Traditional notation

There are basically thirteen kinds, namely: Gong Chi spectrum, Qin spectrum, half-character spectrum, string spectrum, tube spectrum, folk character spectrum, temperament spectrum, lattice spectrum, elegant music score, curve spectrum, middle class spectrum, tea bar spectrum and gongs and drums classics.

At present, the notation of Chinese characters in China mainly uses Gong, Shang, Jiao, Qing (and), Zheng, Yu and Bian Gong (Bian) to represent do, re, mi, fa, sol, la and si respectively, while in Gong Chi notation, it means Shang, Chi, Gong, Fan, Six, Five and One. And draw diagonal lines (such as adding "qi") under Chinese characters and radicals next to Chinese characters. ) Use an octave to represent the pitch.

The piano score is to record the plucking method, playing technique and syntax of Guqin music in words.

Most of the symbols used in Le Yan's half-character spectrum are similar to half a Chinese character, and they are mostly used to record Le Yan! Hence the name!

Chord notation is a kind of notation, and its principle is similar to today's guitar notation. Lost so far!

Tube chromatography is a kind of phoneme spectrum, which may be the evolution of fingering symbols of wind instruments at first.

Folk figure spectrum is the predecessor of Miyachi spectrum.

Twelve musical names are used to record the symbols of the sound height of a piece of music. China used this to record gagaku. It is still widely used in Japan and Korea.

The lattice spectrum is twelve laws listed from low to high. The rightmost line of the phonogram is marked with the word "Lu Lu badminton", each lattice represents a semitone, and each lattice represents a relatively equal-length time unit from left to right.

Elegant score is a form of music score that records the music used to sacrifice Confucius in Ming Dynasty.

Music score is a score composed of zigzag lines.

Eccentric shift spectrum is a music spectrum used by Tibetan Buddhism, which consists of various curves drawn on seven parallel lines.

Chaba score is a kind of music score that draws curves with squares.

Gong and drum is a percussion instrument. Also known as Palace Classic, Gong and Drum Music and Musical Instrument Music. Character spectrum of Wei, Jin, Southern and Northern Dynasties

The sound twists and turns in Han dynasty

Subtraction in Tang Dynasty and Le Yan Companion Spectrum

Che Pu in Ming and Qing Dynasties China used Lv Zi Pu and Gong Shang Zi Pu to record the music (elegant music) of court sacrifices and banquets more than 1000 years before the Western Zhou Dynasty. The former uses the names (Huang Zhong, Lu Da, Taiqun, Jia Zhong, Gu Xi, Zhong Lu,,,, Nan Lu, Yi Ze, Wu She and Ying Zhong) of China's Twelve Methods (twelve semitones within an octave) to record music. The latter recorded music with five ancient phonetic names (Gong, Shang, Jiao, Zheng and Yu).

China wrote the Book of Rites in the Han Dynasty, which kept the drum music played in ancient times. Use "mouth" and "?" The "semi-"three kinds of musical characters describe the music played by two kinds of drums when playing the game of throwing pots. This is the earliest spectral record. The soundtrack of the recorded song has also been available for a long time. The book catalogue written in the first century BC records the music scores of songs. For example, there is a book in the catalogue called Seven Poems of Zhou Dynasty in Henan, and "Song Poetry" is "Lyrics". Another book corresponding to it is called "Seven twists and turns of Zhou Dynasty in Henan". "Twists and turns" means "Song tunes". This Song Tune is naturally a musical score. But how does it record music? Because the book has long been lost, there is no way to know.

There is also a record of the coordination between "sound twists and turns" and songs and poems in Hanshu Yiwenzhi. These "sound twists" are the music scores when singing songs or poems. China folk used to record music with a variety of character spectrum. Such as subtraction spectrum, half-moon and half-word spectrum, gongs and drums, twenty-four-character spectrum and so on. The earliest recorded music score in the existing history is the ancient piano music "Jieshi Tiaolan" written in the Tang Dynasty. According to the Preface, You Lan was passed on by Qiu Ming (493-590) in the Six Dynasties. In fact, it is a 4954-character text, which records in detail which string, which position and which playing method each sound belongs to on the guqin. It shows that the character spectrum is a common spectrum of people in Sui, Tang and Qin Dynasties.

The development from Chinese character notation to subtraction notation is an extremely important innovation of Guqin notation. This change was completed by Cao Rou in the Tang Dynasty. The specific method is to spell out some symbols with the strokes of subtractive strokes as the marks of left and right hand playing techniques on the phonemes of guqin. This is a notation that only remembers phonemes and playing methods, but not names. Because fingering is marked, it is also called "Finger Score", which was gradually finalized in the Southern Song Dynasty and is still in use today. Its appearance enabled a large number of piano scores before Sui and Tang Dynasties to be sorted out and passed down to later generations.

Banquet music half-character spectrum, namely Gongchi spectrum, is one of the traditional folk spectrum in China. In the aspect of music theory, the scale of Yan was recorded in the Song Dynasty. Le Yan's Half-character Music originated in the Tang Dynasty, and it is also a notation based on the phonemes and techniques of musical instruments. It may be marked by the fingering of wind instruments (it was first discovered in the Thousand Buddha Cave in Dunhuang, and in the fourth year of Changxing in the late Tang Dynasty (A.D. 933), Mingzong wrote a "Tang Daren Music Score". Shen Kuo (1031095) and zhangyan (1248 1320? ) appears in etymology. The modern I scale spectrum originated directly from this time. Miyachi notation is also a notation of characters, which is a very important and widely used notation. It is precisely because of this that a separate plate is set up.

Le Yan Banzi Spectrum was basically finalized and widely used in Ming and Qing Dynasties through the popular Chinese Character Spectrum and Gongchi Spectrum in Song Dynasty. However, due to the different spread areas and time, its notation and roll call are slightly different. In the Gong-Chi scale, He, Si, Yi, Shang, Chi, Gong, Fan, Liu, Wu and B are the names of the volumes, which are equivalent to Sol, La, Si, Duo, Hot, Mi, Fa, Sol, La and Si, and the higher octave is accompanied by the radical "Qi", such as "Shang, Chi and Yi". Add a break at the end of each word in the lower octave (except compound words). Such as "Fan, Gong and Shang". The octave of six, five and b is sung as four, one and one. There are two kinds of characters: block letters and cursive scripts. The traditional writing format is from top to bottom and from right to left. The right side of the I-beam is marked with the rhythm (eye plate) symbol, the strong beat (head plate) symbol is ","or ",and the weak beat (eye and middle eye) symbol is". There is a space at the end of every sentence.

Miyachi spectrum is the most widely used roll call spectrum in China. There are two kinds of roll call spectrum: "fixed roll call method" and "initial roll call method" The board (strong beat) eye (weak beat) symbol for recording rhythm has also developed more perfectly. Key signature is marked with the names of Gong Zheng and Hong Xiao. After the Song and Yuan Dynasties, most of the scores handed down by China were written in Miyachi notation. Among them, instrumental music works and opera vocals have the largest number.

Miyachi notation is still of positive and special significance in studying and sorting out the heritage of national music and learning folk music. To this day, many old artists are still used to recording music or singing with Miyachi notation. However, due to the complicated notation, some valuable musical heritages in ancient China were distorted and lost. These notations have gradually been introduced into the historical stage. "Si Er spectrum" is also a kind of phoneme spectrum, and the Chinese characters "two, three, four, five, six, seven and eight" are used to represent the pitch of scales in turn, that is, "sol, la, do, re, mi, sol and la"; FA and SI are represented by "three" and "three", because they are on LA and MI, so LA and MI are often called "three" and "six".

Of the five tones of two, three, four, five and six, three, six and five change due to various situations, and only two and four (sol, do) remain unchanged, so this notation is called "two-four spectrum". Ancient music score is of great significance for music dissemination and information recording. In China's musical forms, pictographic stick figures with suggestibility greater than dominance and implicitness greater than preciseness are permeated with the uniqueness of China's aesthetic spirit. The practical spirit of pre-Qin aesthetics, Buddhism and Zen in Wei and Jin Dynasties, as well as folk inheritance habits, and that kind of mind-reading and ear-teaching are all reflected in the way of recording the rhythm of ancient music in China to varying degrees, and the melody is simple enough to remember. With the expansion of the research field of ancient culture, we not only appreciate the tradition from the tone and melody of music scores, but also examine the tradition from the way of notation.

However, it is these pictographic stick figures that "hint is more than clarity" and "implication is more than preciseness" that seriously affect the accuracy and integrity of music recording. All kinds of China ancient music can't record music more conveniently and truly like staff and notation, so it is difficult to popularize.

Sharp tools can do a good job. The notation is unscientific, limited, inconvenient to popularize and not widely used, which is one of the main reasons for the loss of many excellent music works in history. China's Book of Songs. "The Wind of the Fifteen Kingdoms in Ancient Times" is an excellent folk song from all over the country, but its tune has not been handed down because there is no record.