明朝琴谱所记徽位是否为“简略”记谱?

Was the Notation of Stopped Notes in the Ming Dynasty Guqin Tablature a Non-exact system?

《大还阁琴谱》(1673)之前的古琴记谱法 ,还未有用徽分 ;徽位间之按音 ,是用“简略”的记谱法 ,例如用“八九”代表八徽九徽之间的音。只写单一徽位的按音 ,例如十一徽、十徽等 ,如果准确地按正徽位 ,据本文探讨 ,弹奏时不论用三分损益律或纯律调弦 ,均会出现效果不好的混合律。所以 ,单一徽位的按音亦可以是“简略”之记谱 ,音位可因应音律而按在徽位微上或微下。明朝调弦法之单一徽位按音 ,便不可以用作证据 ,去论说琴曲是否用纯律。弹奏明朝琴曲的变音 ,按音之间高亦可以较弹性处理 ,令琴曲更多韵味。

The notation of the guqin tablature before Dahuange Qinpu (1673) has not started to use the proportional decimal system yet. The stopped notes between two hui (s) were notated by a non-exact system. For example, 'eight-nine' represented the note between the eighth hui and the ninth hui. For stopped notes notated by single hui(s), if one follows the exact position of the hui, no matter whether one uses the cycle of fifths tuning or just tuning for the open strings, according to the analysis in this paper, an undesirable mixed tuning would result. Therefore, notation of stopped notes by single hui(s)could also be non-exact. One may adjust the stopped position slightly higher or lower depending on the tuning. Then, the Ming Dynasty tuning methodology using single hui stopped notes should not be used as an evidence for or against the use of just tuning system in guqin music. Also, when one plays the Ming Dynasty scores, the pitch of the stopped notes outside the pentatonic scale may be treated more flexible to suit the expression of the music.