The five tones of Gong Shang Jiao Zheng Yu are the basic scales of Chinese ancient music, which 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". "Five tones": lips, tongue, teeth, nose, and throat. "Five Tones": Gong, Shang, Jiao, Zheng, and Yu. Or it is believed that the "five tones" refer to Yangping, Yinping, Shang, Go, and Enter. Note: These two views are actually consistent. Because the names of the ancient pentatonic scales are the same as the flat and flat tones, the so-called "Gong Shang is the flat tone, Zheng is the ascending tone, Yu is the falling tone, and Jiao is the entering tone." The "pentatonic" in the musical rhythm is the "pentatonic". Among the five scales of Gong, Shang, Jiao, Zheng and Yu, the ancients usually used Gong as the first level of the scale. Shang, Jiao, Zheng and Yu can also be used as the first level. If Gong is used as the first-level tone, the pentatonic scale is: Gong (1), Shang (2), Jiao (3), Zheng (5), and Yu (6); if Zheng is used as the first-level tone, Wu The sound scales are: 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 scale with Gong as the starting point is Gong mode, which means that Gong is the most important and central tonic in the melody of the music; the scale with Shang as the starting point is Shang mode, with Shang as the main 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. 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 F key of modern Western music, with 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. One of the five palace sounds. 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 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 all four seasons." Therefore, each palace must have seven tunes. "Everyone followed it. Under the twelve palaces (both) in Song Zhangyan's "Etymology·Eighty-Four Tune", there are seven tunes (styles), listed as the "modes" of "Bian Zheng". The "two" in the ancient scale of Bian Gong One of the "changes". The musical sound between the feather sound and the palace sound. People in the Song Dynasty called it "leap palace". In the twelve rhythms, it refers to the sound that is lower than the palace sound (equivalent to si), such as "Book of the Later Han Dynasty" "Lu Li Zhi" says: "Huang Zhong is the palace... Ying Zhong is the Bian Palace"; there are also sounds that are more uniform than the feather sound (equivalent to bsi), such as "Book of Jin· Lu Li Zhi" says "The tone of Qing Jiao" (Scale) Guxi is the palace,... Taicu is the palace." There are tune (style) names composed of the main sound of Biangong as the concluding sound. Where did the five names "Gong Shang Jiao Zheng Yu" come from Where did it come from? Some researchers say that it comes from ancient astronomy, that is, it comes from the names of the twenty-eight stars. For example, "palace" comes from the center of the twenty-eight stars. ——Zhonggong, the other four tones come from different constellation names, this is the "astronomical theory"; and some researchers say that it comes from the livestock and poultry domesticated by the ancients, saying that there are five "cows, horses, pheasants, pigs, and sheep" The pronunciation of the characters in ancient times is similar to "Gong, Shang, Jiao, Zheng, Yu", which is the "animal theory"; some researchers say that they are derived from the totems of ancient clans, which is the "totem theory"; while in The ancient music book "Yue Ji" says: The palace is the king, the merchants are the ministers, the horns are the people, the levies are the affairs, and the feathers are the objects. It is said that the palace sounds represent the king, and the merchants' sounds represent the people... This is "the king and the ministers." " said". Whether it is "astronomical theory", "animal theory", "totem theory" or "monarch and minister theory", various theories have certain truths, and they all give music a layer of mystery, simplicity, or It is colored with feudal ethical concepts and expresses the different musical concepts of Chinese ancestors.