, pure silk rongkou is used and the string is strung to the adequate tension to begin with there should be no problem of the pegs slipping, popping or de-tuning due to the rongkou over-reaching its limit of being tightened.
UnlikeReplyMessage1November 8, 2013 at 5:36pm
Peiyouqin 木上絲 they look flat to me.
Jim Binkley I diagnosed a problem like this on a student's qin - that was due to the rongkou twisted knot - not being used - hence slippage. Another possibility for slippage comes from the bottom of the qin area being too smooth (or lacquered and then smoothed)....See More
UnlikeReplyMessage1November 8, 2013 at 5:55pm
Peiyouqin 木上絲 Ah ha~ thank you all, I checked all my qin, made by WP, Pei Jingbao and Sunwei, only WP qin has concave of the top of peg and the peg is made by some kind of jade and then the bottom of the qin does not have smooth out or put lacquer on it and this qin does not have this rebound problem. The other two qins has flat top pegs and has smooth out the bottom of the qin, and has the rebound problem.
Jim Binkley Hence the pegs need "tires"  (your leather). Snow tires.
UnlikeReplyMessage1November 8, 2013 at 8:17pm
Peiyouqin 木上絲 heheh... that is right. but to be honest, I will not want to use the new designed 旋璣琴軫 if they are made by plastic. I prefer that Jade pegs, feels more heavy duty to me. 
11/8/2013
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市面上賣的絨荳普遍偏細, 只好自己再加兩條絲線, 原本13條做一股的現為15條做一股, 如此調整琴絃時不容易反彈回來. 有比較強的抓力. Many Rongdou bought from stores generally tend to be thinner, therefore I have to add two yarns of silk thread into each Rongdou, from 13 to 15 yarns now. This way it will have relatively stronger grip. So when turning the tuning pegs, they won't bounce back easily. Rongdou has to be silk, do not use cotton.
10/27/2013
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神人暢 - 神(spiritual being, spirit, god), 人(human being), 暢(without barriers, freely, comfortably, harmoniously )--
The spiritual being and the human being communicate freely and harmoniously without barriers.
What does it mean that the highest level of playing the guqin is to reach the 天人合一的境界 stage of united the heaven and human? My feeling is that it is not mysterious. When you concentrate on playing the guqin, your mind is with your body (fingers) and your mind is aware of why and how each note is been played.
Two years ago, I played 神人暢 with an imagination of a poem "mountain ghost" by Quyuan 屈原的山鬼. Two years later, I played 神人暢 with no more mountain ghost but a simple mind of following the moment. 當下是什麼情緒是什麼體力就怎麼彈.
9/20/2013
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今日悟出琴與陰陽之又一關係(運指), 甚喜~Today realized a qin fingering concept that is also related to Yin and Yang (the Taichi), very pleased.
此乃愚見, 還請不吝賜教, 吾以為凡有氣動便有陰陽, 如以"吟" 來說,常遇學生問這吟到底是到了音位之後先往上還是先往下做揉絃? 若以太極陰陽之概念則須視前一音之動勢再順勢做揉絃的動作, 若前一音接下來會是個注下的動作則其吟之動勢必反之以先上後下, 若前一音接下來會是個綽上的動作, 則此吟必會產生先下後上的動作. 並不是所有的吟都是同一方向的揉絃, 如果將上圖轉90 度當可看出吟的動勢態狀.
9/18/2013
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Prof Liang believes that the "hui"徽 was a pre-Han invention. 梁銘越先生認為琴徽在漢之前就確定已出現了. Two more sources he mentioned are: Qin Fu 琴賦(Poetical Essay on the Ch'in) by Hsi Kang 嵇康 (223-262A.D.)--絃以園客之絲, 徽以鍾山之玉
-- "Its strings are made of Yuan K'o silk, its studs are made of jade from the Chung mountain. " (translated by R.H. Van Gulik)

And the Xi Jing Za Ji 西京雜記(Miscellaneous papers of the Western capital) by Liu Hsin 劉歆. - 有琴長六尺安十三絃二十六徽--according to prof. Liang's interpretation: when Emperor Kao (206-193 B.C.) entered the Hsian Yang palace treasure houses, he found among the treasures a ch'in six feet long with thirteen strings and twenty-six huis made from seven different kinds of precious stones. The multiple kinds of precious stones used for the huis, the double number of huis, and the large number of strings make this instrument unique. Generally, varying sizes of ch'in, or ch'in with varying number of strings, were more common occurrences previous to the Han dynasty than after it.
李華文 嵇康是三國時魏國人,他的《琴賦》提及徽,應是說當時之事,是不能用來證明漢以前有琴徽的。而劉歆《西京雜記》只是一本筆記小說,且很多人認為是偽書,乃後人假托。小說應該不能用來佐證歷史吧?
LikeReplyMessage1September 12, 2013 at 8:41pm
Jim Binkley Wikipedia says the Qin measurement of a "chi" foot was about .23 meters long, so 6 * .23 is roughly 4.5 English feet long - not that far off actually from the 4 feet standard length of a qin (rough rule of thumb btw: guqin 4 ft, guzheng 5 ft, koto 6 feet - since I've had the pleasure of measuring these out to make sure they fit in my house for a house concert).
9/12/2013
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[事林廣記- 陳拙參軍琴說]中有這麼一句:如孤雲之在太虛 因風舒捲 久而不散 此調引之妙操也...
光這一句子, 隱含了很多意義... 我們能看見雲在太虛或舒張或捲曲, 也就是一股陰陽兩氣互相運動拉拔融合又交疊的表現. 那彈得一首好曲就如這因風舒捲之孤雲. 時而陰多於陽, 時而陽多於陰, 或高或下 或重或輕 或古淡 或清美 或悲切 或慷慨 変態無常 不可執一 ...若前緩而後急, 中急而後緩...取予中有意思.
The Southern Song Dynasty Encyclopedia [Shi Ling Kuang Ji - Cheng Zhuo Tsan Jun Qin Shuo] has this saying: A good playing of a qin melody is like a single cloud on the sky, constantly changing its shape like stretching or curling which caused by the wind, but it won't become loose for a long time... Think about it.
7/1/2013
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從來都以為琴者禁也,修身養性, 等等之說, 今倒是見到"欲置温柔乡,不可无此陶熔之具" 一說...

I always heard that Guqin is the instrument to cultivate oneself and is a meditation instrument. Just Recently I read this Qin dynasty article [Xián qíng ǒu jì ] (Leisure Enjoyment, a book of Chinese art of living guide) written by Li Yu ( 1610–1680 AD, a Chinese playwright, novelist and publisher), and he had mentioned that if a man wants to have a warm and comfortable home, should have his wife learn the guqin, as the guqin is a must have beneficial instrument. However the husband has to be able to understand the guqin music in order to enjoy the wife's playing.... That is a true 'self-enjoyment'.

"丝竹之音,推琴为首。古乐相传至今,其已变而未尽变者,独此一种,余皆末世之音也。妇人学此,可以变化性性,欲置温柔乡,不可无此陶熔之具。然此种声音,学之最难,听之亦最不易。凡令姬妾学此者,当先自问其能弹与否。主人知音,始可令琴瑟在御,不则弹者铿然,听者茫然,强束官骸以俟其阕,是非悦耳之音,乃苦人之具也,习之何为?凡人买姬置妾,总为自娱。己所悦者,导之使习;己所不悦,戒令勿为,是真能自娱者也。" -- 清 李漁 [閒情偶記] 絲竹

6/11/2013
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關於琴聲不大的問題, 梁銘越先生如是說: Volume is the most commonly raised question about the qin by laymen. The lack of it bothers some novice qin players. Is it possible that, in the nearly two thousand year history of the "modern" qin beginning with its standardization in the Eastern Han dynasty, there has never been a single person who has thought about solving this organological problem? First of all, one must consider the original and philosophical nature of the instrument. As it was primarily an instrument for meditatin, spiritual rejuvenation and personal performance, volume was not an important criterion. In addition, as mentioned above, the kinesthetic-acoustic sensibility in qin playing was highly developed. Even the heavy board with its thick, smooth layers of hard lacquer and arched sound box contributed to a maximum kinesthetic-acoustic development. It is precisely because of this unique characteristic of "listening with the fingers" that the qin musicians of the dynastic past never bothered to improve the volume during this lengthy period. Furthermore, the ancient symbolism and mental imagery called forth by this instrument, as capsulized by the popular maxim "the qin pleases the mind rather than the ear", would have deterred any movement to change the instrument.

A second consideration to the question of volume has to do with its perception. Aside from the organological acoustical properties of the instrument itself, volume is also determined by the sensory acuteness of the listener, that is the listener's adaptability to the volume of a given instrument. The small volume of the qin stimulates the development of one's subjective auditory sensibility by means of concentration. In fact, there may be a real problem in that today's industrial surroundings, which are full of people and noises, have made us insensitive to a lower sound volume, and that our ancestors of a thousand or more years ago had a more acute sense of hearing than present-day listeners. Therefore, listening with increased concentration and cultivating the "way of the qin", that is, listening with the ear, the heart and the mind, has as much relevance today as it did two thousand years ago.

--[Music of the Billion: An Introduction to Chinese Musical Culture] by Mingyue Liang
6/6/2013
Peiyouqin 木上絲 Chinese translation: 對於不瞭解古琴的人, 總覺得琴聲不大是個問題. 難道兩千多年以來琴人們都沒有考慮到這個問題嗎? 首先我們必須瞭解古琴的本性及其哲學思想. 古琴主要是修身養性與自娛之樂器, 因此音量並不是個很重要的衡量標準. 而琴本身的結構(其所使用的木頭, 天圓地方的面底板, 髹塗無數次的漆灰等) 使其產生出非常細膩的音質是在很早以前就已發展完善了. "琴在指上聽"的哲學思想使得這麼長久以來,琴人們並不在意音量大不大的問題. 再者琴之古老的象徵和心理意象是古琴給人們帶來一種追求與需要, 正如一句流行的話說"琴乃悅心非悅耳" 使得琴的音量並未改變.

另一方面音量與聽者的覺知有關,與聽者對於音的敏感度有關, 古琴的小的音量藉由專心,刺激聽者主觀的音感. 而這在現在的被人群與燥音圍繞的工業社會環境下已然是個現實的問題. 相較千年以前的古人的耳朵對聲音的敏感度必定是要比現在的人要敏感多得多了. 因此現在的人更需要增強專注的聽的能力, 更需要修身養性用心去聽.
David Badagnani A good table can increase its volume by double, can't it? Though I guess in the beginning players didn't use a table, they just use their laps.
LikeReplyMessage1June 6, 2013 at 11:25am
Jarek Szymanski Introduction of steel strings has basically solved the problem of low volume. However I must admit playing outdoors has always been a challenge to me. Looking at the ancient paintings Qin players of the past preferred outdoor venues to share their music with friends. Listening with fingers is one thing, focusing on the sounds is another - can lead to imagining the sounds when it has been gone already.
LikeReplyMessageJune 6, 2013 at 11:43am
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今夏的琴房 - 撫琴帳中
My new qin room for this summer.
5/26/2013
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楚歌很是耐人尋味, 跟著譜走進作曲者的世界, 走到一處是一處景象與心思... 為什麼此處用雙撞? 是個什麼樣的情緒?... 那處的雙彈走馬聲,是有著多少的惆悵,遺憾, 不捨, 絕望... 等等, 琢磨不盡呀~
The "Song of Chu" is very intriguing. Followed by the tablature I walk into the composer's world. When in different phrases, I saw different scenery and mood ... Why here use a 'double hit'? What kind of mind set is it? ... That 'double play' with the title of 'sound of let go the horses' telling how much of the melancholy, regret, sadness and despair ... ah~ really endless pondering.
5/18/2013
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我用我的WP琴的絃長
以三分損益的方式
改變絃長
所得出的徽位及音值
如圖所示
I used a string on my WP qin, and used the 2/3 and 4/3 ratios,
to calculate the 12 tones and where they are located on the qin.
5/14/2013
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"Qin is a very personal instrument for personal musical enjoyment. Qin is intentionally not instrument with a huge dynamic range, and not like other instruments such as Zheng or Suona which were for an audience, and thus require a large dynamic range. Qin was scholar's instruments for communication with their inner sanctum and the universe."今日有感: 莫忘彈琴乃自適, 乃為求得天人合一之境界爾, 非為譁眾取寵... 天如自然之氣象於我身之經驗存於記憶之中, 地如琴身與琴弦, 人乃我之手指氣力將記憶藉由鼓動琴絃傳達出音樂情感, 此乃天地人合一之境界.沒有神格人也沒有人格神. 若能體會其真意是為彈琴也.
Peiyouqin 木上絲 西麓堂的楚歌比神奇秘譜處理的更好聽, 特別是拔劍聲.See Translation
陳信儒 感謝.
UnlikeReplyMessage1May 13, 2013 at 6:01pm
Yeudye Lu 我也習慣用毛筆抄譜See Translation
UnlikeReplyMessage1May 27, 2013 at 6:50am
Scott Drake "Playing the lute purifies one's nature by banishing low passions, therefore it is a sort of meditation, a means for communicating directly with Tao. Its rarefied notes reproduce the 'sounds of emptiness', and so the music of the lute tunes the soul of the player in harmony with the Tao." Lore Of The Chinese Lute (pg.46)
UnlikeReplyMessage1May 13, 2013 at 7:51pm
Scott Drake Yes...!!
UnlikeReplyMessage1May 13, 2013 at 7:47pm
Renjie Song 人,琴 双修
UnlikeReplyMessage1May 13, 2013 at 3:54pm
Sebastien Gishin Cyr
Sebastien Gishin Cyr Just like when I played Shakuhachi I resented the moments I played for people mostly because the audience had no idea of what I was truly doing.
UnlikeReplyMessage1May 13, 2013 at 2:57pm

5/13/2013
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陽光午後與學生花園三弄... it was a quite different atmosphere to play qin outdoor in a nice sunny afternoon :)

it was plum blossom under dogwood and lilac. 
梅在萸下彈,丁香散芬芳.
5/6/2013
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Guqin music is "timeless" music. Mr Shen Sin-yan says that once the score is fixed and fixed in too much detail, the composition "will not live" forever. And the Guqin "dapu" is the creative process of recreating a music for performance using tips from a "framework" score. If we were to force every note to be written down, the music would have lost its artistic life entirely... 古琴的打譜就是一個創造新音樂藝術的過程, 讓古琴音樂歷兩千多年而不衰, 打譜功不可沒. 而古琴譜加上西洋樂譜或著要把節拍用西方的音樂觀念一一標示出來, 一來那絕對不是中國音樂, 二來,一標示出來就是死的音樂. If one wants to see Shen's argument, please read his book [China: A Journey into Its Musical Art] page 86-104.
Peiyouqin 木上絲 I guess arts has no right or wrong, haha... different interpretation shows different characters 
Peiyouqin 木上絲 How to define what mistakes are? 
Peiyouqin 木上絲 also tempo will be very personally different.
Jim Binkley I think it's easier just to make different mistakes each time 
LikeReplyMessage1May 5, 2013 at 7:59pm
Jim Binkley Well: here's a question: so then, is playing jiu kuang with a triplet tempo a mistake or just a brilliant reinterpretation 
LikeReplyMessageMay 6, 2013 at 11:48am
Jim Binkley Good point. May all your mistakes be musically interesting. I fundamentally agree with this idea. For one thing one can always induce small improvisation with yin, nao, shang, xia, chuo, and zhu. And make interesting mistakes.
LikeReplyMessageMay 6, 2013 at 11:11am
5/5/2013
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根據楊蔭瀏先生的[中國古代音樂史稿]-- 三分損益法究竟是根據管長還是絃長歷來看法很不一致, 但從音響原理來看, 從現在實施存在的琴上的音位來看, 又從管上從來沒有找到具體實例來看, 則斷定它為絃的長度是不措的. 戰國編鍾所發音階的高低關係也是符合絃律的. 這足以使我們對於三分損益管律是否真正存在的懷疑更為加深. 

沈星揚先生在[China: A Journey into Its Musical Art] 說:
Silk was the strongest industrial fibre in the world. The silk industry was invented by the Chinese, and Chinese musicians were the first to learn a great about the acoustics of the string because the silk industry was in place so early.

Temperament theory on silk strings were developed by acoustical physicists and mathematicians in China. It was on silk strings that the Chinese musicians first practiced in the world just and physically harmonious intervals. Without the strength of the silk industry perhaps much of string acoustics would have been delayed. The fascinating tones of silk strings also presented themselves as assets for expression.

以上兩種說辭,讓我對彈絲絃琴,是彈出真正的中國音樂,有了更堅定的信念. So the authentic guqin music should be played on silk.

目前發現世上最早絲織物是距今4700 年前的浙江省湖州市吳興區境內的一處新石器時代晚期的一個村落的遺址-錢山漾遺址. 這個發現讓人們確定對絲利用的技術在那時已是屬於成熟期也就是對絲的認識早已產生了很長地一段時間. 並且相信將絲做成絃來彈奏也是極有可能在很早的時候就已在使用. 那麼[詩經]中的'我有嘉賓, 鼓琴鼓瑟'必然是使用絲絃, 琴的歷史要推溯到紀元前十世紀或更早應是有可能的. 那麼琴有三千年的歷史當是可信的. 

When the earliest silk fabric found in Zhejiang Province in 1958, that date it to 4700 years ago, that the use of silk was already mature in China. One should allow to believe that using silk to make instrument string can be happened very early as well. So when the ancient poem from the 11th century BCE that says that "when I have guests visiting, playing qin and se to welcome them" can be sure that they already using silk string and so to say that guqin has been existing in Chinese culture for more than 3000 years is also believable.

5/4/2103
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神奇秘譜之[高山]與[招隱]的尾段竟然一模一樣, 臞仙, 是你懶得再作一段尾音,還是抄錯了呢? 還是隱必藏於高山故而殊途同歸?
The final part of "High Mountain" and "Seeking a Recluse" in the Ming dynasty qin book SQMP shows exactly the same. wondering what is the reason? on purpose? or because a recluse is always hidden in high mountain therefore independently reach the same conclusion?
4/23/2013
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琴的美學之一 "善取聲者如西施淡妝 自有不凡氣韻". (北宋成玉礀)
One of the ancient Chinese aesthetics of Qin playing - "A good play is like the beauty, Xi Shi, with light make up, which has one's own extraordinary natural beauty." (said by Song Dynasty Chen Yu-jian) 
Worth of thinking.
2/10/2013
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敬祝琴友們
新春納福 平安吉祥 
Happy Lunar New Year
May the jade snake and ingot bring you good luck.
Timzen Peat and to you! and yours!
February 8, 2013 at 5:55pmLikeMessage
Pascal Delery Joyeux Nouvel An Lunaire
Que le serpent de jade et de lingots de vous apporter la bonne chance.
See Translation
February 9, 2013 at 7:04amUnlike1Message
2/8/2013
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温故知新 wēngù-zhīxīn [gain new insights through restudying old material]

再來溫1269 年的古人(事林廣記)怎麼說彈琴應注意的事項以知新
雖然中文表達常常語短意深
但我盡量還是試著用英文解釋清楚
五功五能是我們彈琴要盡量做到的
五病五謬是要盡量避免的
當然還有十善九不詳等
下回分解

Below is from [Shi Ling Guang Ji] edited in 1269.
Let's see how the ancestor told us what we need to pay attention and what we need to avoid when playing Guqin. These are the "5" parts, there are the 10 goodness and the 9 things that is inappropriate. Will explain them next time.

彈琴五功 The 5 works

指法合宜 Expedient, or appropriate fingerings
敲擊不雜 Pressing or plucking are not cluttered
吟猱不露 Yin and Nao (vibratos) are not too obvious -- this part I will say when practicing, one should make it clearly until reached the skill then try make them not so obvious, so it has a quality of subtlety.
起伏有序 The moving of up and down has its order
作用有勢 Action has force

五能 The 5 "be able to"

坐欲安 Be able to sit stable
視欲專 Be able to focus well
意欲閒 Be able to calm your mind
神欲鮮 Be able to clear your thought
指欲堅 Be able to have firm fingers

五病 The 5 problems (which are the opposites of the 5 works)

佈指拙惡 clumsy fingerings
挑摘渾殽 mixing up tiao and zhai, (not using correct fingering)
取予不圓 literally, taking and giving are not rounded, my understanding is that 下指與離指, 出音時音與音之間的聯結要圓潤不要太突兀或太僵硬, the connection between each note and how the finger create a sound has to be rounded, not too harsh or stiff.
節奏不成 no rhythm
走作猖狂 unrestrained moving action

五謬 The 5 erroneous (compare with the 5 "be able to")

頭足搖動 Head swinging and feet shaking
妄肆瞻視 Unbridled looking up everywhere
錯亂中輟 Mind easily interrupted
精神散慢 Energy scattered
下指速懶 Too fast or too slow to put down fingers


1/23/2013
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Dear Guqin, I want to thank you for bringing me into this treasure world that I met so many nice people and learned so many things from them and from you the guqin and learned to know myself better.
親愛的古琴,我要感謝您帶我進入這個寶地,我遇到了很多很好的人,並從他們身上學到了很多東西,也從您-古琴,學習到更好地了解自己。
陳信儒 請問張師姐 您的琴名 是否可以告知...謝謝.
January 19, 2013 at 5:37pmLikeMessage
Peiyouqin 木上絲 呵呵~ 此琴叫柚子琴. 我其他兩床琴都沒有命名.
陳信儒 感謝告知.
January 19, 2013 at 5:48pmLikeMessage
張培文 這張怎麼拍的呀?
January 19, 2013 at 8:03pmLikeMessage
Peiyouqin 木上絲 兩張照片用photoshop結合
張培文 很妙! 她好像有種神力一般
January 19, 2013 at 8:06pmLikeMessage
Peiyouqin 木上絲 琴乃明心見性之器, The Guqin is an intervening agent to guide us back to our origin and true nature.
Peiyouqin 木上絲 而且古琴又是那麼地包容 guqin is also so inclusive. 年齡稍長者, 未有音樂背景者皆可進入琴的殿堂, 發現喜悅. If you don't have music background, or if you missed your previous 20 or 30 or 40 or even more years of your life, you can still enter the qin world and find your joy and peace with it.

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陽春白雪 曲高和寡
(Yángchūn báixuě qǔgāo hèguǎ)
Sunny Spring, White Snow,
The melodies of superior taste find few to join in chorus,
in another word, too high-minded [highbrow] to be popular.
1/9/2013
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