Volume 4, Chapter 4:
Dictionary of Right-Hand Symbols
Translator's note: For
each simplified tablature symbol (meaning the simplified character or
characters used in qin tablature), we first supply the qin simplified
character form as scanned from the original text. As necessary, the qin tablature symbol is
followed by the traditional unsimplified Chinese character (or characters), and
combined pinyin (only) romanization, with tone number in parenthesis. The pinyin pronunciation was not taken from
the original text. Finally, the
translation from the text is given, which in some cases may have
commentary. The original commentary is
always given in italics.
yi(1). String 1.[1]
er(4). String 2.
san(1). String 3.
si(4). String 4.
wu(3). String 5.
liu(4). String 6.
qi(1). String 7.
In the tablature, all the previous numeric symbols are written in the normal fashion, without simplification. In older handbooks, they were not entered, but now we put them in the music.
散, san(3) (lit. “empty”, hence open). [
This applies to whenever you do not press (a string) and obtain sound.] The left hand does not press a string. Only the right hand according to its
fingering method plays a string. These
are called “san” sounds.[2]
托, tuo(1) (lit. "pull").
[On any string obtain one sound.] The thumb plays out towards the hui, we call
this tuo. [The hui are outside (from the player), hence "plays out".] Probably because the reach from the first to
the sixth or second to seventh strings is far, and gou[3] 句 and tiao 挑 can't reach, then the use of the thumb
is necessary. Nowadays, some people (use
the thumb) and face it upwards, perpetuating a mistake. They cause the thumb to face upwards to
perform tuo, striking the top of the ch'in.
The sound is harsh and muddy. How
can something fine be obtained? Can we
not agree to stop this bad practice?
擘 pi(1). [On any string, obtain one sound.]
The thumb plays in towards the body. We call this bo (擘, bo(4))[4] This symbol is not often used. Yan Tian-chi (嚴天池) and Xu Qing-shan (徐青山)[5]
took playing out towards the hui to mean this character, and tuo 拖 to mean playing in towards the body.
Thus the names were not the same.
At least the finger used was the same.
抹, mo(3). [On any string, obtain
one sound.] The index finger plays
in towards the body. We call this mo. This motion should be sharply done. It should not be done by brushing and also
not done heavily. If too heavy, then the
result could be muddy.
挑, tiao(1). [On any string, obtain
one sound.] The index finger plays
out towards the hui. We call this
"tiao". The finger should hang
and fall and this should lead to a strong and clear tone - pure, and smartly done,
without obstruction. If a companion
string is struck, the result will not be clear.
抹挑 mo(3) tiao(1) [On the same string, two sounds are continuous.] At the appropriate string/hui position,
whether pressing or playing an open string, there should be two sounds. First do mo, then perform tiao. This symbol is written as one symbol.
句, gou(1). [On any string, obtain one sound.]
The middle finger plays in towards the body. We call this gou. You should use half fingernail and half
flesh. People only know that when using
the left-hand thumb, they should use half nail and half finger. They do not know that when using the right
hand and playing a string, with gou, or mo, this is also the case. If only the fingernail is used, then the
sound is superficial. Technique here
involves taking the fleshy part of the finger and with the finger's fleshy part
striking the string. "Strike heavy
and enter lightly". First use the
flesh and then the nail. You must strike
directly, and not brush at an angle.
Also don't let the fingernail strike the surface of the qin. We will not go over this again.
剔, ti(1). [Make one sound on any string.]
The middle finger plays out towards the hui. This is called ti. Do not be too inflexible. If too inflexible, then the result may be
hurried. In playing, you do not want to
go too deep. If too deep, blockage may
occur.[6] You want to move in a dexterous manner. When the fingernail is used to play out in
the correct piercing way, the sound has a fullness. If you perform ti so that you wrongly strike the next string, and cause unwanted
sounds, you may not have the proper harmony.
This is a fingering defect. The
playing motion here should be similar to tiao 挑.
句剔, gou(3)-ti(1). [On the
same string, obtain two successive sounds.]
At the string/hui position, perhaps pressing a string, perhaps playing
an open string, there should be two sounds.
First play the gou, then the ti.
Thus they are joined in the writing.
打, da(3). [Obtain one sound on any string.]
The ring finger plays in towards the body. This is called da. It is used with the first and second
string. It may also be used when playing
open strings. Also it may be used
because you have to go too far to play a string, so it can be very
convenient. The playing method is not
any different from gou 剔. Thus da is the name for using the ring finger
and playing in (towards the player).
There is a mistaken idea that this means to strike the string with great
force. One can but laugh.[7]
摘, zhai(1). [Obtain
one sound on any string.] The ring
finger plays out towards the hui. This
is called "zhai". Zhai must be
played with dexterity. After continued
practice it is best if the fingertip achieves some compromise between
flexibility and firmness. Zhai is mostly used with the "roll" (gun 滾)
and the "wheel" (lun 輪).
More details will be found later (with those symbols).
Whenever the right hand four fingers play strings[8],
you use the eight methods: tuo 托,
pi 劈, mo 抹, tiao 挑, gou 句, ti 剔, da 打, and zhai 摘. These should be used above the first
hui. When executing these (methods), in
all cases obtain a strong and clear sound.
If played around or below the third or fourth hui, the fingers will enter
in a crooked superficial way, producing a weak sound. Regarding harmonics, one should approach the
bridge to obtain strength and clarity.
If the left hand is pressing the strings above the fourth or fifth hui,
then the right hand should play near the first hui. Wherever, don't play too heavily. All should have a clear shining
sound, without being too agitated.
Scholars! Note this well, as we will not return to it later.
歷, li(4).
[Several strings obtain a
continuous sound.] The index finger
performs tiao 挑
continuously on two or more strings. Make the sounds with lightness, quickness,
continuity, and clarity. This is also
called du 度.
如一, ru(3)-yi(1) (literally, "like one"). [On two
strings, at the same time make one sound.] One string is pressed and one is open. Using ti 剔, play out on two strings, simultaneously producing one
sound. Phrases (in a song) with a need
for strong harmony may use it.
疊涓
die(3)-juan(1). [On the same string, two sounds are made in
succession.] At some string
position, where the strings may be pressed or open, there should be two
sounds. Mo 抹 and gou 句 are rapidly played. First play mo, and then play gou. The sounds obtained should be continuous,
quick, and clear.
抹句, mo(3)-gou(1). When found in the
notation, this is short for the previous symbol.
摟圓, lou(1)-yuan(2). [With
two strings, make one sound.] At two
strings, using gou 句,
and mo 抹, each play one string. The fingers play together, and cause two
strings to simultaneously make one sound.
Do not slant to the side. Only
harmonics use this (symbol). This is also called ban-fu 半扶,
which is written
in the qin
notation.
全扶 quan(2)-fu(2). [On
three strings, altogether make one sound.]
Using index, middle, and ring fingers, each to a string, da 打, gou 句, and mo 抹 play together, each obtaining one
sound. This is also used with
harmonics.
半扶, ban(4)-fu(2). [On two strings, altogether make one sound.] This is also lou-yuan 摟圓.
鼓, gu(3). [Together on one or two
strings, make two sounds.] With one
string pressed, one string open, play ti 剔 and tiao 挑
in succession. With two strings there
will be two sounds. First play ti, then
tiao. This is also called shuang-tan 雙彈.
雙彈, shuang(1)-tan(3) (literally,
"double-play"). This is the
same as gu 鼓.
It is also similar to ban-lun 半輪.[9]
輪 lun(2) (literally,
"wheel"). [In succession, on one or two strings, make three sounds.] On the same
string, in succession, play zhai 摘, ti 剔,
tiao 挑, obtaining three sounds. Lun has slow and fast forms. It depends on the rhythm of the song. As for the bending of the knuckles of the three
fingers, they should be lined up and close together. The result should be strong, clear, and
precise.
半輪
ban(4)-lun(2) (literally,
"half-wheel"). [On one or two strings, successively make two sounds.] Using the ring and middle fingers, play zhai 摘, and ti剔.
The fingering is (roughly) like gu 鼓. There is some
similarity.
背銷 bei(1)-xiao(1). [On the
same string, make three sounds.] On
the same string, use ti 剔,
mo 抹, tiao 挑, to successively play three
sounds. Ti and mo should be played
quickly, and tiao somewhat slowly, following the rhythm. This is also called shao(3)-xiao(1) 少銷.
少銷 shao(3)-xiao(1). See previous.
短銷 duan(3)-xiao(1). [On the
same string, make five sounds.] On
the same string, First slowly play two sounds using mo 抹, and gou 句.
Then add in bei-xiao 背銷, which will altogether total five sounds.
長銷
chang(2)-xiao(1). [On the
same string, make seven sounds.] On
the same string first evenly play four sounds using mo 抹 tiao 挑 mo 抹 gou句.
Then add bei-xiao 背銷 to altogether make seven sounds.
It is also possible that nine sounds are used. In that case, add mo 抹 and tiao 挑 at the beginning. Play this with care.
打圓 da(3)-yuan(2) (literally,
"striking a circle"). [On two strings, altogether make seven
sounds.] One tiao 挑, one gou 句 - each has a string and
alternates. First make two sounds (tiao,
then gou). Then less slowly and more rapidly, repeat two times, making four
sounds. Then add one more tiao 挑.[10] Altogether there are seven sounds. Alternatively, one could also use tuo 托 and gou 句 in a similar way. Possibly the beauty of this technique lies in
getting the fast rhythm right for the central four sounds. The sound should be bright. The playing should be even and smooth. The whole thing should be lively, without a
hint of slowness. If tiao is heavy and
gou light, and the strength of playing is uneven, then the desired freshness
cannot be obtained. Carefully discern
this!
滾 gun(3) (literally, "to turn
round/to roll"). [On a number of strings, several sounds are
continuously linked together without a break.] The ring finger using zhai 摘 starts with the seventh string, and
continuously plays zhai through and including the second string. Or one starts from some string and plays
(away) to some other string without restriction between the seventh and second
strings. The technique involves bending
the knuckle but at the same time holding the last digit firmly. Practice until it can be played with
strength. Push through firmly and then
release the finger. The sound should be
"rolling". Gun is also called
lin 臨.[11]
臨 lin(2).
This symbol is another name for gun 滾.
It is often used with harmonics.
沸 fu(2). (literally, "bubbling/boiling"). [On
several strings, make several continuous sounds.] The index finger using the mo 抹 technique continuously plays from the
first string through the seventh string.
Or from some string to some other string and then stops. Do not get hung up anywhere. Do not play it in an explosive heavy
way. Rather play it smoothly and
continuously without interruption. Then
it will have some flavor.
滾沸
gun(3)-fu(4). [The
two techniques are continuously played together over the strings.] One gun and one fu are used in
succession. It is essential to play the
two techniques without interruption. It
is best to play continuously without stopping.
All of it should be clear like the hidden and mysterious sound of
thunder. Play cleanly without
clamor. On the strings the technique
involves obtaining a circular form when playing. Starting with gun, turn to the left, circling
from the inside out. For fu, turn to the
right, and circle out coming back to the inside. Both techniques together are like the form of
a circle. Practice until the two
techniques are naturally linked together.
Today, many play one zhai and one mo as if it should be an octagon. And often divide the technique into two. In the end, they cannot make it continuous,
simply because they do not know of the circular technique.
索鈴 suo(3)-ling(2) (literally, "a
string of bells"). [On a number of
strings, a number of sounds are played in a continuous manner.] It is similar in form to gun 滾.
Using tiao 挑,
one presses the seventh string, and then plays it. One then presses the sixth string, and using
tiao again, plays it. This technique is
repeated over some number of strings, successively away from the player. The entire tiao motion is like a set of bells
on a string. The sound rolls off without
interruption. Beauty depends on
continuity.
This technique
is often used with harmonics. The manner
for obtaining sound is similar to that of gun.
However one technique uses zhai, and the other uses tiao. Consequently the names are different.
潑刺 po(1)-ci(4)[12]
(literally, "splashing sound").
[This is two techniques played on
the same two strings. Each makes one
sound.] By itself one finds 潑 written in the tablature as 
. In the tablature, 刺 is written as 
. When used together they are written as 
. In some cases one of the two strings is
pressed and the other is open. In some
cases, they are both pressed or both open.
With the po technique one uses the ring, middle, and index fingers all
joined together. The last two digits of
the fingers must bend. The ring finger
is extended more than the middle finger, which is extended more than the index
finger, resulting in a slanted form. The
fingers line up lightly moving in, sketching out a form like a single
brushstroke down to the left. Together
they make one sound. We call this
po. As for the ci technique, it uses the
ring, middle, and index fingers all together.
One bends the knuckle (back) with the ring finger slightly exceeding the
middle finger, which in turn slightly exceeds the index finger.[13] The fingers play the strings at the same
time, forming something akin to a
brushstroke up and to the right. One
sound is made. This is called ci. Po-ci are two techniques, used together,
their form goes and comes; hence the name.
It is like a "wandering fish slapping its tail". Appearance and reality converge. One may observe it if it is well played, and
hear it too if the musical sound is pure and strong. If played too heavily, the result will be too
agitated. If played too lightly, then
the result will be too weak. It should
be somewhat like a wind through pine trees, with the sounds rising together,
and played in a natural way, lacking any obstruction. This then will be excellent. The technique depends on all three fingers
touching the strings together. The sound
should have a natural twang. The fingers
should not be too far from the strings.
Otherwise the result might be too powerful of an attack. It is best to play in and out near the
strings. There are cases of those who
when playing po grasp too far, which cannot avoid being rough and coarse.
潑
po(1). See previous (潑刺).[14]
刺 ci(4).
See previous (潑刺)
撮, cuo(4) (literally, "pinch"). [Simultaneously
on two strings make one sound.]
Using gou 句,
and tiao 挑, at the same time sound two
strings. Or use gou and tuo 托 together.[15] Both (combinations) are called
"cuo". Sometimes one string is
pressed and one string is open.
Sometimes both are open.
Sometimes both are pressed. Two
strings are played to produce one sound.
Do not play it in some irregular manner.
It should not be too loud. If too
loud, it will be noisy. The two strings
should instantly be in accordance.
反撮
fan(3)-cuo(4) (literally,
"reverse-pinch"). [On two strings, at the same time make one
sound]. If you use gou 句 and tiao 挑 to perform cuo 撮, then to reverse it, use mo 抹 and ti 剔.
If you use gou and tuo 托, then reverse that by using pi 劈 and ti. The sound should be
similar to the use of cuo.
搯撮三聲 tao(1)-cuo(4)-san(1)-sheng(1). [Two
strings together make eight sounds.]
These sounds are played at a conclusion.[16] The left ring finger holds down a
string. The left thumb then plays one
tao 搯[17] (technique) [for details, see the left hand symbol section under tao], followed
by one cuo 撮 with the right hand. This is in turn followed by two tao; followed
in turn, by a single right-hand cuo.
Generally speaking, we have three kinds of sounds, from the ring finger,
the cuo, and the tao. There are three
tao, and two cuo. Each tao has an
implicit additional "hammer-on"(罨) sound. Together there are
eight sounds.[18] [The
first section has three sounds, and the latter section has five sounds]. The "hammer-on" should be on the
note position (on the surface of the qin).
搯潑刺三聲
tao(1)-po(1)-ci(4)-san(1)-sheng(1). [With the three sounds, tao, po, ci, on two
strings, obtain eight sounds.] This is similar to the previous
technique. Using the left-hand play one
tao. Then using the right-hand play one
po. Follow this using the left hand,
play two tao, and then play one ci with the right. This technique also signals a conclusion (of
a musical section).
摘潑刺 zhai(1)-po(1)-ci(4). [First
make one sound on each of two strings. Then make two sounds on two
strings. Together there are four
sounds.] The ring finger plays zhai
on the second string, and first string.
Then add po-ci on the two strings.
伏 fu(2) (literally, "to prostate oneself"). [On two
strings make one sound without music.]
This symbol indicates an abrupt concluding sound. The technique is similar to ci 刺 but the sound is different. One makes it on the first two strings, in the
vicinity of the fourth to fifth hui. At
the point when the fingers are extended to make the ci, one brings the palm
down to cover the strings. The musical
sound of the strings is repressed, with the first two strings beaten down to
the ch'in surface, resulting in a clipped sound. It is best if played clearly and strongly
like the tearing of silk.
In general
when playing the strings, (the right hand) should be inside the first hui. Only fu is played between the fourth and
fifth hui. Do not play it in the
vicinity of the first hui, because near the bridge, the strings are high. One fears that the fingers might fall through
and become tangled up.