Volume 4, Chapter 6:
Dictionary of Left-Hand Symbols
da(4) (lit. “big”). This is the so-called "chief finger" of Mencius.[1] It is the first finger of the hand.[2]
食 shi(2). According to the Zuo-chuan (左傳),[3] this is Zi-gong's motion of the eating finger.
That is, the second finger of the hand[4]. 
食 shi(2) is at times used in the tablature.
zhong(1) (lit. “middle”). It is called the "leading"
finger. This is the third finger of the
hand.
名ming(2) (lit. "name"). Mencius said: "Now we have the no-name
finger". This is the fourth finger
of the hand.[5]
跪 gui(4) (lit. "to kneel").
The two joints of the ring finger are bent so that the last digit of the
finger "kneels" to press a qin string down. This is used from the seventh hui up (towards
the bridge). When the hui are too close
together, and gui presses down two strings, one may have flesh on one and
fingernail on the other. The technique
of pressing a string with gui should be well practiced. Practice it long enough so that there is no
pain and so that no weak rough sounds are made.
yi(1). The first hui.[6] 
er(2). The second hui.
san(1). The third hui. 
si(4). The fourth hui.
wu(3). The fifth
hui. 
liu(4). The sixth hui.
qi(1). The seventh hui. 
ba(1). The eighth hui.
jiu(3). The ninth hui. 
shi(2). The tenth hui.
shi(2)-yi(1). The eleventh hui. 
shi(2)-er(4). The twelfth hui.
shi(2)-san(1). The thirteenth hui.
In qin tablature, these positions marking the thirteen harmonics are written out in a normal way, but are not usually considered to be part of the set of qin (tablature) symbols. However we list them here.
Twelfth hui,
sixth fen, second li.[7] 
Ninth hui, sixth
fen, second li.
Seventh hui,
sixth fen, second li. 
Sixth hui, third
fen, seventh li.
Fourth hui,
third fen, seventh li. 
First hui, third
fen, seventh li.
These six harmonic positions, up to now have not been put in
old qin handbooks.[8] I have examined the string notes and
determined them. Details may be found in
Volume 1, "Examination of the String Tones" (Xuan-lu-kao-shi 絃律考)
in the section entitled "Explanatory Table on the Four Divisions of
Harmonics" (四均泛音表說).[9] But this is not the only reason, as one could
use them in (new) qin songs. Thus they
are listed here. If on the first string (宮), at hui positions 1,
4, 7, 10, and 13, we consider that note to be "do" (宮),
then we find those notes in harmony with hui positions, 2, 5, 9, and 11, the
major seventh note (變宮) on the third string (角).[10] These (six new) harmonics do not match up,
except in the case of string two (商),
where they harmonize with the fundamental sound of the string.
Hui thirteen,
first fen, first li. 
hui ten, fifth
fen, fifth li.
hui seven, fifth
fen fifth li. 
sixth hui,
fourth fen, fourth li.
third hui,
fourth fen, fourth li.
These five harmonic positions are also not annotated in old handbooks. Details may be found in the section: "Explanatory Table on the Four Divisions of Harmonics".
Hui thirteen, first fen, first li. 
Hui
twelve, second fen, fifth li.
Hui ten, eighth fen. 
Hui
ten.
Ninth hui, fifth fen, fifth li. 
Ninth hui, fourth fen, second li.
Eighth hui, fifth fen. 
Seventh hui, ninth fen, second li.
Seventh hui, sixth fen, second li. 
Sixth hui,
fourth fen, fourth li.
Sixth hui,
second fen, second li. 
Fifth hui, ninth
fen, second li.
Fifth hui,
sixth fen, second li. 
Fifth hui, third fen, fourth li.
Fourth hui, eigth fen. 
Fourth hui, fifth fen, fifth li.
Fourth
hui, third fen, seventh li. 
Fourth hui, first fen, sixth li.
Third
hui, fourth fen, fourth li. 
Third hui, second fen, second li.
Second hui, ninth fen, second li. 
Second hui,
sixth fen, second li.
Second hui, third fen, third li. 
First hui, eighth fen.
First hui, fifth fen, fifth li. 
First hui, third fen, seventh li.
First hui, first fen, sixth li.
All pressed
positions on the strings derive from the fundamental pitches (侓). Some
are found exactly at the hui. Some are
found between the hui, at some number of fen 分 and li 厘.[11] Down through time in old qin handbooks, only
a rough and inexact approximation of the position at some hui and some fen has
been recorded. Hui have certain
categories in terms of (inter-hui) distance.
If far apart, then the distances between (the pitches) are not a finger
wide, but if you press down incorrectly, you still may create a mistaken note. If close together, then one finger may span
the pitches and if you are too far to the left or right, then you may not hit
the correct (note). Therefore we must
annotate the correct li 厘position and then afterwards press and obtain the correct pitch. I offer this as an excellent standard. This is a clear improvement over previous
people who only give a certain hui and fen position in their tablature. (Above) when we have both a pressed note and
harmonic at the same position, we place a small circle to the side.[12] This should help to make things
understandable. All tablature hui
positions, not yet entered into qin symbol collections, are now enumerated.
shang(4). Any (move) towards the bridge could be called
shang 上. To move from the left to the right, all are
called "to go up".[13]
xia(4). Any move towards the nut (dragon's gums) can
be called xia 下. From the right to the left can all be called
"to go down".
By shang we mean: after playing at some position, the finger moves up one position[14] to obtain sound. Xia means: after playing, move down one position. Or one may have two shang, two xia, or one shang, and one xia, or two shang, and one xia, or one shang and two xia. In analysis of the usage of shang and xia as annotated in qin music, it should be understood that it is essential to hit the correct modal tone, and avoid some random move that does not involve the correct position.
按 an(4). Place the finger at some playing position and press the string down evenly. We call this an 按 (lit. "to press").
For more details, see the General
Introduction to the Left Hand.[15]
綽chuo(4). From
slightly below the position, with a slanted finger, press and ascend up
(towards the bridge) to the (playing) position.
Take advantage of this move to make a sound. We call this chuo 綽.[16]
注 zhu(4).
From slightly above the position, with a slanted finger press down and
descend (下) into the sound position.
Take advantage of this and play a note. We call this zhu 注.
進復 jin(4)-fu(4)
(lit., "advance-return"). [On one string, make two sounds.] At a pressed position, after playing the
string and obtaining a sound, then ascend (上) one (position). There should be a sound, and we call this jin 進 (advance). Now descend
(下) and return back to the original position. There should be a sound and we call this fu復 (return). As an example, if we are playing at the ninth hui, we ascend one position to the eighth hui and call this jin. We then descend one position and stop at the ninth hui and call this fu.
退復 tui(4)-fu(4)
(lit., “withdraw-return”).
[On one string, make two sounds.] After making a sound at a pressed position,
then descend one position. There is a
sound and we call this tui 退
(to withdraw). Then ascend returning to
the original position. We call this fu 復 (to return). For example, if playing at the ninth hui,
then descending one position to the tenth hui, would be tui. Then ascend one hui and stop at the ninth
hui. This would be fu.
There
are big and small versions of jin-fu, and tui-fu, and narrow or broad
distinctions in moving up or down. One
should harmonize the movements according to the scale and not just perform it
in a haphazard way.
分開 fen(1)-kai(1). [On one string, make three sounds.] On the same string, play
it (with the right hand) twice. First at
a pressed position play and make a note.
Then the (left-hand) finger moves up a position to get a sound. Then return to the pressed position and again
play one sound.[17] Hence we can say the
playing “divides it up” (fen-kai). In calculating this, there are two sounds
played, and one slide up, hence three in all.
硬 ying(4) (lit.,
"hard/firm"). Make a sound
then go up (上
shang). Do it directly and with a
nimble movement. This is slightly
different from shang.[18]
淌 tang(3). While
performing shang (ascending) up a position, with the final sound not yet
finished, continue the sound, and push off back down.
吟 yin(2). As for yin, with the fingers pressing
and playing at some position and having made
a note, then go left and right back and forth a bit, nimbly moving with
sound. There should approximately be
four to five revolutions, after which, one should return to the original position
to finish. If done too little, then the
result is deficient. If done too much,
then the result can be annoying. It
should be done just right in a full and deeply satisfying manner. Speed and length should not be performed
beyond any fully satisfactory way. Treat it as if one was intoning (poetry),
and then one will have a satisfactory sound.[19]
綽吟 chuo(4)-yin(2):
Do chuo, then yin.
注吟
zhu(4)-yin(2). Do zhu, then yin.
落指吟 luo(4)-zhi(3)-yin(2). The fingers fall to
the string, and immediately play yin.[20]
長吟 chang(2)-yin(2). This is a yin that lasts for a long time.
細吟 xi(4)-yin(2). The sound
made by yin should be subtle and minute.
急吟 ji(2)-yin(2).
Yin played with quickness and urgency.
緩吟 huan(3)-yin(2).
Yin played in a slow and moderate fashion.
緩急吟huan(3)-ji(2)-yin(2):
On the same string, play twice with yin used both times. The first time play it slowly (huan), and
the second time follows with urgency (ji).
There is never a case of using ji, then huan.
雙吟shuang(1)-yin(2): On
the same string, play twice. In both
cases use yin. This is not
the same as huan-ji-yin (緩急吟).
定吟 ding(4)-yin(2)
(lit. "fixed-yin"): At the place where you press and play,
using
the flesh and bone of the finger, make a slight motion. Do not move
from the position. Then "nail"
the surface of the qin with the finger, and obtain a vital living
sound. Hence we say ding-yin 定吟. Over time with assiduous practice, one will naturally
obtain the technique.
逰吟you(2)-yin(2)
(lit. "roaming-yin"). [Obtain two sounds.] The finger takes advantage of performing chuo 綽,
and then retreats descending a bit.
It again does chuo back up, and again retreats
a bit. As a rule, there should be two
sounds. The fingers seem
to wander. The technique
is similar to two zhuang 撞with
a slow release. This is also called dang(4)-yin(2) 蕩吟. Under no circumstances add in an additional sound because of another small retreat.
往來吟
wang(3)-lai(2)-yin(2). For example, press and play
at the ninth hui and make a note. Then
slide up (shang 上) to the eighth hui
position and play yin 吟. Then go back down to the ninth
hui (xia 下) and obtain a
sound. Then go back to the eighth hui
and play yin again. Then again go back
to the ninth hui. This is a double
jin-fu more or less. [See above for details on jin-fu.] Here is another explanation. At the pressed playing position, make a
note. Then slide down (xia) one
position. And then ascend back (shang)
to the original position. Again slide
down to the previous position with a yin there. These two kinds of wang-lai-yin are
distinct. This symbol is written down in
order to avoid having to repeatedly write shang and xia. The
simplified characters used here simply mean using the yin technique while
moving up and down.
飛吟 fei(1)-yin(1). There are two explanations. In terms of the
pressed position, one may move up (shang) once, and then move down (xia)
twice. From the pressed place, slide up
one position. Then slide down and again
slide down an additional position. [For
example, press at the ninth hui, and slide up one position to the eighth
hui. Then slide down to the ninth hui,
and again slide down to the tenth hui.] The
other interpretation says to slide up twice, and then slide back down
twice. From the pressed position slide
up (shang) twice. Then slide back down
two positions and stop. [For example, you press at the ninth hui,
and ascend one position to the eighth hui.
Then you slide up again to the seventh hui. Then you slide back to the eighth hui, and again
slide down to the ninth hui.] Examine
the tablature at the necessary spot very closely. In some cases it may be clear, or not
annotated. Judge what is written down
and the sound as well, and produce a well-reasoned performance.
猱nao(2). With the finger at the playing
position, move it back and
forth with feeling, approximately exceeding the playing position by two
to three tenths (of a hui) to
make a sound. It is bigger than yin, hoary and complete,
and the technique is best when
played out in a full, perfected manner. Generally the smaller is yin, and the larger is nao. Yin
provides a living pulse, and nao gives
ancient strength. Thus each has its appropriate
use. Those
who are good at yin and nao, must press the strings with feeling, and should avoid buzzing sounds.
緩猱 huan(3)-nao(2). Play nao in a large and broad fashion.
急猱 ji(2)-nao(2). Play nao with urgency and speed.
落指猱 luo(4)-zhi(3)-nao(2). Similar to luo-zhi-yin 落指吟.
撞猱 zhuang(4)-nao(2). We combine nao and zhuang. [For
zhuang, see below.] Nao essentially
means circling above and below a given position to make a note. Zhuang-nao is similar to nao in aspect, but we
only go above, and avoid moving below the current position.
撞 zhuang(4) (lit. “knock
against”). At the currently pressed
position, you have already played and made a sound. You use the left finger to quickly move
slightly up (towards the bridge). Then quickly return to the original position
to get another note.
This is called
zhuang (撞). This technique should be played in an
electric-like way. If played slowly,
then you will make two sounds like jin-fu 進復.
Consider this well.
虛撞 xu(1)-zhuang(4).
At some pressed and played position,
possibly move up (shang 上) one position, and do zhuang. Or
move down (xia 下) one position,
and do zhuang. Or another possibility:
perform jin-fu 進復 and do
zhuang. Or tui-fu 退復 and do zhuang. [As
examples, one might press at the seventh hui and make a note, then move up one
position, and do zhuang. Or move down
one position and do zhuang.] After
pressing and playing, moving up or down to get a note, and then doing zhuang –
we call this xu-zhuang.[21]
逗 dou(4). Similar to dou 鬥 (to skillfully vie for something). In playing and pressing the strings, both
fingers must work to bring out a note.
At the end of playing the chou 綽 technique, smoothly add in a bump to the original position’s
sound. We call this dou 逗. The
method for zhuang 撞: after pressing and playing at a position, we quickly make a
sound. The method for dou 逗: one must quickly and nimbly obtain a
delicate and quiet sound. This is
best. If the sound made (with dou) is
muddy or too strong, one must make a mere touch and that is all. If in a song, there are suitable places for
using this technique, then use it. It is
like the use of the falling tone in a melody which gives a crying like
tonality. In any case, do not use this to excess as it
will bore the listener.[22]
使 shi(3). Given that the right hand has played, and the
left hand uses dou 逗, then we say dou. If the right
hand has not played, and the left hand uses dou, this is called shi 使. It
is important that there be no separation here if we are performing yin 吟 or nao 猱.
Make it continuous. [For example, if you press and play and make
a note, then slide up (shang 上)
one position. Then one could do yin, and
when it is almost done, then do a zhuang up, and then return to the original
position. The finger ability here is key.]
This is called shi 使. It
is not a xu-zhuang.
喚 huan(4) (lit. “call out”). [On one string obtain two sounds.] Take
advantage of moving down, and then move back up. Connecting with the move up, then quickly
move down. It is similar but opposite to
zhuang. [23] [For
example, one presses and plays at the ninth hui, and then moves down a
little. Then immediately following
moving down, quickly move back to the ninth hui and then again quickly move
down a bit. This is huan.] It is best if this is played in an
electric and quick fashion, and clearly as well. Note that the same simplified character may
be used in place of 換 to mean exchange the fingers.
These two (symbols) do not have the same meaning.
滸 hu(3). After pressing (with the left hand) and
playing (with the right), hold the note for a moment, then ascend one position
with a sound.[24] If one then quickly passes to another string
and presses and plays it, we say this is hu 滸. If
there is no slight pause, we cannot call it the hu technique.
罨 yan(3) (lit. “cover”). The three fingers, thumb, middle, and ring
all use the yan (罨) technique.[25] The method here involves using some left-hand
finger and pressing a string to obtain a sound, thus yan. The right hand is not used to play a string. It is best to quickly strike the string on
the face of the qin.
虛罨 xu(1)-yan(3)
(lit. “empty cover”). We say yan 罨 if we perform yan after playing (a string
with the right hand). On the other hand,
we say xu-yan 虛罨 if a
string has not been played and only yan is performed.[26] Although there is a distinction, there is only
one yan technique. In many cases, when
using the ring or middle finger, the yan in question is actually a xu-yan.
搯起 tao(1)-qi(3)
(lit. “dig up”). With the ring finger at
a playing position and the thumb at a higher position (towards the bridge), use
the thumb to pull up the string and make a sound. Then the right hand in succession plays a
string. [For example, the ring finger presses at the tenth hui. The thumb is above the tenth hui and uses the
nail to pull up the string to make a sound, followed by a played sound.] There is a distinction that can be made
between two types of tao-qi 搯起. In one case, it is done at a fundamental
position, and in another case it can be done at a separated position.[27] [For
example, if the thumb presses at the ninth hui and pulls off from the ring
finger (at the tenth hui), this is the fundamental position. If the thumb is at the eighth hui and the ring
finger is at the tenth hui, this is the separated position. The thumb then performs this technique over
the ninth hui. Hence this is a separated
tao-qi 搯起.] With this kind of separated tao,
errors are often made because the thumb incidentally touches a qin string and
drags it making a sound. In general, the
thumb should be poised up above the string.
[Any fingers should be pressed in
a firm way and should be as close to the desired strings as possible else the
string may be stopped. Take advantage of
the ring finger pressing down the string, and perform the pull off. Then the result should be clear and not
muddled.] As for the tao-qi technique,
this is the work of the thumb. However
the ring finger must remain firmly in place so that (the thumb) can pull off
and obtain the sound. Otherwise the
sound will not be clear. This is the
secret.
對起 dui(4)-qi(3). (This symbol is) similar to tao-qi 搯起.
Earlier qin players would first have a pressed and played note, and then
the left thumb would pull off (zhua-qi 爪起) – this was called dui-qi 對起. On
the other hand, if at the beginning there is no pressed played sound, this was
called tao-qi 搯起. The general principle is that the left hand
ring finger presses at some position, and the left hand thumb in succession
plays a note.
拖 tuo(1). At the end of making a sound with the tao 搯 technique, the ring finger then slides up (“drags
up”) one position. The sound is like a
cicada’s cry coming out from a tree.
爪起 zhua(3)-qi(3)
(lit. “claw up”). The thumb pulls off
the string at the playing position, and obtains an open (string) sound. This is zhua-qi 爪起.
帶起 dai(4)-qi(3). The ring finger at a position takes the
string and pulls it off obtaining one open (string) sound. We call this dai-qi 帶起.
放合 fang(4)-he(2) (lit. “release and harmonize”). With the finger at the playing position, pull
off and make a sound. This is fang 放.[28] Taking advantage of the fang (technique),
quickly press a second string and with the right hand fingers immediately play
a sound. This should be like one with
the fang sound. We call the latter he 合. [For example, if the ring finger presses the
sixth string at the eighth hui position, and we perform the fang on the string
to get a sound – then taking advantage of this fang, the ring finger
subsequently presses on the seventh string, seventh hui, sixth fen, second
li. The right hand then uses gou 句 to
make a second sound that harmonizes with the previous fang to become one sound.] Do not make the two sounds uneven.
同聲 tong(2)-sheng(1).
[Two strings together make a sound.] On two strings not used in the same manner,
make the sounds line up and sound together like one.[29]
同起 tong(2)-qi(3).
[Two
strings together make a sound.] On
two strings together make one sound.
This technique is similar to tong-sheng (同聲).
推出 tui(1)-chu(1)
(lit. “push out”). Only the middle
finger performs this
technique. It is only used on string one. We take the last two digits and at the desired
position straighten the bones and muscles pushing out and releasing the string,
obtaining the sound.
應合 ying(1)-he(2). After pressing and playing at some position,
with the fingers perhaps moving up (上) or moving down (下) there is a sound. This is made
in response to some other open string that has been played (by the right
hand). We call this ying-he 應合. [For example, assume the ring finger presses
and plays the fourth string at the tenth hui, and then ascends to the ninth
hui, and you play the seventh string open in such as way as to harmonize with
the fourth string. Or press and play at
the ninth hui, and descend (with the same finger) down to the tenth hui, and
(at the same time) play the sixth string open, we can say this is mutual
agreement and harmonizing.] A song
might have several shang and xia moves, all done according to the ying-he
(technique). One has to consult the
music to know.[30]
虛按 xu(1)-an(4)
(lit. “empty press”). After playing an
open string, take advantage of the sound in progress, and use the finger to
lightly press on the string, restraining the remainder of the sound (the
fundamental). This is similar to
harmonics in general. One must do this
in the center of the hui. But with
harmonics proper, when one plays the harmonic, one lightly touches upon the
string – one touch and (your finger) rises up.
With xu-an 虛按, then after playing an open string, one lightly restrains the sound,
and then the finger rises up. One is
clear and the other is not so clear.
There is a difference in the sound made.
One should clearly distinguish between the two.
泛起
fan(4)-qi(3). [The harmonics rise up.] The left hand fingers lightly float slightly
touching the strings and are square in the center of the hui. The right hand then plays the string. The technique here involves both left and
right fingers pressing and playing in conjunction. The resulting sound is best when it is clear
and crisp. Consequently we can say that
(harmonics are a) heavenly sound. The
name here (“floating”) is akin to the idea of a dragonfly skimming the surface
of the water. One touch and then rise
up. This is a good analogy. The right hand should play firmly near the
bridge (yue-shan). The left hand must be
at the center of the hui where it lightly touches (the string).[31] The left hand should not be off to the side
as the sound will fail.
泛止 fan(4)-zhi(3). This is to say that the harmonic section ends
here.
再作zai(4)-zuo(4). According to the previous tablature section,
do it again. Altogether play (the
section) twice.
從頭再作 cong(2)-tou(2)-zai(4)-zuo(4). From the beginning of the section, play one
more time. Altogether do it twice.
從
再作 cong(2)
… zai(4)-zuo(4). At the side of the tablature where we have the symbol, start there again and repeat one
time. Altogether play (the section)
twice.
二作 er(2)-zuo(4)
(lit. “do twice”). According to previous
tablature, from
, repeat twice,
for a total of three times in all.
入慢 ru(4)-man(4)
(lit. “enter slow”). Play slowly.
少息 shao(3)-xi(2). A short pause.
大息 da(4)-xi(2). A somewhat long pause.
踢宕ti(1)-dang(4).
To play with a variance in tempo, quick
or slow -- to add emphasis.[32]
次 ci(4). The second time at a
position.
急 ji(2). To play quickly.
緩 huan(3). To play slowly.
輕 qing(1). To play lightly.
重 zhong(4). To play loudly.[33]
連 lian(2) (lit. “connected”).
Several notes are jointed energetically
without separation. A straight line at
the side of the tablature also has this meaning.[34]
就 jiu(4) (lit. “to follow
on”). To then play at a certain position
or play at some other playing position at the same hui. The long form 就 may also be used.[35]
至 zhi(4) (lit. “to reach”
or “to”). Perform gun 滾 to (至) a certain string, or do li 厯 to a certain string, or fu (沸) to a certain string.
起 qi(3) (lit. “begin/rise up”). Used with dai-qi 帶起, tao-qi 搯起, tong-qi 同起, fan-qi 泛起, etc.
不動 bu(2)-dong(4)
(lit. “don’t move”). Do not move from
the spot pressed (by the left hand), and then play other strings.
曲終qu(3)-zhong(1) (lit. “song-finish”). A song is finished.
At whatever playing
positions are used, the techniques for choosing sound are not the same. In some cases, after playing a sound, and the
sound has issued forth, then you create another sound. For example, with the yin 吟,
nao 猱, zhuang 撞, huan喚, jin-fu 進復, tui-fu 退復, shang 上, or xia 下 techniques, this is the case. In other cases, one takes advantage of
playing a tone that is just starting.
These types include: chuo 綽, zhu 注, dou 逗, tuo 拖, tang 淌, fan 泛, fang-he 放合, luo-zhi-yin 落指吟 and luo-zhi-nao 落指猱.
Although finger usage may have some similarities, the sounds themselves
should be different, each clearly played, leading to a masterly playing style.