Five tones[edit this paragraph] Introduction The five tones are also called "five tones". It refers to the five tone levels of Gong, Shang, Jiao, Zheng and Yu in the Chinese pentatonic scale. The intervals between two adjacent tones in the five tones are all major second degrees, except that between Jiao and Zheng, and between Yu and Gong (the palace an octave higher), which is a minor third. [1] The five tones are equivalent to 1, 2, 3, 5, and 6 on the current simplified musical notation. After the Tang Dynasty, they were called He, Si, Yi, Chi, and Gong. In phonology, the five tones refer to the five types of articulatory parts of the five types of initial consonants, namely, guttural, dental, lingual, dental and labial sounds. [2][Edit this paragraph] Source The word "Five Tones" first appeared in "Zhou Li Chunguan": "All texts are written with five tones, and the palace and merchants are in charge of feathers." And "Five Tones" was first seen in "Mencius· "Li Lou Shang": "Without the six rhythms, the five tones cannot be corrected." (1) In "Lingshu·Xieke", the five tones of Gong, Shang, Jiaojué, Zhengzhǐ, and Yu are matched with the five internal organs: the spleen corresponds to the palace, and the other five tones match the five internal organs. The sound is diffuse and slow; the lungs correspond to Shang, and the sound is quick and clear; the liver corresponds to horns, and the sound is long; the heart corresponds to Zheng, and the sound is strong and clear; the kidneys correspond to Yu, and the sound is deep and thin, which is the correct sound of the five internal organs. According to legend, it is named after the five pronunciations of "Xun", China's earliest musical instrument. (2) The five levels of the pentatonic scale of phonology—Gong, Shang, Jiao, Zheng, and Yu—match the different pronunciation parts of the throat, teeth, teeth, tongue, and lips respectively. This is the picture attached at the end of the volume of "Yupian" written by King Guye of the Liang Dynasty, "The Four Tones and Five Tones of the Shamen Shen Gong with Nine Naughts Against the New", and the picture attached at the end of the volume of "Guangyun" written by Chen Pengnian and others of the Song Dynasty. Separation method. The former is divided into throat, tongue, teeth, teeth, and lips, so-called from the inside out, while the latter is divided into lips, tongue, teeth, teeth, and throat, so-called from the outside to the inside. Operators who have accurately mastered the parts of the five tones, and combined with the use of the "four shouts" (open shouts, straight teeth shouts, closed mouth shouts, and pinched mouth shouts), can achieve accurate enunciation, which is called complete five tones, but cannot accurately grasp the five tones. An actor who is tone-deaf is said to be tone-deaf. The ancients usually used "Gong" as the first and most important tone of the scale, sometimes referring to "Five Tones". [Edit this paragraph] Detailed explanation of one of the five tones of Gong. Usually equivalent to the do sound in the roll call of today's tune. The "Gong" sound is the master of the five tones and the king of the five tones, commanding all the tones. "Guoyu · Zhou Yu Xia" says: "The husband's palace is also the master of music, the third and the feather." "Book of Rites·Yue Ji" says: "The palace is for the king, the merchants are for the ministers, and the horns are for the people..." Song Zhangyan's "Ci" "Yuan·Five tones mutually generate" also says: "The palace belongs to the earth, the image of the king... The palace, Zhongye, is in the center, flowing in all directions, singing and giving, and it is the outline of the four tones."" Gong Diao (style) is also called Zhongdiao (style) )'s "lord" and "lord", that is, in terms of what is now called "turning up". "Books of the Sui Dynasty·Music Records" says: "Each palace should have five tunes." Niu Hongsui, because of Zheng's old translation, also asked the ancient "pentatonic and five rhythms" to be used as palaces: "Yale" has only one tune for each palace. , only 'Yingqi' plays five tunes, which is called 'five tones'; 'Manyue' uses seven tunes..." This so-called "gong" is connected with "jun". There are tune (style) names composed of Gong sound as the main sound and knot sound. Duan'anjie of the Tang Dynasty's "Yuefu Miscellaneous Records·Bie Yue Shi Pentatone Wheel Twenty-eight Diagrams" said: "The first of the seven palace tunes is used to transport the Zhenggong tune,...the sixth is used to transport the Xianlu Palace, and the seventh is used to transport the Huangzhong Palace." Zhang Yan's "Etymology" "Also said: "Each of the twelve rhymes has five tones, which are performed into palaces and tunes...Huangzhonggong (Jun): Huangzhonggong (mode), Huangzhongshang (mode), Huangzhongjiao (mode), Huangzhongbian (bianzheng mode) , Huang Zhongzheng (mode), Huang Zhongyu (mode), Huang Zhongrun (Run Palace mode) "One of the five tones of Shang. Usually equivalent to the re sound in the roll call of today's tune. The sound of "Shang" is the second level of the five tones, second to "Gong". The ancients believed that "Shang, which belongs to metal, is the image of a minister", and "the minister is in harmony with it". There are tune (style) names composed of Shang sound as the main sound and knot sound. For example, the "Seven Tune of Rusheng Shang" in the "Yuefu Miscellaneous Records: The Picture of the Twenty-eight Tone Wheels of Bie Yue Shi" written by Duan Anjie of the Tang Dynasty. One of the five tones of the horn. Usually equivalent to the mi sound in the roll call of today's tune. "Jiao" is the third level of the five tones, second to "Shang". The ancients believed that "the horn belongs to wood and is the symbol of the people." There are tune (style) names composed of the main sound of the horn sound and the knot sound. For example, the "seven tones of the upper tone horn" in the "Yuefu Miscellaneous Records: The Picture of the Twenty-eight Tone Wheels of Bie Yue Shi" written by Duan Anjie of the Tang Dynasty. Among the ancient tunes (styles), there are Jiao tunes with Jiaoyin as the tune, or Jiao tunes with Leungong as the horn. One of the five tones. Usually equivalent to the sol sound in the roll call of today's tune. "Zheng" is the fourth level of the five tones, second to "Jiao". The ancients believed that "Zheng belongs to fire and is the symbol of things". There are tune (style) names composed of Zhengyin as the main sound and the knot sound. One of the five tones of feather. Usually equivalent to the la sound in the roll call of today's tune. "Yu" is the fifth level of the five tones, second to "Zheng". The ancients believed that "feathers belong to water and represent the image of things." There are tune (style) names composed of Yu sound as the main sound and knot sound.

For example, the "Seven Tune of Pingshengyu" in "Yuefu Miscellanies·Pictures of the Twenty-Eight Tune of the Five-tone Wheel of Bie Yue Shi" written by Duan Anjie of the Tang Dynasty. Bianzheng is one of the "two changes" in the ancient musical scale. The musical sound between Jiaoyin and Zhengyin. "Historical Records·Jing Ke's Biography" says: "Gao Jianli was building a building, and Jing Ke was singing songs. It was the voice of the Revolutionary War, and all the soldiers shed tears." People in the Song Dynasty also called it "Leap War", which was called "Leap War". In the Twelve Rhythm, it usually refers to the sound of the same rhythm below the Zheng sound (equivalent to #fa); it also refers to the sound of the same rhythm as the Jiao sound (i.e., Qingjiao, equivalent to fa). It is also translated by Zheng in "Sui Shu·Music Chronicle" Together with Su Kui, it is said that "today...'Qingyue' Huangzhong Palace (both) uses Xiaolu (Zhonglu) as a subversion". There are tune (style) names composed of the main sound and the knot sound. "Book of Sui Music Records" records that Su Kui said: "Each palace (all) should have five tunes (styles). If you don't hear it, you will change the palace, and change the two tunes (style) into seven tunes (style)." Zheng translated The answer is: "Zhou has a rhythm of seven tones... If we don't use the 'two changes' as the tune now, it will be a winter and summer sound that is not prepared for the four seasons. Therefore, each palace (all) must have seven tunes (styles). "Everyone followed. In Song Zhangyan's "Etymology: Eighty-Four Tune", there are seven tunes (styles) under the twelve palaces (both), listed as the "modes" of "bianzheng". Bian Gong is one of the "two changes" in the ancient musical scale. The musical sound between Yuyin and Gongyin. Some people in the Song Dynasty called it "Leap Palace". In the Twelve Rhymes, some refer to the sound that is lower than the palace sound (equivalent to si). For example, "Book of the Later Han Dynasty·Lu Li Zhi" says: "The yellow bell is the palace...the bell is the palace of change"; there are also the sounds above the feather sound. The sound of Yilu (equivalent to bsi), for example, "Book of Jin·Lu Li Zhi" says that "the tune (scale) of Qingjiao uses Guxi as the palace,... Taicu as the palace of change." There are tune (style) names composed of Bian Gong as the main sound and the ending sound. [3]