Notation and the theoretical system of palace tone
——Music of the Five Dynasties and Ten Kingdoms period of the Sui and Tang dynasties (8)
Towards the sun
1. Notation
1. [Subtraction Notation]: A guqin notation method created by Cao Rou in the Tang Dynasty on the basis of "character notation". That is, the use of subtractive strokes to spell out a certain symbol as a mark of the left and right hands on the guqin phoneme and the playing technique, only record the playing position without recording the name, also known as "phoneme spectrum", or "technique spectrum".
2. [Pipe Chromatography]: It belongs to the Tang Dynasty Yanle "half-character notation" system, which is a notation method used for flutes, flutes, shengs and other wind instruments. However, the "pipe chromatography" of the Tang Dynasty did not see any examples of music scores in China. It is generally believed that it is the predecessor of the Song Dynasty's "vulgar character spectrum".
3. [Xuansuo notation]: It belongs to the Tang Dynasty Yanle "half-character notation" system, which is a notation method used for pipa, five-string pipa, zheng and other stringed instruments. Write the 20 phonemes of the lute in 20 notations. The five-string lute has 26 notations, written with 26 notations, and it belongs to the "phoneme spectrum" system.
4. [Vinaya Lypho Notation]: The notation of recording the pitch of the music with the first word of the name of the twelve laws, and the notation of the spectral character is noted on the right side of the lyrics.
Second, the theory of palace tone
1. [Sixty tones] is the first palace tone theory system established in The history of our country, that is, twelve adjustments, each of which has five modes of "palace, shang, horn, sign, and feather". The Huainan Zi says: "Five tones are born of one law, and sixty tones are born of twelve laws." The "Fortune of Rites" also says: "Five voices, six laws and twelve pipes, spinning phase for the palace." This is the original record of sixty tones in ancient China on the five-tone and twelve-tone law "spinning phase for the palace".
2. [Five Dan Seven Tones], guizi musician Su Qibo introduced the guizi palace tuning theory. General explanation, "five dan seven sounds" is on five different levels (dan), each according to the seven sound scales to form seven modes. Every dan has seven tones, and the "five dans" get a total of thirty-five tones (modes).
3. [Eighty-four tones], the earliest to put forward the "eighty-four tones" theory is Emperor Wu of Liang (Xiao Yan), the "Book of Sui Music" records that he made his own four-way twelve flutes, and then introduced the five positive and two changes of the sound, the spin phase for the palace, so the twelve flutes can get eighty-four tones.
Sui Dynasty musician Zheng Yi in Guizi great musician Su Qibo
Inspired by the imported Guizi Palace theory of "five dan seven tones and thirty-five tones", it was also experimented on the pipa, believing that "the law has seven tones, the tone is one tone, so it becomes seven tones, twelve laws and eighty-four tones", and put forward the idea of the "eighty-four tones" theory, that is, twelve semitones as the first tuning, constituting twelve uniforms (also known as "palaces"), each of which constitutes seven modes. In other words, in the twelve high schools, each pitch can have seven modes, which are twelve laws and seven "spin phases for the palace". It is dominated by any one of the seven-tone scale, and when it constitutes different modes and twelve-law rotation phases, it is theoretically possible to obtain eighty-four tones.
The Sui Dynasty musician Wan Baochang used the method of "changing strings and moving columns" to "spin phases into palaces", and obtained seven tones, twelve palaces, and eighty-four tones.
Zu Xiaosun was a musical official who spanned the Sui and Tang dynasties, and he emphasized the five modes of palace, shang, horn, sign, and feather contained in the eleven, forming "sixty sounds" on the twelve. And its "variation mode" and "palace mode" are inferior to their "sign mode" and "palace mode". Wang Pu, a lawyer of the Five Dynasties period, said that "all have seven voices, twelve evens, and eighty-four tones", and his eighty-four tones are actually "eighty-four uniforms".
4. [Twenty-eight tones], also known as "Yanle Twenty-Eight Tones", or "Twenty-Eight Tones of Folk Music", is to establish four modes on seven levels, or to establish seven modes on four highs.
The seven palaces are the main palace, the high palace, the middle lu palace, the Daotuo palace, the South Lu palace, the Xianlu palace, and the Yellow Bell Palace; each palace (also known as "jun") contains four modes of palace, shang, feather, and horn. However, the so-called angle tone, according to the ancient concept of scale, is not a positive angle key, but a change of palace tone. Taking the Yellow Bell Palace as an example, the main positions of the four modes are as follows:
Huang Da Tai Jia Gu Zhong Rui Lin Yinan Wu Ying
Zhong Lü Tu Zhong Wash Lü Bin Zhong Ze Lü Shoot Bell
(12 legal names)
1 2 3 #4 5 6 7 (Paleoscale)
4 5 6 7 1 2 3 (New Scale)
Gong Shang Feather Horn
Tune Tune Tune
(Four modes of principal position)
The reason is that in the Tang Dynasty, Yanle actually used three scales, namely the ancient scale, the new scale and the Yanle scale. The horns in the twenty-eight tones belong to the new scale, which is equivalent to the horn tone of the ancient scale for the palace, so the horn tone is also called "the horn".
There has always been disagreement about the understanding of the essence of the twenty-eight tones. Simply put, commonly used tunes have two different interpretations: "seven houses and four tones" (seven levels of elevation, each with four modes of mode) and "four houses of seven tones" (four highs, seven modes of each tone).