此曲是李祥霆在一九七Ｏ年代中期創作的琴曲作品，李氏在繼承傳統琴曲的表現手法，同時又大膽地吸取其他彈弦樂器的技巧，以四川民謠及號子作為創作素材，描繪出三峽船工縴夫的勞動情景和歡娛的心情。這首作品豐富和發展了古琴音樂的表現力，明快的節奏和清新的旋律，使人有若行船順流急下，有一瀉千里的感覺。
This piece was the original composition of LI Xiang-ting in mid 1970’s. His composition was described as forming a link between the past and the future. This piece developed a lot of new techniques for the qin and played in a lucid and lively mood like the boat sailing in the way of water rushed down and covered hundreds of miles of land.
此曲為現代創作曲目，一九八四年由朱良楷原創，陳熙珵擬琴譜。樂曲描寫杭州西湖十景之一的“九溪煙樹”，在那旑旎的風光中，九溪十八澗，山水相映，詩情畫意，譜入操縵，更令人遐想無限。
This piece was the original composition of ZHU Liang-kai in 1984 and adapted to the qin by CHEN Xi-cheng. It is a modern original musical piece. The music depicts the beauty of one of the ten views of the West Lake in Hangzhou, “Nine creeks in misty forest”. It unfolds a poetic picture with clear water and green mountains in the place called Nine Creeks and Eighteen Gullies, and fires up imagination.
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《列子御風》一曲，臞仙曰：“是曲者，毛仲翁取《列子‧黃帝篇–御風擬神遊六合》所作。”列子名御寇，春秋鄭人。據《莊子‧逍遙遊》云：“其人可乘風而行。”此曲之曲意，表現列子講求至理四十年，豁然神開，而達到自由逍遙的境界。樂曲有時用大幅度的滑音和吟猱，有時運用高音區泛音，描寫列子之御風，偃仰屈伸，雲中獨步，飄然自得之情境。
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 music symbolizes an ancient Taoist riding on the wind by combining a verity of glissandos, vibrates and high-ranged harmonics in a melody which belongs to a qin mode of Jiao. The spiritual carefree with vivid images is the characteristic of the piece.
此曲最早見於明‧萬曆（公元一六Ｏ九年）楊掄輯《伯牙心法》卷下，據該譜解題云：“按斯曲，乃梁惠王時人，墨翟所作也。子出行，見素絲，乃悲曰：‘人湛然同於聖體，為習俗所移，如油集麵。’蓋猶絲體本潔也，而染焉，則成或黃或黑，本同末異。故堯染許由成聖君，紂染崇侯為闇王，則染之不可不慎也。審音君子能因樂而繹其旨，以墨子之悲自悲，則思所以置身於清白者，自不能已矣。寧獨聽其節奏云乎哉？”
這是一首很見修養和功力的曲子，曲調本身所包含的吟誦風格和節奏特點，在表現墨子見素絲被染，而聯想到人在社會中受到污染，而不能保持清白，慨嘆這種可悲的現實之心境，確有其獨到之處，彈者如此，聽者亦然。
This is a piece firstly published in the Boya Xinfa (YANG Lun) (1609). This version was personally passed down by SUN Shao-tao of the Guang Ling School. The content of it was about the story of Mozi grieving for silk. When Mozi saw the white silk were dyed, he thought about that people in the society were just like the white silk, had to be stained and couldn’t remain pure. The chanting style and the rhythmic characteristics contained in the music were unique in expressing the feelings of Mozi, who was signing the above mentioned woeful situation. To perform it perfectly, the author of the Qin Scores of Wu Zhi Zhai had made diligent efforts. According to his self-account, “I began to practice this piece during my childhood but couldn’t fully express its inner meaning through all these years. It was until recent days when I exerted every effort to figure out its secrets that I felt somehow I could perfectly perform it”, we could clearly see that this is a piece manifesting performers’ accomplishments and skills. Actually this is also the case with the listeners.
樂曲最早見於明‧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，臞仙曰：“是曲之趣也，若夜寒月白，雲淡星稀，琅風玲玲，玉露湛湛，凛若神遊於太羅，仙遊於玄舘，鏘然鳴珂，鏗然戛玉，不見其人，但聞瓊琚珊珊而已。使人聞之，可以起思仙之志，有換骨超凡之想，苟非神仙中人，豈能識之。”
This is a piece firstly published in the Mysterious Scores of Qin (1425).The explanatory notes reads, “The predisposition of this piece can be compared to a white moon on a pleasantly cool evening. The clouds are light and few stars can be seen because the moon is so bright, the cornelian jade tinkles in the wind, and there is a lot of jade-like dew. Floating like a spirit wanders in the heavens (the Great Net), the immortal wanders in the darkened universe (the Somber Palace). Some jade clinks and other jade tinkles. Nobody can be seen, one just hears the sounds of jingling jade and that’s all, causing those who hear it to be able to bring up thoughts of immortals, and ideas of becoming an immortal (changing ones bones). If one is not among spirits and immortals, how can one have knowledge of this?”
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。據琴統云：“嵇康夜鼓琴王伯林空館中，見幾魅跽燈下，因叱之。對曰：‘某周時伶官，賜死於此，腐骨未化，願求遷轉。’將發、語伯林，掘得遺骸葬之，夜夢幾人羅拜而去。康神其事，乃託此弄。”
此曲是為古代被封建專制殘酷迫害下，飲恨九泉之亡伶而發出的鳴冤不平之聲，全曲靜中寓動，動中寓靜，抒發意境。
This is a piece firstly published in the Xilutang Qintong (1549). According to the explanation notes of this collection, “One night, when JI Kang played the qin in an inn, he saw some phantoms. Who said to Ji that there was an actor died outside the inn. Next day, Ji sent someone to find the skeleton and buried it well. He then composed this piece in memory.”
此曲最早見於明‧嘉靖（公元一五三Ｏ年）黃龍山輯《新刊發明琴譜》卷之下。按《太古遺音》（楊掄）：“是曲，乃我先勳誠意伯劉公伯溫所作也。公運策定鼎，功成身退，希迹赤松之遊，悠渙於蓬窗之下，日與同志之士，懷今憶古，以傷英雄之圖王霸業者，皆如是寥寥已。因作是曲，附之音律，以暢其懷云。”
此曲為國師劉基伯溫念國家大事既定，山河已平，因憩於客窗之下，旅夜談心寄意之作。
This is a piece firstly published in the Faming Qinpu (1530). According to Taigu Yiyin (1609), the compiler YANG Lun’s comment, this is a piece composited by LIU Bo-wen. Liu felt that peace has reigned over the land with tranquil at that time. Then he went out for a travel. One night he composed this piece to express his will at an inn.
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》卷之下。希仙曰：“是曲也，不知所自。按祖王譜無此曲，想夫南荒投逐，莫知所向，問渡於漁父，而有是作也。”
此曲又名《九歌》，是後世為屈原忠而被謗的遭遇而感悲憤嘆息，故作此以悼念之。曲中自傷自失，一唱三嘆的情調甚濃。
This is a piece firstly published in the Zheyinshizi Qinpu (1491). The explanatory notes reads that, this piece cannot be verified of the composer. The music itself depicts a sigh and self lamentation of QU Yuan who was maliciously slandered and unjustly banished from the kingdom. When he came to the pier, he asked the boatman where he could go?
此曲最早見於明‧崇禎（公元一六三四年）潞藩朱常淓纂集之《古音正宗》第七冊（外調）中。據《沙堰琴編》稱：“曲原名羽化登僊，僅增一段泛音，中間略有簡裁，而易以今名。昔人假託呂仙有三醉岳陽飛渡洞庭之句，此其淵源者乎？大抵羽化二字過於沉寂，名曰三醉，則超逸而起興趣。因分其次第題辭，以為仙遊之紀勝云。”樂曲幽情逸致，洵是一派僊音。
This is a piece firstly published in the Ancient Authentic Qin Music (1634). According to the explanation notes of the Shayan Qinbian, “The original name of the piece was Ascending to heaven and becoming an Immortal. In the old days, Lu Xian found himself likely to soar at the Lake Dongtong after drunke.” The music is a precious ancient piece with lively melody and sincere emotions.
此曲最早見於明‧崇禎（公元一六三四年）潞藩朱常淓纂集之《古音正宗》第四冊（角音）中。《古音正宗》所錄原名為《雁落平沙》，其後各譜多採用《平沙落雁》或《平沙》稱之；至於作者，一云唐‧陳子昂，一云宋‧毛敏仲，一云明‧朱權，各有所說，皆未提證。
曲譜自刊出後，深受各派琴家喜愛，廣泛流傳，版本繁多，是傳譜最多的琴曲之一。曲情是取清秋寥落之意，鴻雁飛鳴來寫秋天的景物；取秋高氣爽，風靜沙平，雲程萬里，天際飛鳴，借鵠鴻之遠志，寫逸士之心胸。
This is a piece firstly published in the Ancient Authentic Qin Music (1634). Qin players simply called this piece the Calm Sands. To date, the identity of the composer is uncertain, though the following candidates were nominated: CHEN Zi-ang of the Tang Dynasty (A.D. 700 to 900), MAO Min-zhong of the Song Dynasty (A.D. 1000 to 1200) and ZHU Quan of the Ming Dynasty (A.D. 1400 to 1600). After the score was first published in 1634, it was loved by qin players from different schools. Various versions of the piece were developed. It became one of the pieces of qin music with the largest numbers of published scores. The music depicts the desolate landscape and the flying wild geese of autumn. In the clear weather of autumn, the wild geese fly in the endless sky. The scenery reflects the thoughts of a recluse.
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.
此曲是徐卓（立孫）於二十世紀三十年代的原創作品，徐氏於一九三八年春避亂興仁鄉王氏挹爽園，室前牡丹高與簷齊，燦若堆錦，海棠松竹之屬相映成趣，垣腰砌瓦若欞，可窺遠景，其外則碧梧聳峙，益增幽興，一夕閒步庭間，月光澄澈，微風吹動，雖亂離之中不禁神思朗然。因口占曰：“月上梧桐梢，風來花影搖，春闌寒尚重，閒步且逍遙。”爰精思一月，按律制曲，以留鴻爪，稿凡五易，兼旬而成，一彈再鼓，不覺煩憂為之稍袪。
This piece was one of the original compositions of XU Li-sun in 1930’s. When he found shelter against anarchy in 1938 at a village, one night he look through the window and saw the moon was high over the phoenix tree. With such scenery, he composed this piece to express his feeling.
宋末嘉泰二年（公元一二Ｏ二年）錢希武所刻《白石道人歌曲》載有此姜夔俗字譜歌曲作品，曲前小序寫姜氏在丙午年冬天乘船從沔口（即現在的漢口）出發，於丁未年正月二日，路經金陵（即現在的南京），向北遙望淮、楚一帶，風日清和而美麗，船上掛著帆篷，在波上自由的漂浮。
其歌詞云：“綠絲低拂鴛鴦浦，想桃葉當時喚渡。又將愁眼與春風，待去，倚蘭橈，更少駐。金陵路，鶯吟燕舞，算潮水知人最苦！滿汀芳草不成歸，日暮，更移舟，向甚處？”
原曲是用俗字譜記寫的宋代歌曲，一九五七年由楊蔭瀏、陰法魯譯成現代用譜；二Ｏ一Ｏ年由謝俊仁譯配成琴歌。
The Baishi Daoren Gequ by JIANG Kui was published by QIAN Xi-wu in Southern Song Dynasty (1202). Impression of Apricot Blossoms (Xinghua Tianying) is one of the songs wrote in common characters of Song Dynasty which describes the voyage of the composer in the way to Nanjing.
In 1957, YANG Yin-liu and YIN Fa-lu transcribed the common characters into modern scores. In 2010, TSE Chun-yan transcribed it to the qin and vocal accordingly.
此曲最早刊於明‧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，共分十段，其中有五個合尾段落，比喻梅花之開五瓣；又有主題音調在三個不同音區出現，是為三弄，故有《梅花三弄》之稱。曲名與曲趣原無相關之處，後人因其名而附會為晉代桓伊之笛曲《梅花曲》，寄意表現梅花高潔安祥的靜態，曲調急促處，像梅花不畏嚴寒，迎風搖曳的動態。
當今演奏此曲有兩種不同演繹版本，《琴譜諧聲》和《春草堂琴譜》的節奏較為規整，也宜於合樂，被稱為“新梅花”；廣陵琴派宗於《蕉庵琴譜》，節奏自由跌岩，習稱“老梅花”。
This is a piece firstly published in the Mysterious Scores of Qin (1425). The piece was divided into 10 sections, among which 5 had the same ending, which represented that plum blossom had 5 petals; the theme melody appeared in three different ranges respectively, which formed the three variations, and hence get the name Three Variations of Plum Blossom. The name and the inner content originally had no connections, but the later generations gave strained interpretations to the piece according to its name, and concluded that it was the Tune of Plum Blossom of the dizi piece by Huan Yi of Jin Dynasty. The piece described the noble and serene quality of plum blossom and as the tune turned to be quick and hurried it also showed the blossom’s courage to sway into the wind regardless of the coldness.
Nowadays, we have two different versions of the piece. One is smooth and regular called New Plum Blossom which is referred to Qinpu Xiesheng or Qin Scores of Chun Cao Tang. The other one is free and easy called Old Plum Blossom which is referred to Qin scores of Jiaoan.
此曲名最早見於明‧正德（公元一五一一年）謝琳（雪峰）撰《太古遺音》卷之三中。按謝氏云：“是辭乃晉處士陶潛所作也。潛為彭澤令，郡遣督郵至，軍吏白，應束帶見之。潛曰：‘我不能為五斗米折腰。’即日解印綬歸。作此辭，播之絃歌，令人清風凜然，千載之下尚能使人興起也。”
是曲乃早期的有詞琴歌，詞取五柳先生名作《歸去來兮》辭，亦可以琴獨彈，曲意述說退出污濁的官場，回歸家鄉，過著田園生活的感慨而舒暢之心情。
This is a piece firstly published in the Taigu Yiyin (XIE Lin) (1511). The explanatory notes reads that, from the famous essay with a similar title by the poet TAO Yuan-ming, this piece expresses the mixed feelings of an officer returning to homeland after dissociating himself from a corrupted bureaucracy.
在上世紀一九七Ｏ年代，中國文化部組織了一系列以器樂演奏來模倣唱腔的嘗試，古琴也參與了其中的一種嘗試。龔一先生根據余叔岩的京劇《徐策跑城》其中一段唱腔，移植成《法場換子》，並由余叔岩的專用琴師黃勇等以四大件伴奏，益更彰顯了移植的嘗試成果。
At 1970’s, the Cultural .Department of China organized a series of instrumental music to imitate operatic songs of Beijing Opera. GONG Yi successfully adapted the Changing of the Beheaded Song from YU Shu-yan’s song to the qin and had Yu’s accompaniments for the new version.
此曲最早見於明‧嘉靖（公元一五四九年）汪芝輯《西麓堂琴統》卷十四中。按漢代末年琴家蔡邕創作了著名的《蔡氏五弄》，但均未見原譜流傳，至明代時各種琴譜中載有《洞庭秋思》譜，調清聲直韻疏遲，疑即五弄中《秋思》一曲。
是曲淒切清婉，賦景寫懷，若有不勝感惻者。查阜西在打譜研發中，第一、二段採用《松絃館琴譜》和《二香琴譜》，第三、四段採用《琴書大全》譜，尾聲據《西麓堂琴統》，用慢角調徵音泛尾，成功將此曲彈出。
This is a piece firstly published in the Xilutang Qintong (1549). Mr. CHA Fu-xi transcribed the piece based on four different ancient scores, the Qin Scores of Song Xian Guan, the Erxiang Qinpu, the Comprehensive Qin Record and the Xilutang Qintong. The music is transcribed in a tranquil and delicate way, giving rise to the feeling of secluded bitterness.
此曲最早見於明‧萬曆（公元一六○九年）楊掄輯《伯牙心法》（楊掄）卷下，據該譜解題云：“滄海龍吟者，音有似於龍吟也。飛潛叵測，孰測其吟，毋亦別鶴孤鸞之意歟。今考其音，每以清冷和緩之調，寓飄忽動蕩之勢，有若龍之昂霄而聳壑者然。古云：‘琴動滄龍吟，其斯曲之昉矣。’或曰：‘龍以海為歸，而此吟屬羽，羽屬水，故曰滄海龍吟，理或然也。’”
是曲相傳為諸葛武侯所作，又名《蒼江夜雨》，一曲雙法。云龍吟者，全在於吟猱上下，須堅其指而靈其腕，方能表現龍的出雲入海那樣飄忽動蕩；云夜雨者，全作遊吟，而其上下之位，應留則留，應删則删，其雨意始得。
This is a piece firstly published in the Boya Xinfa (YANG Lun) (1609). Its explanation notes stated that the music should be played to depict the dragon soaring in the sky and the sound should like the crying of the dragon.
Another version said that the composer of the piece was ZHUGE Liang and another title was Cangjiang Yeyu. Notes of the left hand fingering should played to depict raining at the sea.
此曲最早見於明‧嘉靖（公元一五六Ｏ年）蕭鸞輯《杏莊太音續譜》中。據該續譜按：“唐人云：‘漢家事業空流水，魏國山河半夕陽’。古今興廢有若反掌，青山綠水則固無恙，千載得失是非，盡付之漁樵一話而已。”
樂曲用了模進和對應的句法來象徵漁樵此問彼答的情景，並穿插了一些效果性的手法以強調捕魚和伐木的勞動場面。作者在對生活和自然謳歌的同時，也抒發了一種“雖嚮往之，實不能之”的隨想和感慨。
This is a piece firstly published in the Xingzhuang Taiyin Xupu (1560). This music had been appreciated by the qin players since the Ming Dynasty. The graceful melody vividly depicts the towering mountains, vast waters, tinkling sound of woodcutting and the creak of oars. As for the dialogue, it reminds people of nature. Apart from praising nature through the dialogue of the fisherman and woodcutter, the music also signifies implicitly the immaterialistic sentiment of hermits and their concern for the fate of the country.
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《瀟湘水雲》一曲，臞仙曰：“是曲者，楚望先生郭沔所製。先生永嘉人，每欲望九嶷，為瀟湘之雲所蔽，以寓惓惓之意也。然水雲之為曲，有悠揚自得之趣，水光雲影之興；更有滿頭風雨，一簑江表，扁舟五湖之志。”
是曲真有如一幅宋代的山水畫卷，寫在瀟湘水畔北望九嶷山被霧所蔽之象，使人有置身於水光雲影，煙霧繚繞的境界。在那後面隱若道出作者對山河殘缺，時勢飄零的感慨，用音樂藝術昇華到內心世界去。
This is a piece firstly published in the Mysterious Scores of Qin (1425).The explanatory notes reads, “This piece was composed by GUO Mian of the Southern Song Dynasty. GUO was relocated to Heng Shan in Hunan province when his hometown was attacked by Yuan army. He was boating at the junction of Xiao and Xiang Rivers, looking into a distance the Jiu Yi mountain which was enveloped by the cloud. The scene inspired his grievance against the corrupted Southern Song Government and deep regret to his own life experience.
此曲最早見於清‧光緒（公元一八八四年）清谼子纂輯《雙琴書屋琴譜集成》稿本第六卷中。集該譜後記：“空山寥寂，撩撥秋心，登高一呼，眾山皆響；聲情疎颯，秋猿號咷；響徹寒宮，無限憂愁；玉露瀰漫，碧空綿邈，露下天高，猿吟巫峽；四山破曉，萬籟生寒，峽裏千聲，絃中十指；深山無人，泉咽危石；聲在樹間，欷歔欲絕；舉頭天外，浩然長嘯；猿唱騰空，天籟自鳴；乘化息機，超然世外；事過境遷，不留芥蒂。”
是曲借秋露起興，而非寫怨，琴音觸撥，猿聲、瀑聲恍然在耳，音由心生，猿感愁而啼，非有意悲啼，而啼聲自悲也。
This is a piece firstly published in the Qin Scores of Shuangqin Shuwu (1884). The music depicts the sound of the crying ape and the waterfalls.
本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，一九三一年徐立蓀據此編訂《梅庵琴譜》並收錄此曲在其中。是曲在一七九九年之《龍吟館譜》中原稱《春閨怨》，其後一九三一年的《梅庵琴譜》才改用《玉樓春曉》為題。曲調輕鬆流轉，不同凡響，頗有春眠初醒，惺忪欲醉之意。
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 piece was originally named Chun Gui Yun and renamed in Qin Scores of Meian as the present title. The tune is relaxed and flowing. It sounds like waking up in spring and still feeling sleepy.
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：“魏曹子建嗜音律，此其賞心作也。一鼓三嘆之餘，恍有清風從玉樹中來，陳之玉樹後庭，對此益增靡曼。”
其曲雖小，音美蒼涼，如對幽人觀泉玩月之致。
This is a piece firstly published in the Xilutang Qintong (1549). According to the comments of Qinpu Xiwei, the piece was composed by CAO Zi-jian. After playing the piece, it seems a wind coming from the evergreen tree.
The concise and mild music depicts a moonlit night with breeze and also the easy mood of people in such a peaceful night.
此曲最早見於明‧嘉靖（公元一五四九年）汪芝輯《西麓堂琴統》卷十四中。按該譜集解題云：“此亦伯牙所作。蓋其寓情山水，結盟泉石，恍若懸崖寒溜，跳珠瀑布，奪人心目。詳玩曲意，真天地同流之妙矣。”《伯牙心法》（楊掄）則云：“夫石靜似仁，泉動似智。泉動不揻靜，石靜不礙動。故宣尼談仁智，取況山、水。斯曲也，當求之古樂行憂違其人者，彼膏肓泉石，何硜硜也！”
此曲自《琴苑心傳》後之譜集，多認為是戰國時齊人劉涓子作。曲雖小，義有餘，足為師法，靜夜清彈，令人有枕流漱石之想，而其起承轉合，抑揚頓挫，字字珠璣，熟玩其旨，他曲可以類推。
This is a piece firstly published in the Xilutang Qintong (1549). According to the explanation notes of this collection, “The composer was Boya.” But in Qinyuan Xinchuan, “It was composed by LIU Juan-zi of the Warring States Period.”
The music depicts the moon hangs among the pine, the stream runs on the stones. It is a graceful landscape painting. The tune is plain and variable to imitate the flowing spring and thus brings to the audience to the real situation.
此曲最早見於清‧道光（公元一八二八年）鑑湖逸士石卿編訂《琴學軔端》第二冊中。該譜稱朱熹所作。又清‧道光（公元一八三六年）黃景星（煟南）纂輯之《悟雪山房琴譜》卷三中，則云取自《古岡遺譜》，乃元初流亡新會的宋末士大夫輯譜二十四琴曲之一。
This is a piece firstly published in the Qinxue Renduan (1828). According to the explanation notes, “This piece was composed by ZHU Xi.” But according to the Qin Scores of Wu Xue Shan Fang, “This is one of the qin piece handed down from the Song Dynasty and flourished in Guangdong. Originated probably from the Gugang Yipu.”
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《禹會塗山》一曲，臞仙曰：“是曲之製，毛公敏仲所擬。夏禹嗣舜禪之後，禹南巡狩於會稽之塗山。承唐虞之盛，會天下諸侯，執玉帛來朝者萬國。其熙皡之風，莫有加於此焉。胡元之初，故作是操，追慕宋德，亦有感於中矣。”
此曲又名《觀光操》，元代王逢在聽葉琴師《觀光操》序中說：“《觀光操》者，三衢毛敏仲所作也。至元間，仲攜武林葉蘭坡、徐秋山遊京師，三人者咸能琴，受之宰執，薦名世祖皇帝。仲以為士之道莫尚於賓王，先王之化莫尚有虞氏之教。故緣徵度聲，作是操以應制。比召，客死館舍。余聞其音，激越淒宛，不純乎徵。《傳》曰：‘徵亂則哀’，仲其自哀也。”
從音樂上看，這是一首具有代表性的徵調樂曲，用音複雜，變聲時而出乎意外，確實體現了“激越淒宛”的亂世之哀。
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 work made in accordance with a legend, that is, after King Yu received the abdication from King Shen, he gathered the Lords all of the country at Mt. Tu to prove his power of unification.”
The music is in a qin mode of the Zhi and it was associated to a sadness of the chaos of dynastic change.
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》卷四中。書中用名《讀易》，按該書後記云：“昔友人秋夜讀易，其聲悠揚婉轉，足洽人心。余聞而心賞之，至曉餘音猶在耳也。因譜入絃徽，雖音句重疊，而輕重疾徐之節，可為初學之階梯云爾。”
是曲音節抑揚，高之如升霄漢，下之如履平坦，曲短情長，為小操之白眉。
This is a piece firstly published in the Qinxue Lianyao of Zhi Xin Zhai (1739). According to the book’s explanation notes, “The name of the piece was Duyi. It depicts the reading sound of the author’s friend when studying the Book of Changes. The rising and falling rhythms gave the composer idea for a qin piece.
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。據琴統解題所載：“廣樂記曰：‘齊人柳世隆善彈琴，為士流第一，不預世務，風韻清遠，月夜常鼓此曲，散步中庭，暢然自適，後人因以名之。’”
樂曲有清秋良夜，月下閒步之趣，曲調舒徐閒雅。定絃以三、四絃同聲，實屬罕見。
This is a piece firstly published in the Xilutang Qintong (1549). According to the explanation notes of this collection, “LIU Shi-long, a distinguished personage of Qi, was fond of qin and always like to wander under the moonlit night.”
The music is delicate and elegant. It is played with the 3rd and the 4th strings tuned in the same pitch.
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，其後出之譜集，亦有以《秋江晚泊》為名。本曲即赤壁賦中相與枕藉乎舟中，不知東方之既白的寫景。所謂夜泊是曲終拋錨之後放乎中流而夜泊。全曲是寫遊赤壁時自下船至放乎中流的經過。起初以打圓狀船離岸之狀。第二句一六絃相應示船離岸。以後用遊吟法及猱法狀搖櫓欸乃之聲，全曲皆是。第一段中散音歷七六絃以後，形容船出港口之狀，而有海闊天空之意。第二段起首是撐篙聲，繼以俯仰高歌。第三段起首為拉篷張帆之聲而漸入中流。第四段則既達中流，乃引喉高歌，有山高月小水落石出之意。最後乃將帆落下，船有搖曳不定之狀，乃以連摘法狀拋錨聲而夜泊。
是曲音節古曠，須從緩中得之，每句不可促識。
This is a piece firstly published in the Qin Scores of Song Xian Guan (1614). According to the Qin Scores of Meian (1931), this piece is about mooring a boat in a quiet night of late autumn. The first three sections, with steady rhythm, depict sailing the boat in the middle of the river. The final section close the piece with a rocking and varying rhythm.
此曲最早見於清‧光緒（公元一八七五年）孫寶（晉齋）撰《以六正五之齋琴學秘譜》中。按《詩夢齋琴譜》該曲後記云：“此曲傳自晉齋先生，後數十年，又經十一絃館添註工尺。以簫和之，音韻古淡，非悅耳之調也。此曲聞自寧王秘譜得來，然是本世所罕見。”
樂曲寫人們經過一天的辛勤耕作後，在湖畔休閒自得地垂釣的雅致。
This is a piece firstly published in the Qinxue Mipu of Yiliu Zhengwu Zhizhai (1864). According to the comment of the Qin Scores of Shi Meng Zhai, this piece was passed down by SUN Jin-zhai. The music depicts the hermitic life of one who escaped from the social activities and live whoever like.
此曲最早見於清‧康熙（公元一六九一年）郭裕齋傳譜，吳寶庚、汪天榮同校訂的《德音堂琴譜》中。據《琴學初津》所記：“是曲尹芝仙所作。音節流麗，氣韻自然，詢美曲也。”又《誠一堂琴譜》作《蘇門嘯》，後記云：“北音蒼勁，如得其肯綮，真有響動林壑之勢。”
This is a piece firstly published in the Qin Scores of De Yin Tang (1691). According to the comments of Qinxue Chujin, this piece was composed by YIN Zhi-xian. The music itself is natural, easy and smooth. The sound of it is loud and clear and can get through the whole forest.
此曲是徐元白先生的原創琴曲作品，先生於抗戰勝利後由川返杭，吊鉅創於劫後，逢舊雨於湖邊，悲喜交集，無以自況，故借變聲以作曲，以盪胸臆。
This was the original composition of XU Yuan-bai, at the year after the victory of the War against Invasion, on his way backto Hangzhou. The composer reflected upon the hard years during the war, and the same rain fell on Xihu Lake. Complicated feelings rushed and filled his bosom, the composer couldn’t but put his emotion into music. There are ten sections to the piece. The start of the music appears fishermen drawing their boats on the lake, singing their favorite songs while drinking wine. At the deep of the read marshes, the whole atmosphere is heavenly.
此曲最早見於明‧嘉靖（公元一五四九年）汪芝輯《西麓堂琴統》卷十四中。按該譜所云：“是曲為唐代詩人陸龜蒙和皮日休泛舟松江，見漁父醉歌而作。”明代的另一部琴譜《杏莊太音補遺》（公元一五五七年）又曰此曲蓋本張仲宗詞，云：“明月太虛同一照，宅忘昏曉，醉眼冷看朝市鬧；煙波老，誰能惹得閒煩惱？”這首詞表達了明月之下駕舟飲酒的漁人對世俗的蔑視和得意自在的神態。但這些明版琴譜本早已無人演奏了；近代流傳的《醉漁唱晚》是清末琴家，四川青城山道士張孔山的傳譜，它與前說的《醉漁唱晚》是同名異曲，但這些古譜解題中所云的樂曲意境，卻也是適宜的。此曲結構嚴謹，語言簡練。其中描寫漁父醉歌，小舟顛簸的情景，頗有特色，是一首極為精緻的琴曲小品。
This is a piece firstly published in the Xilutang Qintong (1549). According to the explanation notes of this collection, “This piece was composed by two famous eccentric poets in the Tang Dynasty after they saw a drunken fisherman singing on the drifting boat. Another qin score collection held that this was in fact based on another poem about the fisherman’s disdain towards the world and his enjoyment of wine and solitude on the drifting boat in a moonlit night. However, nobody plays these two versions again. The contemporary version was passed down by the late Qing Dynasty qin player ZHANG Kong-shan, which is a different piece of music with the same title as that of the Ming Dynasty ones. However, the above explanation of the music is still valid.
此曲是夏蓮居老居士於一九五Ｏ年代的原創琴曲作品，蓮公在民初時，曾任齊魯金石書畫館監督，一生撙衣節食，喜收藏歷史珍貴文物，藏品中至愛者，有“九德”俱備的“猿嘯青蘿”古琴及“梅月”古硯。為此，譜寫《長梅片月》一操，以寄其對該琴、硯珍愛之情，將流露心間的情懷被之操縵。
This was the original composition of XIA Lian-ju in 1950’s. He had been the supervisor and officer in charge of the Museum of Seals and Paintings at Shandong. He was fond of collecting antiques. Some of his beloved items were a qin made in Tang Dynasty and an inkstone named Plum and Moon. In order to express his deep feelings, he composed this piece.
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》卷之下。希仙曰：“是曲也，王摩詰所作，而後人增益之。按祖譜無此曲，想夫吾人之生，會少離多，臨別之際，把酒而三唱陽關，西出而無故人，吳楚同愁之語，何其愴乎？”
唐代詩人王維的《送元二之安西》詩，被譜成《渭城曲》，收在《伊州大曲》中，因詞中有“西出陽關無故人”，且曲調反覆疊唱三遍，再被譜成琴歌《陽關三疊》，流傳至今。樂曲情意真切、激動沉郁，也有去辭獨彈，以表對遠行友人那種無限關懷、留戀的誠摯情感，是一首典型的別恨離愁樂曲。
This is a piece firstly published in the Zheyinshizi Qinpu (1491). The explanatory notes reads that, this piece was composed by WANG Wei who was a poet of the Tang Dynasty. He wrote a poem titled “Seeing off Yuen Er at Anxi”. This poem was made into a song called “Song of Wei City”. The whole song can be divide into 3 parts, with a basic tune and its variations repeating 3 times. This song was also called “Song of Yangguan” since the following words appeared in the lyrics : “After you go through Yangguan towards the west, you will not find any friends”. This song was made into a song with qin accompaniment, then into a piece for solo qin. The emotion of the music is sincere, vigorous and depressed, expressing the singer’s care and thoughts for his friend who is going to part from him. It is a typical farewell song.
此曲為謝俊仁原創於一九八六年的琴曲作品。“乙反”是廣東音樂常用的音階，強調７、４兩音（即工尺譜中的“乙”、“反”），屬徵調式。是曲用兩個相隔四度的“乙反調”寫成，初時相互交錯，最後結合為一，故名《雙乙反調》。
This piece was the original composition of TSE Chun-yan in 1986. Yifan is a mode commonly used in Guangdong music, with emphasis on si and fa (that is, the Yi and Fan in the Gongche notation respectively) and which can be grouped under the Zhi mode.
This composition modulates between two sets of Yifan modes a fourth apart, which ultimately merge together towards the end.
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（公元一七三八年）佚名輯，清果親王允禮藏鈔本《琴書千古》卷三中。按該譜集所載，是曲原名為《韋編》，審視歷代刊傳琴譜中，除《琴書千古》外，未見他本有錄存此曲。這是一首以孔子治《易》的典故為題，用以表現刻苦讀書的琴曲。
This is a piece firstly published in the Qinshu Qiangu (1738). According to the book’s explanation notes, “The original title of the piece was Weibian. We could find it only in the Qinshu Qiangu.” This piece describes Confucius’s hard study of the Book of Changes.
此曲最早見於清‧同治（公元一八六四年）張鶴（靜薌）撰《琴學入門》卷下中。其後清‧光緒（公元一八八四年）清谼子纂輯《雙琴書屋琴譜集成》稿本第五卷中，亦收有此曲。該集成更謂：“此譜細緻”。
這首曲子是失響百多年的閩派琴曲，是祝桐君之作，刊存於《琴學入門》，曲中那風雲四起、慷慨激昂的情緒，奏來恍如激起了千層浪，引人注目。演奏此曲，需用堅實有力的散音開指，由低音區層層推向高音區，達致樂曲的高潮，才能製造磅礡的氣勢。
This is a piece firstly published in the Qinxue Rumen (1864). This is a piece of Min (Fujian) School, made by ZHU Tong-jun. It depicts the unstable gathering like the wind and clouds coming together to form a storm which aroused multi-layer of waves with surging momemtum.
《列子‧湯問》記載著：“伯牙善琴，子期善聽”的故事，二人通過演奏與領會琴曲“高山流水”的內容，而結成了知音，傳為千古佳話。據文獻記載，《高山》、《流水》原為一曲，自唐代以後，一分為二，傳至清代，琴家馮彤雲將之授與成都張孔山，後被收錄在《天聞閣琴譜》中，成為川派琴樂名曲，侯作吾據此整理，重將二曲合彈，演繹出波濤澎湃的氣勢，以寄情在家鄉高處，遠眺都江堰的水勢之感受。
The ancient story records that Bo Ya was good at playing qin and only Zi Qi could perceive the meaning and conjecture in his music. They became bosom friends due to the mutual appreciation. It was recorded that High Mountains and Flowing Water were separated into two individual pieces after Tang Dynasty. The Music was originally found in Mysterious Scores of Qin. Later in Qing Dynasty, FENG Tong-yun passed down them to ZHANG Kong-shan, they were published in the Qin Scores of Tian Wen Ge and became the famous pieces of Sichuan. HOU Zuo-wu based on this and played them together to form one piece again. The music depicts the high mountain and expressing the gentlemen’s interest in the mountain scenery and the fondness in flowing water.
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。此曲亦名《鳳雲遊》，據琴統解題云：“鳳雲遊，虞皇所製也。唐人薛易簡年十七能精此弄，繇是知名。易簡天寶中以琴待詔翰林，所著琴訣，至今傳之。兹曲之來，當有自云。”
This is a piece firstly published in the Xilutang Qintong (1549). The style of this piece is unique, with vivid mood and variable tune. There are total nine parts. The speed and tempo of each part are similar, except for the beginning and end. However, the colourful spirit realm was revealed by the tone variety and the adoption of multi scales. The piece was quite popular in Tang Dynasty. Tang qin player XUE Yi-jian included the piece in his score and stated it was composed by Emperor Yu. However, it possibly to be product of Wei or Jin Dynasty. Telling from its plain and candid music features.
此曲最早見於明‧嘉靖（公元一五四七年）黃獻（梧岡）輯《琴譜正傳》中。據《太古遺音》（楊掄）云：“按斯曲乃蘇公東坡所作也。昔公於雲龍山作效鶴亭記歸，餘興未盡，撫弄冰絃，而著是曲。予聞易訓鶴鳴子和，詩詠九皐聞天，公得無仿斯意乎？抑將謂是物清遠閒曠，超然於塵垢之外，用以比山林遯世之士，守貞而不污也。允矣，微矣。”
是曲情致微婉迴曲，極其矜天真外囂務之意。北音矯健條暢，須以蒼勁出之。
This is a piece firstly published in the Qinpu Zhengchuan (1547). According to the explanatory notes of Taigu Yiyin (YANG Lun) (1609) reads that, “This piece was composed by SU Dong-po. When Su completed his poetic work at Mount Yun Long and with a wish to prolong a pleasant diversion, he composed this qin 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》中卷霞外神品中有《鶴鳴九皐》一曲，臞仙按，琴傳曰：“是曲者，古曲也。”《小雅‧鶴鳴篇》曰：“鶴鳴於九皐，聲聞於野。”又曰：“聲聞於天。”朱子釋云：“澤曲日臯。數至於九，喻其深且遠也。鶴為仙靈之禽，其鳴高亮，聞八九里。”此曲之意，蓋以鶴鳴喻琴聲焉。樂曲用造象之法描寫鶴舞，用擬聲的方法表現鶴唳，自有一番情趣。
This is a piece firstly published in the Mysterious Scores of Qin (1425).The rhythm of the tune is some times dance alike depicting the crane’s movement, while the timbre of fingering parallels the cry of the crane with the sound of the qin.
此曲名最早見於明‧嘉靖（公元一五四九年）汪芝輯《西麓堂琴統》卷十中，往後譜集亦多採用此名。《神奇秘譜》與《風宣玄品》有《忘機》曲；《陶氏琴譜》則作《忘機引》；《德音堂琴譜》稱《鷗鷺》；《蓼懷堂琴譜》及《天聞閣琴譜》又作《海鷗忘機》，此皆為同曲異名。
按臞仙曰：“是曲者，宋天台劉公志方之所製也。或謂按列子海翁忘機，鷗鳥不飛之意。以指下取之，大概與坐忘意趣同耳。”樂曲氣息幽逸，為琴中獨步，當淨境良宵，焚香靜鼓，神舒意暢，太上忘情，機心從何得起？
This is a piece firstly published with this name in the Xilutang Qintong (1549). It was publish with same content and named Forgetting Vulgar for short in Mysterious Scores of Qin and more than twenty other collections thereafter. According to the explanatory notes of Mysterious Scores of Qin, “The music was composed by LIU Zhi-fang”. The structure of the tune is different at each conclusion sentence of the three sections. Its mood is serene and far reaching as if the player is strolling alone in the wood. Such a clear bright night, the flowers are sending off its scent. The drum is sounding quietly. One’s mind is as ease. How can anybody possibly bear vulgar thoughts at such a moment?
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《黃雲秋塞》一曲，臞仙曰：“是曲者蓋古曲也。言塞上胡沙漠漠，迢遞萬里，黃雲蔽天，酸風射人，滿目淒然。關山南北，其悲愴之意，寂寥蕭索，覩景傷懷。是以含情寄意，付諸徽軫者，可以起營州之秋思，而感玉關之懷故鄉也。”又據《重修真傳琴譜》云：“此曲黃魯直作，後人增益之。”
This is a piece firstly published in the Mysterious Scores of Qin (1425).The explanatory notes reads, “The piece was an ancient tune. It depicted the sceneries of the frontiers in autumn which might affected one’s homesick.”
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，臞仙曰：“是曲者，與秋月照茅亭一人之所作也。蓋曲之趣也，我有好懷，無所控訴；或感時，或懷古，或傷悼，而無所發越者、非知音何以與焉？故思我昔日可人，而欲為之訴，莫可得也；乃作是曲。”
This is a piece firstly published in the Mysterious Scores of Qin (1425).The explanatory notes reads, “The composer of the piece was the same as the Autumn Moon over a Thatched Pavilion.” The music expresses the composer’s profound memory of his old friends. The deep feeling and intense woe are depicted in the rushing melodies. When the emotion is quieted down, only the endless longing lingered.
此曲最早見於清‧康熙（公元一六七七年）程雄（穎庵）選訂《松風閣琴譜》中。按《春草堂琴譜》此曲後記中稱：“是曲正韻多收七絃，乃宮音之清者。其高激處，益復淒絕。”曲趣描述杜鵑的鳴聲之淒厲，常能引發游子的思歸心情。
This is a piece firstly published in the Qin Scores of Song Feng Ge (1677). According to the Qin Scores of Chun Cao Tang’s comment, the music depicts the homesick feeling of one who travels along the mountain in springtime.
此曲原名《夕陽簫鼓》，是一首悠久的琵琶文曲，一八六四年的《今樂考證》已在考證此曲；通過數代傳承，到了近代汪昱庭又作了加工潤飾，改名為《潯陽夜月》；其後一九二五年，上海大同樂會的柳堯章和鄭覲文等據此改編成合奏曲，易名《春江花月夜》。一九五八年陳長林將此曲移植成琴曲獨彈，儘管名稱和表演形式不同，但音樂的內容和意境則是相同的。優美安靜的旋律，展示出江南水鄉迷人的景色，就像一幅工筆精細，清麗淡雅的山水畫卷，引人入勝。
This composition originated from an ancient pipa solo Xiao and Drums at Dusk. The available earliest score could be dated back to 1895 from the album of WU Wan-qing of Wuxi. LI Fang-yuan further developed the piece in 1875 and changed the name into Xunyang Pipa. The composition was further modified by WANG Yu-ting who changed the title into The Moon over Xunyang. In 1925, developments were made to orchestral music by LIU Yao-zhang and ZHENG Jin-wen and was given the title Moonlight over the River in Spring. In 1958, CHEN Chang-lin adapted it to a qin solo piece. However, the contents and conception remain the same throughout all the changes in titles and arrangement. It is still a soothing and peaceful melody delicately depicts the waters and villages of Jiangnan that is like a charming Chinese painting.
此曲最早見於清‧康熙（公元一六六四年）莊臻鳳（蝶庵）撰《琴學心聲》中。按《蕉庵琴譜》之解題云：“此曲之妙，凋桐生杜，為天地秋聲。其氣蕭然，令人增慨。然其精意惇古淡樸，有清妙之理存焉。而涼飆指下爽肅，有‘靜落堦前葉，清傳月下砧’之意。”
樂曲韻收宮音，體格純正，樂段不長，而一氣呵成。清新的旋律，活潑的節奏，生動地描寫了秋梧為風所動，落葉飄舞盤旋之態。
This is a piece firstly published in the Qinxue Xinsheng (1664). This was one of ZHUANG Zhen-feng’s compositions. The music is melodic, especially the combination of its long and short phrases depicts vivid images of parasol leaves dancing at the autumn wind, reflecting the composer’s literary disposition and aesthetic approaches.
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，將此曲的作者歸諸於東漢的蔡邕或西晉的左思。樂曲的內容描寫了在秋夜月下彈琴於茅亭之內以訴心中之志時的意趣。這就是朱權所謂的“但見明月窺人，入於茅亭之內，使心與道融，意與妙合，不知琴之於手，手之於琴，皆神會也。”的境界。此曲的旋律非常別致，重要的一點是，有效地運用了五聲以外的變音，從而豐富了調性的感覺。此曲宜慢不宜快，應注意旋律的連貫與起伏，奏者不可不察也。
The compiler of the Mysterious Scores of Qin (1425) attributes the piece to CAI Yong (132-192). The music describes a feeling of playing the qin at a thatched pavilion and under the moonlight. The tranquility is the ideal state. The melody is slow and subtle, with the notes sometimes beyond its pentatonic quality.
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.
日本京都西賀茂神光院珍藏有一手抄唐人卷子《幽蘭》，是現存最早用文字譜式寫成的一首古琴曲，為南朝梁代丘明所傳（公元九Ｏ八年前），原譜未署作者姓名，譜前冠有“碣石調”，故又稱《碣石調‧幽蘭》。一八八四年，楊守敬將之影印帶回中國，被黎庶昌收入《古逸叢書》（一八八五年）中。其後琴家們相繼對該曲進行“打譜”，在研究基礎上再度進行解譯，突出了曲中幽憤、傷感、光明、坦蕩、雅潔、清高、清壯、感奮等內涵，就好像深山幽谷的蘭花，抒發懷才不遇，鬱鬱不得志的心情。
In the Royal Museum of Kyoto, Japan, there sits one hand-written tablature of Orchid in Seclusion, which is believed to be the oldest qin score. It is attributed to QIU Ming of the Southern Dynasty, although the composer did not put down his signature. A prefix “Jie Shi Diao” was found on the score, so it is sometimes referred to as Orchid in Seclusion, in Jie Shi Diao. In 1884 YANG Shou-jing brought the facsimile back to China and it was subsequently included into the Gu Yi Series. A lot of qin players have published their transcriptions of this piece. They highlight some inner qualities found in the music: the hidden resentment, the sadness, the brightness, the frankness, the elegance, the unworldliness and the passion. Which characterize someone who resembles an orchid in a deep valley. Who is very depressed because nobody recognizes his talent.
此曲最早見於明‧萬曆（公元一六Ｏ九年）楊掄輯《伯牙心法》卷下，按該譜集標為《閨怨操》，其解題云：“李易安以閨中之秀，填詞絕代，此鳳凰台上憶吹簫曲也。今世於宋小詞多恨不傳歌，兹被諸絲桐，吟寫之餘，較增一賞心矣。”
This is a piece firstly published in the Boya Xinfa (YANG Lun) (1609). It has another name called Guiyuan Cao. The music was originally composed in the classic operatic kunqu style of the Qing period, but was subsequently modified into the piece as we know it today.
The title of the piece alludes to the love story of Nong Yu and Xiao Shi of the Qin period. While the music itself depicts the feelings of the Southern Song poet LI Qing-zhao’s longing for her husband ZHAO Ming-cheng and tells of her grief at their being apart.
唐代文學家、哲學家柳宗元寫有著名的詩作《江雪》：
千山鳥飛絕，萬徑人踪滅。
孤舟簑笠翁，獨釣寒冮雪。
作曲家朱踐耳於一九九八年完成了第十交響曲–《江雪》，並於一九九九年由陳燮陽指揮上海交響樂團首演，吟唱為尚長榮，古琴為龔一。
這首交響曲，並非純為古詩譜曲，也不在寫柳宗元的個人遭遇，而是借助於詩的意境，以吟、誦、唱相結合的手法，加上古琴新韻，站在今人的立場上，給以交響化、現代化的表述，以弘揚浩然正氣和獨立人格精神。
This piece was the original composition of ZHU Jian-er in 1998 and premiered on October 9, 1999 with CHEN Xie-yang conducting the Shanghai Symphony Orchestra. This symphony , written after LIU Zong-yuan’s poem Fishing in Snow for chant-recital, the qin and orchestra in one movement. It is not merely writing song for Chinese ancient poem nor portraying the poet’s miserable life, but using the artistic concept of this poem passed upon today’s viewpoint, this Symphony has combined chant-recital and special rendition of the Chinese ancient instrument qin together with modern symphonic technique, to display the noble spirit and high moral gualityof independent personality.
《歸去來兮辭》
初見於明代正德年間謝琳所編集的「太古遺音」琴譜，屬於有文的琴歌。往後的琴譜著錄甚多，但曲調的變異也不小。另有一傳承，初見於明嘉靖年間楊嘉森所編的「琴譜正傳」。該譜傳承的「歸去來辭」演奏者少，影響不大。
容天圻先生因嚮慕陶淵明的為人，曾以清道的筆調作陶淵明造像，並以工整的小楷題寫「歸去來兮辭」，也取「自遠堂琴譜」打譜，完成本曲。此譜屬「太古遺音」系的傳譜，與初見譜差異並不大，音韻聯絡則較流暢。全曲內容完全結合詞義，而容先生打譜所訂的曲調和節奏，也可以一字一音對音歌唱。其全文為：
歸去來兮，田園將蕪胡不歸！既自以心為形役，奚惆悵而獨悲。悟已往之不諫，知來者之可追。實迷途其未遠，覺今是而昨非。舟搖搖以輕颺，風飄飄而吹衣。問征夫以前路，恨晨光之熹微。乃瞻衡宇，載欣載奔。僮僕歡迎，雅子候門。三徑就荒，松菊猶存。攜幼入室，有酒盈樽。引壺觴以自酌，盼庭柯以怡顏。倚南窗以寄傲，審容膝之易安。園日涉以成趣，門雖設而常關。策扶老以流憩，時矯首而遐觀。雲無心以出岫，鳥倦飛而知還。景翳翳以將入，撫孤松而盤桓。歸去來兮，請息交以絕遊。世與我而相遺，復駕言兮焉求！悅親戚之情話，樂琴書以消憂。農人告予以春及，將有事於西疇。或命巾車，或棹孤舟。既窈窕以尋壑，亦崎嶇而經丘。木欣欣以向榮，泉涓涓而始流。羨萬物之得時，感吾生之行休。已矣乎！寓形宇內復幾時？曷不委心任去留。胡為乎遑遑欲何之？富貴非吾願，帝鄉不可期。懷良辰以孤往，或植杖而耘耔。登東皋以舒嘯，臨清流而賦詩。聊乘化以歸盡，樂夫天命復奚疑！
《一閃燈花墮》
是謝俊仁於1988年原創的古琴曲，是參考傳統古琴曲式和風格寫成，結尾有轉調段落，以增加樂曲之感染力。全曲表達納蘭性德詞《尋芳草•蕭寺紀夢》思念亡妻之歎。詞的最後一段是「乍偎人，一閃燈花墮，卻對著琉璃火。」
《宋玉悲秋》
和其他以楚文化為題材之琴曲，如較常彈奏的〈離騷〉、〈楚歌〉等，在琴譜歸入「淒涼調」。據《西麓堂琴統》題解：「楚宋玉負才放志，不協於時，感秋氣而有悲哉之歎。後人因被之於徽軫。」
《山居秋暝》
是由中國音樂家協會理事劉永海先生依據天津民間簫曲《大佛調‧落江雁》的曲調整理並配以王維的同名詩而成，在天津古琴會成立的音樂會上（1994年）首次演唱。
《夜雨南窗》
本曲詞曲皆為金陵琴人李家庵先生所作，其詞為：“開遍海棠憶故交，思君永夜意難消。空將淚眼濕衣枕，漫把愁腸浸玉簫。一曲未了音已斷，三春將盡夢魂遙。蕭蕭風雨人安在，獨立南窗歎寂寥。＂此曲原為洞簫伴奏演唱，張子盛配以古琴指法，載於1996年《春陽琴刊》第三期。
《韶樂‧歌劇〈賭命〉選曲》
是在歌劇《賭命》中一幕古琴獨奏片斷，表現人性貪婪和無知的一面。採用現代音樂寫作手法，樂思跳躍，無調性音樂，並打破傳統古琴定弦方式，以一種突破傳統的表現方式呈現出來。
《醉漁唱晚》
最早見於1549年《西麓堂琴統》。此曲短小精悍、簡練而通俗，是一首不多見的古曲精品。
樂曲生動地描繪了漁人泛舟江上、悠然自得、陶醉於山水的神態，時而坦蕩瀟灑，時而跌宕疏放、鬆緊快慢、輕重疾徐，變化無窮。
《莊周夢蝶》
《莊子》中記載：“昔者莊周夢為蝴蝶，栩栩然蝴蝶也，自喻適志與！不知周也。俄然覺，則遽遽然周也。不知周之夢為蝴蝶與，蝴蝶之夢為周與？周與蝴蝶，則必有分矣，此之謂物化。”
《空山憶故人》
是一個四川的傳鈔本，載在《今虞琴刊》中，廬陵彭慶壽云：憶故人，亦名山中思故人，或云空山憶故人，傳為蔡中郎作。本操用律取音，謹嚴有法，韻收徵音，輔之以商。
《大躍進的歌聲震山河》
一九五八年，查阜西先生出席蘇聯作曲協會所召開之五聲音階創作會議。回國後，參加琴會活動，並根據當時最受歡迎之歌曲《大躍進的歌聲震山河》移植成琴曲，作為元旦獻禮。該曲原作為管平作詞、唐訶作曲。歌詞：年年兒我們要唱歌，比不上今年的歌兒多；全國一齊大躍進，開山劈嶺改江河。河水上了高山坡，清水流過大沙漠，到處種稻麥，遍地栽花果，快馬加鞭躍進再躍進，嘿！齊唱勝利歌！歌聲震山河！年年兒我們要唱歌，比不上今年的歌兒多；鼓足幹勁爭上游，多快好省大建設。一人當十百當千，一天干它兩天活，人人比先進，到處英雄多，工業農業今年要大發展，嘿！歌聲震山河，哎，歌聲震山河！
《靜 聖香引》
一縷縷悠遠的青煙，伴隨著彌久而莊嚴的佛音，在山林間，在殿堂上，闡釋著禪的大妙境界。 使人心生歡喜，心明性悟，開啟了禪境帶給我們的智慧之路。
《聖香引》，正是將禪境的空靈與圓融，用如煙般的音符表達出來，形有萬千變化，神卻凝於一處。
《禪 觀自在》
觀自在之境，觀照萬法而任運自在，無始劫來，妙法自在，觀其自心，觀心則無心，心空境寂，一切法如幻如化，於一切法得自在。
《觀自在》所想表現的境界，正如《般若波羅蜜多心經》中所述：「空中無色，無受想行識……，遠離顛倒夢想，究竟涅槃。」天音妙勝。
《行 進終南》
表述「日進終南夜宿山，靜聞松濤枕石眠。風語青石鳴不住，酌茶一盞靜觀禪。淨花毋需清泉洗，直裰一身不知寒。若得菩提證本心，一僧一石一蒲團。」
在終南山清幽的流水旁，山風中搖曳的草木之音，和著遠處山寺傳來若隱若現的誦經聲，靜坐山石下，菩提自生，本心得證。
《定 慧海航舟》
諸法就如煙波浩渺的大海，修行的過程，就像駕著一葉扁舟，在塵世的波瀾中追求真理，只有懷著無比堅定的信念，才能明心見性，離苦得樂。
《慧海航舟》表達的意境，正是參禪的第二重境界，這個修持的過程，只有心生定念，牢牢地固住自己的心性，才能體悟禪機給我們靈魂帶來的觸動。
《願 大相般若》
般若就是如實理解一切事物的智慧，如何在世間反復的萬象之間如實地明瞭般若智慧？諸法相源明慧具，觀三千大世界，唯法相莊嚴。
《大相般若》所闡釋的意境，正是在佛陀光耀三千大世界的智慧之下，發大願心，證無量慧，光明圓滿，無苦無懼。
《回向 金剛圓滿》
金剛智慧堅不可摧。般若圓滿，禪境殊勝，願以此金剛圓滿回向最高無上的佛果，以琴音悟禪，祈願圓滿光明。
願以此功德，莊嚴佛淨土。上報四重恩，下濟三途苦，若有見聞者，悉發菩提心，盡此一報身，同生極樂國。
《躍進歌聲》
是老一輩蜀派古琴名家喻紹澤先生創作於上世紀50年代末，此曲以新穎的節奏編排、激昂的旋律，來謳歌建設新中國的火熱景象。
《即興演奏》
這是李祥霆演繹的一首即興琴曲作品。
Puan Scripture《釋談章》又名《普庵咒》，它的樂譜最早見於明末《三教同聲琴譜》（1592年），清代大套琵琶曲和佛教絲竹曲中也有《普庵咒》這個曲名，根據琴譜旁之梵文字幕的發音看，像是幫助學習梵文發音的曲調。古代曾有普庵禪師，可能是本曲的緣起。樂曲使用了較多的撮音，幫助音樂造成古剎聞禪、莊嚴肅穆的氣氛，曲式上不同於一般樂曲，有些類似絲竹曲中曲牌聯結的形式。
《即興（傳統）》
這是李祥霆演繹的一首傳統風格即興琴曲作品。
《即興（現代）》
這是李祥霆演繹的一首現代風格即興琴曲作品。
《即興吟唱王維詩 “陽關”》
這是李祥霆演繹的一首以唐代王維詩 “陽關”為題的即興琴曲吟唱作品。
《林中漫步》
這是李祥霆參與演繹的一首由古琴、長笛等的重奏即興作品。
《琴命題即興演奏：寧鳴而死，不默而生》
是李祥霆按音樂會現場觀眾的命題，所作的琴曲即興演奏作品。
《詩詞即興撫琴吟唱》
是李祥霆根據音樂會現場觀眾所提供的詩詞，作即時的現場即興撫琴吟唱。
《即興重奏（古琴、長笛、曼陀林、南美洲鼓）》
這是李祥霆參與演繹的一首由古琴、長笛、曼陀林、南美洲鼓的重奏即興作品。
《即興重奏（古琴、長笛、鋼琴）》
這是李祥霆參與演繹的一首由古琴、長笛、鋼琴的重奏即興作品。
《野花之舞》
（即興重奏：古琴、長笛等），這是李祥霆以古琴即興與長笛等作重奏的琴樂作品。
交響詩《琴詠春秋》
第一樂章《大風歌》（漢）劉邦：大風起兮雲飛揚，威如海內兮歸故鄉，安得猛士兮守四方！
第二樂章《短歌行》（東漢）曹操：對酒當歌，人生幾何？譬如朝露，去日苦多。慨當以慷，憂思難忘。何以解憂？唯有杜康。青青子衿，悠悠我心。但為君故，沉吟至今。呦呦鹿鳴，食野之蘋。我有嘉賓，鼓瑟吹笙。明明如月，何時何掇？憂從中來，不可斷絕。越陌渡阡，枉用相存。契闊談讌，心念舊恩。月明星稀，烏鵲南飛。繞樹三匝，何枝可依？山不厭高，水不厭深。周公吐哺，天下歸心。
第三樂章《詠梅》，《卜算子•詠梅》（南宋）陸游：驛外斷橋邊，寂寞開無主。已是黃昏獨自愁，更著風和雨。無意苦爭春，一任群芳妒。零落成泥碾作塵，只有香如故。
《卜算子•詠梅》毛澤東：風雨送春歸，飛雪迎春到。已是懸崖百丈冰，猶有花枝俏。俏也不爭春，只把春來報。待到山花爛漫時，她在叢中笑。
第四樂章《沁園春•雪》毛澤東：北國風光，千里冰封，萬里雪飄。望長城內外，惟餘莽莽；大河上下，頓失滔滔。山舞銀蛇，原馳蠟象，欲與天公試比高。須晴日，看紅裝素裹，分外妖嬈。
江山如此多嬌，引無數英雄競折腰。昔秦皇漢武，略輸文采；唐宗宋祖，稍遜風騷。一代天嬌，成吉思汗，只識彎弓射大鵰。俱往矣，數風流人物，還看今朝。
《平沙落雁》
（唱弦），就是以演奏的指法或弦序做唱詞，來吟唱琴曲的曲調，是琴樂“口傳心授”的體現之一。當唱弦時，氣息、心板、旋律等古琴音樂的重要要素都融入了風格、傳統、傳承、韻意之中。張子謙翁八十多歲時留下的這一唱弦錄音，既是他少年學琴的暮年回味，也是廣陵派現存唯一的、無可置否的原生傳承形態，堪稱當今琴壇的“絕唱”。
《西湖夢尋》
是新浙派古琴家徐君躍先生受晚明文學家張岱同名著作《西湖夢尋》啟發而作。作曲者生長於杭州西子湖畔，掩卷感慨書中作者描繪的山水勝景與人文風情時的傳神，其以寫實的手法表現西湖美景更以景寓情，意在“言外”洋溢著鮮活人文氣息，由此激發靈感，創作了這首借描述西湖風景、展現西湖文化風釆，以弘揚傳統文化精神，在追求文人情懷的同時傳播浙派古琴文化，從而促進民族文化之復興，歌頌當今盛世西湖新貌的古琴獨奏曲。
《千年風雅》
有說不盡亘古及今的無窮歲月，道不完源遠流長的燦爛文化，敘述著人世間的風情雅韻，社會的滄桑變遷。讓人撫今追昔無限遐想，把你帶入一個深遠幽思的意境……
《檐下雨意》
表述：誰言別後終無悔，寒月凊宵綺夢回。深知身在情常在，前塵不共彩雲飛。
《月滿西樓》
以宋代女詞人李清照的《一剪梅•紅藕香殘玉簟秋》為歌詞，蘇越譜曲的一首歌曲。紅藕香殘玉簟秋，輕解羅裳獨上蘭舟。雲中誰寄錦書來，雁字回時月滿西樓。花自飄零水自流，一種相思兩處閑愁。此情無計可消除，才下眉頭卻上心頭，卻上心頭。
《雲水禪心》
雲水，這兩種物體無形無態，是飄流不定柔情萬種的世間自由之物。寺院叢林常以“雲水僧”來雅稱雲游四方居無定所的道人。禪心，謂清靜寂定的心境，泛指清空安寧的心境。雲水禪心是指把自己禪遠的心思寄托在漂流不定的雲水之間，擺脫人世間的雜亂和無序，從而達到超然的境界。
《明月千里寄相思》
是一首紅遍上世紀40年代上海灘的歌曲，表達了與親人相隔千里，只能將思念之情寄托明月的情懷。
《桃源春曉》
題材取自東晉詩人陶淵明的詩文《桃花源記》，曲譜的後記也摘其序文大概： “晉太康中，武陵漁者操舟溪行迷失道，見桃花夾岸，落英繽紛，遂沿溪而入，得異境，桑麻村落，男女怡然。爭來問訊，云是秦人避亂居此，不知有漢，無論魏晉，如日送歸，他日覓之不可得矣，故有是曲。” 樂曲描繪寧靜和諧的田園、怡然快樂的人群。音樂語言質樸古老，旋律優美流暢，表達意境明晰顯然。
《少女與海》
是成公亮演繹的一首即興琴曲作品。
《太湖風車》
是成公亮演繹的一首即興琴曲作品。
《沉思的旋律》
在或溫潤柔美，或熾烈激情的彈奏中抒發內心情感。2005年，作者以印度音樂為主要素材創作此曲，在追求音韻細微變化的同時，又追求琴樂旋律的表達，充滿細深的人情善感。
《古老的龍舞》
是成公亮演繹的一首即興琴曲作品。
《古琴與梵唄》
是成公亮演繹的一首與梵唄所作的即興琴曲作品。
古琴套曲《袍修羅蘭》–地：
孕育萬物的大地，寬廣而厚重。天光乍現，智慧開啟。重濁與輕盈交織，氣象萬千。渾厚的鐘鳴，是大地上眾生的心聲。
古琴套曲《袍修羅蘭》–水：
山澗清流，活潑靈動，是青春，是純真。
古琴套曲《袍修羅蘭》–火：
火的熾熱，火的力量，如人不屈的精神、氣概。對篝火而坐，沉思、冥想。
古琴套曲《袍修羅蘭》–風：
微微的南風，是性情的寫照。
古琴套曲《袍修羅蘭》–空：
隨意而至，隨意而去。鐘聲再起，覺醒之聲。
古琴套曲《袍修羅蘭》–見：
見性唯美，唯愛。吟猱綽注，千回百轉，至真、至善。
古琴套曲《袍修羅蘭》–識：
認識、知道、明白，這是生活於世的根本，便有了流暢、通順、和諧的旋律。
古琴套曲《袍修羅蘭》–如來藏：
宇宙七因，如百川㳘大海，匯歸如來藏。是真理，是生命的頂峰，是精神的依歸。此時的琴聲，奏唱出平和的經文。靜思之中，鐘聲又起……。
《仙佩迎風》
是一個古代書生鄭交甫遇仙的故事。鄭交甫過漢江，遇江妃二女，冶容甚都，曳明珠，麗服微步，流盼生姿，交甫悅而求之，憑情言私，二妃解珮贈之，因忽不見，珮亦旋失，絕影焉追。此曲其音縹緲，其韻鏗鏘，令人舉頭天外，想入非非。
《老陽關三疊》
有別於1860年《琴學入門》譜的《陽關三疊》，本曲是根據1491年《浙音釋字琴譜》殘本與清末《雙池琴譜》合參、打譜，故在《陽關》前加一“老”字，以作區分。全曲曲調純樸真摯，略帶淡淡的愁緒，壯行是此曲最大特點，充滿了豪氣與悲壯。
