Detailed explanation of piano score cases

Magic secret spectrum

The earliest extant Guqin music score "Magic Secret Score" was written in Hongxi, Ming Dynasty (1425). Zhu Quan, the editor, was the son of Zhu Yuanzhang, the founder of the Ming Dynasty. He was named King Ning Xian in Daning, and Yongle was renamed Nanchang. Zhu Quan's real name is Mi Xian, also known as Daming Knight, Han Xu Zi and Mr. Danqiu. I have loved music all my life, and I am especially good at playing the piano.

Zhu Quan's The Secret Book of Magic has been revised several times, which took a long time, lasting 12 years. The book is divided into upper, middle and lower volumes, and 62 piano pieces are collected. The first volume contains 16 songs, which are "the secrets of the ancients" and are called "the ancient gods". The repertoires include Guangling San, Liushui, Yangchun and Alcoholic. Most of them are famous songs before the Northern Song Dynasty, retaining the original style of early music. Because these ancient songs have not been played for a long time, their forms are ancient and there are basically no punctuation marks. There are 34 songs in the second volume of "The Wonder of Summer". "Xia" originated from Dong Qin Pu written by Zhejiang Cao in Song Dynasty, while "Xia Wai Shen Pin" followed the name of Xia Wai Qin Pu written in Yuan Dynasty. Take the meaning of spiritual connection for example. There are many detailed problem-solving before each song, which provides important historical materials for Qin Le's evolution and content expression, and it is often used by Qin Le to solve problems in later generations. It is said that the 34 songs in this volume are Zhu Quan's own Thirty-four Poems, including: Plum Blossoms in Three Pavilions, Forgetting Machine, Wide Cold Autumn, Tianfeng, Wandering Liuhe, Changqing, Short Qing, Baixue, Jiugao and Yi. Among them, Xiaoxiang Shuiyun and Woodcut Song are famous works of Zhejiang School in Southern Song Dynasty.

All the piano music in Magic Secret has problems, which has become an important document for studying ancient music works. The editor's attitude towards academic research is rigorous. However, due to historical limitations, although he claimed that "every word is not hidden", he still regarded "those who are famous and vulgar are more familiar with the piano". The "vulgarity" he said is probably the title of the song that truly reflects the original appearance of folk music. After this "change", he can only hide the connection between Qin Le and folk music, making it more difficult for future generations to accurately understand these music works. However, The Secret Book of Magic opposes the sameness and advocates respecting the different characteristics of different factions. The author thinks that "there are differences between exercises, which cover up the people's ambitions" and "there are many differences, and it is despicable to make them exactly the same!" Based on this idea, although many biographies in the Mystery Manual originated from Xumen, Zhejiang Province, they did not emphasize "Xumen's true story" as later generations did. It is undoubtedly correct to allow different styles to coexist in art.

Xi Lu Tang Qin tong

Xi Lu Tang Qin tong

Qin Tong in Xilutang is an important musical score in Ming Dynasty, which was compiled by pianist Wang Zhi in Jiajing period (1522-1566). There are only three manuscripts in this book. At present, there are photocopies of old banknotes collected by Zhonghua Book Company in Tianjin, which contain the first volume of Qin and Qu Integration 1 and the third volume of the new edition.

Wang Zhi, whose real name is litmus, is from Lanshan, Shexian County, Anhui Province. I like music since I was a child, especially good at playing piano and temperament, and I am determined to collect and sort out ancient piano scores. It took him 30 years to compile this map.

Twenty-five volumes of Xilutang Qintong, with the order of autumn and July in the fourth year of Jiajing (1525). The first to fifth volumes are about the characters of Qin people, which are mainly taken from Qin Tong and Taigu Legacy written by Li Xu in the Southern Song Dynasty, and discuss the temperament, piano system, word spectrum and miscellaneous language of Qin people. Among them, the fifth volume of "Zipu" about fingering has been mostly missing, leaving only the first two pages.

Its six to twenty-five volumes include 138 pieces, all of which have relatively reliable sources. Among them, there are two versions, Guangling San, Ren Shenchang, Jian Xian Ming Jun, Fengyun Tour and Song Yubei Qiu, all of which were written by Song people. These ancient songs are of great reference value for studying the creation and artistic achievements of Qin music since the Han, Wei and Six Dynasties, and as a basis for identifying the creation era of Qin music.

Xilutang Qintong is a unique music collection in Ming Dynasty.

Complete works of piano books

Complete works of piano books

The Complete Works of Qin Shu is one of the most important documents in Qin Dynasty. There is the preface of Xiao Daheng and Jiang Keqian in the 18th year of Wanli in Ming Dynasty (1590). Editor Jiang Keqian, Zi Guoguang, from Xuzhou, Jiangsu. A generation of scholarly family According to the preface and inscription of this book, we can see that the grand project of Shu Qin Quan Shu began with Jiang Keqian's great-grandfather and the father of Empress Dowager Jiajing. He likes reading and playing the piano on weekdays. When he meets records about the piano, he will copy them down, prepare them for collection, printing and passing them on from generation to generation. However, due to the huge project, it has not been completed. His grandfather Jiang Lun and his father Jiang Rong all added. When the Jiajing period (1522 ~ 1566) was introduced to the fourth generation of Jiang Keqian, Jiang Keqian's father continued to collect all kinds of music, adding production, lyrics, melody, poetry and other contents. During the Wanli period (1573 ~ 1620), Jiang Keqian hired a domestic pianist to edit it for three years, and it was printed in the eighteenth year of Wanli (1509). Quanshu is the painstaking work of generations of Jiang Zusun.

The Complete Works of Qin Shu has 22 volumes, and the first 20 volumes have been written. The body part contains 68 1 melody, piano system, fingering, tunes, sages playing the piano and poems about the piano. Among them, the "melody" part brings together the related works of Zhu in Song Dynasty, Li Xu and Chen Minzi in Yuan Dynasty, and expounds the application of melody system and Gongdiao in Qin music. The part of "Qin system" introduces in detail the knowledge of Qin system technology and Qin body in past dynasties. The fingering part includes the fingering theories of Zhao Yili, Chen Kangshi, Chen Zhuo in Tang Dynasty, Cheng Yuqing and Yang Zuyun in Song Dynasty, which provides an important basis for identifying and utilizing ancient genealogy. In the "Tune" section, the explanations and lyrics of Qin music works of past dynasties were collected, with a total of * * * 21/first, with 934 tracks. Its rich collection is the first of its kind in all previous dynasties. "Qin Sheng" includes 203 pianists of past dynasties, 47 more than Zhu's Piano History. In addition, in the classification set, there are 22 1 records and 469 poems about Qin. It can be said that almost all the poems about Qin scattered in past dynasties have been collected, which deserves to be called "Qin Shu's Complete Collection". The last two volumes of The Complete Works of Qin Shu are music scores, including 62 pieces by Qin Le.

Qin Shu Daquan has a rigorous editing style, and most of the cited materials indicate the source. It has preserved a large number of special books and monographs on Qin Shu that have not been seen in other books, especially some books on Qin Shu in Tang and Song Dynasties that have long been lost. For example, Qin Shu written by Tang, Qin Yi written by Tang, The Legacy of Taikoo written by Song Tianzi Weng and The Development of Qin Rhythm written by Min Zi are all precious. Among them, the development of Qin law is recorded in almost all the books. In addition, there are Qin Zhi written by a monk living on the moon in the Song Dynasty, Qin De Fa Yuan written by the Song Dynasty and Important Qin Lun written by the Qing Dynasty, which are rich in books and can be called encyclopedias in the field of Qin studies, laying a foundation for future generations to systematically and comprehensively sort out Qin documents.

Song Xianguan's piano score

Songxiange music score

Songxian Pavilion and Dahuang Pavilion are the two most important genealogical books of Yushan School. Among them, Song Xian Ge Pu was compiled by Yan Cheng (1547 ~ 1625), the founder of Yushan School. Yushan School was founded by Yan Cheng and others in the late Ming and early Qing Dynasties, and it is also called Cooked School and Qinchuan School. This school has many disciples and is the most influential piano school in Ming and Qing Dynasties. Yan Cheng, also known as Tianchi, is from Changshu, Jiangsu. His father, Yan Ne, was a tired official and went to the official department to be a minister. Yan, the son of the Prime Minister, has a prominent social position and great influence in the piano field.

Under the auspices of Yan Cheng, Zhao, a local expert, compiled the Songxiange Piano Score into a book. It is the only music score of Ming Dynasty included in Sikuquanshu. In the 30th year of Wanli in the Ming Dynasty (1602), he and eunuchs Hening and Wang Dingan jointly compiled Zang Chunwu's Piano Score. There are 28 books in Songxian Pavilion, and there are 14 books with the same name as Cangchunwu. Among them, except Dong Xiao and Shan Qiu Yue, three piano pieces were composed by pianist Shen Taishao, while Guan Ju was handed down by Chen Xingyuan, the rest were handed down from Zhejiang School, which shows its origin with Zhejiang School. The 22 pieces in the score are all Qin pieces played by Yan Cheng himself, including three pieces handed down by Shen Taishao and Chen Xingyuan, as well as Yangchun, Yin, Jiao Knee, Gujiao, Yin, Liezi Yufeng, Qiu Jiang Sleeping at Night, Yin and Taoyuan.

Yan Cheng not only founded the Yushan Piano School, but also published the Songxiange Piano Score, which criticized the atmosphere of disorderly composing piano music in the piano circle at that time. In his view, traditional songs often sing a lot of notes in a long way, which is not the practice of word by word advocated by retro literati at that time. His opinion is correct. Yan Tianchi does not absolutely deny Qin Ge's form, but is disgusted with this universal way of "writing carries Tao". The Piano Score of Songxiange was reprinted many times from the first edition 16 14 to 1656, and was once regarded as authentic by piano circles. "Clear, subtle, light and far-reaching" advocated by Yan Cheng is also considered as the most ideal piano playing style. It is precisely because of this that Chen's excellent works, such as tune, flying and xiaoxiang, were not included in Songxiange Piano Score because of their fast pace. Yan Cheng's one-sided understanding was later corrected by another master of Yushan School, such as Xu Zi and Xu Shangying.

Da Huan Qin Ge pu

Da Huan Qin Ge pu

Rhubarb Pavilion Spectrum is another central document of Yushan School after Songxian Pavilion Spectrum. Compiled by Qing Xu, formerly known as Shang Ying, from Taicang. In the 12th year of Emperor Kangxi of Qing Dynasty (1673), Xia Pu, a disciple of Qingshan Xu, compiled more than 30 of his songs into "The Music of the Great Ring Qin", that is, the original volume of "The Music of Qingshan Qin". Among the piano scores published in the Qing Dynasty, this score is widely circulated. In addition to the preface and postscript, the full edition also includes Notes on Fingering in Feng Wan Pavilion, Illustration of Twenty Positions of Left and Right Hands, Piano Performance Specification, Piano Score, 32 pieces and Twenty-four Cases of Xishan Qin, which systematically and detailedly discusses the performance requirements. This is an important piano aesthetic theory work. This work is regarded as the development of Cui Zundu's theory of "beauty is quiet, harmony is far away".

There are 32 pieces of music in Dahuangge, which are roughly the same as those in Songxiange. Comparing the two, we can see as many as 22 songs with the same name. On the one hand, Qingshan Xu deleted six ditties such as Ye Qingyin, Jiao Knee Yin and Mid-Autumn Festival Yin. On the other hand, Yan Cheng, the founder of Yushan School, was excluded from Songxiange Piano Score because of his fast pace, and other outstanding works were included in Dahuangge Piano Score. It can be seen that although his piano learning and Yan Cheng are of the same ancestry, their playing styles are different. He inherited the music style of "less sound and more rhyme" of Yushan School, and paid attention to left-handed polishing. He made reasonable changes to some illogical fingering in the music score of Songxian Pavilion. He did not oppose happiness, thus enriching and developing the playing art of Yushan Guqin. Therefore, the Great Circle Music not only inherits the essence of Yan Yushan's piano school, but also makes up for its shortcomings. The Summary of the General Contents of Sikuquanshu said: "After the music score (referring to the music score of Songxian Pavilion), it was followed by Xu (Qingshan) and Dahuangge (music score). Tianchi and Qingshan are two schools, and they are the big heads of Lushan School. "

Wuzhizhai music score

Wuzhizhai music score

Piano Score of Wuzhizhai is the most widely circulated piano score in the past 300 years. The editor is Xu Qi, a famous pianist in Yangzhou. Xu Qi, a college student, is not called Gulang old man. He devoted his life to piano research, visited the world's bosom friends, tried to figure out the music scores of various schools for more than 30 years, and wrote the music score of Wuzhizhai, which was highly praised by piano circles in later generations. Piano score has not been published since it was written. Xu Qi's son Xu Jun met his bosom friend Zhou Lufeng in Anhui. With the help of Zhou, Wuzhizhai Qu was first published in the sixty-first year of Kangxi (1722).

"Wuzhizhai Piano Score" consists of 8 volumes, the first two volumes are on the characters of the piano, and the last 6 volumes are the scores of the guqin. A total of 33 songs were recorded. Among them, apart from 2 1 Piano Score of Chengjiantang, there are also 12 etudes of Jinling, Wu and Shu schools. Mozi's music, such as Mourning for the Past, Puan Mantra and Autumn Saiyin, has gradually become the traditional repertoire of Guangling Qin School after being processed and developed by some musicians. The music collected in Wuzhizhai Qinpu mostly indicates the source, and the fingering is detailed. For example, the scope of the left hand should be marked with several emblems, and it should also be specified in detail. In the margin, there are Xu's processing development and comments. The postscript is also quite distinctive, from which we can feel Xu's unique understanding of his works.

Xu's copy of the old spectrum is not mechanical, but the original spectrum is "added from beginning to end, and the profit and loss are added" to make it more perfect. It can be clearly seen from Wuzhizhai Piano Score that it is based on the piano style of Yushan School, which is "clear, subtle, light and far-reaching", pursues neutrality and elegance, and integrates the smoothness of Wu Pai, the cadence of Jinling School and the boldness of Shu School, and finally forms a ups and downs, free and easy and delicate piano style Guangling Piano Score School. During the reign of Qianlong and Jiaqing in Qing Dynasty, Guangling School entered its heyday. As the foundational document of Guangling School, Wuzhizhai Piano Score has become the most widely circulated piano score in recent 300 years.