This is a piece firstly published in the Feng Xuan Xuan Pin (1539). According to the explanatory notes of Xilutang Qintong (1549) reads that, “In Warring States Period, when Xu Ling Zi was travelling in Mount Song, he heard someone playing the qin. He then was invited as a gust and be taught of this piece.”

《凱歌》

　　此曲最早見於清‧光緒（公元一八七六年）佚名撰《響雪齋琴譜》鈔本卷下中。按該鈔本中有“嘉慶丁卯十二年蕭立禮琴說手稿本，有潔庵沈明烺嘉慶十八年冬仲上浣書於響雪山房之西牕序文”等文字記載，書前後雖無撰著人，亦未錄出年月，也可視為清代之物。
譜內收有《凱歌》一曲，徵音四段，為他譜所無，疑為清代製曲。譜中多撮音，寫得勝歸來，凱歌高奏的意趣。

This is a piece firstly published in the Qin Scores of Xiang Xue Zhai (1876). It was a piece of Qing Dynasty which depicts the winning of a victory. It can only be found in the Qin Scores of Xiang Xue Zhai.

《古怨》

　　宋末嘉泰二年（公元一二Ｏ二年）錢希武所刻《白石道人歌曲》己載有此姜夔的作品，為現存最早的減字譜琴歌曲譜；琴用側商調，共四段，譜旁有詞：

一、日暮四山兮，煙霧暗前浦，將維舟兮無所，追我前兮不逮，懷後來兮何處？屢回顧。

二、（琴樂奏泛音的插曲段）

三、世事兮何據？手翻覆兮雲雨，過金谷兮花謝委塵土，悲佳人兮薄命誰為主？豈不猶有春兮？妾自傷兮遲暮，髮將素！

四、歡有窮兮恨無數；弦欲絕兮聲苦！滿目江山兮淚沾屨，君不見年年汾水上兮，惟秋雁飛去！

曲調哀宛，流露出對世事多變，江山易色，望興復，歎三才的感慨。

In Southern Song Dynasty (1202), QIAN Xi-wu published the Baishi Daoren Gequ by JIANG Kui. This song album includes the earliest qinge “Ancient Sorrow (Gu Yuan)”. Which the qin is tuned in ceshang Diao and play at four paragraphs with lyrics. The melody is deploring and melancholy. Showing intentionally the change of the environment. Hoping to reviving the collapsed nation.

《回憶》

　　此曲是管平湖先生於一九六Ｏ年代初原創的琴曲作品，內容表述了管先生對往昔事物的一些美好思憶，藉琴音以表衷情。

This piece was the original composition of GUAN Ping-hu in early 1960’s. The music depicts the beautiful memories by Mr. GUAN Ping-hu. He narrated it through qin music.

《大雅》

　　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《大雅》一曲，臞仙曰：“是曲者，周公之所作也。按詩經云：‘雅者，正也。正樂之歌也。’其篇有大小之殊，先儒有正變之別，正小雅，乃燕饗之樂；正大雅，乃朝會之樂，受釐陳戒之辭；懽欣和悅，以盡群下之情；恭敬齊莊，以發先王之德；是以詞氣不同，音節亦異，致有大雅小雅之別。予故删其小雅燕饗者而不用，獨取其大雅正聲之音而訂正之。”

依此看來，本曲或與明代以前的廟堂之樂有著淵源關係。聽來頗有端莊肅穆之氣，然其音階奇特，樂句有時向上作大二度的突然移調，令今人頗費猜測。

This is a piece firstly published in the Mysterious Scores of Qin (1425).All of the qin documents attributed the piece to the Duke Zhou, that proves its remoteness. Literally the Dynastic Song is a part of the Book of Songs, edited by Confucius himself. It is therefore, the music may originate from early court music genres.

The atmosphere of the music is solemn, and, if viewed from the modality, the transposition of a major second is worthy to be special mentioned.

《幽居》

　　此曲是李祥霆於一九九三年的原創琴曲作品。近些時，很多琴人都在追求淡雅，《幽居》便是李氏用傳統題目及傳統風格，以古人淡雅之題作淡雅之奏，以應情趣。

This piece was the original composition of LI Xiang-ting in 1993. It is an improvised performance of LI Xiang-ting with a traditional style. A retreating, peaceful, and quiet life style is the theme of the music.

《幽兰》

　　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.

《忘憂》

　　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：“是曲不知所從起因，因觀宋本得此譜，亦外調之一，存之以備參考。”
《忘憂》曲雖短小，但其調絃較為特殊，乃一般琴曲所少見，其取音奇特，除二變外，更有商、角、徵、羽四清之聲，曲調輕鬆流美。

This is a piece firstly published in the Xilutang Qintong (1549). According to the explanation notes of this collection, “It was hard to find the origin. This version was obtained from a score of Song Dynasty. It could be played in special tuning only.”
The delighted and natural tune brings out the high spiritual conception of ancient people.

《懷古》

　　此曲最早見於清‧道光（公元一八三六年）黃景星（煟南）纂輯之《悟雪山房琴譜》卷一中。標明為《古岡遺譜》，是宋遺民傳至廣東琴曲之一，其趣澹遠沉靜，回古風於指下，孑孑然若遺世獨立於無何有之鄉也，鼓之者，撫今追昔，興懷乎一唱三歎之間，有遺音者矣。

This is a piece firstly published in the Qin Scores of Wu Xue Shan Fang (1836). According to the explanation notes, “This is one of the qin piece handed down from the Song Dynasty and flourished in Guangdong. Originated probably from the Gugang Yipu.” The music itself is simple but elegant. When you get the meaning of it, your playing would like to think of the old times.

《招隱》

　　此曲初見於明‧洪熙（公元一四二五年）朱權（臞仙）輯刊的大型譜集《神奇秘譜》上卷太古神品，臞仙按，《琴史》曰：“是曲乃西晉時左思（字太沖）見天下溷濁，將招尋隱者，欲退不仕，乃作招隱。”又《樂府古題要解》記云：“《招隱》本楚辭，漢淮南王安小山所作也。言山中不可以久留。後人改以為五言，若晉左思仗策招隱等數篇，最為首出。”對照來看，左思招隱詩顯然是反淮南王安小山的“言山中不可久留”之意，而重在歌頌山林之美，隱者之樂了。
樂曲旋律流暢似民歌，在同一主調重覆三遍後，稍作變化，結尾富有感召性。
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 was composed by a hermitic literati of the Western Jin Dynasty. The melody could be fit into poetic words”. The music is ease and smooth.

《明君》

　　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。《西麓堂琴統》該曲後記載有傳說，意謂：漢武帝時有異人奉召抱琴入殿，鼓琴作明君操時，有群鹿突入殿庭，曲終，一鹿啣琴跨之而去。
This is a piece firstly published in the Xilutang Qintong (1549). According to the explanation notes of this collection, “Legend told that, Emperor Wu of Han Dynasty called in a musician to play the qin. After that a deer rushed in and kept the qin out in the mouth.”
This piece has a profound meaning, liveliness, mobility and happiness. It depicts the people in the ancient time hoped for an intelligent monarch and an ideal society.

《春風》

　　此曲創作於一九八二年，是許國華和龔一合作的琴曲作品，樂曲以明快抒情的調子，來表現人們在春意盎然的環境下，奮發向上的情趣。為了將古琴這種古老樂器的表現潛力發展，在繼承傳統的基礎上，於曲式結構、調性轉換、演奏技巧等方面都作了較大的突破。
This piece was the original composition of XU Guo-hua and GONG Yi in 1982. The lucid and lively music depicts the warm and bright spring days makes people raise all strength to achieve their goals.

《樵歌》

　　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《樵歌》一曲，臞仙曰：“是曲之作也，因元兵入臨安，敏仲以時不合，欲希先賢之志，晦跡岩壑，隱遯不仕，故作歌以招同志者隱焉。自以為遯世無悶也。”
此曲節奏自由，調性豐富，演奏講求功力。下指懸落，觸弦如劈老干。音樂忽如肩柴作歌，瀟灑不塵；忽如歇擔長嘯，划然谷應。真有蒼松翠柏之韻，幽巖奇壑之趣。
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. It was a period when the court was corrupted, the country was invaded by other nations and the people had no means of livelihood, and those people of ideals and integrity would not associate with the crafty people in the court and lived in seclusion in the mountains one after another. It was with the passion of cynicism of such a world that the composer expressed his feelings by describing the bold and unruly life and unlimited delight in mountains.”

《欸乃》

　　此曲最早見於明‧嘉靖（公元一五四九年）汪芝輯《西麓堂琴統》卷十九中。按該集云：“古昔韜名抱道之士，多托跡漁樵以自適。此曲真有雲冷山空，江寒月白之興。”
本曲又名《欸乃歌》或《北漁歌》，是後人據唐柳宗元《漁翁》詩中“欸乃一聲山水綠”句而作。“欸乃”是船夫搖櫓拉縴之聲。在樂曲中欸乃聲以不同形式先後出現，巧妙地表達了一種靜中有動的意境，讚頌了大自然秀麗的景色，反映了作者孤芳自賞的情緒。
This is a piece firstly published in the Xilutang Qintong (1549). The music was also named Song of Ao Ai or Northern Fishermen’s Song as well. It was created based on the verse in Fisherman, a poem by Tang Dynasty poet LIU Zhong-yuan. Ao Ai is the sound while rowing a boat. The sound was repeated in the music in different forms, depicting the conception of calm and movement, in praise of the beautiful natural scenery and reflecting the author’s admiration of his own talent.

《流水》

　　《列子‧汤问》记载：伯牙善弹琴，锺子期善听琴。一次伯牙弹了一首高山屹立、气势雄伟的乐曲。锺子期讚赏地说：“巍巍乎志在高山”。伯牙又弹了一首惊涛骇浪、汹涌澎湃的曲子锺子期又说：“洋洋乎志在流水”。锺子期能深刻地领会乐曲的内涵。从此他们俩人结成了知音，传为千古佳话。

　　据文献记载，自唐代以后，《高山》与《流水》分为两个独立的琴曲。曲谱初见于明代《神奇秘谱》（一四二五年），载于《百瓶斋琴谱》（一八五六年）与《天闻阁琴谱》（一八七六年）中的《流水》均为清代川派琴家冯彤云传与张孔山，其后再传而衍生出不同的两个绎传谱本；该曲是在《神奇秘谱》本的《流水》基础上加以发展，特别是在第六段中增加了七十二滚拂，绘声绘色地展现出一幅波涛起伏，汹涌湍急，奔腾澎湃的壮濶画面。

　管平湖：一九五六年据《天闻阁琴谱》本 7:35

顾梅羹：一九六三年据《百瓶斋琴谱》本 7:18

Flowing Water

The ancient story records that Bo Ya was good at playing qin and only ZHONG 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 Mountain and Flowing Water were separated into two individual pieces after Tang Dynasty. The music was originally found in Mysterious Scores of Qin (1425).

The two versions of Flowing Water in the Qin Scores of Bai Ping Zhai (1856) and the Qin Scores of Tian Wen Ge (1876)were both passed down by FENG Tong-yun of Sichuan School in Qing Dynasty. The music was developed on the base of Mysterious Scores of Qin, especially the techniques of seventy-two rolling being added into the sixth and seventh paragraph to vividly depicted a grandeous scene of roaring waves and running waters.

GUAN Ping-hu : Transcribed in 1956 according to the Qin Scores of Tian Wen Ge 7:35

GU Mei-geng : Transcribed in 1963 according to the Qin Scores of Bai Ping Zhai 7:18

《漁歌》

　　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。其後多種譜集都有收錄此曲，惟各譜解題有二種不同說法，其一：如《浙音釋字琴譜》等認為是唐代文學家柳子厚之作，曲者所述乃漁人徐徐出舟，蕩漾湖上，沽酒高歌，蘆花深處，飄飄欲仙，情繫於山水間也；其二：如《西麓堂琴統》等，主張為宋末浙派琴家毛敏仲仿古《樵歌》而作，乃達其隱逸之思。
This is a piece firstly published in the Zheyinshizi Qinpu (1491). The work is often attributed to the great Tang Poet LIU Zhong-yuan (773 – 819). The music has been set up according to a Liu’s famous poem “Old Fisherman”. The melody is undulating, the dynamics is waving, and a variety of the images shows as if in a morning scene of a misty autumn river. The fishing boats are rowed out, the nets are thrown into the cool water, and the antiphonal song of the fishermen comes up and down.

《玄默》

　　此曲又名《坐忘》，據明‧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《玄默》一曲之解題曰：“是曲者，或謂師曠之所作，又云嵇康，莫知孰是，蓋古曲也；自周春秋之世有之。其之曲趣也，小天地而隘六合，與造化競奔，游神於沖虛之外，使物我兩忘，與道同化，有不能形容之趣焉，達者得之。”
This is a piece firstly published in the Mysterious Scores of Qin (1425).The explanatory notes reads, “This is an ancient piece of music since the period of Chun Qiu, composed by Shi Kuang. Another saying, it was composed by Ji Kang. The music describes that one’s mind is wandering beyond the region of objective existence.

《白雪》

　　此曲最早見於明‧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，續見於明清以來二十一種刊本。《神奇秘譜》解題，臞仙曰：“是曲者，師曠所作也。張華謂天帝使素女鼓五絃之琴，奏陽春白雪之曲，故師曠法之而製是曲。陽春，宮調也；白雪，商調也。陽春取萬物知春和風淡蕩之意；白雪取凜然清潔雪竹琳琅之音。因有白雪，始製陽春之曲。”曲調平淡古雅，比喻人具有潔身自好的崇高情操。
This is a piece firstly published in the Mysterious Scores of Qin (1425) and also seen in twenty one different collections since Ming and Qing Dynasties. The explanatory notes of Mysterious Scores of Qin reads, “The music was composed by Shi Kuang. According to ZHANG Hua, the Lord of Heaven had once asked a girl in white to play the classical Sunny Spring and White Snow. The story gave inspiration to Shi Kuang, and he composed the music.” The classic and plain melody in this piece is trying to depict the purity of snow and the most important all, the spirit of preserving purity of personality.

《秋水》

　　此曲最早見於明‧崇禎（公元一六四七年）尹曄（爾韜、芝仙）輯《徽言秘旨》中。按該譜集原註謂即《神化曲》；又《春草堂琴譜》云：“秋水，莊子篇名。即神化曲，又名神化引。吾杭徐太珍嘗鼓是曲頗佳。時下截去第三、四、五、六段名昭君怨。”
是曲琴調悅耳，使人有超塵脫俗之感，借莊子之篇名，以喻道家天人合一之思想。
This is a piece firstly published in the Huiyan Mizhi (1647). In the Book of Zhuang Zi, there is a chapter called the Autumn Water. There is a qin piece also called the Autumn Water which has another names called Magical Tune or Magical Yin. The graceful melody and the name of the qin piece from Zhuang Zi’s book reflects the Taoism of the Heaven and human beings are with the same thought.

《秋祭》

　　此曲是謝俊仁原創於一九九七年的琴曲作品。
無言之詩 – 獻給摯愛的先祖母
夢迴
秋祭
假花
燭淚
用現代音樂手法寫成的四段短琴曲。
This piece was the original composition of TSE Chun-yan in 1997.
A poem without words – in loving memory of my late grandmother.
Composed in modern style and in four parts:
1. Back from a dream
2. The autumn sacrifice
3. Artificial flowers
4. Candle tears

《秋鴻》

　　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》下卷霞外神品中最後收有《秋鴻》一曲，臞仙曰：“琴操之大者，自廣陵散而下，亦稱此曲為大，蓋取諸高遠遐放之意，遊心於太虛，故志在霄漢也。是以達人高士，懷不世之才，抱異世之舉，與時不合，知道之不行而謂道之將廢，乃慷慨以自傷，欲避地幽隱，耻混於流俗，乃取喻於秋鴻；凌空明，干青霄，擴乎四海，放乎江湖，潔身於天壤，乃作是操焉。”
樂曲旋律蒼雄渾樸，節奏起伏跌岩。象聲寓意，寫景抒情，取意於鴻雁振翅高翔，知時賓秋，遠落平沙，銜蘆游弋，身南心北，排雲出塞，一舉萬里，搏擊長空之南征，以寓曠達之志，高遠之懷。
This is a piece firstly published in the Mysterious Scores of Qin (1425).This work is often attributed to either GUO Mian of Southern Dynasty (1127 – 1279), or ZHU Quan of Ming Dynasty (1368 – 1644). It is a large scale qin music. The composer through the musical imagery of the autumn migration of wild geese to warmer climates expresses human lofty aspiration and the breadth of vision.

《聽雪》

　　此曲是作曲家王甫建於一九九Ｏ年代初原創的琴樂作品，因有感於“音由心生”的道理，而悟出借琴音與樂聲將大自然中本來無聲的飄雪景象，以有形的現實，表現無形的心底情懷，從而激發起聽者心底深處各種不同的共鳴。

This piece was the original composition of WANG Pu-jian in 1990’s. The composer used the qin to depict the soundless floating snow in winter which reflected the tidal surge of emotion of the composer and finally had audience’s resonance.

《落梅》

　　此曲是謝俊仁於一九八九年為琴簫合奏所寫的原創作品，內容參考傳統古琴曲式，用變徵音階寫成。琴簫用自由對位，跟傳統齊奏模式不同。樂曲流露李煜詞：“砌下落梅如雪亂，拂了一身還滿”之意，描述亡國之哀愁。
This piece was the original composition of TSE Chun-yan in 1989. It is a duet of qin and xiao composed on the Bianzhi (#fa) scale in the traditional form of qin music. These two instruments have been brought together by free counterpoint instead of the traditional unison.
The music describes the sorrow of LI Yu (937-978), the king of a subjugated nation (Nan Tang), as expressed in a poem of his, “Like heavy snow the plum blossoms fall, I wipe time and again but cannot get rid of them all.”

《酒狂》

　　按明‧洪熙（公元一四二五年）朱權（臞仙）輯刊的大型譜集《神奇秘譜》上卷太古神品所載，臞仙曰：“是曲者，阮籍所作也。籍嘆道之不行，與時不合，故忘世慮於形骸之外，託興於酗酒，以樂終身之志。其趣也若是，豈真嗜於酒耶？有道存焉。”玅在於其中，故不為俗子道，達者得之。

RUAN Ji (210-263), a celebrated Wei literati, composed the piece. Except the vivid image of being drunk, the piece, according to the program notes of Mysterious Scores of Qin, also has deep philosophical meaning in regarding to RUAN Ji’s life and time.

《長清》

　　樂譜出自明‧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，臞仙曰：“是曲者，漢蔡邕所作也。有長清、短清二曲，取興於雪，言其清潔而無塵滓之志，厭世途超空明之趣也。志在高古，其趣深遠，若寒潭之澄深也。意高在沖漠之表，遊覽千古，有紫虛大羅之想，恍若生羽翰飛謁玉京者也。”曲調高雅，寓意深遠，以示不為世塵污染的高潔情操。
This is a piece firstly published in the Mysterious Scores of Qin (1425).The explanatory notes reads, “The music was composed by CAI Yong of Han Dynasty, but there’s another saying that it’s from JI Kang of Jin Dynasty. Chang Qing, together with Duan Qing (Short Clarity), Chang Ce and Duan Ce are called Ji’s Four Chapters. The elegant and expressive music was originated from the sighting of white snow which symbolized the composer’s own personality of preserving purity for himself and not to be affected by the filthy world.”

《關睢》

　　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，祖自周公，乃後人增益而作。按祖王譜無此曲，以關睢乃詩之首篇，南國被文王之化，將以興，文王后妃善匹善處，樂乎和平，實乃人倫之首，綱紀之大也。噫！和樂之意，為何如哉？”
樂曲雖然源遠流長，但傳至明代虞山派，琴宗嚴澂以清微淡遠的審美宗旨，充份體現了是曲的「樂而不淫、哀而不傷」的儒家風範。
This is a piece firstly published in the Zheyinshizi Qinpu (1491). This piece is adopted from a poem of Shi Jin (The Book of Songs), and the prototype of the tune might be a qin song having the original poem as the words. According to the Qin Scores of Song Xian Guan, the compiler YAN Cheng who was the leading master of the Yushan Qin Music School in the time, having the clear, subtle, elemental and remote as his aesthetic advocate. It is therefore, brings this version of the music into a full play of the Confucius doctrine of the Mean.

《阳春》

　　《陽春》一曲為律呂中之稀聲也，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，宋玉對楚襄曰：“陽春、白雪，曲彌高而和彌寡。”至唐高宗時，其曲絕焉。顯慶二年，命太常增修舊曲，呂才上言：“陽春白雪，調高寡和，宋玉以來，迄今千載，未有能者。今依琴中舊曲，定其宮商，而作是曲。”故有傳焉。
曲調中正和平，疎疎澹澹，蓋取萬物回春，和風淡蕩之意。琴宗嚴天池於邇年始得其意，賦詩云：“幾回拈出陽春調，月滿西樓下指遲。”
The earliest extant notation is from Mysterious Scores of Qin (1425). Mysterious Scores of Qin has a note on this piece which reads, “A portrait of ten thousand things in peace and harmony with Spring.”
The Sunny Spring and White Snow was a famous ancient piece. Later, it was separated into two independent tunes. LU Cai of the Tang Dynasty re-composed them in accordance with the old qin tradition. The music is lively and vivacious, as if the spring came to the earth and everything looked fresh and gay.

《隱德》

　　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《隱德》一曲，臞仙曰：“是曲者，昔在太樸之世志士仁人抱不世之才，懷高潔之志，或隱名於岩壑，或居於市廛，被褐懷琛，以養浩然之氣，不為人知。故曰，君子盛德，容貌若愚，乃作是曲，以通乎神明而訴己之志也。” This is a piece firstly published in the Mysterious Scores of Qin (1425).The explanatory notes reads, “The music described that one who has unalterable great ambitious and seek neither fame nor gain, has no choice but to go into hiding and become a hermit”.

《離騷》

　　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《離騷》一曲，臞仙曰：“離騷之操有二，其十八段者，屈原自作也；十一段者，後人追感而作也。按離騷經曰：‘屈原名平，與楚同姓，仕於懷王為三閭大夫，三閭之職掌王族三姓，曰昭、屈、景。屈原序其譜屬，率其賢良，以厲國士。入則與王圖議政事，決定嫌疑；出則監察群下，應對諸侯，謀行職修。王以親親，珍之。後被讒，王疏屈原，親親日衰，原憂心煩亂，不知所愬，乃作離騷。上述唐、虞三后之治，下序桀、紂、羿、澆之亂，冀君覺悟，反於正道，而還己也。’是時秦使張儀譎詐，誘與俱會武關，原諫懷王勿行，不聽而往，遂為所脅，卒客死於秦；而襄王立，復用讒言，遷屈原於江南。原復作九歌、天問、遠遊、漁父等篇，冀伸己志，以悟君心，而終不見省。不忍見其宗國將遂危亡，乃付諸徽軫告乎上下也。”
是曲乃後人擬作，使屈原堅持真理，不屈不撓的精神，得到深刻的展現。
This is a piece firstly published in the Mysterious Scores of Qin (1425).The compiler attributes the work to QU Yuan, a great poet dating back to 343-ca. 277 B.C., himself, but scholars admittedly relate this version to CHEN Kang-shi, a qin master of the Tang Dynasty.
The music is characteristic, reflecting QU Yuan’s mood while he was maliciously slandered and unjustly banished from the Kingdom. Here is an exploration.

《頤真》

　　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》，上卷太古神品最後一曲為《頤真》，臞仙按，《琴史》曰：“頤真者，唐董庭蘭之所作也。頤，養也。道書謂寡欲以養心，靜息以養真；守一處和，默契至道。矧琴為娛性之樂，故製是曲者，以頤真名之。”

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 was composed by DONG Ting-lan. According to the book of Dao, playing the qin can preserve one’s health and keep it fit to live comfortably.”

《高山》

　　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：“高山流水二曲，本只一曲。初志在乎高山，言仁者樂山之音，後志在乎流水，言智者樂水之意。至唐，分為兩曲，不分段數。至宋，分高山為四段，流水為八段。”高山一曲，傳至近代為川派最富麗之篇，表現空山履響，四顧無人，瞻望白雲，有高山仰止之意趣。 This masterpiece was first found in the Mysterious Scores of Qin (1425).The explanatory notes reads, “High Mountains and Flowing Water are actually one single piece, with the former depicting the high mountain and expressing the gentlemen’s interests in the mountain scenery while the later shows the fondness in flowing water. In Tang Dynasty, the piece is divided into two individual ones. And in Song Dynasty, it becomes the High Mountains with four sections and Flowing Water with eight sections. Nowadays, the High Mountains has been the richest and splendid piece of the Chuan School.

《鹿鳴》

　　此曲最早見於明‧萬曆（公元一六一八年）張廷玉編輯之《理性元雅》中。據該書解題云：“此詩小雅，周王乞言於嘉賓，被之絃徽為燕享通用之樂歌也。今之鹿鳴佳宴，鄉飲酒禮，皆作為聲歌，而絲桐少傳。夫以大典禮而雅樂不傳，非一大缺典乎？余特編之譜，祈雅音之不廢。”《琴操》則云：“禽獸得美甘之食尚知相呼，傷時在位之人不能，乃援琴而刺之，故曰鹿鳴也。

” This is a piece firstly published in the Lixing Yuanya (1618). The explanation notes said that this was a poem. Emperor Zhou made it to be a qin music and had it played during feast and carouse. But in the book Music of Qin said that, “When animals got sweet and refreshing food, they might call out for their race. But for those who had power and position, they would not do so.

《楚歌》

　　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《楚歌》一曲，臞仙曰：“是曲者，古曲也。按項羽至垓下，與漢戰不勝，入於壁，漢兵圍之數重。韓信使軍中皆作楚歌之聲，項羽夜聞，大驚曰：‘漢皆已得楚乎？是何楚人之多也！’乃夜起飲帳中，悲歌慷慨，欲與虞姬相別。自為歌曰：‘力拔山兮氣蓋世，時不利兮騅不逝，騅不逝兮可奈何，虞兮虞兮奈若何！’歌數闋，虞姬和之。因泣下，左右皆泣，莫能仰視，而虞姬因取劍自刎。於是羽乘駿馬，麾下壯士從者八百餘人，直夜潰圍南出。平明，漢軍覺而追之，於是重瞳無光，兵散勢去，至於烏江畢矣，于時之人，感其事而作絃歌以悼焉。”
至於是曲作者，《太音補遺》曰：“留侯作，後人增益之。”又《太古遺音》（楊掄）云：“按是曲，乃漢師張子房所作也。”

This is a piece firstly published in the Mysterious Scores of Qin (1425).The explanatory notes reads that, this is an old piece. It concerns XIANG Yu of Chu (who is defeated by LIU Bang led to the latter establishing the Han Dynasty in 202 BC) coming to Gai Xia, being unable to defeat the Han soldiers, entering a ravine, where the Han soldiers surrounded him several layers deep. HAN Xin (the Han general) caused his soldiers all to sound out with songs of Chu. XIANG Yu heard this at night, and was greatly alarmed, saying, “Has Han already overcome Chu? If this is so, how can the men of Chu be so numerous!” Then he got up and drank in his tent. He sadly sang about forgetting his troubles, and planned to bid farewell to his wife Yu Ji. He himself made a song which said, “My strength can lift mountains, and my horse Zhui is no longer quick; When Zhui is no longer quick, what can I do? Alas, Yu Ji; alas, Yu Ji; what will become of you?”
He sang this several times, and Yu Ji joined him. Thus their tears flowed down, and all his followers cried. When none could look up at them, Yu Ji took a sword and slit her throat. Thereupon XIANG Yu mounted his fast horse, together with over 800 strong comrades under his banner, and went out into the night and broke through the blockade toward the south. At dawn, when the Han soldiers realized this they chased them, consequently his double pupils had no more hope. His soldiers scattered and his power lost. He came to the Wu River, after refusing the offer of a boatman to take him across to safety by saying that he had lost all his honor, he then perished by slitting his throat.
Someone of that time was moved by this affairs, and composed a qin song to commemorate it.

《秋水》

　　庄子篇名中有《秋水》篇。琴曲《秋水》亦即《神化曲》，又名《神化引》，曲调悦耳，使人有超尘脱俗之感，借庄子之篇名，以喻道家天人合一之思想。

喻绍泽：一九六一年六月二日据《天闻阁琴谱》本 7:15

Autumn Water

In the Book of Zhuang Zi, there is a chapter called the Autumn Water. There is a qin piece also called the Autumn Water which has another names called Magical Tune or Magical Yin. The graceful melody and the name of the qin piece from Zhuang Zi’s book reflects the Taoism of the Heaven and human beings are with the same thought.

YU Shao-ze : Transcribed on June 2, 1961 according to the Qin Scores of Tian Wen Ge 7:15

《阳春》

　　此曲授自沉草农，全曲冲和雅澹，韵致高逸。《神奇秘谱》中《白雪》解题谓：“阳春取万物知春，和风淡荡之意。”

蔡德允：一九八○年代據《誠一堂琴譜》（一七○五年）本 7:52

Sunny Spring

The earliest extant notation is from Mysterious Scores of Qin, this version is from the Qin Scores of Cheng Yi Tang (1705). Mysterious Scores of Qin has a note on this piece which reads, “A portrait of ten thousand things in peace and harmony with Spring.”

TSAR The-yun : Transcribed in 1980’s according to the Qin Scores of Cheng Yi Tang (1705) 7:52

《酒狂》

　　按《神奇秘谱》所载，臞仙曰：“是曲者，阮籍所作也。籍叹道之不行，与时不合，故忘世虑于形骸之外，託兴于酗酒，以乐终身之志。其趣也若是，岂真嗜于酒耶，有道存焉。”玅在于其中，故不为俗子道，达者得之。

姚丙炎：一九五九年八月二十一日据《神奇秘谱》本 2:12

Man Crazy for Wine

RUAN Ji (210-263), a celebrated Wei literati, composed the piece. Except the vivid image of being drunk, the piece, according to the program notes of Mysterious Scores of Qin, also has deep philosophical meaning in regarding to RUAN Ji’s life and time.

YAO Bing-yan : Transcribed on August 21, 1959 according to the Mysterious Scores of Qin 2:12

《幽兰》

　　日本京都西贺茂神光院珍藏有一手抄卷子《幽兰》，是现存最早用文字谱式写成的一首古琴曲，为南朝梁代丘明所传，原谱未署作者姓名，谱前冠有“碣石调”，故又称《碣石调‧幽兰》。一八八四年，杨守敬将之影印带回中国，被黎庶昌收入《古逸丛书》（一八八五年）中。其后琴家们相继对该曲进行“打谱”，一九八三年吴文光在前人研究基础上再度解译，突出了曲中幽愤、伤感、光明、坦荡、雅洁、清高、清壮、感奋等内涵，就好像深山幽谷的兰花，抒发怀才不遇，鬱鬱不得志的心情。

吴文光：一九八三年七月据《古逸丛书》本 10:52

Orchid in Seclusion

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 Tune” was found on the score, so it is sometimes referred to as Jie Shi Tune, Orchid in Seclusion. 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. The one offered by WU Wen-guang in 1983 was based on the research of scholars before him and his own interpretation. It highlights some inner qualities found in the music: the hidden resentment, the sadness, the brightness, the frankness, the elegance, the unworldliness and the passion. They characterize someone who resembles an orchid in a deep valley. He is very depressed because nobody recognizes his talent

WU Wen-guang : Transcribed in July 1983 according to the Gu Yi Series 10:52

《商意》

在《神奇秘譜》（1425）中卷的商調曲有個奇特的音階，多用半音，乍聽似宮調而實在不是；可惜這些曲子在後期的譜裡漸被淨化，半音被刪除，音階特色盡失。是曲使用這古音階寫成，嘗試重拾這古老而聽來清新的韻味。

《角意》

中國傳統音樂有用宮調、商調、徵調和羽調各調式；除少數民俗音樂外，角調樂曲極少。是曲試用七聲變徵音階之角調寫成，加上明朝琴曲用的「淒涼調」音階，跟傳統清朝琴曲相比，另有一番新意。

《環佩》

表述美玉堅韌而溫潤，古之君子佩玉以比修德，行步有環佩之聲。是曲短小精緻，用泛音、按音與空弦交錯，寫環佩之鏗鏘有節。原出閩派傳譜，今據《愔愔室琴譜》。

《秋風》

原譜題解為：“張季鷹知晉祚將移，遂有去志，見秋風起，嘆曰：‘人生適志而富貴何為’，遂援琴而為此曲。＂
　　樂曲旋律輕快動盪，每段皆有標題，如：飄揚遠舉、君門萬里、猿啼曉月、洞庭揚波等，與曲意頗為貼切。

《幽》

(即興演奏) ，〔明〕冷謙《琴聲十六法•幽》：音有幽度。始稱琴品。品系乎人。幽繇於內。故高雅之士。動操便有幽韻。洵知幽之在指。無論緩急。悉能安閑自如。風度盎溢。纖塵無染。足覘瀟灑胸次。指下自然寫出一段風情。所謂得之心。而應之手。聽其音而得其人。此幽之所以微妙也。

《溯》

古琴、長笛二重奏《溯》，表述音樂中追求中國古代“文人音樂”的意境。祛除西方音樂節奏中的“闌檻”，樂思在無拘無束中流淌，散發著淡淡的思古之情。然音樂的發展又無時無刻激發著演奏者的激情，發揮其極致的光輝。

《猗蘭》

相傳孔子周遊列國，抱負得不到施展，過隱谷見幽蘭獨茂，喟然而歎：“蘭，是王者之香，如今零落，與眾草為伍”，於是援琴而歌“蘭之猗猗，揚揚其香，不採而佩，於蘭何傷？”遂作《猗蘭》曲。樂曲沉摯綿渺，浩歌奕奕，表達了君子雖貧，但“不窮於道，不失其德”的樂觀向上的儒家精神。

《蓮》

由黃德欣根據漢樂《出水蓮》的音樂素材移植及改編。樂曲旋律優雅、古樸，速度中庸、悠閑，意在歌頌青蓮“出淤泥而不染”的高潔情操。樂曲以古琴獨特的泛音、吟猱及厚重的㪚音等各種豐富的表現手法將出水蓮的神態、氣質刻劃得栩栩如生。

《禪思》

原為古琴與樂隊，作曲家李崇望創作於1995年。山西五台山、天津大悲禪院皆為佛教聖地。古剎聞禪，作者有感而發。

《雲闕》

古琴二重奏《雲闕》主要是通過改變定弦來使兩張古琴產生不同的泛音列，以及音高上的鏡像對比。希望能通過古琴特有的韻味，營造出雲中樓台般飄渺的意味。

《山響》

琴簫二重奏《山響》之名來自南朝畫家宗炳所說：“撫琴動操，欲令眾山皆響。”使用傳統音階糅合現代元素寫成，帶有禪意。全曲分為數個小標題：開始時，見“山不是山”，古琴以平行五度的泛音與調性游移的簫對答。引子過後，“眾山皆響”，典雅的主旋律以Ｄ羽調雅樂音階奏出，再變奏為Ｇ商調俗樂音階，帶出高潮。其後轉為Ｄ徵調苦音音階，響起“古剎鐘聲”，流露淡淡的哀愁。最後“眾山皆寂”，引子重現，見“山仍是山”。

《心籟》

古琴二重奏《心籟》音由心生，心由物動。力圖植根琴樂傳統，闡發當代思維。
一、煦吟，二、漣漪，三、錚鳴

《待歸》

古琴與古箏二重奏《待歸》，創作靈感來源於台灣詩人鄭愁予的詩《錯誤》，詩歌以旅者的視覺描述一位女子等待情人歸來的情景。詩中寫道：“我打江南過，那等在季節裡的容顏如蓮花的開落。東風不來，三月的柳絮不飛，你底心如小小寂寞的城。恰若青石的街道向晚，跫音不響，三月的春帷不揭，你底心是小小的窗扉緊掩。我噠噠的馬蹄聲是個美麗的錯誤，我不是歸人，是個過客……”。本曲力圖通過清新淡雅卻又有些陰晦迷離的曲調，以不規則節拍劃分句子來表現女子焦急的愁容和江南陰雨天的氣氛；用古琴和古箏鮮明的音色對比來展現過客與女子之間的互動。

《移風》

古琴與打擊樂二重奏《移風》，“移風易俗，莫善於樂。” —《孝經》
風過留痕，改變了草木之形態，而樂所至之處，改變的是風氣與人心。本無實景的二物，皆因其影響被世人所感知。聽風者，從風中悟出樂律，再而悟出變化，終而悟出心之所向。

《雲遙》

古琴與鋼琴二重奏《雲遙》以雲為意象，通過快慢、強弱的對比來描繪雲卷雲舒的場景。時而飄忽不定，時而如銀濤翻滾。整體延續了古琴傳統寫法的韻味，快板處借用了一些現代的演奏手法，例如拍板等技法造成的音效來烘托，臨近曲終節奏再次舒展開，尾奏輕柔空靈，似雲輕攏慢湧漸漸飄遠。

《秋思》

古琴伴唱評彈《秋思》銀燭秋光冷畫屏，碧天如水夜雲輕。雁聲遠過瀟湘去，十二樓中月自明。佳人是獨對寒窗想往事，但見淚痕濕衣襟。曾記得長亭相對情無限，今作寒燈獨夜人。誰知你一去嶺外音書絕，可憐我相思三更頻夢君。捲帷望月空長嘆，長河漸落曉星沉，可憐我淚盡羅巾夢難成。

《古舞》

古琴與鋼琴《古舞》，是著名作曲家王建民先生於2011年接受《絲竹更相和》上海文化發展基金會資助專案的委約，為古琴和鋼琴而作。琴聲悠揚，鐘管齊鳴，霓裳羽衣，輕歌疾舞。作曲家從雲岡石窟中獲得深刻印象，激發了創作靈感，意在重現古代宮廷樂舞的場景和盛況。

《三月》，這是一首由李裨霆與長笛等樂器作重奏演繹的即興古琴作品。

《舞•殤》

（琴、笛子、中阮、二胡、打擊樂）落木蕭蕭，似憶江南主，曾幾何時，或為君獨舞，奈何一瞬，君心已不復，靜待流年，心思荒城賦。夢毀心安，繁華終未悟，半世流離，末此別離路。

《暮•曦》

古琴與中阮二重奏《暮•曦》，簿暮晨曦，旭日東昇，逐漸是熾熱燦爛的晌午。微風輕撫，夕露滾下花瓣，暗夜寂靜無聲，然而轉眼間，一輪紅日又將昇起，時間不停止轉動，亦在永遠輪迴。

《離騷》

交響詩《離騷》，原有一首同名之古琴曲，但為古琴與樂隊所寫交響詩《離騷》，只是採用了原古琴曲中的兩個簡單的主題，用奏鳴曲式發展成全曲。引子採用第一主題寫成，表現探索與迷茫。呈示部中的第一主題是充滿活力和衝勁的。第二主題則表現了對真善美的追求，發展部中兩主題交替發展引向高潮，再現部中第一主題變為悲劇性的，而第二主題則似在萬念俱灰中帶來一絲希望，但繼而又變為悲劇性，結尾部中引子中的探索形象又出現，而全曲在悲憤中結束。全曲表現了屈原的一生追求，也即是《離騷》的精神所在。

《太極》

在道家一般是指宇宙最原始的秩序狀態為「太極」，出現於陰陽未分的混沌時期（無極）之後，而後形成萬物（宇宙）的本源。太極這種迷離恍惚地看待萬事萬物的現象和本質的人生態度，以及這種思維方式本身，實則包涵著清醒睿智的哲思，其終極目的是希望人類活動順應大道至德和自然規律，不為外物所拘，無為無不為，最終到達一種無所不容的寧靜和和諧的精神領域。

《听松》

是根據華彥鈞（即瞎子阿炳）所作二胡曲《聽松》改編。作品表達了一種剛毅不屈的精神、磅礴的氣概和深沉的思索。改編曲力求以古琴獨特的音樂語言氣韻、多樣的音色和音聲表達的立體感，來重新演繹原曲的神采。

《太陽》

是成公亮於2006年根據同名鋼琴曲改編，原鋼琴曲為德國年輕一代鋼琴家、作曲家海納•格蘭欽（Rainer Granzin）於1999年創作。《太陽》寫的清晨日出，音樂形象十分鮮明。清新旋律如冉冉昇起的太陽，光芒四射，生機勃勃；那豐富的色彩變化，如耀眼的霞光，如斑斕流動的雲彩。

《山谷》

是成公亮演繹的一首即興琴曲作品。

《微笑》

是成公亮於2013年7月根據尼泊爾瓊英卓瑪的詠唱改編為古琴曲。瓊英卓瑪的詠唱，蘊藏著佛教的悲憫情懷，聲韻委婉細膩。古琴改編曲力圖保持這種聲韻特色，左手大指不斷在六、七弦上來回換弦綽注，是這一首古琴小曲的指法特色。