明‧洪熙（公元一四二五年）朱權（臞仙）輯刊的大型譜集《神奇秘譜》下卷霞外神品中有《龍朔操》一曲，臞仙曰：“是曲者，當元帝時，漢室稍強，匈奴單于懼其征伐，故自來朝，願為漢婿，以保塞外，而帝遂以昭君賜之。且昭君最美，因不得為漢宮之嬪御，而復嫁於夷狄腥羶之人，於是掩面零涕，含恨北去，而有薰蕕共器之羞，冰炭同爐之怨。當時之人，有傷紅顏薄命之嘆，故作弦歌，以形容而嗟悼之。”
此曲《太古遺音》（謝琳）、《重修真傳琴譜》、《理性元雅》諸譜名之曰：《昭君怨》；曲意傷感，音韻淒其，一種憂怨現於指下，而柔媚幽婉，確是艷質情腸，奏者須意會之。
This is a piece firstly published in the Mysterious Scores of Qin (1425).The explanatory notes reads, “During the Han Dynasty, a northern tribe invaded China, but the Chinese could not defeat the enemy. The emperor granted the beautiful Lady Zhao-jun to the tribal leader as his wife in a hope to make peace with them.”
The music describes the misery of Lady WANG Zhao-jun.
是一首明代琴譜中的琴歌。描寫了舜皇南巡不歸，死於蒼梧之野，其妃娥皇、女英悲傷哭泣，以淚灑竹，竹皆枯死的古老傳說。樂曲結構規整有序，旋律流暢而富有情致。
元‧至元六年（公元一二六九年）鄭氏積誠堂刻刊，宋‧陳元靚編纂的《纂圖增類事林廣記》中即收有《開指黃鶯吟》一曲，是彈琴前調弄的一首不可多得的詞曲小令，其意借黃鶯起興，表達出對自由和愛情的嚮往，音樂生動而富有歌唱性。
樂曲並未標有作者姓名，其體裁短小而不分段，譜旁有詞云：“黃鶯黃鶯金衣簇，雙雙語，桃杏益深處。又隨煙外遊蜂去，恣狂歌舞。”樂曲短小精煉，僅通過上下兩句歌詞，就將春天的景象，描繪得十分動人。曲調清新委婉，流利別致，是一首不可多得的藝術小品。
In Yuan Dynasty (1269), Zheng’s Ji Cheng Tang published the Shilin Guangji of CHEN Yuan-jing which included this qin piece and its lyrics. It is a rare specimen of a Ci poem of the Song Dynasty with music notation has been preserved today. The words depicts the orioles flying freely in the beautiful spring, symbolizing the women in the time longing freedom and emancipation from the feudal shackles. The music itself is vivid.
此曲最早見於明‧嘉靖（公元一五四九年）汪芝輯《西麓堂琴統》卷二十四中。據該集云：“司馬相如薄遊臨邛，遇卓王孫之女文君，新寡，作此挑之，因奔相如，與俱歸成都，後遂為之絃歌。”
《西麓堂琴統》本所錄為十段大譜，後人依其故事，另擬作《文君操》，又另有短小琴歌《鳳求凰》操，均為異曲同旨。
This is a piece firstly published in the Xilutang Qintong (1549). According to the explanation notes of this collection, “This piece was referred to the love story of SIMA Xiang-ru and ZHUO Wen-jun.”
明‧洪熙（公元一四二五年）朱權（臞仙）輯刊的大型譜集《神奇秘譜》下卷霞外神品中有《飛鳴吟》一曲，臞仙曰：“是曲者，不知何人所作也。然曲之趣，言鴻之為物，知秋而南賓，唳乎霄漢，決雲萬里，翱翔四海，其志何大也！故壯其事而寓焉。”
是曲寫秋鴻之飛鳴，以秋氣凜冽，天道肅殺，故知秋南賓，以其聲，哀痛悽慘，與秋聲而俱傷，令聽之者，婉然有羈旅離別之感。
This is a piece firstly published in the Mysterious Scores of Qin (1425).The explanatory notes reads that, this piece cannot be verified of the composer. The music itself depicts the autumn migration of wild geese. It is frequently played by a qin player before he plays another piece called Wild Geese in Autumn (Qiuhong).
此曲最早見於明‧嘉靖（公元一五三九年）徽藩朱厚爝輯《風宣玄品》卷五中。《西麓堂琴統》云：“周公東征，四國流言，天大雷電以風禾盡偃，大木拔。王乃啓金滕之書，得周公以身代武王之說，感泣迎公，遂有此曲。”
此曲疏暢清越，通徹造化，迥然神矣，自非凡調，蒼古奇縱，突兀飄忽，無一毫柔靡之音。蓋聖人以遷善改過為益之大，如風之烈，雷之迅以遷善改過也，聞其聲令人惕然。
This is a piece firstly published in the Feng Xuan Xuan Pin (1539). According to the explanatory notes of Xilutang Qintong (1549) reads that, “It is belived that the god would use wind, thunder and lightning to punish the devil. People should have the good behaviors to avoid the punishment from god.” The tune is plain and natural but sonorous and forceful.
此曲最早見於明‧嘉靖（公元一五三九年）徽藩朱厚爝輯《風宣玄品》卷四中。據《太古遺音》（謝琳）云：“按琴集，‘風入松，乃晉嵇康所作也。’康為人清狂曠達，高於音樂，詞調品格播之絃歌者，多類此。蓋得之清響條暢，尤為世珍玩者也。”
This is a piece firstly published in the Feng Xuan Xuan Pin (1539). According to the explanatory notes of Taigu Yiyin (XIE Lin) (1511) reads that, “Swaying Pine in the Wind was composed by Ji Kang.” Ji Kang is good at music and always express his unruly idea with singing. This piece is fresh and melodic to be fond of by the players.
此曲是梁銘越原創於一九八八年秋的琴曲作品。梁氏因讀屈原的《離騷》，而體會到他那懷鄉憂國的情操，又意識到人世間蔽美嫉賢的黑暗，及政局之失常，是非之顛倒。
弄也，乃即興於琴絃，調弄內心深處之有言而不能傳的苦楚。從而學習屈原那樣的情操，屈心抑志，忍尤攘詬，同時又要具有“朝飲木蘭墜露，夕餐秋菊落英”的高潔修養。
This piece was the original composition of LIANG Ming-yue based on Lisao in mid 1988. Lisao was a 4th century poem written by the renowned poet QU Yuan from the Chu Kingdom of the Warring States period. QU Yuan is another poet who was banished from the court when he was slandered and his loyalty to the King of Chu was questioned. QU Yuan felt totally wronged and after writing Lisao he drowned himself in the Milo River. Thereafter, Lisao became known throughout history as a poetic sentiment to express the rejection of a superior gentleman and grievances beyond description.
This composition is in an extemporized style of qin music based on the Lisao sentiment. The entire piece was improvised during a single recording session in the studio.
明‧洪熙（公元一四二五年）朱權（臞仙）輯刊的大型譜集《神奇秘譜》中卷霞外神品中有《雉朝飛》一曲，臞仙按，崔豹古今注曰：“是曲者，犢牧子所作也。”在齊宣王時，處士泯宣，行年五十而無妻，因出薪於郊，見雄雉挾雌而飛，不覺意動心悲，仰天而嘆曰：“大聖在天，恩及草木鳥獸，而我獨不獲！”乃為歌曰：“雉朝飛兮鳴相和；雌雄群飛於山阿；我獨傷兮未有室；時將暮兮可奈何；嗟嗟，暮兮可奈何。”犢牧子深悼之，故取其義而為操焉。
是曲逸韻幽致，含情無限，抒寫處，絕無惉滯，真可為古今宗法，故奇音妙趣雉朝飛為最，宜細賞其音，實千古同調之幸也。
This is a piece firstly published in the Mysterious Scores of Qin (1425).The explanatory notes reads, “The piece was composed by Du Mu Zi.” The music described Min Xuan, who lived in the period of War States, seeing the male and female pheasants flying in the morning. Min was then deeply touched and which caused him to lament his lonely life.
此曲初見於王賓魯先生所藏的清‧嘉慶（公元一七九九年）山東歷城毛式郇輯刊之《龍吟館譜》殘稿，一九三一年徐立孫據此編訂《梅庵琴譜》，並將本曲收存。然此，惟諸城琴派有之，北地風光，音韻剛健，曲雖短小，而指法純正，乃入門之正路，初學易於熟習，且可作玉環體，首尾相接，如環無端，久彈不厭，對初學尤宜。
是曲據張育瑾考證，為李見忠於一九○一年在山東泰安縣大汶口用工尺譜將山東民歌“罵情人”記下，帶回濟南後，由岑體仁譯配成古琴譜，再由王燕卿稍加修改並增加了幾個輪指，改名為《關山月》。
蓋琴曲《關山月》，最早見於《龍吟館譜》，復見於《琴學管見》，繼刊於《梅庵琴譜》；由毛式郇刊行歷百餘年才到王燕卿輩，況我亦稍事將二譜比對過，基本屬於一致，就算連輪指也沒有增添過，其實是同一譜源，張氏的考證，不知何所據，故不足信；但是，此譜來自民歌，則較易接受。
This is a piece published in the Qin Scores of Meian (1931). Which was edited by XU Li-sun, according to MAO Shi-xun’s Qin Scores of Long Yin Guan preserved by WANG Bin-lu.
The music was prevailed in Shandong and matched to one of LI Bai’s poem with the same name, which therefore, titled the piece. The tune used to be played two or three times repeatedly, so the form also called the “Yu Huan Ti”, namely “play the circle”. Although the tune is small and short, its fingering is quite practical and good for studying.
此曲最早見於清‧康熙（公元一六七六年）蔣興疇傳譜《和文注琴譜》（內容同東臯琴譜）中。這亦是東臯禪師所輯琴歌之一，其曲詞為：“紅滿枝，綠滿枝，宿雨懨懨睡起遲，閒庭花影移。憶歸期，數歸期，夢見雖多相見稀，相逢知幾時。”
This is a piece firstly published in the Qin Scores Annotated with Japanese (1676). It was one of the works of JIANG Xing-chou. In the 16th year of Qing Emperor Kangxi, Jiang travelled to Japan to spread Buddhist teachings. Whilst in Japan he also taught qin performance, calligraphy and seal making. As a result, he is also known by various Japanese names such as Toko (Dong Gao) the Monk and Zen Master Shin-Etsu (Shin Yue in Chinese). Jiang himself was likely responsible for setting BAI Ju-yi’s poem to the tune. The sinuous melody sounds fresh and pleasant to the ear but is at the same time tinged with melancholy.
此曲最早收存在明‧洪熙（公元一四二五年）朱權（臞仙）輯刊的大型譜集《神奇秘譜》上卷太古神品中，是該譜的第一首琴曲，又名《箕山操》，十段。解題云：“臞仙曰：是曲者，許由之所作也。琴史內曲之高潔者，止此曲最為高古。”樂曲借堯欲讓天下於許由，許由拒之並遯隱於箕山的傳說，表達了古代隱逸者嚮往消遙、自由的情趣。此曲旋律明快活躍，感情直率真切。
This is the first piece in Mysterious Scores of Qin (1425), the earliest large scale qin score collection existing in China. The explanatory notes for this piece reads, “Composed by XU You. It is the oldest piece in the ancient qin music.” The story behind this piece of music is about XU You and the ancient emperor Yao. Yao wanted XU You to be his successor to rule the nation, but XU You refused and lived as a recluse in the mountains of Ji. The whole piece is divided into 10 segments, depicting the dream and delight of an ancient recluse. He escaped from the busy world of politics and found peace and happiness in the depths of the mountains, making friends with apes, monkeys and deer, living together with the sun and the moon and the wind and the clouds – what a life of freedom! This is a precious ancient piece with lively melodies and sincere emotions.
此曲最早收錄在明‧洪熙（公元一四二五年）朱權（臞仙）輯刊的大型譜集《神奇秘譜》上卷太古神品中。臞仙按，《琴史》曰：“是曲者，太古之曲也。尤古於遯世操。一云黃帝之所作，一云命伶倫所作。”傳說黃帝憂慮治國的困難，一天午睡，夢中遊到華胥國，看到那裏的百姓無憂無慮，自由自在，醒來終於悟出治國之道。《華胥引》即以此傳說為題材。樂曲清新活潑，流暢輕快，反映了古代百姓對於大同世界的嚮往。
This is a piece firstly published in the Mysterious Scores of Qin (1425). The explanatory notes for this piece, according to the History of Qin reads, “ This is an oldest piece, even older than the Song of a Recluse. The Composer was either the emperor Huang Di or the musician Ling Lun.” It was said that Huang Di always worried about the country and the people. One afternoon, he dreamed to travel in the country Hua Xu. He saw that the people there lived without sorrow and anxiety. He then wake up and understand how to run the country well and give the people peace and security.
此曲最早見於明‧萬曆（公元一六一四年）嚴澂（天池）所集《松絃館琴譜》中。是曲按《天聞閣琴譜》云：“賀若弼所作。當其天高氣爽，月朗星輝，可以彈琴味道，飲酒賦詩，此曲節短韻長，指法簡易，可為初入門之曲。”
這是一首具有典型浙派器樂化琴曲特點的曲子，短小洗練，委婉清新，是對美好夜晚的讚歌。
This is a piece firstly published in the Qin Scores of Song Xian Guan (1614). It was originally a folk tune from the Ming Dynasty. According to the explanation notes of the Qin Scores of Tian Wen Ge, “When the weather is dry, the moon is clear and the stars are bright, it is good to play the qin, to drink and to compose poems.” Although it was a simple piece, it was filled with pleasant atmosphere and was characterized by typically pure, delicate, light and elegant style. The beginning melody of the piece was slow and quiet. It depicted the scene of a pleasant and peaceful night when the moon was bright and the stars were sparse, and then the serene melody expressed the delightful and easy feeling of people in such a beautiful night.
此曲最早見於明‧萬曆（公元一五九六年）胡文煥輯《文會堂琴譜》卷四中，又稱《雙清之引》，其後出之琴譜多稱為《聽泉吟》。按《指法匯參確解》云：“聽泉短曲耳。寬轉平和，音節大雅，靜夜以中音奏之，何異置身澄間，聽山溜清韻，洗滌塵襟？”
樂曲短小精到，古樸淳雅，使人有置身清泉的感覺。蓋小曲之傳，必有妙義，勿嫌其小而輕棄之。
This is a piece firstly published in the Qin Scores of Wen Hui Tang (1596). According to the comments of the Definitions on Qin Fingerings, this is a short piece of primitive simplicity. It depicts the hermit is fond of the mountains and waters.
此曲最早見於清‧乾隆（公元一七三九年）王善（元伯）輯《治心齋琴學練要》卷五中。是曲為王元伯之作，譜旁歌詞註有岳飛《滿江紅》原詞，按該書後記云：“此詞，乃岳武穆所作，其精忠正大之心，英雄壯烈之句，可與日月並輝。余敬寫於絃徽，以興仰企之思。”
This is a piece firstly published in the Qinxue Lianyao of Zhi Xin Zhai (1739). The compiler of the book WANG Shan wrote, “The text of this piece was a poem written by YUE Fei. Its steadfast loyalty and heroic bravery are as brilliant as the sunshine and the moonbeam. I compose the music for the poem to express my respect and admiration.”
此曲最早見於清‧康熙（公元一六七六年）蔣興疇傳譜《和文注琴譜》（內容同東臯琴譜）中。這原本是一首琴歌，其曲詞為：“非商非羽聲吾伊，宛轉歌喉唱艷詞。腸斷那何人不識，一腔清韻有誰知。”此歌下半部分突然轉入三拍子，與前半部分的慢速度形成反差明顯的對比，甚具特色。
This is a piece firstly published in the Qin Scores Annotated with Japanese (1676). The form of Zhuzhi Ci has been employed in literature by a number of poets at Tang Dynasty. They are rare to be set into music, therefore this version is an exception. The meaning of the words may interpreted as, “Although the pitch of singing is ambiguous, the sounds are soft. Listeners hardly ever know the heartbroken of the singer and, it is therefore, the singing is in vain.”
此曲見於一九三一年徐立蓀據王賓魯先生所藏的山東歷城毛式郇輯刊之《龍吟觀譜》殘稿所編訂之《梅庵琴譜》。原本附有歌詞，但與漢武帝所作不同，亦可獨彈。曲調短小，而迴環往復，意短情長，按散相應之處甚多，初學入門頗易領會，而熟彈之後，亦不可以短小而忽之，月白風清之際，一彈再鼓，動無窮之幽趣焉。
This is a piece published in the Qin Scores of Meian (1931). Which was edited by XU Li-sun, according to MAO Shi-xun’s Qin Scores of Long Yin Guan preserved by WANG Bin-lu.
The music itself differs from another qin song of the same name that the words are created by King Wu of the Han Dynasty. This piece has a short and simple tune, but its richness of employing regional glissandos and vibratos are characteristic and stylistic.
曲名查按《見在古琴曲傳譜、解題彙編初稿》：漢唐以來一直流傳著伯牙學琴於成連先生的故事，通過移情的體會，因作《水仙》一曲；然時下流傳的《水仙》，曲譜最早刊於明‧嘉靖（公元一五五七年）蕭鸞輯《杏莊太音補遺》卷下，按其解題云：“時莫悲於秋，地莫極於塞。高秋遠塞，飛鳥不下，走獸忘群，傷心慘目，孰有過於此哉？此蓋以傷昭君出塞之苦也。”琴人們都將之表述為昭君出塞的歷史故事，並以《秋塞吟》名之；及自《春草堂琴譜》（公元一七四四年）將此曲錄存，並名之為《屈子天問》，以後各譜多以屈原故事附會，並將曲名稱作《搔首問天》。
According to the first edition of the Handed-down and Explanation Notes of the Existing Ancient Scores, we found that the piece had three different names, but they were mutually had relationship. The Water Immortal is always referred to Bo Ya’s study of qin from Cheng Lian. The Song of the Autumn Frontier is referred to the sad story of Lady Zhao Jun. While QU Yuan Sends Regards to the Sky is referred to the story of QU Yuan.
此曲是盧家炳先生於一九五Ｏ年代的原創琴曲作品，內容借意：“窗前遠望碧雲深，把酒言歡婉轉吟，忘機習靜饒生意，永夜遙情月共沉。”頗具人與自然合一的道教意識。
This was the original composition of LO Ka-ping in 1950’s. Sitting in the boudoir and looking through the window, the composer found himself filling in the natural world and composed this piece to express his feelings.
此曲解題見明‧洪熙（公元一四二五年）朱權（臞仙）輯刊的大型譜集《神奇秘譜》上卷太古神品，臞仙按，琴史曰：“獲麟者，魯哀公十四年，西狩大野，叔孫氏之車子鉏商獲麟焉，折前足，載以歸。叔孫以為不祥，棄之郭外，使人告孔子曰：‘有麕而角，何也？’孔子往觀之曰：‘麟也，胡為乎來哉？反袂拭面，涕淚沾襟。’叔孫聞而取之。子貢問曰：‘夫子何泣耶？’孔子曰：‘麟之至也，為明主出也，出非其時而見害，是以傷焉。’故作獲麟操。”
This is a piece firstly published in the Mysterious Scores of Qin (1425). The explanatory notes for this piece, according to the History of Qin reads, “ The piece described that in 14th year of Lu Ai Gong, a Kylin was caught and hurt on the front feet. Confucius believed that Kylin was a creature of fortune and luck and should not be existing in a time of turmoil.” The music was also to express Confucius’s deep sorrow on not realizing his great ambition in that time.
明‧洪熙（公元一四二五年）朱權（臞仙）輯刊的大型譜集《神奇秘譜》下卷霞外神品中有《澤畔吟》一曲，臞仙曰：“是曲也，或言雪江之所製也。擬屈原以正是君，與時不合，於是見放，乃遊於江濱，因以忠君愛國之心，遂致形容枯悴之意。又附遇漁父而告之，以伸其鬱結蒙塵之情，不意漁父戾己，鼓枻而去。原因無所控訴，不得已而止焉。其無可奈何之意，使聞者莫不感慨傷悼，痛哭流涕，而有嘆惜不已之意焉。”
This is a piece firstly published in the Mysterious Scores of Qin (1425).The explanatory notes reads, “This piece was composed by Xue Jiang. The music brings out the indomitable spirit and the courage of upholding the truth of the great patriotic poet QU Yuan.”
此曲最早見於明‧嘉靖（公元一五四九年）汪芝輯《西麓堂琴統》卷二十一中。該譜解題云：“蘇子卿在匈奴十九年，大節凜然。寒霜烈日，漠廷冰雪，能無未央之飛夢耶？曲意藹然，一唱三嘆。”
本曲又名《蘇武思君》，記蘇武歸自單于之事，後人仰其赤心忠義，乃援其情而寫之，故有是操。
This is a piece firstly published in the Xilutang Qintong (1549). According to the explanation notes of this collection, “SU Wu was a prominent minister of the Hanwu Emperor. He visited the Xiongnu people as an ambassador, but he was detained by them for 19 years. In this period, he had a hard life but he remained faithful to his country.”
This piece is also named Su Wu Si Jun. It was composed to depict the story of SU Wu.
此曲最早見於明‧嘉靖（公元一五四九年）汪芝輯《西麓堂琴統》卷二十中。該書解題云：“漢班婕妤失寵出居，為團扇秋風之恨，此曲蓋亦寫其淒涼煢獨之意者。”《琴苑心傳》則謂：“按是曲，曹大家作。蓋以宮闈淑女，當此秋夜，其愀然抑鬱之態，憮然惆悵之懷，與時俱集，不勝悽悽，故作此以寫之。其音韻怨懟，如泣如訴，襟懷溢於言外矣。”
本曲又名《秋扇吟》或《秋怨》，明季琴家俱推此為雅調，關睢之遺響，長空萬里無雲，清秋一輪皓月，幽思逸致，咀味無窮。
This is a piece firstly published in the Xilutang Qintong (1549). This piece is also named Qiushan Yin or Qiu Yuan. It was a traditional piece to depict the sorrowful feelings of the palace maid.
此曲最早見於明‧正德（公元一五一一年）謝琳（雪峰）撰《太古遺音》卷之一中。該書云：“按書有鰥夫在下、堯妻以二女，長曰娥皇，少曰女英。舜既為天子，是為二妃。舜南巡狩，崩於蒼梧之野，二妃泣之，以淚灑竹，竹皆枯死。後人被之以絃管，是為湘妃怨。”
此曲又名《湘江怨》，結構規整有序，旋律流暢而富有情致。
This is a piece firstly published in the Taigu Yiyin (XIE Lin) (1511). The explanatory notes reads that, a legendary story of the King Shun, who died in the wildness while out touring the south. His two wives E Huang and Nu Ying wept at the heartbroken news leaning against the bamboo. The bamboo, washed by the tears, withered away and died. The music is sentiment and the structural simplicity is the feature of the piece.
明‧洪熙（公元一四二五年）朱權（臞仙）輯刊的大型譜集《神奇秘譜》下卷霞外神品中有《泛滄浪》一曲，臞仙曰：“是曲者，亦云郭楚望所作。志在駕扁舟於五湖，棄功名如遺芥；載風月而播弄雲水，渺世事之若浮漚，道弘今古，心合太虛，其趣也若是。”
此曲體現了楚辭中“滄浪之水清兮，可以濯我纓；滄浪之水濁兮，可以濯我足。”之意。樂曲旋律別致，節奏跌岩，聽來令人有駕舟於五湖，心和太虛之趣，堪為琴中之逸品。
This is a piece firstly published in the Mysterious Scores of Qin (1425).The explanatory notes reads, “This piece was said to be composed by GUO Chu-wang. It expresses the thoughts of a person who abandoned his fame and wealth in the world and sailed his boat around freely on the waters.”
The music depicts the natural life and lofty scorn attitude of an itinerant hermit. It is frequently played by a qin player before he plays another piece called Mist and Clouds over Xiao- Xiang Rivers.
曲名查按《見在古琴曲傳譜、解題彙編初稿》：漢唐以來一直流傳著伯牙學琴於成連先生的故事，通過移情的體會，因作《水仙》一曲；然時下流傳的《水仙》，曲譜最早刊於明‧嘉靖（公元一五五七年）蕭鸞輯《杏莊太音補遺》卷下，按其解題云：“時莫悲於秋，地莫極於塞。高秋遠塞，飛鳥不下，走獸忘群，傷心慘目，孰有過於此哉？此蓋以傷昭君出塞之苦也。”琴人們都將之表述為昭君出塞的歷史故事，並以《秋塞吟》名之；及自《春草堂琴譜》（公元一七四四年）將此曲錄存，並名之為《屈子天問》，以後各譜多以屈原故事附會，並將曲名稱作《搔首問天》。
According to the first edition of the Handed-down and Explanation Notes of the Existing Ancient Scores, we found that the piece had three different names, but they were mutually had relationship. The Water Immortal is always referred to Bo Ya’s study of qin from Cheng Lian. The Song of the Autumn Frontier is referred to the sad story of Lady Zhao Jun. While QU Yuan Sends Regards to the Sky is referred to the story of QU Yuan.
此曲是作曲家金湘的原創作品，樂曲以古時西域樓蘭國（現今新疆羅布泊地區）之風貌、音樂風格為背景，取其一二，隨意散成。古風樸樸，琴聲錚錚，人去樓空，海寂星沉……。
This piece was the original composition of JIN Xiang. The composition takes the ancient country Loulan (now the Luobubo Lake area) and its ancient tunes as its background. As the music develops, the antique flavor reveals with the plucking. An emptiness fills the deserted ancient castle. The sea is silent. The stars are without trace.
此曲是許國華、龔一合作於一九七八年的琴曲作品，作者從富有江南特色的民歌與老灘調中，提煉出別具風韻的音樂語言，作為對梅園中梅花的讚詠，以示表達出對革命先輩的敬仰和深切的懷念。曲中借梅花婀娜多姿的丰采和傲霜鬥雪的品格，帶出葉蕊怒放，萬里飄香的盛景，意趣深遠，令人暇想回味。
This piece was the original composition of XU Guo-hua and GONG Yi in 1978. The musical theme was extracted from the traditional folk tunes to praise the plum. In another way, it is a praise song to the memory of ZHOU En-lai who loves to travel in the plum garden.
此曲最早見於明‧萬曆（公元一五九二年）張德新（賓桐）纂《三教同聲琴譜》中，原名《釋談章》，內附梵語曲辭，起首曰：“南無普庵師菩薩”，末段又云：“普庵到此百無禁忌”。其後流傳發展，分成《釋談章》及《普庵咒》二曲。原註云：此佛曲也，琴譜流傳有二，一有辭即普安禪師之咒語，一無辭專寫鐘磬鐃鈸唱讚之聲，聽之不啻魚山聞梵，今所奏者是也。
This is a piece firstly published in the Sanjiao Tongsheng Qinpu (1592). According to the Encyclopedia of Buddhism, “Pu-an was the alternative name of Yin-su, grandson of Lin-qi the twelfth and Monk MU An-cheng’s successor. He died during Song Emperor Xiao-zong’s reign”. The Sanskrit text in the tablature is thought to be Pu-an’s incantation, set to music by later generations in order to facilitate the learning of Sanskrit pronunciation. Gradually the music was detached from the text and became a self-contained solo piece. Today there are two versions in circulation, one with the words, which represents Monk Pu-an’s incantation, and one without words, which seems to characterize the sound of Buddhist chant on top of bells and cymbals.
此曲最早見於明‧嘉靖（公元一五四九年）汪芝輯《西麓堂琴統》卷十六中。按《琴譜析微》云：“氣之雍和可親者，於歲為春，於晝為曉。播之聲音鏗然入耳者，亦然。魯君式和，工詩書，且善琴，一彈再鼓之下，悠揚盡善，亦有春風扇物，曉露滋榮之概。思與魯君接者，不求之海水杳冥時，直於是譜遇之矣。”
春曉吟者，吟誦春意盎然，曉露滋榮也，曲調短小精煉，曲意雋永，表現了大地回春欣欣向榮的景象。
This is a piece firstly published in the Xilutang Qintong (1549). This is a song sung at a time when spring is very much in the air and the earth is moistened by dewdrops. The melody is tranquil and pleasant. Though it is short and concise, it depicts a lively and prosperous spring scene.
此曲是王迪根據夏溥齋所藏清‧康熙（公元一六七六年）蔣興疇傳譜之《東臯琴譜》本定譜，琴曲旁注有詞，是五代的歐陽炯所作。詞云：“天初暖，日初長，好春光。萬匯此時皆得意，競芬芳。笋迸苔錢嫩綠，花偎雪塢濃香。誰把金絲裁剪卻，掛斜陽。花滴露，柳搖煙，艷陽天。雨霽山櫻紅欲爛，谷鶯遷。飲處交飛玉斝，游時倒把金鞭。風颭九衢榆葉動，簇青錢。”這首詞寫春回大地，生機盎然的景色。曲調清雅洗煉，活潑生動，別具一格。
This is a piece firstly published in the Qin Scores Annotated with Japanese (1676), which was preserved by XIA Pu-zhai. The words of the music was set by OUYANG Jiong of five Imperial historical period. The meaning of the words may interpreted as to describe the spring comes to the earth and everything looked fresh and gay. The music is lively, peaceful and harmony with spring.
此曲是吳景略先生於一九五九年隨文聯“去新疆慰問團”赴新疆演出時，根據劉熾編曲的一首同名的新疆風格歌曲移植而成的琴曲。曲調短小、愉快、親切、優美，描述新疆美麗的田園，麥穗金黃稻花香，風吹草低見牛羊，那種可愛的家鄉景色。
It is a well known song with Xinjiang minority nationality style by LIU Zhi, WU Jing-lue arranged the qin tablature in 1959 and played it when he toured many places in the North West of China. It was a big surprise that playing a minority melody on an instrument like qin, because of the historical, cultural and technical reasons.
此曲最早見於明‧正德（公元一五一一年）謝琳（雪峰）撰《太古遺音》卷之一中。按古琴操，紂為無道，天下皆服文王之化。當是時，麒麟見於郊藪，鳳凰巢於阿閣。文王以為亂極將治，作為此曲，被之絃歌。謝希逸琴論曰：“文王操，文王作也。”
樂曲莊嚴肅穆而又充滿仁愛，是對古代聖賢的仰慕。《杏莊太音補遺》讚美那崇高聖潔“天道不已”的思想，可以淨化人們的心靈：“鼓此曲令人蕩滌邪穢，消融渣滓”。
This is a piece firstly published in the Taigu Yiyin (XIE Lin) (1511). The music is grand and dignified, but at the same time filled with love and compassion, which reflects the admiration for the ancient sage. It has been said that playing and listening to this piece was a way to purify the human mind.
此曲最早見於明‧嘉靖（公元一五三九年）徽藩朱厚爝輯《風宣玄品》卷四中。據《太古遺音》（楊掄）：“按斯曲，乃唐人潘廷堅所作，傷閨怨也。蓋言戍婦處幽獨之中，而夫戍邊隅，賢勞王事，是以聞蟲鳴、覩螽躍、覯蕨薇而未見君子，則憂從中來。故古詩有云：‘忽見陌頭楊柳色，悔教夫婿覓封侯！’蓋此意也。而潘君搗衣之曲，又模寫情狀，志趣高遠，怨而不怒，有風人之義焉。始則感秋風而搗衣，對明月而徘徊；既則傷魚雁之杳然，悲羈旅之寥落；終則飛夢魂於塞北，敘離思之參商；而又恨鎖春山，淚溢秋水，一行書、千行淚，只欲衣先於寒，寒後於衣，而功名富貴，贅之楮末。蓋惟知篤夫婦之義，而等名利如土梗矣。其中吟韻蕭條，冰絃淒慘，有孤鸞寡鵠之態云。”
搗衣是在河邊用木棒鎚打衣服的古代洗衣方法。此曲寫戰爭年代，妻子在河邊洗衣時思念丈夫的心情。
This is a piece firstly published in the Feng Xuan Xuan Pin (1539). According to the explanatory notes of Taigu Yiyin (YANG Lun) (1609) reads that, “This is a piece composed by PAN Ting-jian.” In ancient time, clothes were cleaned by beating with a wooden hammer stick. The piece describes the lonely wives missing their soldier men when beating clothes at the riverside.
李孔元所奏《慨古吟》一曲，與歷代琴譜中的《慨古吟》、《慨古引》或《太古吟》都不同，是譜出自杭州西湖廣化寺僧慧空上人的抄本琴曲，傳與胡瑩堂後，成為其“眠琴室”門人弟子學習操縵的入門曲目。這首短小的曲子，意在表達今昔變遷，古道不復的感慨，尤其末段泛音，更能充分體現古琴音樂「致中和」而不處性情之極的理想。
查阜西先生彈唱的《慨古吟》一曲，是查先生於一九一Ｏ年在大庸從其師俞味蒓學到此曲，並於一九一一年又依田曦明師的節奏唱法訂正的。
The one performed by LI Kong-yuan was completely different from the traditional ones. It came from the Copy of Qin Scores passed down by Monk Wei Kong of Hangzhou to HU Ying-tang. He then passed it down to his fellow students.
The one which was a tanchang copy performed by ZHA Fu-xi was passed down in 1910 by his instructor Mr. YU Wei-chun at Da Yong. And concluded in 1911 according to the singing rhythm of TIAN Xi-ming.
The music is short. It depicts the changes from the past to the date.
此曲最早見於明‧嘉靖（公元一五三○年）黃龍山輯《新刊發明琴譜》卷之上。楊掄謂之：“是曲也，孔聖門徒三千，惟顏子最賢而敏，簞瓢樂道，不幸天命亟奪，故聖人悼道學無傳，作是琴以弔之。其音悲戚悠揚，非深處道者，莫能知其微妙。”
本集所收為另一版本，曾刊於《今虞琴刊》（公元一九三七年），又名《泣顏回》，是徐元白先生據琵琶曲移植入琴，有序曰：“《泣顏回》古調帷流傳海濱簫管中，先嚴月秋公雅擅琵琶，熟習此操，音永韻悲，聞者嘆息，元白少時夜讀，即伏枕欲瞑，聞此曲則魂夢俱清，乃為譜入琴句。”
This is a piece firstly published in the Faming Qinpu (1530). Another version is collected in the Jinyu Qin Magazine (1937). It was adapted from pipa music by Mr. XU Yuan-bai. The preface contains these comments, “The ancient tune of Weeping for Yan Hui was only heard in woodwind instruments of coastal areas. My late father was fond of this piece. He was also a master of pipa. His playing was impressive enough to move the audience to sigh. When I was a small boy I used to read books at night. Sometimes I felt sleepy, and I would lay my head on the pillow, waiting for the dream. But whenever I heard this piece, my dream disappeared, and my soul would fly high. That’s why I adapted this music into qin piece.
此曲出自民國初年張友鶴先生所傳《手抄琴譜》。琴曲平緩幽雅，表現靜逸超脫的心境，使人回歸自然空靈的境界。
This is a piece firstly seen in the Copy of Qin Scores passed down by ZHANG You-he (1910’s). It is a gentle and elegant piece, the tranquility and peaceful feelings were described..”
明‧洪熙（公元一四二五年）朱權（臞仙）輯刊的大型譜集《神奇秘譜》，中卷霞外神品中收有《廣寒秋》一曲，臞仙曰：“是曲者，若當清秋之際，夜涼人靜，天宇昭曠，蟾魄騰輝，素娥研色，散清香於六合，飄丹桂於九天，中有徜徉之樂，而自得其趣矣。豈庸人可得而測識哉？故寫興於琴焉。惟吸風飲露者得之。”
This is a piece firstly published in the Mysterious Scores of Qin (1425).The explanatory notes reads, “This is a music depicting the cool and refreshing breeze in autumn. The tang can only be affected by the one who has a special will.”
此曲是金復載原創於一九八八年用古琴配音的動畫電影《山水情》之主題音樂，後經改編為古琴獨奏曲。
影片描述了細雨綿綿的秋日，山高水深，琴聲悠揚，老琴師與漁童結下了高山流水之情誼的故事。琴曲《山水情》，益更能體會出情趣淡泊，意境幽深的景況，猶如一幅老練簡潔的淡筆水墨畫。
This piece was composed by JIN Fu-zhai in 1988. Being originally music for the cartoon film Lofty Sentiments of Deep Friendship which has won many Prizes and has now adapted to the qin solo.
The cartoon film tells of a moving story about the deep friendship between an old qin player and a young fishing boy. The music shows a picture of an autumn day with drizzling rain against a background of great scenic beauty. The adapted version seems to give a picture in water colour which is filled with peace and tranquility.
明‧洪熙（公元一四二五年）朱權（臞仙）輯刊的大型譜集《神奇秘譜》中卷霞外神品中有《山居吟》一曲，臞仙曰：“是曲者，宋毛仲翁所作。其趣也，巢雲松於丘壑之士，澹然與世兩忘，不牽塵網，乃以大山為屏，清流為帶，天地為之廬，草木為之衣，枕流漱石，徜徉其間。至若山月江風之趣，鳥啼花落之音，此皆取之無盡，用之無謁者也。所謂樂夫天命者，有以也夫。又對甘老泉石之心，尤得之矣。”此曲是廣陵琴學的入門曲目，又稱《小樵歌》，曲子雖短，惟音調篬古恬靜，節奏起伏跌宕。
This is a piece firstly published in the Mysterious Scores of Qin (1425).The explanatory notes reads, “The composer of the piece was MAO Min-zhong of the Southern Song Dynasty.” The tone of the music was vigorous with ancient appeal, the structure was complicated, the melody was magic and unconstrained, and the fingering was a best integration of strength and softness. All of these made it different from other pieces. It described that the recluses took the sky and earth as bed and stone as pillow, and without being involved with the trifles in the world. They fully enjoyed the beauty of mountains and rivers.
明‧洪熙（公元一四二五年）朱權（臞仙）輯刊的大型譜集《神奇秘譜》，上卷太古神品中有《小胡笳》一曲，朱權認為是後唐董庭蘭所作。描述漢代蔡邕之女蔡文姬因漢末大亂，為胡騎所擄，入番為王后，十有二年，生二子。春天時，聞胡笳之聲遂捲蘆葉為笳而吹之，其音甚哀，董庭蘭以琴寫胡笳聲，為大、小胡笳。《小胡笳》是抒發蔡文姬在胡的哀懷思故之情。
The compiler of the Mysterious Scores of Qin (1425) attributes the piece to DONG Ting-lan. The music described lady CAI Wen-ji’s story of Han Dynasty. She was captured by the barbarian and became the empress then. She lived with northwestern barbarians for twelve years and had two sons. When she heard of the music from the barbarian pipe in spring, she was very sad in thinking of the motherland..
The most characteristic feature of qin music Little Tune of the Barbarian Pipe is the imitation of Hujia’s (barbarian pipe) sound. The music itself expresses lady CAI Wen-ji’s nostalgic feeling.
此曲最早見於明‧嘉靖（公元一五四九年）汪芝輯《西麓堂琴統》卷二十五中。據琴統解題云：“‘冢上一竿竹，風吹常裊裊；下有百年人，長眠不知曉。’此晉人解逅墓中語也。其稱孤竹君，言多愴切，猶能使人惕然。夫墟墓之感，古今所同，匪有蒙莊之達，鮮能釋焉者。聞斯鼓也，勿移其聲可矣。”
This is a piece firstly published in the Xilutang Qintong (1549). The piece includes ten parts. The tune is delicate, unwounded and bright. The philosophical perception it conveys could not be paralleled by other Ming or Qing music pieces. It expressed the thought of Zhuang Zi about the life and death.
To play this piece, the qin should be tuned specially in what was called Quan Ming Diao. This tuning could only be found in this piece and the Flying Phoenix in the Xilutang Qintong.
明‧洪熙（公元一四二五年）朱權（臞仙）輯刊的大型譜集《神奇秘譜》下卷霞外神品中有《大胡笳》一曲，臞仙按，琴史曰：“漢書載蔡琰，字文姬，蔡邕之女也。博學有才辯，又妙於音律。其父邕夜彈琴絃絕，琰聞之曰：‘第一絃也’；復斷，聞之曰：‘第四絃也’；父甚異之。後適河東衛仲道，夫亡歸寧。漢末大亂，琰為胡騎所掠，入番為王后，十二年生二子，王甚重之。春月登胡車，琰感笳之音，作詩言志曰：‘胡笳動兮邊馬鳴，孤雁歸兮聲嚶嚶。’後武帝與邕有舊，勅大將軍贖文姬歸漢，二子留胡中。後胡人思慕文姬，乃捲蘆葉為吹笳奏哀怨之音。後唐董庭蘭善為沈家聲祝家聲，以琴寫胡笳聲，為大小胡笳是也。”
李頎在《聽董大彈胡笳聲》中曰：“蔡女昔造胡笳聲，一彈一十有八拍。”《神奇秘譜》中的《大胡笳》正是十八段，此即《胡笳十八拍》一曲也。後世有琴歌《胡笳十八拍》，在題材上相同，音樂則毫無共同之處。
This is a piece firstly published in the Mysterious Scores of Qin (1425).The explanatory notes reads, “According to the History of Qin, this piece was said to be written by CAI Yan. Yan alias Wen-ji, was the daughter of CAI Yong. At the end of the Han Dynasty, Yan was seized by the army of a foreign country and became the queen of that country. She gave birth to two boys in 12 years, and the foreign king liked her very much. In a moonlit night in spring, Yan was travelling in a carriage when she heard the sad sound of hujia (a wind instrument of the foreign country made from leaves). In melancholy, she wrote a poem. CAO Cao, a Chinese general and a friend of CAI Yong, felt pity for Yong because he had no descendants. Cao sent a messenger to the foreign country to bring back Yan by giving the foreign king a great piece of gold as a gift. The two sons of Yan were left in that country. People of that country missed Yan very much and played the hujia to express their sadness.”
DONG Ting-lan, a qin player of the Tang Dynasty, was good at playing this piece, depicting the sound of the hujia by the qin. Li Qi wrote the following words in a poem titled “Listening to Dong producing the sound of hujia”, “The daughter of Cai wrote the music with the sound of hujia and divided it into 18 parts.” In Mysterious Scores of Qin, the music consists of exactly 18 parts. Later, a song with qin accompaniment was composed with the title “Sound of Hujia with 18 Parts” which was inspired by the same story, but had nothing musically in common with this piece.
此曲最早見於明‧萬曆（公元一六○九年）楊掄輯《伯牙心法》卷下，原譜集解題云：“按斯曲，蓋傷戍邊而作也。彼黃雲秋塞，千里蕭條，極目煙塵，西風砭骨；景物淒涼，於斯極矣。顧瞻鴻雁，翱翔於青霄之上，嘹嚦於紫塞之鄉；聲嘹嚦而語哀哀，‘王事靡盬，不遑歸處。’感懷者，倍為腸斷；聞之者，涕淚交頤。是曲聲律慘悽，音韻悲傷，寫出一段征人懷鄉憂國之音，真虞弦中之白眉者也。”
This is a piece firstly published in the Boya Xinfa (YANG Lun) (1609). According to the explanation notes, this is a piece which made use of the migration geese to reflect the homesick of the one at the frontier.
清‧道光（公元一八二五年）沈浩（夢花）選訂之《峰抱樓琴譜》及清‧道光（公元一八四四年）張椿（鞠田）傳譜，鄭傳羹編訂之《張鞠田琴譜》稿本中皆收有此曲，是一首通過四季景色來抒寫感情的《吳聲子夜四時歌》。但清‧宣統二年至民國十九年（約公元一九一Ｏ年）楊宗稷（時百）纂輯的《琴學叢書》所收之《四大景》與之並不相同，據楊葆元先生稱：“此曲傳自黃勉之的鈔本，最初是由蘇州的小調改編的。”
從樂曲的體裁來看，它也與傳統琴曲不同，有著民間小調的曲式。
This is a piece firstly published in the Qin Scores of Feng Bao Lou (1825). This qin piece is adapted from the traditional folk pieces of Jiangsu and passed down by HUANG Mian-zhi. It depicts the sceneries of the four seasons.
此曲最早收錄在明‧洪熙（公元一四二五年）朱權（臞仙）輯刊的大型譜集《神奇秘譜》上卷太古神品中。臞仙曰：“是曲者，古曲也，文王所作。其為趣也，追太鼓之淳風。謂不治而不亂，不言而自信，不化而自行。蕩蕩乎，民無能名焉。其俗也，熙熙然如登春臺；以道存生，以德安形。其民甘食而樂居，懷土而重生，形有動作，心無好惡。雞犬之聲相聞，民至老死不相往來，無有好惡，無有嗜慾，此太樸之俗見於世也。”樂曲的旋律含有西域異族韻律，疑是唐時琴家將入傳中原的外族音樂記成琴曲。
This is a piece firstly published in the Mysterious Scores of Qin (1425).The explanatory notes reads, “This is an ancient piece of music, composed by the emperor Wen Wang. It is a reminiscence of the lifestyle in the ancient times, when life was happy, free, and everyone lived in peace.” Analyzing the music from the structure of its melody, it appears that the music contains the musical style of foreign countries northwest of China. You can hear the sound of worshipping and singing activities in ancient times. During the Tang Dynasty, Many pieces of foreign music were carried out to the central part of China, so it was likely that this was a foreign piece of music recorded as qin music by qin players.
此曲最早見於明‧萬曆（公元一五八五年）楊表正（西峰）撰《重修真傳琴譜》中。此曲亦稱《相思曲》，《重修真傳琴譜》云：“昔蘇子攜妓抱琴，常遊瓊州紅拂寺。而後妓忽染疾亡，即以琴殉，葬之寺後粉牆西。後州守夜宿兹寺，忽聞女子哽咽悲歌，更次不去。曉，乃究僧隱淫之罪，眾莫知其由。老僧稟曰：‘聞前朝蘇學士攜葬一妓於寺後，想此妓之魂歟？’遂命發棺，見女抱琴，誌詞一闋，名曰相思曲，與夜歌同，寺僧方釋。其曲雖小，寓意亦妙而微也。”
此曲借埋在牆陰的古琴，比喻被人遺棄之情，以表達其心中的哀怨。
This is a piece firstly published in the Chongxiu Zhenchuan Qinpu (1585). According to it’s explanation, Song Dynasty poet SU Dong-po heard a female song while lodging in a mountain temple. The sorrow voice was traced to vanish under a wall. A qin was unearthed in the next day and led to the composition of a song with the same title. The lyrics were about a woman abandoned by her love. An analogy was made of the abandoned qin underground and the fate of deserted women.
此曲最早見於清‧康熙（公元一六八二年）程雄（穎庵）選訂《松風閣琴譜》（附：抒懷操）中。原曲為程雄自度曲，由曹溶填詞，現經吳文光改配陸游《詠梅》詞的同時，還將古譜的黃鐘調絃法換成正調，並用雙泛音演奏。是曲旋律雋永中略帶傷感，可為學者練習泛音之用。
This is a piece firstly published in the Shuhuai Cao (1682), supplement of the Qin Scores of Song Feng Ge (1677). The title is a labeled tune of Ci Poem, written by CAO Rong (words) and CHENG Xiong (music and qin fingering). WU Wen-guang changed the words to LU You’s Ode to the Plum Blossom from the original and transposed the melody from the key of C to the key of F. Playing the harmonics in interval is unique and good for beginner’s practice.
此曲最早見於明‧正德（公元一五一一年）謝琳（雪峰）撰《太古遺音》卷之一中。按史，舜既即位，廣開視聽，求賢人以自輔，恭己無為，以色樂化天下。其樂曰：“韶”，子謂：“韶，盡美矣，又盡善也”；書曰：“簫韶九成，鳳凰來儀”是矣。此曲乃其五絃所彈者，而後人擬而繹之，然觀所言有黃龍兮，自出於河；負書圖兮蛇羅沙。其文古矣，因詳著之。
This is a piece firstly published in the Taigu Yiyin (XIE Lin) (1511). The explanatory notes reads that, this piece was close to the ancient famous music called “shao”. Which is the highest standard of pretty and moral implications for artistic achievement.
此曲最早見於明‧弘治（公元一四九一年）龔經（稽古）編釋的《浙音釋字琴譜》卷之上。希仙曰：“是曲也，祖自虞舜，而後人增益之。祖王譜無此曲，按史記云：‘舜彈五絃之琴，歌南風之詩而天下治，詩曰：南來之風薰兮，可以解吾民之慍兮；南來之風時兮，可以阜吾民之財兮。’噫，其治矣乎！”
此曲又名《南風歌》，是以表現人們對理想社會的嚮往之情。
This is a piece firstly published in the Zheyinshizi Qinpu (1491). The explanatory notes reads that, this piece was come from the prehistory emperor Yu and Shun. According to the History Record, “In Confucius’ literature, it was written that emperor Shun hails ‘Southern Wind’ as an ideology that can dispel illness and bring fortunes.” This piece is about the desire for an ideal society.
此曲是吳景略先生於一九五三年的原創琴曲作品，吳先生除了運用傳統的琴樂技法外，還增添了幾種新的指法，來反映人民慶祝勝利，爆竹衝霄，鑼鼓喧天，載歌載舞，熱烈歡騰的喜慶場面。
This was the original composition of WU Jing-lue in 1953. The music is full of a festive atmosphere depicted by combining a series arpeggio and the imitation of percussive sounds.
明‧洪熙（公元一四二五年）朱權（臞仙）輯刊的大型譜集《神奇秘譜》中卷霞外神品中有《凌虛吟》一曲，臞仙曰：“是曲之製也，必莊、列之徒，鍾、呂之朋。蓋曲之趣，若長吟於梵清玉虛之境，步虛於鬱羅紫霄之上，正所謂‘夜靜月明天似水，虛空惟有步虛聲’。”此曲寄興高遠，不落凡近，如徑尺雲山，煙波萬頃。
This is a piece firstly published in the Mysterious Scores of Qin (1425). It is customary that many large scale traditional qin musics have an introduction, so Singing in the Space is such a case as it is an introduction to Liezi Riding on the Wind (Liezi Yufeng). Though small in structure, it is well-knit in form. As you listen to the melodies, it gives you a clear picture what is like to travel in the space, with the wind blowing on your face.
此曲最早見於明‧嘉靖（公元一五四九年）汪芝輯《西麓堂琴統》卷六中。古時農曆三月三日，有臨水修褉摒除不祥之祭事，後世人藉此作為春遊節慶。曲述或臨池宴樂，或作樂賦詩之意。
This is a piece firstly published in the Xilutang Qintong (1549). Traditionally in lunar March 3 was the Spring Festival which was a grand gathering of poets, musicians and artists. The piece depicts the gathering functions of the festival.
此曲最早見於清‧乾隆（公元一七四四年）蘇璟（琴山）撰輯《春草堂琴譜》卷三中。按該譜解題云：“伐檀操者，魏國女之所作也。傷賢者隱避，素餐在位，閔傷怨曠，失其嘉會。夫聖王之制，能治人者食於人，治於人者食於田。今賢者隱退伐木，小人在位食祿，縣珍奇，積百穀，並包有土。德澤加百姓，傷痛已不知王道之不施，仰天長嘆，援琴而鼓之。”
This is a piece firstly published in the Qin Scores of Chun Cao Tang(1744). According to the explanation notes, “This piece was composed by a lady of Wei. The music depicted one who was wise and able became hermit and the villains controlled the important positions.
此曲即《陳搏得道歌》，是入門調絃之曲。明‧萬曆（公元一五九六年）胡文煥輯《文會堂琴譜》錄稱《調絃入弄》；清‧康熙（公元一六七六年）蔣興疇傳譜《和文注琴譜》亦稱《調絃入弄》；清‧道光（公元一八二八年）鑑湖逸士石卿編訂《琴學軔端》則稱《調絃仙翁指南》。
“仙翁”二字是在不同琴絃上產生的同度音應和的狀聲詞，本曲是一首初學者的必習之曲。原本有詞：“得道仙翁，得道陳搏仙翁，得道陳搏仙翁，得道陳搏仙翁，得道陳搏仙翁。陳搏仙翁，陳搏仙翁，得道仙翁，得道仙翁，陳希夷得道仙翁。”
It has been a tune for qin beginners since the Song Dynasty. A basic characteristic is the unison or octave of syntactic cadence, which traditionally imitated by Xian Weng (literally mean immortal) two Chinese characters. And this method is also applied for tuning, it is therefore, when a beginner starts to play the qin, he or she has to get familiar with Xian Weng system for tuning and some other fingerings. The meaning of the words is the repetition of “great immortal, great CHEN Bo immortal.” According to the Guqin Chujie, the rhythm is a 2+3 regular compounds and, structurally, the first sentence is a leading voice and the ending is in harmonics.
樂譜最早見於清初《澄鑒堂琴譜》（一六八六年），當時此曲所用的標題為《昭君怨》，按標題的意思與曲趣無關，因另有《龍朔操》一曲，舊稱《昭君怨》，可能因此而誤混為同一操，實為二曲；是曲與《徽言秘旨》（一六四七年）之《秋水》及《五知齋琴譜》（一七二二年）之《神化引》大同小異，《蕉庵琴譜》（一八六八年）則用《龍翔操》為名。全曲節奏跌岩自由，有騰躍自得，超然神妙，變化莫測之趣，使人聯想龍在雲海裏飛翔的生動景象。
張子謙：一九五八年十二月三十日據《蕉庵琴譜》本 4:21
Soaring Dragon
The score was first documentated on the Qin Scores of Chengjian Tang(1686) of the early Qing Dynasty. It was titled Grief of Zhaojun at that time while the content of the music actually had nothing to do with the title. Since there was another piece also named Soaring Dragon, which was originally named Grief of Zhaojun, it was likely that the two pieces were thus confused to be one. But in fact, these two were completely two different ones. The piece to be introduced had little difference from the Autumn Water from Sublime Words about Secret Point (1647) and Magical Yin from Qin Scores of Wu Zhi Zhai (1722), and was titled Soaring Dragon in Qin Scores of Jiaoan (1868). The melody was free and unconstrained, full of the magical, changeful atmosphere, which enabled the listeners to imagine the vivid scene of soaring dragon in the sea of clouds.
ZHANG Zi-qian : Transcribed on December 30, 1958 according to the Qin Scores of Jiaoan 4:21
唐代李勉《琴說》（公元八世紀）曰：「後漢何宴之女兒聽到烏鴉啼聲，認為是預兆她被囚禁的父親將要獲釋，因作此曲。」但流行的琴譜中卻有另一種說法：「南北朝時，宋臨川王劉義慶因受皇帝疑忌，擔心將有大禍臨頭，他的姬妾聽到烏鴉夜啼，告知將要獲赦。後來果然應驗，因而作此曲。」兩個故事都以烏夜啼為喜事之徵兆，表達渴求自由的願望。
楊新倫：一九五六年據《悟雪山房琴譜》（一八三六年）本 6:44
The Midnight Crow
In the book About qin, writtenby LI Mian of the Tang Dynasty, we note that “He-Yian’s daughter heard the sound of crows. She considered it an auspicious omen that her imprisoned father might be released soon and wrote the music.” However, according to some popular editions there was another story : LIU Yi-qing, the Duke of Lin Chuan during the Northern and Southern Dynasties, was worried about an imminent threat to his life, as he had attracted the envy and hate of the King. Upon hearing the sound of crows in the night, his concubine predicted that he would be granted amnesty soon. Her prediction did come true and music was composed to mark the event. Both stories conceived the cry of crows as a good sign and expressed the yearning for freedom.
YANG Xin-lun : Transcribed in 1956 according to the Qin Scores of Wu Xue Shan Fang (1836) 6:44
漢代的相和歌中有《長門怨》之曲名，其題材表現陳皇后阿嬌被漢武帝冷落在長門宮時的哀怨心情。近代流行的同名琴曲在《梅庵琴譜》（一九三一年）中刋出，具有山東地方音樂的風格，可能是後人按其意而擬作，是諸城琴派的代表曲目之一。
徐立蓀：一九五八年十二月三十日據《梅庵琴譜》本 3:23
Lament at the Chang Men Palace
The music is about the sorrow of the ancient Empress Chen in Chang Men Palace where she was deserted by the Emperor Han. The version here has the style of Shandong folk music.
XU Li-sun : Transcribed on December 30, 1958 according to the Qin Scores of Meian (1931) 7:10
丁承運據僅見載錄於《西麓堂琴統》（一五四九年）譜本打譜，是曲為屢見著錄的遠古遺響，西漢桓譚、六朝謝莊皆稱此曲為唐堯所作。樂曲表現神與人的交流，以輕清莊嚴的泛音象徵神，而其豪爽跌岩的節奏、奇古強悍的曲調，頗似先民們三人操牛尾，投足而歌的祭祀樂舞。全曲一氣流轉，淋離酣暢，動人心魄。來源久遠，當無可疑。
丁承運：一九八三年五月據《西麓堂琴統》本 4:03
The Song of King Yao
Xilutang Qintong (1549) is the only source of this piece. The music, believed to be written by King Yao of ancient Tang Dynasty, is in the form of Chang, a remote ancient qin form. It’s strong and unpolished style pressing reminds the audience the primitive dancing scene of our forefathers. The music is only being played on five strings. This feature undoubtedly gives the piece an ancient origin.
DING Cheng-yun : Transcribed in May 1983 according to Xilutang Qintong 4:03
據《琴操》（一八○○年）記載：戰國聶政的父親，為韓王鑄劍，因延誤日期，而慘遭殺害。聶政立志為父報仇，入山學琴十年，身成絕技後四處演奏，名揚韓國，韓王召他進宮演奏，聶政終於實現了刺殺韓王報仇的夙願，自己毀容而死，後人根據這個故事，譜成琴曲，慷慨激昂，氣勢宏偉，為古琴著名大曲之一。
李祥霆：一九九三年據《神奇秘譜》本 13:13
Guang Ling Verse
According to the Qin Music Collection (1800), in Warring States Period, NIE Zheng’s father was killed by the King of Han due to delay in the sword-casting. NIE Zheng made up his mind to revenge for his father. He went into the mountain to learn to play the qin for ten years and became a famous player, giving performance all over the country. The King of Han heard of his fame and asked him to perform in the palace. NIE Zheng realized his long-chrished wish to kill the King and committed suicide afterwards. The story was told among the people and a qin piece was written to praise NIE’s great courage. The music is considered as one of the famous qin pieces because of its impassion and great momentum.
LI Xiang-ting : Transcribed in 1993 according to the Mysterious Scores of Qin 13:13
此曲最早見於明蔣克謙所編《琴書大全》（一五九○年），稱為《靜觀音》。相傳為唐李勉所作，李勉善於彈琴，而且自己有所創作。本曲的曲意，是說，冷靜地觀察事物，自然能得到事物的真相。李勉生活在魚朝恩、盧等奸臣當權的時代，本曲若真是他所作，則可以說是表現了他嚴正的處世態度。
夏一峰：一九五一年據《抄本琴譜》本 3:21
Observing Calmly
The score was first documentated on the edited collections of JIANG Ke-qian’s Great Book on Qin Music (1590). In which, this piece was called Observing the Sound Calmly. The music was said to be composed by LI Mian of the Tang Dynasty and tried to tell us that if you wanted to get the truth, you should observed calmly of the things.
XIA Yi-feng: Transcribed in 1951 according to the Copy of Qin Scores 3:21
此譜載於近代琴家彭祉卿家傳的《理琴軒琴譜》（未刊印），二十世紀三十年代由彭祉卿在琴人雅集中彈出之後即風行大江南北。當時，彭祉卿首先將此曲教給他的琴壇好友張子謙。《今虞琴刊》（一九三七年）首次公開刊印了張子謙先生手抄的減字譜、工尺譜並列的《憶故人》琴譜。《憶故人》以簡練集中的音樂素材表現出深沉的情感：或感於時勢、或懷古思歸、或傷感悼念。各段尾多次出現的由左手帶起空弦和按音構成的「放合」指法音調，表現了纏綿往復、不盡依依之情。
成公亮：一九九三年據《理琴軒琴譜》本 9:03
Memories of an Old Friend
This piece is found in the Qin Scores of Li Qin Xuan (unpublished), which has been handed down in the family of the contemporary qin player PENG Zhi-qing. It became very popular all over China in 1930’s after its first performance by Peng at Jinyu Qin Musicians Association. Peng then passed it on to his good friend, also a qin player, ZHANG Zhi-qian. The hand-written music, in tablature as well as in traditional notation, was first published in Jinyu Qin Magazine in 1937 by ZHANG Zhi-qian. The succinct musical materials and terse style help to bring out some very deep feelings, at times emotional, occasionally nostalgic or sentiment. The ever-recurring left-hand pizzicato symbolizes a lingering reluctance to part.
CHENG Gong-liang : Transcribed in 1993 according to the Qin Scores of Li Qin Xuan 9:03
《釵頭鳳》南宋詞人陸游和唐琬的著名詞篇：“紅酥手，黃藤酒，滿城春色宮牆柳。東風惡，歡情薄。一懷愁緒，幾年離索。錯。錯。錯。春如舊，人空瘦，淚痕紅浥鮫綃透。 桃花落，閑池閣。山盟雖在，錦書難托。莫。莫。莫。
人情惡，世情薄，雨送黃昏花易落。曉風乾，淚痕殘。欲箋心事，獨語斜闌。難。難。難。人成各，今非昨，病魂常似秋千索。角聲寒，夜闌珊。怕人尋問，咽淚裝歡。瞞。瞞。瞞。”
《靜夜思》
是李祥霆根據唐代詩人李白《靜夜思》詩意所作的即興演奏。原詩：「床前明月光，疑是地上霜。舉頭望明月，低頭思故鄉。」
《慨古引》
是簡短的古琴入門樂曲，但頗有意趣。原曲附有歌詞，可以自彈自唱。歌詞末段是：「慨當年龍爭虎鬥，半生事業又何多。」流露對人生的慨歎。
《挾仙遊》
首見於《古音正宗》（1634年）。《梅庵琴譜》（1931年）就此曲之解題曰：「梅庵諸曲中，指法以《搔首問天》為最複雜，但取音之淳樸溫厚則以本曲為最難，久彈方能知之。本曲內容輕鬆愉快，頗有飄飄欲仙之意。相傳為黃帝所作，亦以黃帝精於養生之道而假托之。」
《古燕行》
展現古樸音韻，慷慨情懷，或思古人，或感舊事，蒼茫燕趙大地，多少傳奇如歌……
《梅花引》
又稱《梅花三弄》、《梅花曲》等。最早是一首笛曲，相傳東晉王子猷聞桓伊善吹笛，而不相識。一日路上偶遇，王子猷請桓伊為奏一曲，桓伊即出笛奏曲，音韻高妙清倫，名“梅花三弄”。後人以此調譜入琴中，而廣為流傳。曲中相同泛音曲調三次出現，高音段落若凌風戛玉，取音古澹清雅，正切梅花傲雪凌霜之風韻。
《亞聖操》
顏回：“一簞食，一瓢飲，在陋巷，人不堪其憂，回也不改其樂。”孔子稱讚其“賢哉回也！”。顏回早喪，孔子大哭“天喪予！天喪予”，是謂儒家大道後繼無人之感慨。後人作此曲，“音悲戚悠揚”，以述對顏回之懷念。
《昭君引》
又名《龍朔操》。取材於歷史上著名的“昭君出塞”的典故。漢元帝時，王昭君被作為“紅粉和戎”的使者，被遠嫁給塞外匈奴單于。後人感傷昭君之紅顏薄命，作此曲以嗟懷。琴曲標以“怨恨出宮”、“萬里重陰”、“悵望胡天”等小標題，一詠三嘆，形象地描寫了王昭君柔美幽婉、不忍離去的憂傷情緒。
《太古引》
《神奇秘譜》解題曰：「其趣澹然沉靜，鼓之者，孑然若遺世獨立於無何之鄉也。可以回古風於指下。以今追昔，可以感興傷懷於一唱三歎之間而有餘音也。」。
《杏莊太音續譜》解題曰：「自古及今，不知幾人稱王，幾人稱霸，幾興，幾廢矣。所謂一世之雄，而今安在哉。」
譜本：又稱《慨古引》，此曲最早見於明‧洪熙元年《神奇秘譜》、嘉靖十八年《風宣玄品》和嘉靖三十九年《杏莊太音續譜》，都是無詞之曲。現時琴人所彈的都是另一個有詞的傳抄本，都是三段小曲，但旋律不同。這裡採用的抄本為湖南民間藝人龔子輝傳譜，查阜西先生幼年在大庸從俞味蒓學，又依照田曦明的節奏唱法訂正而成。
《林鐘意》
“意”是古代琴曲中的一種結構體裁。始見於1425年《神奇秘譜》。
它短小精幹，列於數首同類樂曲之首，起到該類樂曲調性、旋律共性的提示作用。
“林鐘”為調高或音高名。
《慨古吟》
琴歌彈唱《慨古吟》只見於明初朱權（1373-1448）所編的《神奇秘譜》（1425），明中葉《風宣玄品》（1539），但都無詞。另一個有詞的傳鈔本，各地皆同。明本和傳鈔本都是三段小曲，但旋律都全不相同。現時琴人彈的，是傳鈔本有詞的琴曲。
一九一零年，查阜西先生在大庸從俞味蒓學彈此曲，一九一一年又依田曦明的節奏唱法訂正。傳鈔本中收有如下的唱詞：
今古悠悠，世事的那浮鷗，群雄死盡不回頭。夕陽西下，江水的那東流，山嶽的那荒丘。愁消去，是酒醉了的那方休。想不盡楚火的那秦灰，望不見吳越的那樓臺。世遠人何在，明月照去又照來；故鄉風景，空自的那花開。日月如梭，行雲流水如何；嗟美人呵，東風芳草的那怨愁多，六朝舊事是空過。漢家簫鼓，魏北的那山河；天荒地老，總是的那消磨，消磨消磨更消磨。慨當年龍爭虎鬥，半生事業又何多？
《康衢謠》
康衢位於今山西臨汾一帶。此曲只存於明代琴譜《西麓堂琴統》。相傳，堯主政五十年，乃微服私訪於康衢，聽到兒童唱歌：“使我百姓有衣食，莫不是你英明政策，大家不投機、不取巧，順乎自然法則。”堯看到百姓怡然自足，甚為高興，歸來後就禪讓天下於舜。
《茶 一味》
茶，融水之潤、木之萃、土之靈、金之性、火之光，禪：冥思、純厚、枯寂、洞徹，解茶之曠達隨心，釋茶之圓融自在，金木水火土乃茶之五性，茶與禪，乃至真至拙至天然。
《一味》從茶的色、香、味開始。從表面的五感六覺，隨著樂音的漸入，逐漸內化深入到禪的意境，在茶禪交融中，品味物我合一的境界。
《心 無塵》
塵在外，心在內，常拂之，心淨無塵；塵在內，心在外，常剝之，無塵無心；心中有塵，塵本是心，何畏心中塵，無塵亦無心？正如慧能所說的仁者心動。
心何以無塵？《無塵》追求讓聽者隨著音樂洗盡心塵悠然進入喜樂清廣大化境內。達到觀心拂塵，莊嚴歡喜的境界。
《空城引》
古琴與琵琶二重奏《空城引》，作者李晨瑤引用中國古代三國時期的著名典故“空城計”作為創作背景，以古琴和琵琶這種獨特的重奏形式來重新演繹這段經典故事。全曲分為五個部分，依據設定好的情節起伏作為音樂的段落情緒，並充分發掘古琴的新技巧新手法，同時又與其傳統手法相融合，加之琵琶的呼應，兩者相輔相成，相得益彰，將“空城計”用音樂的形式重新展示出來。
《廣陵散》
表述聶政刺韓王的故事。全曲曲調變化豐富，極盡幽怨淒清與激昂慷慨兩重情調的對比，為古琴經典大曲之一。
《琵琶語》
的淒清婉轉情緒讓人流連忘返。將人帶入一種纏綿悱惻、欲說還休的境界。
《臥龍吟》
描述諸葛亮出山前的生活與思想。“仰觀與俯察，韜略胸中存”，勾勒出一個勤奮好學、充滿智慧的青年形象。“躬耕從未忘憂國，誰知熱血在山林”， 則把握住《三國演義》原著中的諸葛亮形象：既潔身自好、不求聞達，又滿懷建功立業的豪情壯志。看似矛盾的心曲，實則是諸葛亮雅號“臥龍”的真實內涵。
《葬花吟》
來自於清代文學家曹雪芹的小說《紅樓夢》第二十七回中女主角林黛玉所吟誦的一首古體詩。此詩通過豐富而奇特的想象，暗淡而淒清的畫面，濃烈而憂傷的情調，展示了黛玉在冷酷現實摧殘下的心靈世界。《葬花吟》是林黛玉感嘆身世遭遇的全部哀音的代表，也是曹雪芹借以塑造黛玉這一藝術形象、表現其性格特性的重要作品。
《長相思》
李白的《長相思》屬樂府《雜曲歌辭》。一共兩首，其一，是訴述相思之苦，以秋聲秋景起興，寫男思女。所思美人，遠在長安，天高地遠，關山阻遏，夢魂難越，見面為難。其二，以春花春風起興，寫女思男。望月懷思，撫琴寄情，憶君懷君，悱惻纏綿。
《春之舞》
是成公亮演繹的一首即興琴曲作品。
《中國夢》
這是一首成公亮先生於1989年在荷蘭錄製的古琴即興演奏作品。
