Shi Tan Zhang 释谈章 and Puan Zhou 普庵咒
By Chan Chong Hin 陈松宪
June, 1992
Introduction
Puan Zhou 普庵咒 is
one of the widely known, traditional qin pieces which
have been handed down to the present time. Most qin
handbooks call it Shi Tan Zhang 释谈章. Are these
two pieces in fact one and the
same piece with different titles, or two completely different pieces?
It seems
that until now no one has investigated this question in depth.
Two years ago, the author
had the good fortune to meet Rong Size 容思泽 in Hong Kong and to hear him
play Shi Tan Zhang. The mood and the
music were ancient and simple, grave and stern, solemn and respectful,
far
surpassing the Puan Zhou usually
heard. Since then this refined tune has frequently lingered in my mind.
Later,
I found out from Qin Ren Wen Xun Lu 琴人问讯录 in Jinyu Qinkan 今虞琴刊, Jindai Qinren Lu
近代琴人录 in Qin Fu 琴府 and other sources
that there seem to be very few people who can play Shi Tan
Zhang - apparently only the school to which Mr. Rong
belongs. Nonetheless I feel it is a great treasure.
Last year, Mr. Rong gave me
a recording of himself playing several pieces on the qin.
Among these was Shi Tan
Zhang. So, based on Mr. Rong's recording and a phrase by phrase
comparison
with the qin score of Shi Tan Zhang
in Qin Se He Pu 琴瑟合谱, which
was edited by his great grandfather Qing Rui 庆瑞, I played it phrase by
phrase in the correct order, until eventually I had mastered the entire
piece.
I used cipher notation as a convenient means of recording what I had
learned.
Besides learning the piece, I have analysed and compared Shi
Tan Zhang and Puan Zhou
and written a short report.
Shi Tan Zhang
Shi Tan Zhang first appeared in the late Ming (Wanli
万历 period) qin handbook
San Jiao Tong Sheng 三教同声, edited
by Zhang Dexin 张德新 in 1592.
This collection of scores contains only four
pieces:
1.
Ming De
Yin 明德引
2.
Kong
Sheng Jing 孔圣经
3.
Qing
Jing Jing 清静经
4.
Shi
Tan Zhang 释谈章
Hence the name San Jiao Tong
Sheng[1]
Since I do not have this
material available for reference, I have no details of their content.
Later
collections of scores containing this piece are numerous:
Late Ming:
·
1609 – Yang
Lun's 杨§抡 Bo Ya Xin Fa 伯牙心法
·
1611 – Zhang
Daming's 张大名大命 Yang Chun Tang Qinpu 阳春堂琴谱
·
1625 – Chen
Dabin's 陈大斌
Tai Yin Xi Sheng 太音希声
·
1634 – Zhu
Changfang's 朱常汸 Gu Yin Zheng Zong 古音正宗
·
1634 – Tao
Hongkui's 陶鸿逵 Tao Shi Qinpu 陶氏琴谱
(The
above are in Qinqu Jicheng 琴曲集成 volumes 7
and 9)
Qing 清:
·
1802 – Wu
Hong's 吴灴 Zi Yuan
Tang Qinpu 自远堂琴谱
·
1864 – Zhang
He's 张鹤 Qin Xue Rumen 琴学入门
·
1870 – Qing
Rui's 庆瑞 Qin Se He Pu 琴瑟合谱
(The
above are in volume 1 of Qin Fu 琴府).
In addition,
it is recorded that most of the wealth of famous qin
score collections published during the Qing Dynasty contain
this piece, but as I do not have these materials, I cannot list them
individually.
The
division into sections varies among the above scores of Shi
Tan Zhang. For example: Fo
Tou 佛头, Qi Zhou 起咒, 3
cycles and 15 zhuan plus Fo Wei 佛尾;
21 sections; 8 sections; 5
sections; there are even some that are not divided into sections at
all. But
structurally they are all the same: all are as in Qin Se
He Pu, which is divisible into Fo Zhou Tou 佛咒头, Qi Zhou,
First Cycle (6 sections), Second Cycle (6 sections), Third
Cycle (6 sections) and Fo Zhou Wei 佛咒尾, a total
of 21 sections.
Furthermore,
all scores except Qin Se He Pu have words
alongside [the music notation]. From the words we can see that it is a
Buddhist
scripture. Taking the Shi Tan Zhang
in Qin Se He Pu as a base, and
referring to the text in the Zi Yuan Tang
Qinpu and Qinxue Rumen, we can
now analyse the entire piece as follows:
The
words to Fo Zhou Tou are as follows:
Nan mo fo tuo ye. Nan mo da mo ye... Nan wu
bai wan huo shou jin gang wang pu sa 南无佛陀耶。南无达摩耶。. . . 南无百万火首金刚王菩萨。(In some qin handbooks, we have the
additional words Nan wu Puan Chan shi pu sa, mo he sa 南无普庵禅师菩萨，摩诃萨), which seem to be repeated
or omitted). This section is a hymn praising the name of every Buddha.
The
music has only 7 phrases, and the whole seems to be a simple repeated
theme, as
in example 1 below:
Example 1 Fo Zhou Tou
The
words of the second section, Qi Zhou,
are:
An. Jia jia jia yan jie. Zhe zhe zhe shen
re ... 唵。迦迦迦妍界。遮遮遮神惹.
According to research carried out by Wang Weishi 王微士 of Taiwan, these
are Chinese interpretations of Sanskrit initials and consonants. Table
1
(below) shows a comparison of the syllables in Pinyin and Chinese
characters:
|
Glottals |
迦 ka |
迦 kha |
迦 ga |
妍 gha |
界 na |
|
Palatals |
遮 ca |
遮 cha |
遮 ja |
神 jha |
惹 na |
|
Linguals |
吒 ta |
吒 tha |
吒 da |
怛dha |
那 na |
|
Dentals |
多 ta |
多 tha |
多 da |
檀 dha |
那 na |
|
Labials |
波 pa |
波 pha |
波 ba |
梵 bha |
摩 ma |
Table 1 The Sanskrit syllables and their Chinese
interpretations
In the
Buddhist scripture there is an oral tradition for learning the sounds
of
Sanskrit. It is called Xi Tan Zhang 悉昙章 (the Tao
Shi Qinpu Ì陶氏琴谱 uses this as the title for the
piece). Could Shi Tan 释谈 be
variant characters for Xi Tan 悉昙? We must seek
evidence from
scholars with experience in the study of Buddhism. From the text of Shi Tan Zhang, however, it would seem
that the notion that it is a tune for learning Sanskrit pronunciation
must be
correct.
In Qi Zhou, the syllables
are chanted both
in the order shown in the Table 1 and in the opposite order, and on
this basis
is divisible into two parts. The first part is sung in the order shown
in the
table: glottals – palatals – linguals – dentals – labials. The music is
also
very simple, being made up of only a single repeated phrase (see score
example
2). The second half of Qi Zhou is a
chant in which the syllables are chanted in the opposite order. In this
part
the Sanskrit text and the music are also very regularised (score
example 3).
Furthermore the 6th section of each of cycles
1, 2 and 3 is repeated as shown in examples 2 and 3 below:
Example 2 Qi Zhou, first part
Example 3 Qi Zhou, second part
Cycles 1,
2 and 3 are each divided into 6 short sections. The 6th section of each of these is the repeated
part of Qi Zhou (score example 3).
Sections 1-5 of each cycle consist of the sounds of Sanskrit initial
consonants
and vowels (single or compound) (a, i, u, ai, e) put together to form
the
chanted syllables. The five sections in each of these three cycles are
in order
of the initial consonants: glottals, palatals, linguals, dentals and
labials.
Apart from the insertion of half-vowels and nasal sounds, and
fluctuation by
several beats, the music in the 15 sections of these three cycles is
all
derived from performance variations of a single melody. The first
section of
cycle 1 is shown in example 4:
Example 4 Cycle 1, section 1
The
last section, Fo Zhou Wei, is played
in harmonics and summarises the whole piece. The words are: An.
Bo duo zha. Zhe jia ye. Ye lan ke.
....... Puan dao ci. Bai wu jin ji. 唵。波多吒。遮迦
耶。夜兰诃。 ...普庵到此。百无
禁
忌。 The text of this section very probably
comprises the essentials of
an incantation by the Buddhist priest Puan 普庵. The title Puan
Zhou may derive from
this (early qin handbooks, such as Bo Ya
Xin Fa etc. already contained a note to the effect that
Shi Tan Zhang is Puan Zhou). The
Buddhist priest Puan was the Southern Song high
priest Yin Su 印肃 (AD 1115–69). He went to
Mt. Nan Quan 南泉山, Yuanzhou 袁州 to spread the word of Buddhism; the
occasion was the
grandest the country
had ever seen. It is said that Shi Tan
Zhang was a song used by this Chan 禅
priest to teach his
disciples
Sanskrit pronunciation.
Shi Tan Zhang appears to be too old to be
traced it from its origin to the time of the priest Puan, in the
twelfth
century. However, none of the qin
study materials from the entire 400 years up to the beginning of the
Ming
Dynasty mention these pieces. Since most qin
players of the period had Taoist leanings, it is possible that they
excluded
Buddhist pieces. However this piece is not mentioned in the Qin
Shu Da Quan 琴书大全 (1590),
which contains some stories about Buddhist monks who were qin
players, so that is not very likely.
According
to the annotations to Shi Tan Zhang
in Taiyin Xisheng 太音希声, edited
by Chen Dabin 陈大斌 (1625),
"This piece was composed by Li Shuinan 李水南; before that this music did
not exist. It was
because Lü Xuanjun 吕选君
of Xizhou 希周 in Chongde 崇德 had a taste for Buddhism and Taoism. He
asked
Shuinan to write this music according to the temperament, but it was
not disseminated.
I learned it [from Shuinan] quite a long time ago. Only after I played
it for
the relief of victims of a calamity in the year Wuyin 戊
寅 of the Wanli 万历 period (1578) did it spread widely.
...". If what Chen Dabin said is
correct, then it is a composition by Li Shuinan of the Zhe
浙 school, and it must date from the end of the 16th century.
Shi Tan Zhang was composed according to
the sound (声): one character to one note, with the
rhythmic pattern quite
strictly defined. This gives it a very different flavour from normal qin pieces, which have a flexible tempo
(节奏). According to what is recorded in
all qin handbooks, the melodies are all the same even
though the hui positions are different. For the
most part, the Ming handbooks repeat [the same music] section for
section,
phrase for phrase; those of the Qing Dynasty show numerous performance
changes.
Taking the Qin Se He Pu as an
example, its every repeated phrase or musical section shows some
variation. It
contrasts each different register (音区),
and uses the interplay between the
open, stopped and harmonic timbres, so that within the 21 sections,
each phrase
shows changes and each section shows differences. Not only does it not
make the
listener feel it is a rigid and inflexible monophony, it lingers in the
mind
for a long time. It is a solemn and respectful, grave and stern
artistic
conception.
2. Puan
Zhou
In
addition to Shi Tan Zhang, the Zi Yuan
Tang Qinpu contains piece called Puan Zhou. It has
13 sections and
some religious text is appended to it. By analysing this text we can
see that
it is derived from Shi Tan Zhang,
but:
·
it omits Fo Zhou Tou
·
it omits the
first part of Qi Zhou and, from each cycle, the
chanting of those syllables which have palatal and dental initials
·
the latter
part of Qi Zhou is retained without modification
and is inserted between each of the cycles
·
Fo
Zhou Wei is reduced to a
phrase in harmonics which concludes the piece (see
Table 2)
Apart from the omission of certain
sections and the addition of some open string notes and ornaments, the
melodic
line closely resembles Shi Tan Zhang.
One can state categorically that the 13 section Puan Zhou
is an abridged version of Shi Tan Zhang.
Beside the qin piece Puan Zhou, it has also been handed down as a folk
instrumental
piece. In Xian Suo Bei Kao 弦索备考, published in 1814 by
Rong 荣斋 of the Qing Dynasty, there is a score
for an ensemble version of Puan Zhou
with parts for erhu, pipa, sanxian and zheng. There
is a note at the beginning of the score which says that "Puan
Zhou is the qin piece Shi Tan Zhang."
A pipa piece of the same name was
published in 1818 in the Hua Qiuping
Pipapu »ª 华秋萍琵琶谱 and Ju
Shilin Pipapu 鞠士林琵琶谱.
Furthermore, according to
Jin Wenda's 金文达 Fojiao Yinyue de
Chuanru Ji Qi Dui Zhongguo Yinyue de Yingxiang 佛教音乐的传入及其对中国音乐的影响 (The
Spread of
Buddhist Music and Its Influence on Chinese Music), the piece Puan Zhou is also found in the Beijing Zhi
Hua Si Shou Chao Pu 北京智化寺抄谱
(1694). It has a total of 18 sections. The subtitles are:
1.
Chui
Si Diao 垂丝调
2.
Fo
Tou 佛头
3.
Puan
Zhou – first section (Qi Duan 普庵咒起段)
4.
First
cycle (plus zhuan 1-3)
5.
Second
cycle (plus zhuan 1-3)
6.
Third
cycle (plus zhuan 1-3)
7.
Conclusion
jieduan 结段
8.
Jin
Zi Jing 金字经
9.
Wu
Sheng Fo 五声佛
This is a wind and
percussion (´吹打) ensemble piece; its title
and the division into sections is
identical to those of the string ensemble piece in Xian
Suo Bei Kao (see Table 2). I believe that there is a
direct
connection between these two pieces.
From Xian Suo Shisan Tao 弦索十三套,
the modern translation of Xian Suo Bei Kao,
it can be seen that apart from Chui
Si Diao at the beginning and Jin Zi
Jing and Wu Sheng Fo in the
finale, which are adapted from folk pieces (qupai 曲牌),
both the structure and the melody of
the main part this string ensemble
piece Puan Zhou are very similar to
the qin pieces Shi Tan Zhang and the
13 section version of Puan Zhou. The structures of
the three pieces are compared in
Table 2:
|
Shi Tan Zhang in
Qin Se He Pu |
Puan Zhou in Zhi
Hua Si Jing music and in Xian Su Bei Kao |
Puan Zhou in Zi
Yuan Tang Qinpu |
||
|
Fo Zhou Tou |
Chui Si Diao Fo Tou |
- |
||
|
Qi Zhou |
1st part 2nd part |
Puan Zhou section 1 1st cycle |
1st section |
1st part (without pal/dent.) 2nd part |
|
|
section 1 section 2 |
1st cycle 1st zhuan 1st cycle 2nd zhuan 1st cycle 3rd zhuan |
Section
2 |
|
|
1st cycle, section 6 |
2nd cycle |
Section
5 |
||
|
|
section 1 section 2 |
2nd cycle 1st zhuan 2nd cycle 2nd zhuan 2nd cycle 3rd zhuan |
Section
6 |
|
|
2nd cycle, section 6 |
3rd cycle |
Section 9 |
||
|
|
section 1 section 2 |
3rd cycle 1st zhuan 3rd cycle 2nd zhuan 3rd cycle 3rd zhuan |
Section
10 |
|
|
3rd cycle, section 6 |
Conclusion |
Section
13 |
||
|
Fo Zhou Tou |
Jin Zi Jing Wu Sheng Fo |
Coda in harmonics |
||
Table 2
There are two versions of Puan
Zhou in the Ju Shilin Pipapu. One is a short piece
(xiaoqu 小曲) of only 129
measures commonly known as Xiao Puan
Zhou 小普庵咒. This
is an abridged extract from the Puan Zhou in the Xian Suo
Bei Kao Pipapu. The other was handed down by Chen Mufu 陈牧夫 of
Zhejiang 浙江. It is 647 measures in length, divided
into 16 sections:
1.
Fo
Tou 佛头
2.
Qi Zhou 起咒
3.
Xiang Zan 香赞
4.
Lian Tai Xian Rui 莲台现瑞
5.
Zhan Tan Hai An 旃檀海岸
6.
Qi Zhou 起咒
7.
Fa Zan 法赞
8.
Yu Shan Fan Chang 鱼山梵唱
9.
Ri Ying Tan Hua 日映昙花
10.Qi Zhou 起咒
11.Bao Zan 宝赞
12.Zhong Sheng 钟声
13.Gu Sheng 鼓声
14.Zhong Gu 钟鼓
15.Ming Zhong He Gu 鸣钟和鼓
16.Qing Jiang Yin 清江引 (postlude)
The section titles of the pipa
piece Puan Zhou are elegant and scholarly, but are
not the same as those
of the qin piece and the piece from Xian
Suo Bei Kao. However the basic
structure and melody are similar to the qin
piece Shi Tan Zhang and the 13
section Puan Zhou.
The Present Day Puan Zhou
In Jue Yuan Qin Ji Xu 觉圆琴集序目
in the 1932 edition of Jinyu
Qinkan 今虞琴刊 it says of Puan Zhou that "This is a
Buddhist
piece. Two versions have been handed down in qin
handbooks. One has words, which are an incantation of the Chan
priest Puan. The other is without
words. It alone has the sound of bells and chimes, small cymbals and
singing in
praise. Listening to it is like hearing a
Buddhist song on Mount Yu 鱼山[2].
There are people now who play it." It is clear that the versions with
words are Shi Tan Zhang or are
similar to the 13 section version of Puan
Zhou. Versions without words are probably from the Beijing
Qinhui Pu 北京琴会谱 or a similar source.
The Beijing Qinhui
score solo
version as played by Pu Xuezhai 莆雪斋 is in Guqin Quji 古
琴曲集. The version he
recorded is identical to
that played and recorded by Wu Jinglue 吴景略 Zhang Ziqian 张子谦 and
others, and is the same as that which is played today. It must be true
that
"there are people now who play it".
The Beijing Qinhuipu
Puan Zhou is based on the 13 section
version of Puan Zhou, created by the
absorption of various techniques from folk instrumental music, such as
the
addition of beats, omission of notes, addition of ornamentation, rondo
techniques, etc. If we compare it with Shi
Tan Zhang, we find that several hetou 合头
are similar, whereas the other sections are very different.
However one
need only analyse them carefully and one can see that the one has
developed
from the other. It is as if the first two sections of the piece
developed from Qi Zhou extended by the addition of
ornamental notes and slowing down (ru
man 放慢)
(Example 5):
Example 5 Top:
Pu’an Zhou section 1, Bottom: Shitan Zhang
Qi Zhou
Sections 3 and 4 shown in
example 6 below are variations of hewei 合尾 phrases in all
18 sections in the
three cycles. The simple musical phrases in open notes are set off by
the ornamentation,
rondos and sections with the coordination of such fingering techniques
as jinfu 进复, dou 逗, zhuang
撞, etc.
It became the dominant musical section with a wide intervallic range (tiaofu 跳幅) and
intensified dynamics (lüdongxing
律动性). The
undulating, flowing rhythm of these two sections runs through the whole
piece,
and constitutes the main part.
Example 6 Hewei
phrase variations (Sections 3 and 4)
In the present-day Puan Zhou,
not only has the melody
changed greatly, but it also no longer has a structure consisting of 3
cycles
and 15 sections, or 3 cycles and 9 zhuan.
The 'cycles' are now in order of low pitch to high pitch, and are of
the new
form introduction – development – re-emergence. It omits the repeated
sections
and hetou phrases and phrases in
harmonics are inserted to add colour; prominent hewei
phrases either replace or reiterate and link together the
whole piece, making it a grave and solemn stanza.
If we compare it with
another modern handbook, Guqin Qu Huibian 古琴曲汇编, which
consists of scores of performances by Xia
Yifeng 夏一峰, we see that the melodic changes in Xia's score are
already the same as
present-day scores. The sections at the beginning and the two dominant hewei sections have already taken shape.
However, Xia's score preserves the overall arrangement into 3 cycles
and 9 zhuan. From this we can see traces of
the transition from the 13 section scores to the present day scores.
The new qin piece Puan Zhou has
already broken completely away from the qin
song with vocal accompaniment [style], and uses a new melody and a new
structure to depict the "bells and chimes, small cymbals and songs of
praise", and to hand down the artistic conception of the solemnity and
respect of Buddhism today.
Conclusion
To summarise the above, the
process of performance change from Shi
Tan Zhang to the present-day Puan
Zhou is already very clear. The sequence is shown in figure 1 below:
1592
1609
1802
1870
present day
San
Jiao Bo
Ya Zi Yuan
Qin Se
Rong
Size's qin
Tong ---->
Xin Fa –---> Tang
Qinpu ----------> He Pu –---> performance of
Sheng
qin song
Shi Tan Zhang
Shi Tan
Shi Tan Zhang
qin song Shi Tan
Zhang
Shi
Tan Zhang
----------------------
Zhang | |
|
|
|
|
|
Qin song Puan Zhou-------
|
(13 sections)
|
|
|
|
|
|
Qin piece
|
Puan Zhou
|
transmitted
by--
|
Xia
Yifeng |
|
|
|
|
|
Beijing
Qinhui Pu
|
Qin piece
|
Puan Zhou
|
|
|
|
1818
|
Hua Qiu Ping Pipapu
|------------------> Ju Shi Lin Pipapu ------> Solo pipa piece
|
Pipa
piece
Pua'an Zhou
|
Puan
Zhou
|
|
|
|
|
Xiao Puan Zhou
|
|
| 1694
1814
|
| Zhi
Hua Si Shou chaopu Xuan
Suo Bei Kao |
|----> Wind & percussion ------> String
ensemble -----
ensemble
piece
piece Puan Zhou
|
Puan Zhou
|
|
Folk ensemble piece
Puan
Zhou
Figure 1
From the scores, the structure
of the music and the melody, it can be seen that this piece of Buddhist
music
have first appeared as the qin song Shi
Tan Zhang. It was handed down from
the Wanli period of the Ming Dynasty (end of the 16th century) to the present day, still retaining
the 21 section structure. At the hands of qin
players throughout history, it has changed from being a monotonous,
repetitive
piece of music for learning the pronunciation of repeated individual
Sanskrit
words to being an ancient and simple, solemn and respectful qin
piece.
After this Buddhist piece
appeared, it probably spread very widely; later, in order to further
popularise
it, and in particular to further religious activity, it was reduced to
the 13
section qin song Puan Zhou; it was
transferred from the qin to other folk instrumental
genres and became a wind and
percussion ensemble piece, a string ensemble piece and a solo pipa piece. Later, under the
counter-influence of folk instrumental music, the qin
song Puan Zhou
eventually became separated from the literary vocal accompaniment and
became
the present-day purely instrumental qin
piece.
References
1.
Qinqu
Jicheng 琴曲集成 vols. 7, 9,
edited by Wenhua-bu
Wenxue Yishu Yanjiuyuan, Yinyue
Yanjiusuo, Beijing Guqin Yanjiuhui 文化部文学艺术研究院，音乐研究所，北京古琴研究会,
published by Zhonghua Shuju Chuban 中华书局出版.
2.
Qin
Fu 琴府 Tong Kin
Woon (Tang Jianyuan) 唐健垣 ed.,
联贯出版社
3.
Puan
Chan Shi Quanji 普庵禅师全集 Wang Weishi 王微士，Zhou Xunnan 周勋男 ed.
4.
Qin
Shi Chubian 琴史初编,
Xu
Jian 许健 ed., Renmin Yinyue
Chubanshe 人民音乐出版社
5. Xian Suo Shisan Tao 弦索十三套, Cao Anhe 曹安和 ed., Renmin Yinyue Chubanshe 人民音乐出版社
6. Ju Shilin Pipapu 鞠士林琵琶谱 Lin Shicheng 林石城 ed. Renmin Yinyue Chubanshe 人民音乐出版社
7.
Guqin
Quji 古琴曲集 Zhongguo
Yishu Yanjiuyuan, Yinyue Yanjiusuo,
Beijing Guqin Yanjiuhui ed., Yinyue
Chubanshe 中国艺术研究院，音乐研究所，北京古琴研究会
8.
Guqin
Qu Huibian 古琴曲汇编 Yang
Yinliu 杨荫浏; Yinyue Chubanshe 音
乐出版社
9.
Fojiao
Yinyue de Chuanru Ji
Qi Dui Zhongguo Yinyue de Yingxiang 佛教音乐的传入及其对中国音乐的影响 (The
Spread of Buddhist
Music and Its
Influence on Chinese Music) Jin Wenda 金文达, in Zhongyang
Yinyue Xueyuan Xuebao 中央音乐学院学报 issue
1,
1992.
10.Folk Music of China, Stephen
Jones. Clarendon Press, Oxford, 1998.
Glossary
an lü 按律
According
to the temperament???
an sheng 按声
According to
the sound???
dou 逗
Qin technique similar to zhuang
(q.v.) but slower
fang man 放慢
Slowing down
hewei 合尾 A phrase or variation similar to a refrain that is repeated at the
hui 回
Cycle
(movement?)
huixuan 回旋 Rondo?
yinqu 音区
Register
jia hua 加花
Ornamentation
jiezou 节奏
Tempo
jinfu 进复
Qin technique in which one slides to the
right and then returns
ju 句
Musical
phrase
lü dong 律
动
Dynamics
tian yan 添眼 Addition
of beats
tiaofu 跳幅
intervallic
range ?
xiaoqu 小曲
A
form of folk music structured into short, simple sections
yinqu
音区
Register
zhuan 转
A
group of sections