目 錄
榮序/
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余序/
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自序/
1
卷一
音律與琴調(diào)
基本律學(xué)篇
和也者，其眾音之窾會，而優(yōu)柔平中之橐鑰乎。
1. 彈琴需要懂律學(xué)嗎？ ······························································2
2. 五度相生律是什么？ ······························································3
3. 五度律按音徽位如何計(jì)算？ ·····················································5
4. 為什么不使用十二平均律彈奏傳統(tǒng)琴曲？ ·································11
5. 為何實(shí)際按音位置與理論位置有差別？ ····································13
按音位置篇
音有律，或在徽，或不在徽；固有分?jǐn)?shù)以定位，若混而不明，和于何出？
6. 清初琴譜很多按音位置都不符合五度相生律，這都屬手誤或
計(jì)算錯(cuò)誤嗎？ ·····································································14
7. 如何解讀未使用徽分法的明朝琴譜的按音位置？ ························17
8. 哪年代的琴譜才全面使用標(biāo)準(zhǔn)的五度相生律按音位置？ ···············19
純律篇
設(shè)按有不齊，徽有不準(zhǔn)，得和之似，而非真和，必以泛音辨之。
9. 如何推斷個(gè)別琴曲的調(diào)弦律制？ ·············································21
10. 明朝琴曲是否主流使用純律調(diào)弦？ ········································25
11. 什么是徽法律和準(zhǔn)法律？朱熹《琴律說》屬哪種？ ·········27
古譜變音篇
其為音也，寬裕溫柔，不事小巧，而古雅自見。一室之中，宛在深山邃谷，老
木寒泉，風(fēng)聲簌簌，令人有遺世獨(dú)立之思，此能進(jìn)于古者矣。
12. 中國音樂不是主要使用五聲音階的嗎？ ··································29
13. 為何管平湖的《廣陵散》和《白雪》打譜版本很少變音？ ··········32
14. 清商音的出現(xiàn)表示樂曲轉(zhuǎn)調(diào)嗎？ ···········································33
15. 明朝還有什么樂種使用含變音五聲音階？ ···························38
16. 為何這些變音到了清朝便逐漸消失？ ·····································41
民間音律篇
然琴中雅俗之辨爭在纖微。但能體認(rèn)得靜、遠(yuǎn)、淡、逸四字，有正始風(fēng)，斯俗
情悉去，臻于大雅矣。
17. 有什么證據(jù)支持琴曲曾使用民間音律？ ··································44
18. 什么是民間傳統(tǒng)音樂的苦音？ ··········································46
19. 徵調(diào)之外，還有什么琴曲使用苦音？ ·····································48
20. 清朝還有什么樂種使用苦音？ ··············································50
21. 古譜使用苦音帶出什么意義？ ··············································51
琴調(diào)篇
然必胸次磊落，而后合乎古調(diào)。
22. 為什么明朝琴譜的商調(diào)、角調(diào)和徵調(diào)都不符合現(xiàn)代對調(diào)式的
理解？ ············································································54
23. 商角調(diào)是什么？碣石調(diào)又是什么？ ········································57
24. 緊五為何稱作蕤賓調(diào)？ ·······················································59
25. 緊二五為何稱作凄涼調(diào)？ ····················································61
26. 徐理《琴統(tǒng)》提出什么方法解決調(diào)名的混淆？清朝琴譜又
怎樣做？ ·········································································63
27. 怎樣的琴調(diào)系統(tǒng)才適合？ ····················································66
卷二
彈奏
指法篇
貝經(jīng)云：若無妙指，不能發(fā)妙音。
28. 為什么《神奇秘譜》的《酒狂》全曲用打而不用勾？ ······70
29. 古譜的復(fù)合指法為何要挹煞前音？ ··································73
30. 搯起還是掐起才對？ ················································74
31. 托與擘在明朝琴譜的意義是倒過來的嗎？ ·····················75
32. 怎樣彈奏吟猱才令音準(zhǔn)清晰？ ····································76
33. 如何彈好左手的按音動作？為何古琴音樂屬線性？ ···················78
34. 如何彈好右手的變化？ ·······················································81
節(jié)拍篇
大速貴急，務(wù)令急而不亂，依然安閑之氣象，而能瀉出崩崖飛瀑之聲。
35. 為什么很多琴曲的記譜都不適合劃分為固定小節(jié)？ ···················84
36. 為什么某些老琴家的錄音的拍子很難數(shù)得清楚？ ······················87
37. 為何很多傳統(tǒng)琴曲都是漸快？但《長門怨》的漸快又感覺
不到？ ············································································89
38. 散板如何處理才適當(dāng)？ ·······················································91
音色篇
和、靜、清、遠(yuǎn)、古、淡、恬、逸、雅、麗、亮、采、潔、潤、圓、堅(jiān)、宏、
細(xì)、溜、健、輕、重、遲、速
39. 為什么古琴使用減字譜？ ····················································93
40. 散音、按音與泛音的頻譜圖有什么分別？ ·······························94
41. 琴人如何運(yùn)用古琴的音色變化？ ···········································98
42. 音色變化如何影響音高的感知？ ···········································99
43. 古琴的虛音與節(jié)奏如何互動？ ·············································101
琴弦篇
音漸入妙，必有次第。左右手指既造就清實(shí)，出有金石聲，然后可擬一亮字。
至于弦聲斷而意不斷，此政無聲之妙，亮又不足以盡之。
44. 鋼弦的金屬噪音從何而來？ ················································103
45. 如何減低鋼弦的金屬噪音？ ················································106
46. 為何還要使用絲弦？ ·························································107
47. 如何減低絲弦的摩擦噪音？ ················································110
卷三
傳承與創(chuàng)新
傳承篇
大音希聲，古道難復(fù)，不以性情中和相遇，而以為是技也，斯愈久而愈失其
傳矣。
48. 減字譜沒有記錄節(jié)奏，是否代表琴曲的節(jié)奏可以任意處理？ ······112
49. 古琴教學(xué)應(yīng)該使用現(xiàn)代樂譜嗎？ ··········································114
50. 為什么有些琴曲在蛻變時(shí)，連曲名也改變了？ ························116
51. 彈琴為何要學(xué)習(xí)傳統(tǒng)文化？ ················································118
52. 何謂大音希聲？ ···························································119
打譜篇
是以節(jié)奏有遲速之辨，吟猱有緩急之別。章句必欲分明，聲調(diào)愈欲疏越，皆是
一度一候，以全其終曲之雅趣。
53. 我們?yōu)槭裁匆獜椬喙抛V？ ···················································122
54. 怎樣打譜才可以接近古人的原意？ ·······································123
55. 怎樣處理節(jié)奏才可以令樂曲流暢？ ·······································126
創(chuàng)新篇
故成連之教伯牙于蓬萊山中，群峰互峙，海水崩折，林木幽冥，百鳥哀號，曰：
先生將移我情矣。
56. 怎樣的創(chuàng)新才是建基于傳統(tǒng)？ ·············································129
57. 如何開拓古琴音樂的新領(lǐng)域？ ·············································132
58. 沒有學(xué)過作曲的琴人可以嘗試創(chuàng)作嗎？作曲家寫琴曲，要先學(xué)
彈琴嗎？ ········································································136
卷四
琴譜、琴器與琴曲
琴譜與文獻(xiàn)篇
嚴(yán)天池詩：幾回拈出陽春調(diào)，月滿西樓下指遲。
59. 《琴聲十六法》是否冷謙所作？ ············································140
60. 《古岡遺譜》是否宋末遺譜？ ···············································141
61. 《琴譜諧聲》等清朝琴譜的奇怪律學(xué)理論從何而來？ ·················145
62. 《琴用指法》與《碣石調(diào)幽蘭》是姊妹篇嗎？ ··························147
琴器篇
蓋琴為清廟明堂之器，聲調(diào)寧不欲廓然曠遠(yuǎn)哉？
63. 科技如何協(xié)助老琴的研究？ ················································149
64. 博物館收藏的珍貴老琴，應(yīng)否讓琴人彈奏？ ···························154
琴曲篇
蓋音至于遠(yuǎn)，境入希夷，非知音未易知，而中獨(dú)有悠悠不已之志。吾故曰：求
之弦中如不足，得之弦外則有余也。
65. 傳統(tǒng)琴曲的整體結(jié)構(gòu)有什么特色？ ·······································157
66. 較早版本的《憶故人》跟彭慶壽所傳版本有什么不同？ ············159
67. 《洞庭秋思》究竟屬什么調(diào)？ ···············································163
68. 《碣石調(diào)·幽蘭》如何利用音色變化？ ···································165
69. 我創(chuàng)作的《雙乙反調(diào)》有什么特色？ ····································169
70. 我創(chuàng)作的《一閃燈花墮》有什么特色？ ·································170
71. 我創(chuàng)作的琴簫合奏有什么特色？ ··········································171
跋
回顧篇
故于興到而不自縱，氣到而不自豪，情到而不自擾，意到而不自濃。
72. 我為什么喜歡古琴？ ·························································176
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