Volume 3, Chapter 26:
String Tuning
Methods
Translator’s note:
This section gives a number of tuning methods including pressed notes
and harmonics. The tuning methods given in
this chapter are relative to an assumed reasonably high or low pitch. For example one may assume that string seven
is correct, and then proceed to tune string five to it, etc. One can say that in general string 1 has been
tuned somewhere around A1 to C2, although since the qin often lacks
accompaniment, no fixed absolute pitch may be used. In terms of absolute pitch, modern players often tune the lowest string (string
one) to two Cs below middle C (C2 at 65.406 hz) and thus string seven would be
tuned to D3, one octave and one whole tone higher. Qin (possibly with silk strings as opposed to
the nylon-metal hybrid string) have also been tuned lower with string one set at
or around a minor third lower at A1 (55)
hz. In relative terms we say that the normal
tuning from string one to string seven is: 5 6 1 2 3 5 6. In absolute terms assuming C2 for the first
string, we would have: C D F G A C D. Strings
six and seven are an octave higher than strings one and two. Of
course other tunings have been used, but the normal tuning is the object of
this chapter. Students should learn this
tuning first, and then learn how to move to other tunings based on the
fundamental ideas here.
Figure 1. Ch’in on table with sandbags.
We use the left and
right hands according to the proper fingering techniques. Using the ring finger of the left hand press
at the tenth hui on the fifth string. With
the right hand first play the seventh open string using tiao (挑). Then play the fifth string
with gou (勾).[1] The tones should match and should sound like
the two words “xian-weng” (仙翁).[2] If the tone matches at a position below the
tenth hui, then the fifth string is high, or the seventh string is low. If the tone matches above the tenth hui, then
the fifth string is low, or the seventh string is high.[3] One may tighten or loosen the fifth string,
or tighten or loosen the seventh string as appropriate as long as tones match
at the tenth hui position.[4]
Here when we begin
to tune the strings, we may not have a fixed standard, but instead may
according to our inclination, tighten or loosen (one string in the pair). If we then have decided that this (tuned)
string will provide a fixed standard, we may take (this initial tuning) as our
chief (tone). Then as for achieving harmony by tightening or
loosening, here we are referring to the string (of the current pair) that is
not yet tuned. We tighten or loosen
it. We do not tighten or loosen the
string that we regard as the chief (tone).[5]
Next take the left
hand thumb and press the ninth hui of the fourth string. The right hand plays tiao on the seventh open
string. Play the fourth string with kou. The tones should match. If the tone matches above or below the ninth
hui, one should only tighten or loosen the fourth string [the untuned string]. If you
change or move the seventh string [the
tuned string], then it will no longer harmonize with the fifth string [a tuned string ]. At this point strings five, seven and four
are set. Next using the left hand ring
finger, press the fourth string at the tenth hui. The right hand plays the sixth open string
with tiao. And then the fourth pressed
string is played with kou. The strings
should match in terms of their tones. If
the tone matches above or below the tenth hui, only tighten or loosen the sixth
string. Do not change or move the fourth
string, else it may not match the seventh string. Now strings five, seven, four, and six are
set. According to the previous method,
press the third string at the tenth hui, eighth fen. This should harmonize with the fifth open
string. Then press the second string at
the tenth hui. This should harmonize
with the fourth open string. Press the
first string at the tenth hui. This
should harmonize with the third open string.
Only with the first string, use the middle finger (to press the
string). With the others use the ring
finger. As for the right hand, tiao is
used to play open strings, and kou is used for pressed strings. Thus we make “hsien-weng”. This technique can be called the small
interval [separated by one string]
tuning technique.
Again using the
left hand thumb, press the fourth string at the ninth hui. The right hand plays tiao on the open
seventh string. And then plays kou on
the pressed fourth string. They should
match. Then press the string at the ninth hui. This should match the open sixth
string. Then press the second string at
the ninth hui. This should match the
open fifth string. Then press the first
string at the ninth hui. This should match
the open fourth string. In all cases
use the thumb to press (the string). The
right hand uses tiao with open strings, and kou with pressed strings and plays “hsien-weng”. This
is the big interval tuning method [two
strings separate the fingers].
Again play the
seventh string with tuo (托) and the second
string with kou. And then play the
sixth string with tuo and the first string with kou. All are open strings and one makes a “hsien-weng”. Alternatively press one string and leave the
other open or press both strings and make a “hsien-weng”. Any pressing must be done at the seventh
hui. When pressing the first string, use
the middle finger. When pressing the
second string, use the ring finger. Use
the thumb with strings six and seven.
All are best done in a continuous style.
The small and large interval tuning methods are thus made ready.
It is also
appropriate to use harmonics for tuning.
Here we also have small and large interval methods. The left hand thumb floats and presses the
seventh string at the ninth hui. The
index finger plays the harmonic at the tenth hui of the fifth string. The right hand plays tiao on the seventh and gou
on the fifth string with a resulting matching tone. Now according to the method employ the same
technique on strings six and four, then five and three, four and two, and three
and one. All make a “xian-weng”, except that the five
three string pair does not work at nine ten [the
fifth string ninth hui, and the third string, tenth hui]. Harmony instead is found at the tenth hui
for the fifth string, and the eleventh hui for the third string. In addition, string five, hui seven and
string three, hui eight also make matching pairs. This is the naturally derived from the so
called Ming tuning with the third string as gong (宮) and the fifth string as jue (角).[6] This then is the small interval harmonic
tuning method.
One may also take
the left hand ring finger and play a harmonic at the tenth hui of the seventh
string. Then play a harmonic with the
index finger at string four, hui nine.
The right hand uses tiao on string seven and gou on string four and
produces a “xian-weng”. In succession
proceed according to the method. Go on
to string pairs six and three, five and two, and four and one. All should match. This then is the large interval harmonic
tuning method.
There are three
tuning methods in all: pressing
(strings), harmonics, and open strings. Only
the open string method is difficult.[7] One must have a sharp and well practiced ear
that is well versed in the musical tones.
How could a beginner have this facility? One must first begin with the two methods of
pressing strings and playing harmonics and learn it well with an intelligent
ear and no mistakes. Then after a long
time, you can use the open string method.
In qin playing, one cannot avoid
diligent preparation. It is thus
appropriate to first study tuning the strings.
The ancients said: “if you do not
study playing in tune, you cannot master the string instruments.”[8] This illustrates our meaning. Any beginning of study must include tuning
methods, and then later proceed to studying qin songs. Thus in making music, one will have a natural
harmony. If the tuning is not in
harmony, songs are played in vain. The
making of music stems from attention to the qin. From this one can naturally see that those
who are good at qin playing will be good at tuning.
[1] Tiao is played with the index finger moving away from the player. Gou is played with the middle finger plucking
in towards the player. See Volume 4,
Chapter 4, Dictionary of Right-Hand
Symbols for more information.
[2] Xian-weng cao (Immortal old man’s lament 仙翁操) is a qin tuning piece in various forms and
begins with the words “xian weng” with two notes at the same pitch on different
strings. Thus the term xian-weng can
refer to matching up one pressed and one open string in harmony.
[3] Put another way, the tones should match with the pressed finger exactly
lined up with the hui. Matching tones
are typically in unison. In some cases they
may be an octave apart.
[4] A beginning student might best take the seventh string as the correct
pitch and tune the fifth string to it.
This is because the seventh string if too tight might break. Of course if it is too low, then all the
strings will be too low. You must use
your judgment. String one or string
seven should not be too slack or too tight.
[5] One proceeds two strings at a time, taking one string as the correct
string, and another string as the string to be tuned. For example, here we could start with string
seven as correct, and tune string five to seven. Then proceed to the next set
of strings, which are made to harmonize with strings five and seven.
[6] The author is referring to the traditional pentatonic scale of gong,
shang, jue, zhi, yu, with the third string taken as gong (or do as in do re me
so la)
[7] On the other hand, a modern student can purchase an electronic guitar
tuner and use it with the qin, thus rendering this particular technique quite
easy. One can set the first string to C2 or A1 (as
mentioned in the translator’s note at the beginning of this chapter) and tune
all the other strings either with harmonics or the electronic tuner.
[8] This is from the Confucian Li Ji (The Book of Rites), Xue Ji: 不學操縵, 不能安弦. The basic sense of the passage is that one
should study details and then enjoy a greater mastery over an art.