In ancient times, the left historian recorded speeches, while the right historian recorded events. The "Spring and Autumn Annals" recorded events, while the "Book of Documents" recorded speeches. Historical texts like the "Chu Shu" from the Chu State, the "Zheng Zhi" from the Zheng State, the "Jin Cheng" from the Jin State, and the "Chu Wu" from the Chu State were created to preserve past history and prevent it from being forgotten. Sima Qian developed a new approach to writing history, introducing distinctions between chapter titles. However, Sima Qian's "Records of the Grand Historian" still fell short in covering rituals, laws, and political systems; thus, in addition to the annals and biographies, he composed eight supplementary texts to meticulously document various fragmented information. Ban Gu continued Sima Qian's approach, preserving the existing format and documenting all events of a dynasty, resulting in even richer historical content. The titles of works like "Laws and Calendar" and "Rites and Music" were unchanged, only changing "Book of Celestial Officials" to "Records of Astronomy" and "Book of the Enfeoffment of the Gods" to "Records of the Suburban Sacrifices," as well as changing the names of other works like "Commerce" and "Standardization," and also changing the names of "Rivers and Canals" and "Irrigation." He referenced Sun Zi's writings for the "Records of Laws" and Mencius's writings for the "Records of Food and Wealth." Liu Xiang's "Hongfan" was based on the "Spring and Autumn Annals"; Liu Xin's "Seven Strategies" categorized Confucian and Mohist books into different categories, while Zhu Gan gathered folk songs extensively and wrote in great detail, combining these materials into the "Three Records." However, the "Records of Rites and Music" were rather brief and contained many omissions; of a hundred statutes and systems, fewer than one was documented. Although the "Records of Astronomy" was relatively comprehensive in content, it did not explain the shapes of celestial bodies, resulting in various claims about the shapes of celestial bodies that were hard to discern. As a result, Cai Yong submitted a memorial to the authorities, proposing that this content be supplemented.
After the establishment of the Han Dynasty, following the burning of books and burying of scholars alive by the Qin Dynasty, classical texts were left incomplete. Scholars of high reputation always worried about the loss of historical records. Liu Xin's "Seven Summaries" preserved a large amount of literature to address this issue. The Yellow River flows eastward from Longmen, spanning across China. It frequently breaches its banks, causing massive disasters. The construction of embankments required vast manpower and resources from across the nation. Additionally, the terrain in the Guanzhong and Luoyang areas is rugged, with few plains and inadequate water sources. Therefore, the regions of Chang'an, Fengjing, Liaoshui, and Yushui are all recorded in the rituals. The Zhang River, Fu River, Zhengguo, and Baima County areas have abundant water resources, with significant benefits from canal irrigation, crucial for people's livelihoods. The government regarded it as a heavenly gift, hence the necessity of writing the "Records of Canals and Irrigation." Times change, and circumstances evolve. Some content can now be simplified. I believe Ban Gu's "Records of Rites and Music" has already provided extensive details on previous events. From the adaptation of the "Jingchu Calendar" by Yang Wei to the Wei Dynasty's historical records, this aspect is missing. It was not until the Yuanjia era that the calendar was re-established, with the Ming Dynasty undergoing multiple discussions and revisions. The calendars from the Wei to the Song Dynasties should be included in the current historical records. Ban Gu wrote "Rites and Music," Ma Biao wrote "Sacrifices" and "Etiquette," Cai Yong wrote "Audiences," and Dong Ba wrote "Chariots and Attire." They all aspired to write these contents well. Etiquette encompasses many aspects, serving multiple purposes. Rituals and audiences are far from trivial matters. Banners, attire, and vessels - which of these can be separated from etiquette? I will now compile these materials into what I’ll call the "Records of Rituals." As for the "Laws and Punishments" and "Food and Goods," as previously noted, I will categorize them based on different schools of thought and include them in the biographies.
"The Book of Music" is incomplete and has been for a long time. What Ban Gu wrote was essentially a transcription of the "Record of Music"; Ma Biao's "Later Book" also did not provide a complete supplement. There are no records of various musical instruments in the book at all. Although "Shiben" makes a brief mention, many parts are still missing. As for the melodies of poems such as "Ya" and "Zheng," they have completely disappeared, with no records at all. The music of the suburban temples always changes with the times, and many ancient music classics have been lost. The popular drum music now, although there are scores, musicians only pass it down orally, focusing solely on performance skills without explaining the meaning of the music. Compared with the old songs of the Han and Wei dynasties, the current music sometimes shares the same names, but the lyrics are completely different, rendering it impossible to grasp the meaning of the music through the lyrics. Thus, it is unclear which era these songs originate from. In this "Record" that I wrote, starting from the music of the suburban temple sacrifices to other music, as long as they are not obscene lyrics, I have detailed records.
Regarding astronomy and the Five Elements, there have been no records since Ma Biao's time. He Shi's book started from Huang Chu and continued to the Yixi period. I have now adopted He Shi's method, following the chronological order from the Wei Dynasty to the Han Dynasty. As a result, from the winter of the fifth year of Emperor Gaozu of Han to the summer of the second year of Emperor Song Shundi, for over two thousand years, there have been no errors in the movements of the sun, moon, and stars, and the cyclical years. The records of auspicious signs from emperors throughout history serve to demonstrate that the emperor's throne is sacred and divinely ordained, intended to dissuade those who seek to usurp power from coveting the imperial throne. The detailed records of these auspicious signs have already been written in historical books. For example, when the emperor's virtues reach a high level, there will be sweet dew falling, sweet springs flowing, auspicious signs like golden mushrooms and black millet emerging, and auspicious signs such as red grass and white crows appearing, all of which are irrefutable.
However, if the dynasty is in decline, the emperor's moral character is lacking, yet auspicious signs still appear, this suggests that the will of heaven can sometimes be unpredictable. It may also be the case that a wise ruler is in power, yet disasters like earthquakes and solar eclipses can still happen; all creatures great and small are compliant, but the signs in the heavens do not align with reality. Thus, I have penned "Records of Auspicious Signs" to address the shortcomings of earlier historical texts.
The geographical conditions are constantly shifting, which makes it hard to grasp the situation clearly. Since the Wei and Jin dynasties, population migration has been very frequent. A district can be split into four or five parts, and a county can be divided into two or three. Those from Lingling and Guiyang in the morning can find themselves in Lujiang and Jiujiang by evening. The migration of people is chaotic and relentless, and household registration records have become incredibly disordered, with even the officials responsible for maintaining these records struggling to keep track. Since the invasion of northern minority nationalities into the Central Plains and the Southern Migration of the Eastern Jin Dynasty, the populace of the Central Plains has fled south of the Yangtze River in droves. Youzhou, Bingzhou, Jizhou, Yongzhou, Yanzhou, Yuzhou, Qingzhou, Xuzhou, and other places have all fallen under the enemy's iron hooves. Countless refugees fleeing from the north to Jingzhou and Yuezhou have filled many areas. Everyone longs to return to their hometowns like wild geese. Scholars miss their homeland, and everyone wants to rebuild their homes and return to their original hometowns. However, the dispersed population makes it impossible for individual families to rebuild their homes, so there are settlements from Handi on Wei's land, and people from Zhao live in the county towns of Qi. Moreover, administrative divisions are in constant flux, like the cycle of day and night and the shifting stars. People migrate everywhere, without a fixed place to live, making it difficult to accurately record place names and county names. After the establishment of the Great Song Dynasty, it faced border wars again, and the five states north of the Huai River became enemy territory. Many people fled, leading to the establishment of new counties once more. This mirrors the circumstances of the Yuanjia and Taishi periods, with identical names yet vastly different realities. I have thoroughly examined the geographical records of Ban Gu and Ma Biao, as well as the daily notes of the Jin Dynasty and the Song Dynasty, along with other historical materials, analyzing them methodically, aiming for thoroughness and detail.
The establishment of officials and the division of provinces, as I have mentioned before, tracing the origins and clarifying the context, is not a difficult task. During the Yuanjia era, Donghai native He Chengtian was ordered to compile the "Book of Song," totaling fifteen volumes, to supplement Ma Biao's "Han Zhi." He used a wealth of historical materials, and I have drawn on his achievements and consulted the works of Ban Gu and Sima Qian, drawing on the strengths of various scholars. I have supplemented and improved the omitted content in the "Book of Song" and subsequent events. This aspect of content is vast and cannot be completed by me alone; the journey is long, and my abilities are limited, which makes this task challenging. Although I have carefully studied the historical books of past generations and seen various situations, due to personal preferences and choices, my views are inevitably biased. I often lose sleep and neglect meals while researching materials and organizing manuscripts, but in the end, I cannot compare to Ban Gu, Zuo Qiuming, or even Dong Zhongshu and the scholars of the Southern Qi Dynasty. I hope that future scholars can continue to improve my work, as I am just throwing out a brick to attract jade.
The Yellow Emperor sent Ling Lun to the west of Daxia, to the south of Mount Ruanyu, to select bamboo growing in the valleys, with even thickness between joints, blowing the part between two joints to establish the Huangzhong pitch. He then made twelve pipes of different lengths to listen to the phoenix's cry, in order to determine the musical scale. Sounds vary in pitch and intensity, so they must coordinate the Gongshang (musical scales); shapes have differences in length, so they must standardize dimensions; objects have differences in size, so they must determine capacity; materials have differences in weight, so they must measure weight. Therefore, the "Book of Yu" says: "Established unified musical scales, dimensions, quantities, and weights." This explains the origins of musical scales and Gongshang.
Music includes instruments, scores, emotions, and rituals. Bells, drums, and halberds are instruments; the speed and rhythm of music are the scores; "discussions of ethics are without worry" is the emotional expression of music; appreciation and love are part of the rituals surrounding music. A nobleman uses music to harmonize his aspirations and widely spreads it to fulfill his role in education, so that emotions are deep and civilized, and their spirits are vibrant and lively, with harmony building within, shining outwardly. Therefore, it is said: "Music is the expression of inner activities; sound is the symbol of music." The "Book of Rites" records: "Playing the Yellow Bell, singing the Great Lyu, dancing the Yunmen Dance, to worship the heavenly gods; playing the Great Zuo, singing the Ying Bell, dancing the Salt Pond dance, to worship the earth gods." Each type of sacrifice—whether to mountains, rivers, or ancestors—has its own unique music. The book also records: "Using the Round Bell to determine the Gong sound, the Yellow Bell to determine the Zhi sound, and the Guxi to determine the Yu sound, coordinating with the Lei Gu and Lei Tao drums, the Gu Zhu pipe, the Yun He qin se, and the Yunmen Dance, on the winter solstice, performing on the Round Altar on the ground. If the music is played six times, then the heavenly gods will descend, and the sacrifice can be performed." The rituals for sacrificing the earth gods and spirits are the same. Music can influence all things, promote education, and its effects are profound. In the beginning, all things originated from one, one divided into two, two divided into three, and three threes are nine. Therefore, the number of the sound of the Yellow Bell is six; divided into yin and yang, there are twelve bells. Each bell is composed of three notes, so one note multiplied by three gives a total of 177,147, which is the actual numerical value of the Yellow Bell. The Yellow Bell is associated with November, from which the Lin Bell emerges.
Lin Zhong corresponds to the number fifty-four, which represents June, and it gives rise to Tai Cuo. Tai Cuo's number is seventy-two, corresponding to January, producing Nan Lu downwards. Nan Lu's number is forty-eight, corresponding to August, generating Gu Xi upwards. Gu Xi's number is sixty-four, corresponding to March, producing Ying Zhong downwards. Ying Zhong's number is forty-three, corresponding to October, generating Rui Bin upwards. Rui Bin's number is fifty-seven, corresponding to May, producing Da Lu upwards. Da Lu's number is seventy-six, corresponding to December, generating Yi Ze downwards. Yi Ze's number is fifty, corresponding to July, producing Jia Zhong upwards. Jia Zhong's number is sixty-seven, corresponding to February, generating Wu She downwards. Wu She's number is forty-five, corresponding to September, producing Zhong Lu upwards. Zhong Lu's number is sixty, corresponding to April, and here it ends, unable to continue to generate new melodies. "Extremes do not give birth; the Zhong Lu cannot give birth to each other."
Gong Yin produces Zhi Yin, Zhi Yin generates Shang Yin, Shang Yin gives rise to Yu Yin, Yu Yin produces Jiao Yin, Jiao Yin gives rise to Gu Xi, and Gu Xi generates Ying Zhong. However, Gu Xi and Ying Zhong's sounds are different from the standard pitch, so they are "harmonious." "Gu Xi in March, Ying Zhong in October, should not be compared to the standard pitch, as they are harmonious. 'Harmonious' means shifting sound." Ying Zhong produces Rui Bin, and Rui Bin's tone is also different from the standard pitch, so it is "mysterious tone." "Mysterious means the sound is related. The Zhou Lu has mysterious and harmonious tones to counter King Zhou's seven tones."
On the winter solstice, the sound resembles Lin Zhong closely but is somewhat muddled; on the summer solstice, the sound resembles Huang Zhong closely and is clearer. The melodies of the twelve months align with the twenty-four solar terms. In the Jia Zi year, the Zhi Yin corresponds to Zhong Lu; in the Bing Zi year, it is the Yu Yin of Jia Zhong; in the Wu Zi year, it is the Gong Yin of Huang Zhong; in the Geng Zi year, it is the Shang Yin of Wu She; in the Ren Zi year, it is the Jiao Yin of Yi Ze.
Ancient people measured weight based on natural laws. The Huangzhong pitch pipe is nine inches long, and everything arises in threes. Three times three equals nine, and three times nine equals twenty-seven, so the width of cloth is two feet seven inches, which was the standard in ancient times. A syllable consists of eight sounds, so a person who is eight feet tall is twice the height of a "xun," which is eight feet. Where there is a physical form, there is a corresponding sound, and there are five sounds, multiplied by eight, which equals forty feet for a piece of cloth. A "匹" refers to a piece of cloth that is the standard size for an average person, so a piece of cloth is a standard measurement. When the rice ears mature during the autumn equinox, the rice grains are also ripe. There are twelve musical pitches, so twelve rice ears equal one grain of millet, and ten grains of millet equal one inch. Musical pitches correspond to constellations, and syllables relate to days. A day is divided into ten time periods, so ten inches make up one foot, and ten feet make up one zhang.
As for weight calculations, twelve grains of millet make up one fen, twelve fens make up one zhu, and twelve zhus make up half a liang. Scales have two sides, thus, the total is multiplied by two, resulting in twenty-four zhus equating to one liang. With four seasons in a year, the total is multiplied by four, which equals sixteen, making sixteen liang equal to one jin. Three months constitute one season, with each month having thirty days, so thirty jin make up one jun. With four seasons in a year, four juns make up one stone.
In terms of musical pitches, one pitch pipe can produce five distinct sounds, and twelve pitch pipes can produce sixty sounds. Multiplied by six, sixty times six equals three hundred sixty, so three hundred sixty sounds correspond to the number of days in a year. Therefore, the calculation of musical pitches follows the natural laws governing the cosmos. The numbers derived from the calculations below are multiplied by two and then divided by three, while the numbers derived from the calculations above are multiplied by four and then divided by three.
Yang Xiong said: "Sound arises from the passage of time, (Jia and Ji correspond to the angles, Yi and Geng correspond to the second tone, Bing and Xin correspond to the note Zhi, Ding and Ren correspond to the feathers, Wu and Gui correspond to the palace.) Music theory is derived from the constellations, (Zi corresponds to the Yellow Bell, Chou corresponds to Da Lu, etc.) Sound is based on its nature, (Quality, that is, correctness. Each one is correct according to its nature.) Music theory is based on harmonious sound, (Should be corrected using music theory and bells to make the sound harmonious.) When sound and music theory are coordinated, the Eight Sounds are produced. (Coordinated, that is, harmonious.) Gong, Shang, Jiao, Zhi, Yu are called the five sounds. Jin, Shi, Pao, Ge, Si, Zhu, Tu, and Mu are called the eight tones. When sound is harmonious and tones are coordinated, this is referred to as the Five Joys."
It is said that when yin and yang are in harmony, good days come, the solar terms are aligned, and disasters are eliminated. Therefore, the emperor holds a ceremony in the imperial court every year on the winter solstice and summer solstice, summoning eight talented individuals, presenting eight musical instruments, listening to music, measuring the length of the shadow, observing the bell rhythm, weighing the earth and charcoal, to monitor the changes in yin and yang.
During the winter solstice, yang energy should begin to rise; at this time, the music sounds clear and bright, the shadow is longest, the tone of the Yellow Bell music theory is most correct, the earth and charcoal are light, and the scale will tilt upward when weighed. During the summer solstice, yin energy should begin to rise; at this time, the music sounds dull, the shadow is shortest, the tone of Rui Bin's tone is most correct, the earth and charcoal are heavy, and the scale will press down when weighed.
During these five days, the eight talented individuals will report their observations. The Grand Historian will compile these records and submit them to the emperor. If the observations match the actual situation, it indicates harmony between yin and yang; if not, divination must be used to predict good or bad fortune.
The method of observing the weather is as follows: first, build a three-layer thick house, close all doors and windows tightly, paint the walls tightly, and hang thick curtains. Place a wooden table in the room, with various musical instruments placed on top, one for each type, with the table lower on the inside and higher on the outside, arranged according to the directions, with the instruments placed on top. Then place reed ash inside the instruments to observe the weather.
If anger arises, the ash from the reeds will move; if the anger moves, the ash will disperse; if a person or the wind causes it, the ash will gather together. Normally in the hall, twelve jade pitch pipes are used for measuring time; only during the winter solstice and summer solstice are sixty bamboo pitch pipes used at the altar. These bamboo pipes are made from bamboo from Jinmen Mountain in Yiyang County, Hongnong, and the reed ash is made from reeds in Hanoi.
Historically, several generations of emperors paid little attention to music theory, leading to a disarray in music theory. It was not until the Han Dynasty that Lord Zhang Cang of Beiping reorganized the music theory. During the reign of Emperor Wu of the Han Dynasty, the court even established a dedicated position for coordinating music theory. During the reign of Emperor Yuan of the Han Dynasty, there was a physician named Jing Fang who was particularly knowledgeable in the five tones and sixty scales, and he studied under the renowned Xiao Huangling Jiaoyanshou. He explained that from "Xia Sheng" to "Shang Sheng," and finally to "Zhong Lü," this completes the cycle of the twelve musical scales. And from "Zhong Lü Shang Sheng Zhi Shi" to "Zhi Shi Xia Sheng Qu Mie," and finally to "Nan Shi," this completes the cycle of the sixty scales. Transforming the twelve scales into sixty scales is similar to the transformation of the eight trigrams into sixty-four hexagrams.
Fu Xi authored the "I Ching," recording the original state of yang energy and using it as the basis for establishing music theory. He took the winter solstice as the standard, designating Huangzhong as the tonic, Taicu as the supertonic, Guxi as the mediant, Linzhong as the subdominant, Nanlü as the dominant, Yingzhong as the submediant, and Ruibin as the subtonic. These are the foundations of music theory, the benchmarks of the five tones, so each tone corresponds to a day. The other musical scales run in sequence, with the tone corresponding to that day serving as the tonic, and the supertonic, mediant, subdominant, and dominant changing accordingly. The "Li Yun" states, "The five tones, six scales, and twelve pipes are all related to the tonic," which explains this principle. By dividing the year into days with sixty musical scales, starting from the winter solstice with Huangzhong and ending at the next winter solstice, one can calculate the changes in yin and yang, cold and heat, wind and rain.
Jing Fang also said that the sound made by bamboo cannot be used to accurately measure pitch, so a standard musical instrument must be created to determine the numerical values of the pitch. This standard musical instrument resembles a zither, ten feet long, with nine chi between each string, corresponding to the Huangzhong pitch length of nine cun; the middle string has markings below, which indicate the pitch of the sixty tones. Jing Fang's explanation of pitch was very detailed, and his methods were also applied in the work of historians and the Ministry of Rites. The "Continuation of the History of the Han Dynasty" detailed his pitch standards and measurements.
In the first year of Emperor Zhang of Han's Yuanhe era, there was a man named Yin You who was a minor official in the palace. He submitted a memorial to the emperor, saying, "Currently, no one in the court knows about the sixty tones, and there is no way to calibrate the pitch of musical instruments! Yan Song's son, Yan Xuan, is quite knowledgeable about this area, as he understands the sixty tones. I hope Your Majesty will appoint him as a music teacher." Upon hearing this, the emperor issued an edict stating, "If Yan Song's son truly understands the sixty tones and can differentiate the sounds of various musical instruments, then test him well. He shouldn't be given special treatment just because his father is an expert in this field! These sounds are very subtle and not something just anyone can grasp. He can only be considered to have inherited his father's mantle if he can play all twelve tones perfectly on a musical instrument!" As a result, in the test of the twelve tones, Yan Xuan only answered two correctly, got four wrong, and didn't even recognize the other six tones, so he failed the exam outright! Since then, fewer and fewer people have knowledge of the sixty tones.
In the sixth year of the Lingdi Xiping era, the Eastern Office (the institution in charge of managing classical texts) was looking for someone who understood music theory, so they asked several of the Crown Prince's aides, including Zhang Guang, but none of them had any knowledge of it. After rummaging through the old texts, they finally found relevant musical instruments that matched the descriptions in the texts, but they still couldn't determine the tension of the strings. This music theory simply can't be put into writing in a way that makes sense. Those who grasp it want to teach others, but they can't, and those who have figured it out on their own have no one to guide them, so the historians who once understood music theory have all but vanished. To pass on this knowledge, you can only rely on your instincts, since no other methods seem to work.
Speaking of it, the ancients studied music and said that the emergence of musical pitches was based on the law of threefold gain and loss. The scholars of the past calculated twelve tones from Zi to Hai, three in each group, resulting in a total of 177,147. Then they applied the principle of threefold to arrive at the "upper birth." So the "Book of Han" states: threefold loss results in Lin Zhong of the lower birth; threefold gain results in Tai Zu of the upper birth. Wu She represents the upper birth of the Zhong Lu, and the Zhong Lu should be the upper birth of the Huang Zhong, so that the five sounds, six tones, and twelve pipes can harmonize with each other, with the Huang Zhong as the tonic. However, the issue is that the difference between the upper birth and the Huang Zhong is actually only 2,384; after nine rounds of division, only 1,968 remain, which is more than one-ninth. How can it still return to the Huang Zhong as the tonic? In short, threefold gain is called the upper birth, and threefold loss is called the lower birth. This is a general rule, similar to how a year has 365 and a quarter days. Jing Fang didn't understand this principle. He made slight adjustments to the numerical values of the twelve tones and then extended them infinitely, starting from the upper birth of the Zhong Lu, gradually declining towards the lower birth, until the Nan Lu, resulting in the creation of sixty tones, yet it still proved incorrect, becoming increasingly chaotic. Ban Gu and his colleagues recorded those things, not understanding the fundamental principles of the twelve tones, only explaining that Jiao is touch and Zheng is auspicious, that yang energy is sown in the Huang Zhong, and so on, writing in a fanciful manner, but ultimately it was all nonsense. He also calculated the numbers 9 and 6, attempting to align with Liu Xin's numbers of 3 and 1, making forced connections and using unrelated elements to embellish his arguments, all of which were made up by Sima Qian.
Cai Yong wrote a letter to the court in Shuofang, saying that the "Book of Former Han" only recorded ten laws and did not mention the sixty laws. Sima Biao recorded the proportions of the six laws. By the end of the Han Dynasty, the art of elegant music had been lost. During the early years of the Huangchu period, there was a bell maker named Chai Yu, who was very skilled and made many improvements in the shape and size of the bell. The deputy of the Cohort of Laws, Du Kui, asked him to cast a bell, but the sound of the bell he cast did not meet the standards of clarity and tone quality. After many recasts, Chai Yu was very annoyed and said that Du Kui's requirements for sound clarity were too arbitrary. The two of them reported each other to the King of Wei. The King of Wei took the bells made by Chai Yu and carefully tested and compared them, only to find that Du Kui's requirements were correct. So he punished Chai Yu and his sons and exiled them to take care of horses.
In the tenth year of the Taishi period of the Jin Dynasty, the Palace Library Supervisor, Xun Xu, and the Prefect of the Palace Library, Zhang Hua, took out twenty-five bronze bamboo musical instruments from the palace treasury and asked musicians to inspect and test them. Three of them were consistent with the laws of Du Kui and Zuo Yannian, and the remaining twenty-two, based on their inscriptions and dimensions, were flute pipes. They asked the Cohort of Laws, Jiang Liehe, what was going on, and Liehe explained, "During the reign of Emperor Ming of Wei, I established these laws based on the sound of the flute, hoping that people studying music would live in one place, sing, play, and learn together according to the tones of these laws. When it comes time for ensemble playing, as long as you know the dimensions and names of these laws, the music played by string and wind instruments will harmonize. For deep and mellow singing, use long flutes and long pipes; for clear and high-pitched singing, use short flutes and short pipes. The standards for pitch and tone quality of various string instruments and songs, if not based on the dimensions and names of the flute pipes, cannot be accurately determined."
Xun Xu and his colleagues submitted a memorial stating: "The ancient sage kings established music in order to cultivate customs, worship spirits, assist virtuous individuals, and it must conform to the harmony of musical scales to regulate the musical tones. Therefore, there are regulations for the use of music on occasions such as suburban sacrifices, court meetings, banquets, etc., with appropriate distinctions in pitch and tone quality. So it is said that 'the five-tone scale and the twelve pitches serve as the foundation of the tonal system.' All of these can be found in the classics, historical records, and ancient texts. As Lao He pointed out, the length of the flute is not standardized and is made arbitrarily, without adhering to musical principles. When tested with the correct tonal system, they do not match; although the sound produced may be uniform, most of it is not harmonious. He also said: 'The flutes passed down by teachers were only distinguished by the clarity of sound, not by length, and craftsmen did not follow musical rules when making them.' This indicates that the flutes were not crafted according to established standards. Yet he used these flutes that did not follow musical rules to establish the tonal system and had the qin, se, and singing follow it, which fails to uphold the traditions of the ancient sages and does not establish any laws for future generations! We thoroughly examined these tonal systems, as explained by Lao He. According to the regulations, we made twelve flutes based on the twelve musical pitches, with even and harmonious sounds and convenient use. When learning to play, they will certainly align with the musical scales, especially during performances for foreign envoys and in temples! Even ancient musicians like Ling Lun and Du Kui found it difficult to achieve perfect musical tones, but we should also follow the ancients and seek their foundational principles, adhere to ritual systems, and be meticulous in production. If these flutes are deemed usable, please select skilled flute craftsmen and use bamboo for their production, and have the Ministry of Music and Music Bureau execute it. It is suggested that the tonal systems of Du Kui and Zuo Yannian be retained. In the imperial household, one flute each for the Zheng sheng and Xia zhi tones should be retained, with the author's name engraved. The remaining unused flutes should be returned to the imperial household for disposal." The memorial was approved.
Xu asked again: Hey, Mr. He, do you think it's possible to make a flute according to the twelve pitches, make twelve flutes, each flute corresponding to a pitch, and then use these flutes to play music?
He replied: Hey, it's not possible. Look at those long flutes in the Taiyue Bureau; the standard length for flutes tuned to the standard pitch is four feet two inches. If you want to make a flute for the low Zhi pitch, according to the rules, the lower the pitch, the longer the flute needs to be; it can't possibly be over five feet long! I have tried it before, and I couldn't play it at all! Besides, even if the holes on the flute are not precisely calibrated, I don't think it's possible for each hole to correspond exactly to a pitch.
You see, in the Taiyue Bureau, the standard tone for the four feet two-inch long flute is Ruibin, and the twelve tones are derived from the Gong pitch. The hole positions for the low Zhi pitch should correspond to the Dalü pitch. The flute for Dalü pitch is probably only about two feet six inches long; it can't possibly be over five feet long! So, Liu Xiu and Deng Hao from the Taiyue Bureau made a Dalü pitch flute according to the tone system for Mr. He to see. Then, they played seven tones, each hole carefully checked, and the sound matched perfectly. Then, Hao Sheng played the zither, and Song Tong played the flute, performing pieces such as "Mixed Attraction" and "Harmony."
Mr. He finally said: Alas, my ancestors have been making flutes for generations, starting from the Han Dynasty, and it has been passed down like this; I have never heard of this method. To make the tones of the flute completely correspond to the tonal system, I won't be able to achieve that in my lifetime.
Hao Sheng, Lu Ji, Zhong Zheng, and Zhu Xia all agreed with Mr. He's statement.
Hey, I asked Mr. He again: "The flute has six holes, plus the flute's own cavity counts as seven. Can you tell me which of these seven holes correspond to the tones Gong, Shang, Jiao, Zhi, and Yu? How can you tell if the holes on the flute are in tune?"
Mr. He answered, "Our teachers have always passed down this way of playing the flute. When playing, just follow the music score and play the notes accordingly. We don't even know which finger corresponds to which hole, let alone what notes each of the seven holes represent. If we were to make a flute, we would have to consult professional flute makers and follow the traditional methods. As long as it can produce sound, it doesn't matter to us if the holes are properly tuned."
According to the book, the Zhou Li stipulates that musical instruments should be tuned according to musical principles. Therefore, those who make bells and chimes must first tune them according to these principles before installing them. During performances, all the instruments must harmonize with the sounds of the bells and chimes in order to comply with musical principles. However, when entertaining guests in the palace without bells and chimes, the flute becomes the standard for tuning, and other string instruments and songs must follow the flute. Therefore, the flute is just as important as the bells and chimes and must also comply with musical principles.
As you can see, Mr. He's approach is entirely based on intuition. He arbitrarily chooses a length, and the sounds from the seven holes are quite alike. But he doesn't know which musical principles these notes correspond to. He can't verify whether they are properly tuned. He only knows to choose bamboo that can produce sound, and there is nothing else he can do.
I had no option but to enlist Mr. Liu Xiu, Deng Hao, Wei Shao, and the flute makers to collaborate on making the flute. The artisans are responsible for shaping the flute, while those who understand musical principles are responsible for tuning it, so that the flute will have standards and the sound will be harmonious.
I asked Mr. He again, "If one doesn't understand musical principles, how can they differentiate between high, low, clear, and muffled tones when composing music? How should these tones be named?" Mr. He replied, "During each ensemble, the length of the flute is chosen based on the clarity of the singer's voice. For example, if the singing voice is deep and mellow, a three-foot-two-inch long flute is used, which is why it's referred to as 'three-foot-two tuning'; if the singing voice is clear and high, a two-foot-nine-inch long flute is used, which is why it's referred to as 'two-foot-nine tuning.' This tradition has been upheld since the Han and Wei dynasties and continues to this day."
You see, in the "Book of Rites," it is recorded that when performing the six types of musical pieces, when playing the Huangzhong mode, the Da Lu should be sung, and when playing the Taicu mode, the Yingzhong should be sung. The purity and pitch of the singing are determined based on musical principles. The method of naming pitches using two or three chi, as mentioned by Mr. He, although used in the Han and Wei periods, was primarily a folk practice and lacked formal recognition. Our department's Liu Xiu and Deng Hao make flutes based on music theory. A flute measuring three chi and two cun corresponds to the Wu She mode, and when performing, the musician should say, "Please play Wu She!" According to the "Book of Zhou," "Wu She is to promote the virtues of sages and set an example for the people." A flute that is two chi, eight cun, four fen, and four li long corresponds to the Huangzhong mode, and when performing, the musician should say, "Please play Huangzhong!" According to the "Book of Zhou," "Huangzhong is to promote the six qi and nine virtues between heaven and earth." Therefore, the significance of singing and performing should adhere to the standards of classical rituals, referencing ancient texts, in order to achieve elegance and correctness. The text states, "I wish to hear the six modes, five tones, and eight sounds, all of which are the foundation of governing the country and securing the state." The "Book of Rites" records the six modes and their harmonies. The "Record of Rites" also states, "The five tones and twelve modes serve as the palace tones." The "Records of Music and Calendars" compiled by Liu Xin and Ban Gu also record the twelve modes. Only Jing Fang established sixty modes, but by the time of Emperor Zhang, his method had already been lost. Although Cai Yong attempted to restore ancient musical modes, he himself said, "No one can do it now." Based on classical texts and the sixty modes used by modern music theorists, they are not suitable for practical musical performance. Therefore, strictly following the records of the classics, I have crafted twelve flutes following the method where the five tones and twelve modes serve as the foundational tones, and have labeled and explained them on the diagram. However, the diagram alone may not provide enough clarity, so I have also constructed a Rui Bin Fu Kong flute. Here is how to make it:
This passage discusses the ancient method of crafting flute pitches, which is really complex! First, it mentions a flute called "Huang Zhong flute," noting that its fundamental pitch is Huang Zhong, and the flute is two feet, eight inches, and four-tenths of a centimeter long. "Zhou Yu" says, "Huang Zhong is to proclaim the cultivation of six qi and nine virtues." Crafting the Huang Zhong flute requires determining the position of each hole according to the pitch.
Then, it explains in detail the "Zheng Sheng Diao," which is a system of pitch, with Huang Zhong as the tonic (first hole), Ying Zhong as the secondary pitch (second hole), Nan Lu as the mediant (third hole), Lin Zhong as the dominant (fourth hole), Rui Bin as the subdominant (fifth additional hole), Gu Xi as the leading tone (middle tone of the flute), and Tai Cuo as the supertonic (back hole of the flute). It also explains why the supertonic hole is positioned above the tonic hole, stating that the supertonic is clearer than the leading tone, and since the leading tone is in the middle of the flute, the supertonic hole is placed above the tonic hole to make it sound clearer. In short, it emphasizes that the fundamental tones are tonic and dominant, while other tones are related in multiples, with the holes arranged accordingly, becoming more muffled as they go down.
Next, it describes in detail the technique for creating flute holes based on pitch. For example, to derive the dominant tone (Lin Zhong) from the tonic (Huang Zhong), one must measure down from the tonic hole using the pitch of Lin Zhong to determine the length of the hole to be drilled in order to obtain the dominant tone. Similarly, the dominant gives rise to the supertonic (Lin Zhong produces Tai Cuo), the supertonic gives rise to the mediant (Tai Cuo produces Nan Lu), and the mediant gives rise to the leading tone (Nan Lu produces Gu Xi). The leading tone gives rise to the subtonic (Gu Xi produces Ying Zhong), and the subtonic gives rise to the subdominant (Ying Zhong produces Rui Bin). It also explains why there is no specific hole for the leading tone, as it can be achieved through other hole positions because of its unique nature. Finally, it mentions that "Zhou Yu" states, "Pao Zhu Li Zhi, Yi Yi, Wei Bian Yu Shi Yong Cong Yi Zhe Ye," which means that crafting musical instruments should be convenient and practical.
Next, it presents another musical system known as "Xiazheng Diaofa", in which Lin Zhong (the bell sound) is designated as the Gong note (the fourth hole), Nan Lü as the Shang note (the third hole), Ying Zhong as the Jue note (the second hole), and Huang Zhong as the Bianzheng note, which is more complex as it requires the simultaneous blowing of the Huang Zhong, Tai Cu, and Ying Zhong holes to produce. Tai Cu is the Zheng note (the hole located towards the back of the flute), Gu Xi is identified as the Yu note (the middle note of the flute), and Rui Bin as the Bian Gong note (the fifth additional hole). This section explains why Huang Zhong is designated as the Bianzheng note in the Xiazheng Diaofa, stating that it is because there is no Da Lü note in the Xiazheng Diaofa, so Huang Zhong is used to replace it.
Finally, it also presents the "Qing Jiao Zhi Diao", with Gu Xi identified as the Gong note (the middle note of the flute), Rui Bin as the Shang note, Lin Zhong as the Jue note, Nan Lü as the Bianzheng note, Ying Zhong as the Zheng note, Huang Zhong as the Yu note, and Tai Cu as the Bian Gong note. This scale is quite special, with only the Gong, Shang, and Zheng notes corresponding to the musical system, while the other notes do not align properly and need to be played with a whistle to make them clear and bright.
In conclusion, this passage elaborates in detail on the methods for determining the positions of sound holes in ancient flute construction across different musical systems, as well as the relationships between the various notes. The content is highly specialized and quite complex. It is clear that ancient musicians were dedicated to achieving excellence in their craft.
Flute-making should be based on the length of the musical scale. A long flute is eight times the standard length (such as Rui Bin and Lin Zhong), and a short flute is four times the standard length (the remaining ten flutes are four times the length). The actual volume of a long flute is sixteen times the standard volume (the bamboo tube of a short flute can hold eight times the standard volume of millet. If the length ratio is not met or the craftsmanship is poor, the sound won't achieve the required uniformity and accuracy. However, the bamboo pipe of the flute is usually larger at the top and smaller at the bottom, making it hard to achieve perfect uniformity, so the sound can only be adjusted to meet the standard as much as possible). The three palace tones have twenty-one variations (namely Zheng, Xia Zhi, and Qing Jiao). (Each palace tone has seven notes, which are intricately used, thus producing twenty-one different tones. Other flutes are the same.) There are four hidden holes on the flute to make playing easier. (These four holes are: Zheng Jiao, above the Shang Diao; Bei Jiao, near the lower end of the flute; Bian Gong, near the palace tone hole, eight octaves lower than the palace tone; Bian Zhi, away from the Zhi tone hole, eight octaves higher than the Zhi tone. The positions of these four holes are calculated to align with the musical scale's fluctuations, making the sound harmonious and easy to play. Since these four holes are hidden, they're referred to as hidden holes.)
Flute tuned to Da Lu: Zheng corresponds to Da Lu, Xia Zhi corresponds to Yi Ze, and the length is just over two feet six inches and three fen. "Zhou Yu" says: "Yuan Jian Da Lu, assisted by Xuan Wu also." (Original text)
Flute tuned to Tai Cuo: Zheng corresponds to Tai Cuo, Xia Zhi corresponds to Nan Lu, and the length is just over two feet five inches and one fen. "Zhou Yu" says: "Tai Cuo is used for playing metal, celebrating the sun and overcoming stagnation." (Original text)
Flute tuned to Jia Zhong: Zheng corresponds to Jia Zhong, Xia Zhi corresponds to Wu She, and the length is two feet four inches. "Zhou Yu" says: "Two Jian Jia Zhong, highlighting the details of the four gaps." (Original text)
Flute tuned to Gu Xi: Zheng corresponds to Gu Xi, Xia Zhi corresponds to Ying Zhong, and the length is just over two feet two inches and three fen. "Zhou Yu" says: "Three Jian Zhong Lu, expressing the central energy." (Original text)
The Rui Bin tuned flute: Zhengsheng corresponds to Rui Bin, Xiazheng corresponds to Da Lu, measuring three feet, nine inches, and five tenths of a millimeter. The "Zhou Yu" says: "Rui Bin is quiet and divine, offering rewards and exchanging vinegar." (Original text) The holes of the Bian Gong are positioned closer to the main hole, so it needs to be lowered by an octave for easier playing. The Lin Zhong tuned flute is similar in structure.
The Lin Zhong tuned flute: Zhengsheng corresponds to Lin Zhong, Xiazheng corresponds to Tai Cu, measuring three feet, seven inches, and two tenths of a millimeter. The "Zhou Yu" says: "Four Lin Zhong, harmonizing a hundred things, making everything solemn and pure." (Original text)
Let's first discuss these traditional flutes. The Yi Ze flute, with its main tone as Yi Ze and secondary tone as Jia Zhong, is three feet, six inches long. The "Zhou Yu" says: "The Yi Ze tone is used to praise the Nine Provinces, enabling the people to live and work in harmony, free from doubt." Its method of altering the pitch is the same as the Rui Bin flute, with four tones and an additional auxiliary tone.
The Nan Lu flute, with its main tone as Nan Lu and secondary tone as Gu Xi, is three feet, three inches, and seven tenths of a millimeter long. The "Zhou Yu" says: "The five tones of Nan Lu praise the sunny and beautiful scenery." The Wu She flute, with its main tone as Wu She and secondary tone as Zhong Lu, is three feet, two inches long. The "Zhou Yu" says: "The Wu She tone is intended to promote the virtues of sages, acting as a moral guideline for the populace." The Ying Zhong flute, with its main tone as Ying Zhong and secondary tone as Rui Bin, is five feet, nine inches, and six tenths of a millimeter long. The "Zhou Yu" says: "The six tones of Ying Zhong embody the harmony of various elements, symbolizing the cyclical nature of existence."
Later, there was a man named Xu who used the pitch system developed by the Wei Dynasty's Du Kui to inspect the eight tones of the Tai Le, Zong Zhang, and Gu Chui instruments. He found that they did not match the standard pitch system, indicating that from the Eastern Han to the Wei and Jin Dynasties, the scale had increased by over a quarter compared to ancient standards. Du Kui then established the pitch system based on this incorrect scale, leading to inaccurate musical tones. So Xu found an assistant, the official Liu Gong, and measured again using millet seeds according to the "Rites of Zhou," casting a new pitch system. After completing it, he searched everywhere for ancient musical instruments and finally found the Jade Pitch of the Zhou Dynasty, which turned out to be exactly accurate when compared! He also found an ancient bell from the Han Dynasty that could produce sound without being struck, indicating its extremely precise musical tone. Xu also encountered a merchant from Zhao County on the road, pulling a Xian Diao (a type of musical instrument) with oxen, which had a particularly pleasant sound. Later, he also brought this bell to adjust the pitch system.
Emperor Wu of Jin felt that Xu's newly established pitch system matched the instruments of the Zhou and Han Dynasties, so he officially adopted it. However, the Cavalier Attendant Ruan Xian criticized that the pitch was too high and unsuitable for the national music. After Ruan Xian's death, people discovered an ancient bronze ruler when digging, which was indeed a quarter shorter than the ruler Xu had used, and everyone finally understood that Ruan Xian was right! During the Yuan Kang period, Pei Wei believed that the accuracy of weights and measures was more crucial than medicine and important national matters and should be rectified promptly, but this matter was never accomplished in the end.
Oh, speaking of flutes, back in the Jin Dynasty, the flutes tuned to Huangzhong were three feet and eight inches long. Later, in the ninth year of Yuan Jia, the head of wind instruments, Zhong Zongzhi, felt it was too long and shortened it to three feet and seven inches. Then, in the fourteenth year, the head of documents, Xi Zong, thought it was still too long and further reduced it by five fen, resulting in a length of three feet, six inches, and five fen. By the way, some say the Dongxiang flute measures four feet and two inches, and the Dongxiang flute is also said to measure four feet and two inches.
Then there is the flute in the Taicu tuning, which was three feet seven inches long during the Jin Dynasty. Zhong Zongzhi shortened it to three feet three inches and seven tenths. Xi Zong further shortened it by one inch and one tenth, resulting in a final length of three feet two inches and six tenths. Next, we have the flute in Guxi tuning, which was three feet five inches during the Jin Dynasty. Zhong Zongzhi shortened it to two feet nine inches and seven tenths, and Xi Zong further reduced it by five tenths, resulting in a final length of two feet nine inches and two tenths. Finally, we have the flute in Ruibin tuning, which was two feet nine inches during the Jin Dynasty. Zhong Zongzhi shortened it to two feet six inches, and Xi Zong then reduced it by two tenths, resulting in a final length of two feet five inches and eight tenths. You see, the lengths of these flutes have gradually shortened over generations.
