Traditional symbol for China.

The traditional notation in China consists of I scale notation and subtraction notation, among which subtraction notation is mainly used for guqin notation.

Miyachi notation is one of the traditional notation in China. Named after the roll call with the words labor, ruler, etc. It is closely related to fingering and Gongdiao system of many important national musical instruments, and has been widely used in China's ancient and modern songs, quyi, opera and instrumental music.

Miyachi notation may have originally evolved from the fingering symbols of wind instruments. Because of the different period, region and music type, the phonetic characters, fonts, palace sound positions and roll call methods used are also different. Generally, the modern common notation of Gongchi uses words such as He, si, Yi, Shang, Chi, Gong, Fan, Liu, Wu and B as basic symbols to express pitch (also called roll-call), which can be equivalent to sol, la, si, do, re, mi, fa (or Fa in ascending order), sol, la and Si. If the homophone is eight octaves high, you can pick up the last stroke of the word, or add radicals, just like the high octave writing of the above words. On the other hand, the homophone names are eight degrees lower, and the last stroke of the musical notation can be lower left, such as Fan and Gong. If it is two octaves higher, the last stroke will be double-clicked or added, as above. If it is two octaves lower, the last stroke is double-headed, as above.

The rhythm symbol introduced by the scale spectrum of the work is called the board eye. Generally, the board represents the strong beat and the eyes represent the weak beat. * * * There are scattered boards, floating boards, one board with one eye, one board with three eyes, one board with three eyes and other forms. Scattered board is the rhythm of freedom; Write a board for each beat of the water board, which is generally at the rhythm of 1/4. There are two forms: the solid board refers to the board laid at the same time as the music, and the waist board refers to the board laid before or after the music is issued; A board with one eye is a 2/4 beat consisting of a board and one eye; Three-eye plate is a 4/4 beat composed of plate and three eyes; A board with three eyes and a board is only available in Kunqu Nanqu, which is roughly equivalent to 4/2 beats.

Miyachi notation has a long history, and Le Yan's half-character notation was used in the Tang Dynasty. For example, in the late Tang Dynasty, the four-year (933) edition of Da Qupu of Tang Dynasty was discovered in the Thousand Buddha Cave in Dunhuang. In the Song Dynasty, it was a popular word spectrum, such as the spectrum recorded in Zhang Yan's Etymology, the side spectrum in Jiang Kui's Song of Taoist Baishi, and the tube chromatography in Chen's Shilin Guanglu. It developed into the palace pool spectrum prevailing in Ming and Qing Dynasties.

From this notation to the Qing Dynasty and Jia Dynasty, there appeared a total score of orchestral ensemble written by Miyachi notation-chord compilation, that is, thirteen sets of chords.

Generally, the words "He, si, Yi, Shang, Chi, Gong, Fan, Liu, Wu, B" are used as the basic symbols to express the pitch (it can also be named) (it can be equal to sol, la, SI, do, re, mi, fa (or ascending fa), sol, la, SI). If it means a lower sound than "and", drag it at the end of the word "public, late".

Ruler notation uses "three" or "×,-"or "□, ○ ●, △," as the beat symbol, that is, the board eye symbol. The recording format of I-scale notation is usually written with vertical lines from right to left, and the symbols with square eyes are recorded on the right side of I-scale characters. There is a space at the end of every sentence. For example:

Get up, get up,

Work. Gonggong,

Ruler. worker

Up, up, down.

Four workers and feet

Close. Work,

Four. Close.

Qianji

Get up, get up,

Close. Four.

Sishang

Some original music, the words of I scale are also written obliquely, which is called "easy I scale music" For example, in the Book of Gongchi, key signature has "Shang Zi Yin, Ruler Yin, Gong Zhi Yin and Fan Fan".

There are seven tones, six-character tone, five-character tone and B-character tone.

The tonality marks in Miyachi notation are very different from those of decades ago. In order to correctly understand the tone level represented by various tone names, the pitch relationship between the tone names popular decades ago, the tone names popular now and the internationally used tone names is listed as follows:

The popular name now is the international common name that was popular decades ago.

D key in minor (b key)

B sound, fan sound, a sound.

Where the word rises and falls, the e key falls.

Up, down and B.

Six-character adjustable ruler and f sound.

Ruler tune (Woods tune) C tune

Gong Zheng key (pentatonic scale) Gong Zheng key G key.

Miyachi notation is a unique notation in China. Widely circulated among the people. To this day, many old artists are still used to singing or recording music with Miyachi notation. This is still of positive and special significance for studying and sorting out the heritage of national music and learning folk music.

It is difficult to verify when Miyachi notation came into use. According to historical records, the writing method of every sound in the ancient Gongchi notation is quite different from the common writing method today. Gongchi notation, which is popular all over the country, is still very different in writing and reading.

A detailed and systematic study of Miyachi notation is a professional knowledge and an arduous and complicated work. What is introduced here is only common sense in this respect.

Traditionally, the symbol of Gongchi is written straight from right to left, and it is also a simple symbol form.

In Gong Chi Pu, the sound level is marked by seven Chinese characters and their variants. According to the general singing method, its pitch relationship is the same as 1 2 3 4 5 6 7 in the notation. That is, there is a semitone between Gong Fan and B (pictured above) and a whole tone between the other two adjacent sounds.

The length of the notes in the Miyachi scale is marked with the board eye symbol (recorded to the right of the first note in each beat). Either x stands for plate, or о stands for eye. ), the number of words contained in each beat, the size of the font, and the distance between words.

If a sound lasts more than one beat, add a straight line under the word. The time occupied by a straight line is marked according to the general principle of sound length.

In addition to the above-mentioned phonetic symbols, the direct writing of Miyachi spectrum is often indicated by adding vertical lines to the left or right of words. The writing and meaning of vertical lines are the same as those of horizontal lines under annotations.

When a beat contains more than six or seven words or the rhythm is complex, most of them use the method of adding a gift board (subdividing the beat) to record and write.

In Miyachi notation, there is often a gap between phrases to indicate the division of phrases. There are two ways to mark music fragments: one is to leave a big gap between fragments, and the other is to write in sections.

A notation commonly used in Chinese guqin, which is characterized by memorizing finger positions and playing techniques with left and right hands. Because it combines the fingering and terminology of Guqin's character spectrum, it is named "Minus Spectrum". The Guqin Zipu, founded by the pianist Cao Rou in the late Tang Dynasty, was restored from the Zipu. This notation records fingering by pressing strings with the left hand and recording fingering by spelling some symbols with minus words. It is a notation that only records the playing method and pitch, but not the name and rhythm. Its characteristics are: "concise, concise and fluent." Subtraction notation is a major reform of notation, and it is an ancient notation that has been used for thousands of years and has not been replaced. However, it disappeared in the spread.

The spectral words of subtraction spectrum are mostly composed of right-handed fingering, left-handed fingering and general terms. There are eight basic fingering methods of the right hand, commonly known as "four fingering method and eight fingering method", that is, the corpse (split) and palm (support) of the thumb, and the wood (wipe) and palm of the index finger; (Pick), middle finger hook (hook) and hook (easy), ring finger hook (hit) and hook (pick). Other fingering methods are actually composed of eight variations. Fingering with the left hand mainly includes: one (Yin), one (Yan), no (poke), lift (note), up, down, clip (Jin Fu), root (hot compress) and lattice (one).

For example, according to "On the Fingering of Guqin" edited by Mr. Cheng Gongliang:

Other fingering of the right hand:

The difference between two or three strings of a calendar with your index finger is that the rhythm of the calendar is faster.

Pheasants scratch the same string quickly and make two sounds in a row. This is the way to play the string. If it is two strings, it is not repeated twice according to the previous method, but after two adjacent strings are quickly rubbed, the name refers to the aftersound of the previous string. The rhythm of these two games is similar, but the playing movements are completely different.

Wheels. On the same string, dial, hook and dial continuously (the speed depends on the specific situation), and emit three sounds continuously.

Trivial and lengthy. It is a chore to quickly dial, wipe and pick three notes on the same string. If you continue to dial a few notes, it will be a long chore, and the long chore can be increased to six to thirteen notes. Usually seven tones are used more.

Double kill When you press an empty string, two "like a sound" sounds pop up. The method of playing is to put the middle finger and forefinger on the big finger first, and then dial it first to make the sound powerful.

Other fingering of the left hand:

Tribal tiger. After playing the notes, pause for a while, and then go to the next phoneme, which is often written as "noon" in the piano score, and then marked in the phoneme spectrum; On the other hand, it is said that the amplitude is more than a semitone, and the person who does not stay in the process of leading is Hu.

Drop. It is often written as "drop", which is similar to the next play. "drop" makes the sound process of "drop" slightly slower and has a sliding effect, and is often used for the next accurate.

Communication. After the sound is played, it is continuously played to the previous phoneme, then to the original phoneme, and back and forth several times. The number of exchanges is not necessarily marked in the spectrum, but may be one to four or five times, usually three times.

General terms, including tuning name (tuning method), string name, emblem name, dispersion, pan, press and speed, dynamics, expression terms and so on. The method of memorizing and writing is: first, record the piano melody under the title of the song (the method of tuning the strings), and then record the score separately, with the big characters as the text and the small characters as the marginal notes. Generally, the upper part of each Chinese character represents the position of the emblem pressed by each finger of the left hand, and the lower part represents the name of the strings and the fingering used by the right hand. If the upper part is omitted or there is only the string name without the right fingering, it means that the left hand emblem or the right fingering is the same as the previous one. The marginal notes of small characters are mostly the explanations of the previous characters, or represent the left-handed finger sound and the out-of-band sound. This notation is unique in retaining traditional playing techniques and accurately expressing ancient music.

The creator of subtractive chromatography was Cao Rou, a native of the Tang Dynasty, and the activity time was roughly around the middle Tang Dynasty. From the Middle Tang Dynasty to the Song, Yuan, Ming and Qing Dynasties, at least nearly a thousand years have passed. Due to the differences in social customs, aesthetic tastes and playing techniques of guqin in different times, the restoration spectrum of guqin has also undergone various changes, which can be roughly divided into the following stages:

Grassroots Age ── Middle Tang Dynasty

Cao Rou is the representative of subtraction spectrum in this period. It has just been born out of the word spectrum, and there are two major differences compared with the word spectrum: ① It clearly distinguishes the "four fingers and eight methods" and changes the word spectrum, so that the middle finger can be erased or both the middle finger and the ring finger can be used. ② Simplify all fingering and terminology to form a new spectrogram. In other aspects, especially the right-handed fingering methods such as "Fu" and "Quan Fu" are reused, and the string names are "Mi" (Gong), "Yi" (I) and? "(Angle), name of the emblem"? " (a little), "Xi" (inch) and so on. , and text spectrum is the same. Therefore, this subtraction is still relatively cumbersome. Due to the different parts of the same musical score deleted by different musicians, various character reduction systems have been formed.

Development Period ── Late Tang Dynasty to Song Dynasty

Can the subtractive chromatography in this period be transformed into jade in the late Tang Dynasty and the Northern Song Dynasty? As a representative. There are three main changes: first, some terms are further simplified, such as changing the string name to "one (or" big "), two, three, four, five, six and seven". Second, the fingering of "polyphony" in the right hand is further differentiated, and there are many different fingering of the same kind. For example, there are overlapping bugs, back bugs, front bugs, anti-bugs, and clamping bugs. Thirdly, with the increasing emphasis on phonology, the left-handed fingering was developed. For example, there are front, up, down, clip emblem and so on.

Maturity-From the Late Song Dynasty to the Ming and Qing Dynasties

This period can be represented by Guang Ji of Shilin in the late Song Dynasty, Qin Pu of Songxiange in the middle Ming Dynasty, Qin Pu of Wuzhizhai in the early Qing Dynasty and Introduction to Qin Studies in the late Qing Dynasty. The general trend is that the "polyphonic" fingering of the right hand is replaced by monosyllabic fingering; Various terms are further standardized, such as the position of the emblem has been collectively referred to as several emblems; The fingering of the left hand has been developed; The requirement of point board began to appear.