杨荫浏：《琴谱》（上）
编者按：
今日所发之文是杨先生于1947年撰写的中英文对照版《琴谱》一书。该书只包括引言部分，共分四章。前两章对古琴的构造、均调与和弦法作细致解说。书中还有先生亲手绘制的插图，如琴的各部位、蝇头结法、各弦音位等。这在二十世纪早期，推广古琴艺术具有重要的积极意义。
琴为古代常用之乐器，故《曲礼》曰：“士无故不撤琴瑟。”相传于伏羲；初为五弦；及文王、武王加二弦，而其制乃备（《琴操》《广雅》）。厥后虽有蔡邕九弦之制（《琴书》），赵宋独弦、三弦之殊，然旋作旋废，流传不广；累世所尚，惟以七弦为主。
The Chin（琴）is a Chinese instrument of very remote origin. Tradition ascribesthe invention of its primary form to the legendary Emperor Fuhsi（伏羲）. Emperor Shun（舜，2257—2208，B.C.）of the Yu（虞）Dynasty is said to have played ona Chin of five strings. Emperor Wen（文王）of the Chou（周）Dynasty added to the instrument a sixth string, and his son, EmperorWu（武王，1121—1116. B. C.）perfected it by the addition of the seventh string. Since then, no important modification has been made.
琴体长形，面圆而凸，底直而平。两端广者为首，狭者为尾。两边斜直，各有二处内凹。一边列十有三徽，为泛音之位。琴首为凤额；额前有口内开，中有隆起，为凤舌两旁垂悬二足，为凫掌，又名护轸。额次微高，为承露。上穿七孔，为弦眼。连接于承露，直起如山岗者，曰岳山，又名临岳。岳内八九分为起项。其后稍狭，为颈。颈末舒广之处为肩；由此渐狭，为凤翅。凤翅至腰而收束。腰末又稍宽，为起尾，尾亦称焦尾。尾尽而两边有棱角，曰冠角。当琴面尽处，两冠角之中，有缺口，略高于琴面，曰龙龈。琴底额下日嗉。临岳之下有轸池。池穿七孔，上透承露，曰弦眼。肩下当四、七徽界，有长方孔，曰龙池。腰中近边，当十徽左右，有小方孔二，中植二足，曰雁足。尾前底中，当十徽、十三徽界，又有较小之长方孔，曰凤沼。尾下两边隆起，曰托尾。托尾之中，微纳处，曰龈托。
In its present form, it is a lengthyinstrument of seven strings, with one end broader than the other. Each of itstwo straight sides curves inward twice. Along one of the two edges, thirteenstop-marks（徽）are insertedto indicate positions for harmonics. Near the breader end or the forehead（凤额）is a fixed bridge（岳山）. On the narrower end or thetail is a string pass（龙龈）. The back or bottom of the instrument is flat. On it are placed acontainer of seven pegs（轸池），two rectangular sound holes（龙池，凤沼），and two legs for fastening string（雁足）.
琴首、琴面、琴底各部分名称，见图一、图二、图三。
The figure of the instrument and names of itsparts are shown in Fig.1—3.
据清康熙御制《律吕正义》所列琴上各部分“今尺”尺寸，折合成公尺如下。
通体长3.1347（今尺）， 合99.870cm.
岳山内际至额，长0.2187（今尺）， 合6.967cm.
岳山至焦尾，长2.916（今尺）， 合92.903cm.
岳山高0.0234（今尺）， 合0.774cm.
额广0.5103（今尺）， 合16.248cm.
肩广0.5832（今尺）， 合18.581cm.
腰广0.4374（今尺）， 合13.935cm.
尾广0.4374（今尺）， 合13.935cm.
The following measurements of parts of theinstrument were adopted by Emperor Kanghsi（康熙，1663—1722）of Ch’ing（清）Dynasty.
Total length 99.870cm.
Distance from left side of bridge to endof forehead 6.967cm.
Distance from bridge to string pass 92.903cm.
Height of bridge 0.774cm.
Breadth of forehead 16.248cm.
Breadth between shoulders 18.581cm.
Breadth of waist 13.935cm.
Breadth of tail 13.935cm.
然为用不同，广长悬别；风尚多变，意趣万殊。大琴、中琴（《礼记·明堂位》），各因其制；龙首、凤舌、蝉翼、云泉、落霞、亚额、蕉叶、雷音（《五知斋琴谱》），各异其形。仍未可以一概而言。
However, the shape has been variedaccording to fashion and the fancy of the maker, and the size has also beenmodified according to the preference of the player.
通常琴面用桐木，其背用梓木；承露、岳山、冠角、托尾用红木；徽用金或贝；轸用红木或玉。琴身涂漆，色黑，或棕，或朱。间有镶嵌珠玉宝石，以为装点者。
Most commonly the face is made of “Wutung”（梧桐，sterculia platonifolia）；the back，of lindera（梓）；the board for string holes，the bridge，and the edges of the tail， of rosewood（红木）；the stop-marks，of gold or shell；and the seven pegs，of rosewood or jade. The whole bodyis covered with a coat of specially prepared lacquer in black， brown，or red. It is not unfrequent thatinlays of gold, pearls, jades and other precious materials are used as ornaments.
诸弦巨细不同。《五知斋》谓一弦八十一丝，二弦七十二丝，三弦六十四丝，四弦五十四丝，五弦四十八丝。《自远堂》谓三茧一丝，十二丝为一纶。一弦一百有八纶，二弦九十六纶，三弦八十一纶，四弦七十二纶，五弦六十四纶，六弦五十四纶，七弦四十八纶。则又与《五知斋》迥异，今之制弦者，斟酌重量，不拘丝纶之数，盖以蚕种不同，吐丝之巨细有异，未易取为定准耳。诸弦之中，一、二、三、四弦均用缠弦，余则否。
Strings are of unequal thickness. Theseventh or the thinnest，the sixth, and the fifth are made by spinning the fourth, the third,the second, and the first or the thickest are made by winding thin threadsaround spun threads.
诸弦之一端，均结蝇头，由丝质绒剅，连于诸轸。蝇头之结法，见图四。绒剅一端成扣，以纳弦端之蝇头。轸中通，下出于底孔，上出于顶孔，旁出于腰孔及颈孔。轸上系绒剅。系法，将绒有扣之端，由轸之底孔穿入，于腰孔透出，绕轸颈一周，穿过绒剅之下，再由颈孔穿入，于顶孔透出，然后抽紧头尾。轸上绒剅系法，见图五。绒扣纳蝇头之式见图六。弹奏时，琴平放于桌面。凤额在右，焦尾在左，一弦在外，七弦在内。
Strings are connected to pegs by havingthe knots made in their ends to be held by the loops of the silk threadsfastened to pegs. Steps in making of knots are shown in Fig. 4. Steps infastening a silk thread to a peg are shown in Fig. 5. The manner in which theknot of the string is held by the loop of the thread is shown in Fig. 6.
During playing, the instrument is laidflat on the table before the player with its broader end by his right hand andthe seventh string most close to him.
安弦时，将弦之一端，穿入绒剅之扣，然后结蝇头。引其他端过龙齦，折向琴底，而系于雁足。因拉力之大小，以节弦之松紧，因弦之松紧，以节音之高下；故空弦散音之音高，在弦未系定之前，已可使之与所需音高，近乎相合。弦既系定之后，三数个整音范围以内之高低改变，可由转动琴轸，松紧绒剅到绞股，以增弦减弦身之张力得之。
A string is set on the instrument by havingthe one end held by the loop of a thread, and the other fastened to leg at thebottom of the instrument. It is approximately fixed to the desired pitch beforefastening by a heavier or lighter pulling made with a corresponding amount ofstrength. Changes of pitch within the range of a few tones re made by turningof the peg.
琴弦音高，通常并无绝对标准。《五知斋琴谱》云：“琴弦过紧则断，过松则不响矣。谅弦收放，紧者松之，宽者紧之。”“断”与“不响”之间，音高之伸缩，何止四五个半音？近世琴家，除琴箫合奏时，琴弦定音，偶与箫音有定配合外，通常定音，大都无定，而互不一致。计诸家实际所定琴音，就一弦言，低者至GG音，高者至C音。本书为便利比较、说明，与记谱起见，假定一弦音高为AA。
There is no absolute pitch standard forthe instrument. Players are at freedom to choose what they like. The pitchactually used by different players for the first or lowest string varies fromGG to C. In this book, AA is arbitrarily chosen as the normal pitch for thefirst string for the reason that the consideration of the ways of tuning, whichwe are going to make, is only possible with a supposed pitch for one of thestrings.
通常琴上和弦之法凡五。假定一弦散音之音高为AA，则用此五种和弦之法，可得D，A，G，E，C五调。五调之中，D调为基础调，独名“正调”，其各弦之音高，系定于安弦之初。其余四调，均由紧慢D调七弦中之若干弦而得。四调与D调之关系如下表。表中兼依旧时各种定均统系，列举其所用调名，以供参考。
There are five usual ways of tuning. Whenconsidering the pitch of the first string as AA, we can say, we have five perfectkeys, i.e. the keys of D, A, C, E, and C. The tuning of the open strings forthe key of D is achieved by the fastening of the strings to the legs. It istaken as basis for tuning into all other keys. By raising or lowering the pitchof one or more open strings for the key of D, other keys obtained. Therelationship of the four other perfect keys to the key of D is shown in thefollowing table.
上列五调，应用最多，因其散音均为正音，故均名正弄。
These keys are most frequently used andare classified as perfeetkeys（正弄）, because each of them can have its own complete series of notes fora pentatonic scale with its open strings only.
D调在五调之中，既最为常用，乃至他调之曲，有借用其和弦弹奏者。他调借用D调之和弦弹奏者，名曰侧弄。除D调原用其自有和弦，无侧弄外，其余四调，均有侧弄。兹将侧弄四调之七弦散音，列表如下：
The tuning for the key of D is the mostcommon and popular，so that some pieces of music，although in other keys，are often written or purposely transposed to be played in the D-keytuning. Tunings of keys deviating from their proper ways as such are calledsupplementary tunings（侧弄）.They are altogether four in number，namely，those forkeys of A，G，E，and C. With this one and same way of tuning，names of scale degrees according tothese keys can be assigned to the seven open strings as shown in the following table.
此外，尚有专用于某种特殊乐曲之特殊调弦方法，既非正弄，又非侧弄，甚至非如正弄侧弄之常用于大调音阶者，是名外调。本书关于外调之曲，将于曲首临时註明之。
Besides the five ways of tuning for thefive perfect keys, and the four supplementary tunings for four keys, there aremany special ways of tuning for individual pieces of music in keys other thanthose mentioned, or even for scales other than the diatonic major scale. Suchspecial tunings will be indicated before pieces for which they are used.（未完待续 To be continued……）