The earliest name "Gong Shang Jiao Zheng Yu" was found in the Spring and Autumn Period more than 2,600 years ago. In "Guanzi 9.9 Diyuan Pian", mathematical calculation methods were used to obtain the names of "Gong and Shang Jiao Zhengyu". The scientific method of the five tones of ", Jiao, Zheng and Yu" is the famous "three-point profit and loss method" in the history of Chinese music. The five tones of Gong Shang Jiao Zheng Yu are the basic scale of Chinese ancient music, and are different from those in the West. If we compare it with the seven-tone scale of Western music, the "five tones" of ancient and Chinese music are equivalent to do, re, mi, sol, la, minus the semitone ascending "fa" and "ti". Of course, the five-note roll call of ancient Chinese music cannot be the same as the "Duo, Lai, Mi, Suo, La" of Western music. In the Tang Dynasty, "He, Si, Yi, Chi, Gong" was used; in ancient times, "Gong" was used. , Shang, Jiao (june), Zheng (pronounced zhǐ), Yu". Therefore, if we pay closer attention, authentic ancient Chinese music does not have two scales: "fa" and "ti". For example, the Jiangnan minor tune "Jasmine" that is still heard from time to time is one of the ancient songs. If the whole song is hummed in roll call, there are only "duo, lai, mi, suo, la" and no "fa, xi". Two tones; a famous ancient tune, as well as "Man Jiang Hong" written by Yue Fei.

"Five tones": lips, tongue, teeth, nose, throat (Zhang Yan's "Etymology")

"Five tones": Gong, Shang, Jiao, Zheng, Yu ( "Zhou Li? 9? 9 Chun Guan")

It may be thought that the "five tones" refer to Yangping, Yinping, Shang, Qu, and Ru (Wang Zhongwen's "Li Qingzhao Collection Annotation"

Press: These two views are actually consistent, because the names of the ancient pentatonic scales are the same as the four tones. It is said that "Gong Shang is the flat tone, Zheng is the ascending tone, Yu is the falling tone, and Jiao is the entering tone" ("Wen Jing Mi Fu"). "Lun" quoted Yuan Jingyu)

The "five tones" in music are "five tones". Among the five tones of Gong, Shang, Jiao, Zheng and Yu, the ancients usually used Gong as the third of the scale. The first-level tones, Shang, Jiao, Zheng, and Yu can also be used as the first-level tones. If Gong is the first-level tonality, the pentatonic scale is: Gong (1), Shang (2), Jiao (3), and Zheng. (5), Yu (6); if Zheng is the first tone, the pentatonic scale is: Zheng (bass 5), Yu (bass 6), Gong (1), Shang (2), Jiao (3) .

If the first level of the scale is different, the mode will be different. The Gong mode is the starting point of the scale, which means that the Gong is the most important tonic in the melody; Shang is the key. The starting point of the scale is Shang, and Shang is the dominant tone, and so on. In this way, the pentatonic scale can have five different tonic modes. Similarly, the heptatonic scale can also have seven different tonic modes.

The ancient music tunes are divided into seven types: Gong (C), Shang (D), Jiao (E), Bian Zheng (F), Zheng (G), Yu (A), and Bian Gong (B). Bian Zheng is equivalent to the modern one. The F key of Western music has a sad tone. The Yu tone is equivalent to the A key in modern Western music, which is higher than the Bian Zheng tone and can express anger or high emotions. For example, "Warring States Policy. Yan Ce": "Gao Jianli attacked the building, Jing Ke." The song was the sound of victory, and all the soldiers wept. He sang again and said: "The wind is rustling and the water is cold. The strong man will never return once he is gone!" , sound up to the top of the finger. "

One of the five tones of Gong. Usually equivalent to the do sound in 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 9.9 Zhou Yuxia" says: "The husband's palace is the master of music, and the third one is Yu." "Book of Rites 9.9 Yue Ji" says: "The palace is for the king, the merchants are for the ministers, and the horns are for the people. ..." Zhang Yan of the Song Dynasty also said in "Etymology? 9? 9 Five Tones: The Palace belongs to the earth, and is the image of the king... The palace is in the middle, located in the center, flowing in all directions, and it is the outline of the four tones when singing "Shi Sheng". (Style) is also the "master" and "lord" of all tunes (styles), that is, in terms of what is now called "high tune". "Sui Shu 9? 9 Music Chronicles" says: "Each palace should be established." "Five tunes" "Niu Hongsui, because of Zheng's old translation, also asked the ancient 'pentatonic and five rhythms' to be used as palaces: each palace in 'Yale' has only one tune, but 'Yingqi' plays five tunes, which is called 'five tones'. ';'Manyue' uses seven tunes..." The so-called "Gong" is connected with "Jun". There are tune (style) names composed of Gong sound as the main sound and the knot sound. "Yuefu Miscellaneous Records" by Duan Anjie of the Tang Dynasty?9? 9. The Twenty-eight Tunes of the Pentatone Wheel of Bie Yue Shi says: “The first of the seven palace tunes is the Zhenggong tune, the sixth is the Xianlu Palace, and the seventh is 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 (all): Huangzhonggong (mode), Huangzhongshang (mode), Huangzhongjiao (mode), Huangzhong Bian (bianzheng mode), Huang Zhongzheng (mode), Huang Zhongyu (mode), Huang Zhongrun (leap palace mode).

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One of the five tones of Shang. It is 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" belongs to "Gold, the image of the minister", "the minister is in harmony with it". There are tune (style) names with the Shang sound as the main sound and the knot sound. For example, Duan Anjie of the Tang Dynasty's "Yuefu Zalu? 9? 9 Bie Yue Shi Pentatone Wheel Twenty" "Jiao" is one of the five tones in the "Eight Diagrams".

It is usually equivalent to the mi tone in today's tune. "Jiao" is the third level of the five tones. "Shang" is second. The ancients believed that "the horn belongs to wood and is the symbol of the people". There are tune (style) names composed of the horn sound as the main sound and the knot sound, such as "Yuefu Zalu" 9.9 by Duan Anjie of the Tang Dynasty. The "Seven Diagrams of Shangshengjiao" in the "Twenty-Eight Diagrams of the Five-tone Wheel". Among the ancient diao (styles), there are jiaodiao with jiaoyin as the key, or jiaodiao with Leung Palace as the corner. < /p>

Zheng is one of the five tones. It is usually equivalent to the sol sound in today's tune. "Zheng" is the fourth level of the five tones, second to "Jiao". The ancients believed that "Zheng" belongs to fire. "Image". There is a tune (style) name composed of Zhengyin as the main sound and the knot sound.

One of the five tones of Yu. It is usually equivalent to the la sound in the singing name of today's tune. "Yu" is The fifth level of the five tones is second to "Zheng". The ancients believed that "feather belongs to water and is the image of things." ?9?9 "Ping Shengyu Seven Tunes" in "Twenty-Eight Tunes of the Pentatone Wheel"

One of the "two changes" in the ancient musical scale, Jiaoyin and Zhengyin. "Historical Records Chapter 9 Chapter 9 Biography of Jing Ke" says: "Gao Jianli was building a building, and Jing Ke was singing songs, which made all the soldiers shed tears. "People in the Song Dynasty also called it "leap", which is called leap sign. In the twelve rhythms, it usually refers to the sound that is the same rhythm below the zheng sound (equivalent to #fa); it also refers to the sound that is the same rhythm as the jiao sound (that is, clear horn, which is equivalent to #fa). fa), and "Music Records of the Sui Dynasty" quoted Zheng Yi and Su Kuiju as saying, "Today...'Qingyue' Huang Zhonggong (both) uses Xiaolu (Zhonglu) as the change sign". It is the name of the tune (style) composed of the main tone and the knot tone. According to "Music Chronicles of the Sui Dynasty", Su Kui said: "Each palace (all) should have five tunes (styles). If you don't hear it, it will change the palace and the style." The second tune (style) is represented by the seventh tune (style). Zheng Yi replied: "Zhou has a seven-note rhythm... If we don't use the 'two changes' as the tune now, it will be a winter-summer sound, and it will be unprepared for the four seasons." Therefore, each palace must have seven tunes. "Everyone followed this. In Song Zhangyan's "Etymology? 9? 9 Eighty-Four Tune", under the twelve palaces (all), there are seven tunes (styles), listed as the "modes" of "bianzheng".

< p> One of the "two changes" in the ancient musical scale, the sound between Yu Yin and Gong Yin was called "Leung Gong" in the Twelve Rhymes, which refers to the sound below Gong Yin. (equivalent to si), such as "Book of the Later Han Dynasty? 9? 9 Lu Li Zhi" says: "The yellow bell is the palace... the bell is the palace of change"; there are also more uniform sounds (equivalent to bsi), such as "Yellow bell is the palace..." "Book of Jin?9?9 Lu Li Zhi" says that "the tune (scale) of Qingjiao has Guxi as the palace, and... Taicu as the palace of change." There is a tune (style) name composed of the main sound of Biangong as the concluding sound. .