1
志七十六
Treatise 76
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樂八
Music 8
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清代樂制，有中和韶樂、丹陛大樂、中和清樂、丹陛清樂、導迎樂、鐃歌樂、禾辭桑歌樂、慶神歡樂、宴樂、賜宴樂、鄉樂，器則隨所用而各異，悉依樂部次第，臚列而備舉之。 所獲籓屬樂器，列於宴樂，古所未詳，尤不可略。 然第志其名稱形制而已，若夫尺度聲律，則有司存。
The Qing music system comprised Zhonghe Shao Music, Danbi Grand Music, Zhonghe Qing Music, Danbi Qing Music, processional welcome music, nao song music, grain-ode and mulberry-song music, joyous spirit-celebration music, banquet music, imperial gift-banquet music, and village music. Instruments varied with each occasion; all are recorded here in the order prescribed by the Music Bureau, item by item. Instruments received from tributary domains appear under banquet music—a category never fully documented in antiquity and not to be passed over lightly. Here only names and forms are recorded; questions of measurement and pitch regulation belong to the appropriate offices.
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中和韶樂，用於壇、廟者，鎛鍾一，特磬一，編鐘十六，編磬十六，建鼓一，篪六，排簫二，塤二，簫十，笛十，琴十，瑟四，笙十，搏拊二，柷一，敔一，麾一。 先師廟，琴、簫、笛、笙各六，篪四，餘同。 巡幸祭方岳，不用鎛鍾、特磬，琴、簫、笛、笙各四，瑟、篪各二，餘同。 用於殿陛者，簫四，笛四，篪二，琴四，瑟二，笙八，餘同。
Zhonghe Shao Music for altars and temples calls for one bo bell, one solo chime set, sixteen serial bells and sixteen serial chimes, one set-up drum, six chi, two panpipes, two xun, ten xiao, ten di, ten qin, four se, ten sheng, two hand-clappers, a zhù, a yù, and a conductor's baton. At the Temple of the Former Master, there are six each of qin, xiao, di, and sheng, four chi, and the remainder as above. On imperial tours when sacrificing at the sacred mountains, bo bells and solo chimes are omitted; qin, xiao, di, and sheng are four each, se and chi two each, and the remainder as above. For use on palace hall steps, there are four xiao, four di, two chi, four qin, two se, eight sheng, and the remainder as above.
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鎛鍾，範金為之，凡十二，應十二律。 其制皆上徑小，下徑大，縱徑大，橫徑小。 乳三十六。 兩角下垂。 十二鍾各虡，大小異制。 黃鍾之鐘，兩欒高一尺八寸二分二釐，甬長一尺零八分，以次遞減至應鍾之鐘，兩欒高九寸六分，甬長五寸六分八釐。 黃鍾之鐘，十一月用之； 大呂之鐘，十二月用之； 太簇之鐘，正月用之； 夾鍾之鐘，二月用之； 姑洗之鐘，三月用之； 仲呂之鐘，四月用之； 蕤賓之鐘，五月用之； 林鍾之鐘，六月用之； 夷則之鐘，七月用之； 南呂之鐘，八月用之； 無射之鐘，九月用之； 應鍾之鐘，十月用之。 鍾之簨虡凡四，皆塗金、上簨左右刻龍首，脊樹金鸞，咮銜五采流蘇，龍口亦如之，下垂至趺。 中簨有業，鏤雲龍。 附簨結黃絨紃以懸鐘。 左右兩虡，承以五采伏獅。 下為趺，趺上有垣，鏤山水形。 黃鍾、大呂、太簇三虡尺度同，夾鍾、姑洗、仲呂三虡尺度同，蕤賓、林鍾、夷則三虡尺度同，南呂、無射、應鍾三虡尺度同，用時不並陳，如以黃鍾為宮，則祗懸黃鍾之鐘。 餘月仿此。
Bo bells are cast in metal—twelve in all, one for each of the twelve pitch pipes. Each is shaped with a smaller upper rim and larger lower rim, greater in vertical than in horizontal diameter. They bear thirty-six nipple-bosses. The two corners hang down. Each of the twelve bells stands on its own frame, and the frames vary in size. The Huangzhong bell stands one chi, eight cun, two fen, and two li between its crowns, with a shank one chi and eight fen long; sizes decrease step by step to the Yingzhong bell, whose crowns measure nine cun and six fen and whose shank is five cun, six fen, and eight li. The Huangzhong bell is used in the eleventh month; The Dalü bell is used in the twelfth month; The Taicu bell is used in the first month; The Jiazhong bell is used in the second month; The Guxi bell is used in the third month; The Zhonglü bell is used in the fourth month; The Ruibin bell is used in the fifth month; The Linzhong bell is used in the sixth month; The Yize bell is used in the seventh month; The Nanlü bell is used in the eighth month; The Wushe bell is used in the ninth month; The Yingzhong bell is used in the tenth month. There are four bell frames in all, each gilded. Dragon heads are carved at either end of the upper crossbar; a golden luan bird stands on the ridge, its beak holding five-colored tassels, and the dragon mouths hold the same, trailing down to the base. The middle crossbar bears a mounting plate engraved with cloud-and-dragon motifs. Yellow velvet cords are tied to the crossbar to suspend the bell. The two side frames rest on five-colored crouching lions. Beneath them is a base topped by a parapet engraved with mountains and waters. The frames for Huangzhong, Dalü, and Taicu are one size; those for Jiazhong, Guxi, and Zhonglü another; Ruibin, Linzhong, and Yize a third; and Nanlü, Wushe, and Yingzhong a fourth. They are never displayed all at once—when Huangzhong serves as the tonic, only the Huangzhong bell is hung. Other months follow the same rule.
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特磬，以和闐玉為之，凡十二，應十二律。 其制為鈍角矩形，長股謂之鼓，短股謂之股，皆兩面為雲龍形，穿孔系紃而懸之。 十二磬各虡，大小異制。 黃鍾之磬，股長一尺四寸五分八釐，鼓長二尺一寸八分七釐。 以次遞減，至應鍾之磬，股長七寸六分八釐，鼓長一尺一寸五分二釐。 愈小者質愈厚，黃鍾之磬，厚七分二釐九豪，遞增至應鍾之磬，厚一寸二分九釐六豪。 黃鍾之磬，十一月用之； 大呂之磬，十二月用之； 太簇之磬，正月用之； 夾鍾之磬，二月用之； 姑洗之磬，三月用之； 仲呂之磬，四月用之； 蕤賓之磬，五月用之； 林鍾之磬，六月用之； 夷則之磬，七月用之； 南呂之磬，八月用之； 無射之磬，九月用之； 應鍾之磬，十月用之； 磬之簨虡亦四，惟上簨左右刻鳳首，趺飾臥鳧，白羽硃喙。 十二磬不並陳，當月則懸其一，與鎛鍾同。
Solo chimes are fashioned from Khotan jade—twelve in all, matching the twelve pitch pipes. Each is a blunt-cornered rectangle: the longer side is called the drum, the shorter the thigh. Both faces bear cloud-and-dragon designs, and holes are pierced for suspension cords. Each of the twelve chimes has its own frame, and the frames vary in size. The Huangzhong chime measures one chi, four cun, five fen, and eight li along the thigh and two chi, one cun, eight fen, and seven li along the drum. Sizes decrease step by step to the Yingzhong chime, whose thigh is seven cun, six fen, and eight li and whose drum is one chi, one cun, five fen, and two li. Smaller chimes are thicker in body: the Huangzhong chime is seven fen, two li, and nine hao thick, increasing to the Yingzhong chime at one cun, two fen, nine li, and six hao. The Huangzhong chime is used in the eleventh month; The Dalü chime is used in the twelfth month; The Taicu chime is used in the first month; The Jiazhong chime is used in the second month; The Guxi chime is used in the third month; The Zhonglü chime is used in the fourth month; The Ruibin chime is used in the fifth month; The Linzhong chime is used in the sixth month; The Yize chime is used in the seventh month; The Nanlü chime is used in the eighth month; The Wushe chime is used in the ninth month; The Yingzhong chime is used in the tenth month; Chime frames likewise number four, but their upper crossbars are carved with phoenix heads at either end, and the base is adorned with recumbent mandarin ducks—white-plumed, vermilion-beaked. The twelve chimes are never displayed together; only the chime for the current month is hung, following the same rule as the bo bells.
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編鐘，範金為之，十六鍾同虡，應十二正律、四倍律，夷則、南呂、無射、應鍾各有倍律。 陰陽各八。 外形橢圓，大小同制，惟內高、內徑、容積各不同。 實體之薄厚，以次遞增。 第一倍夷則之鐘，體厚一分三釐三豪，至第十六應鍾之鐘，體厚二分八釐四豪。 簨虡塗金，上簨左右刻龍首，中、下二簨俱刻朵雲，系金鉤懸鐘。 兩虡承以五采伏獅，下為趺，鏤山水形。
Serial bells are cast in metal—sixteen on a single frame, matching the twelve primary pipes and four doubled pipes; Yize, Nanlü, Wushe, and Yingzhong each have a doubled variant. Eight for the yin series and eight for the yang. Outwardly they are oval and uniform in outer dimensions, but inner height, inner diameter, and volume differ from bell to bell. The thickness of the bell wall increases step by step. The first bell—the doubled Yize—has a wall one fen, three li, and three hao thick; the sixteenth, the Yingzhong, two fen, eight li, and four hao. The frame is gilded. Dragon heads adorn either end of the upper crossbar; the middle and lower crossbars bear cloud-cluster carvings, and golden hooks suspend the bells. The two side frames rest on five-colored crouching lions, with a base below engraved in mountain-and-water motifs.
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編磬，以靈壁石或碧玉為之，十六磬同虡，應十二正律、四倍律，與編鐘同。 陰陽各八。 皆為鈍角矩形，大小同制。 股長七寸二分九釐，鼓長一尺九分三釐五豪，惟實體之薄厚，以次遞增。 第一倍夷則之磬，厚六分六豪八絲，至第十六應鍾之磬，厚一寸二分九釐六豪。 簨虡制同編鐘，惟上簨左右刻鳳首，趺飾臥鳧，白羽硃喙。
Serial chimes are fashioned from Lingbi stone or green jade—sixteen on one frame, matching the twelve primary pipes and four doubled pipes, as with the serial bells. Eight for the yin series and eight for the yang. All are blunt-cornered rectangles of uniform outer dimensions. The thigh measures seven cun, two fen, and nine li; the drum one chi, nine fen, three li, and five hao—only the body thickness increases step by step. The first chime—the doubled Yize—is six fen, six hao, and eight si thick; the sixteenth, the Yingzhong, one cun, two fen, nine li, and six hao. The frame follows the serial-bell design, except that phoenix heads are carved at either end of the upper crossbar and the base bears recumbent mandarin ducks—white-plumed, vermilion-beaked.
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建鼓，木匡冒革，貫以柱而樹之。 面徑二尺三寸四釐，匡長三尺四寸五分七釐，匡半穿方孔，貫柱上出擎蓋，下植至趺。 蓋上穹下方，頂塗金，上植金鸞為飾。 承鼓以曲木，四歧抱匡，趺四足，各飾臥獅。 擊以雙桴，直柄圓首，凡鼓桴皆如之。
The set-up drum has a wooden frame covered with hide, mounted upright on a central pillar. The drumhead measures two chi, three cun, and four li in diameter; the frame is three chi, four cun, five fen, and seven li long. A square hole pierces the frame halfway; the pillar passes through, rising to support a canopy above and set into the base below. The canopy is domed on top and square below, gilded at the summit and crowned with a golden luan bird. Curved timbers support the drum, four arms clasping the frame; the four-footed base bears a recumbent lion on each foot. It is played with paired mallets—straight shafts, round heads—as are all drumsticks.
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篪二，皆截竹為質，間纏以絲，橫吹之。 一孔上出為吹口，五孔外出，一孔內出，又二孔並間下出為出音孔。 管末有底，中開一孔，吹孔上留竹節以閉音。 一姑洗篪，徑八分七釐，自吹口至管末，九寸九分五釐九豪，陽月用之。 一仲呂篪，徑八分三釐二豪，自吹口至管末，九寸五分二釐五豪，陰月用之。
There are two chi, both cut from bamboo and wrapped with silk at intervals, played horizontally. One hole opens upward as the mouthpiece; five face outward, one inward, and two more open downward between the joints as tone holes. The lower end is stopped; a hole is pierced in its center, and a bamboo node is left above the mouthpiece to seal the bore. One Guxi chi, eight fen and seven li in diameter, nine cun, nine fen, five li, and nine hao from mouthpiece to end—used in yang months. One Zhonglü chi, eight fen, three li, and two hao in diameter, nine cun, five fen, two li, and five hao from mouthpiece to end—used in yin months.
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排簫，比竹為之，其形參差象鳳翼。 十六管，陰陽各八，同徑殊長。 上開山口單吹之，無旁出孔。 自左而右，列二倍律、夷則，無射。 六正律以協陽均。 自右而左，列二倍呂，南呂，應鍾。 六正呂以協陰均。 管面各鐫律呂名，納於一櫝，而齊其吹口。 櫝用木，形如幾，虛其中以受管。
Panpipes are assembled from matched bamboo tubes, their staggered lengths shaped like phoenix wings. Sixteen tubes—eight yin and eight yang—of uniform bore but varying length. Each tube is blown at its open upper end; there are no lateral holes. From left to right stand two doubled pipes, then Yize and Wushe. Six primary pipes harmonize the yang scale. From right to left stand two doubled pipes, then Nanlü and Yingzhong. Six primary pipes harmonize the yin scale. Each tube is engraved with its pitch name, fitted into a single case with the mouthpieces aligned. The case is wooden, table-shaped, hollow inside to hold the tubes.
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塤有二，燒土為之，形皆橢圓如鵝子，上銳下平。 前四孔，後二孔，頂上一孔，以手捧而吹之。 一黃鍾塤，內高二寸二分三釐，腹徑一寸七分一釐七豪，底徑一寸一分六釐八豪，陽月用之。 一大呂塤，內高二寸一分三釐三豪，腹徑一寸六分四釐二豪，底徑一寸一分一釐七豪，陰月用之。
There are two xun, both of fired clay, oval as goose eggs—pointed above, flat below. Four holes face forward, two aft, one on top; the player cups it in both hands to blow. One Huangzhong xun, two cun, two fen, and three li high inside, one cun, seven fen, one li, and seven hao across the belly, one cun, one fen, six li, and eight hao at the base—used in yang months. One Dalü xun, two cun, one fen, three li, and three hao high inside, one cun, six fen, four li, and two hao across the belly, one cun, one fen, one li, and seven hao at the base—used in yin months.
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簫二，截竹為之，皆上開山口，五孔前出，一孔後出，出音孔二，相對旁出。 一姑洗簫，徑四分三釐五豪，自山口至出音孔，長一尺五寸八分四釐二豪，陽月用之。 一仲呂簫，徑四分一釐六豪，自山口至出音孔，長一尺五寸一分五釐二豪，陰月用之。
There are two xiao, cut from bamboo, each open at the upper end; five holes face forward, one aft, and two tone holes open on opposite sides. One Guxi xiao, four fen, three li, and five hao in diameter, one chi, five cun, eight fen, four li, and two hao from upper end to tone hole—used in yang months. One Zhonglü xiao, four fen, one li, and six hao in diameter, one chi, five cun, one fen, five li, and two hao from upper end to tone hole—used in yin months.
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笛二，截竹為之，皆間纏以絲，兩端加龍首龍尾。 左一孔，另吹孔，次孔加竹膜，右六孔，皆上出。 出音孔二，相對旁出。 末二孔，亦上出。 一姑洗笛，徑四分三釐五豪，自吹孔右盡，通長一尺二寸五分一釐七豪，陽月用之。 一仲呂笛，徑四分一釐六豪，自吹孔右盡，通長一尺一寸九分七釐二豪，陰月用之。
There are two di, cut from bamboo and wrapped with silk at intervals, with dragon-head and dragon-tail fittings at either end. One hole on the left, then a separate mouth hole with a bamboo membrane over the next; six holes on the right, all opening upward. Two tone holes open on opposite sides. The final two holes also open upward. One Guxi di, four fen, three li, and five hao in diameter, one chi, two cun, five fen, one li, and seven hao from mouth hole to far end—used in yang months. One Zhonglü di, four fen, one li, and six hao in diameter, one chi, one cun, nine fen, seven li, and two hao from mouth hole to far end—used in yin months.
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琴，面用桐，底用梓，魨以漆。 前廣、後狹、上圓、下方、中虛。 通長三尺一寸五分九釐。 底孔二，上曰龍池，下曰鳳池。 腹內有天地二柱，天柱圓，當肩下； 地柱方，當腰上。 凡七弦，皆硃。 第一弦一百八綸，第二弦九十六綸，第三弦八十一綸，第四弦七十二綸，第五弦六十四綸，第六弦五十四綸，第七弦四十八綸。 軫七，徽十三。 其飾岳山焦尾用紫檀，徽用螺蚌，軫結黃絨紃，承以魨漆幾。
The qin has a paulownia soundboard, a catalpa back, and a lacquered finish. It is broad at the front and narrow at the rear, round on top and square below, with a hollow interior. Its overall length is three chi, one cun, five fen, and nine li. There are two sound holes in the base—the upper called the Dragon Pool, the lower the Phoenix Pool. Inside the body are two sound posts—the Heaven post, round, set below the shoulders; and the Earth post, square, set above the waist. All seven strings are vermilion. The first string has one hundred eight strands, the second ninety-six, the third eighty-one, the fourth seventy-two, the fifth sixty-four, the sixth fifty-four, and the seventh forty-eight. There are seven tuning pegs and thirteen harmonic markers. The bridge and scorched tail are of red sandalwood, the harmonic markers of mother-of-pearl; the pegs are strung with yellow velvet cords, and the instrument rests on a lacquered stand.
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瑟體用桐，魨以漆，前廣、後狹、面圓、底平、中高、兩端俯。 通長六尺五寸六分一釐。 底孔二，是為越。 前越四齣，後越上圓下平。 凡二十五弦，弦皆二百四十三綸。 中一弦黃，兩旁皆硃。 設柱和弦，柱無定位，各隨宮調。 弦孔飾螺蚌，承以魨金幾二。
The se body is paulownia, lacquered—broad at the front, narrow at the rear, with a rounded face, flat base, a raised center, and both ends sloping down. Its overall length is six chi, five cun, six fen, and one li. Two holes pierce the base—these are the sound openings. The front opening has four notches; the rear is round on top and flat below. There are twenty-five strings, each of two hundred forty-three strands. The center string is yellow; those on either side are vermilion. Movable bridges tune the strings; they have no fixed placement but shift with each mode. The string holes are inlaid with mother-of-pearl, and the instrument rests on two lacquered, gilded stands.
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笙二，截紫竹為管，環植匏中，匏或以木代之。 管皆十七，束以竹，本豐末斂，管本近底削半露竅。 以薄銅葉為簧，點以蠟珠，其上各按律呂分開出音孔。 匏之半施橢圓短嘴，昂其末。 中為方孔，別為長嘴如鳳頸，置於短嘴方孔中。 末為吹口，氣從吹口入，鼓簧成音。 小笙制如大笙而小，亦十七管，惟第一、第九、第十六、第十七管不設簧，有簧者凡十三管，餘均與大笙同。
There are two sheng: pipes cut from purple bamboo set in a ring within a gourd body, which may be replaced by wood. Each has seventeen pipes, bound with bamboo—thick at the base, tapering toward the tips; near the base each pipe is half-cut to expose its opening. Thin copper reeds, tipped with wax beads, sit beneath tone holes opened according to the pitch pipes. Half the gourd bears an oval short mouthpiece with its tip raised. A square hole pierces its center; a separate long mouthpiece shaped like a phoenix neck fits into that square opening. Its tip is the mouth hole; breath enters there and sets the reeds vibrating to produce tone. The small sheng follows the large sheng's design but smaller, likewise with seventeen pipes—though the first, ninth, sixteenth, and seventeenth lack reeds, leaving thirteen reeded pipes; all else matches the large sheng.
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搏拊，如鼓而小。 面徑七寸二分九釐，匡長一尺四寸五分八釐。 匡上施金盤龍二，銜小金鐶，以黃絨紃系之，橫置趺上。 用時懸於項，擊以左右手。 每建鼓一擊，則搏拊兩擊以為節。
Hand clappers resemble small drums. The head measures seven cun, two fen, and nine li in diameter; the frame is one chi, four cun, five fen, and eight li long. Two gilded coiled dragons on the frame hold small golden rings tied with yellow velvet cords; the clappers lie horizontally on the base. In performance they hang from the neck and are struck with both hands. For every stroke of the set-up drum, the hand clappers strike twice to mark the beat.
19
柷，以木為之，形如方斗，上廣下狹，三面正中各隆起為圓形以受擊，一面中為圓孔以出音。 以趺承之，擊具曰止。
The zhù is wooden, bucket-shaped—wide above, narrow below. Three faces bear a raised round striking surface at center; the fourth has a round sound hole at center. It rests on a base; its striker is called the zhi.
20
敔，以木為之，形如伏虎，背上有二十七齟齬刻，以趺承之。 鼓之以籈，以竹為之，析其半為二十四莖，於齟齬上橫轢之。
The yù is wooden, shaped like a crouching tiger with twenty-seven serrated ridges along its back, resting on a base. It is scraped with a zhēn—a bamboo rod split into twenty-four stalks and drawn horizontally across the ridges.
21
麾，黃帛為之，綉九曲雲龍。 上飾藍帛，綉紅日，日中綉中和字。 上綉三台星，左北斗，右南斗。 帛上下施橫木，上鏤雙龍，下為山水形，皆魨金。 硃杠，上曲為龍首以懸麾，麾舉樂作，麾偃樂止。
The conductor's baton is yellow silk embroidered with nine-fold cloud-and-dragon motifs. Blue silk adorns the upper portion, embroidered with a red sun bearing the character Zhonghe at its center. Above are embroidered the Three Steps; the Northern Dipper to the left, the Southern Dipper to the right. Horizontal timbers frame the silk above and below—the upper carved with paired dragons, the lower with mountains and waters—all lacquered and gilded. A vermilion pole curves at the top into a dragon head from which the baton hangs—raise it and music begins; lower it and music stops.
22
丹陛大樂，凡御殿受賀及宮中行禮皆用之。 其器：戲竹二，大鼓二，方響二，雲鑼二，簫二，管四，笛四，笙四，杖鼓一，拍板一。 簫、笛、笙同中和韶樂。
Danbi Grand Music accompanies imperial audiences receiving felicitations and all ceremonial rites within the palace. Its instruments are two conductor's bamboo clappers, two large drums, two square chime sets, two cloud gongs, two xiao, four guan pipes, four di, four sheng, one stick drum, and one clapper board. The xiao, di, and sheng match those of Zhonghe Shao Music.
23
戲竹，析竹為之，凡二，各五十莖。 魨硃，承以塗金壺盧，下有柄，亦魨硃。 人各執其一，立丹陛上，合則樂作，分則樂止。 戲音與麾同，其用亦與麾同。
Conductor's bamboo clappers are split bamboo—two sets of fifty stalks each. They are lacquered vermilion, mounted on gilded gourd-shaped holders with vermilion-lacquered handles below. Each performer holds one set, standing on the cinnabar steps—bring them together and music begins; separate them and music stops. The clapper signal matches the baton, and its function is the same.
24
大鼓，木匡冒革，面徑三尺六寸四分五釐，匡高三尺二寸四分。 腹施銅膽，面魨黃，繪五采雲龍。 匡魨硃，繪交龍，匡半金鐶四。 承以魨硃架，架有鉤，以鉤鐶平懸之。 架高六尺，鼓者藉蹈以擊之。
Large drums have wooden frames covered with hide—the head three chi, six cun, four fen, and five li in diameter, the frame three chi, two cun, and four fen high. A copper resonator fills the belly; the head is lacquered yellow and painted with five-colored cloud-and-dragon designs. The frame is lacquered vermilion with interlaced dragons painted upon it; four golden rings ring the frame at mid-height. It rests on a lacquered vermilion stand fitted with hooks that suspend the drum level by its rings. The stand stands six chi high; the drummer steps upon it to play.
25
方響，以鋼為之，形長方，十六枚同虡，應十二正律、四倍律，與編鐘、磬同。 形質皆同。 惟以薄厚為次。 倍夷則之厚，三分三豪四絲，遞增至應鍾之厚，六分四釐八豪。 後面近上三分之一皆為橫脊，竅其上端，系以黃絨紃，懸於虡而斜倚之，擊以小鋼槌。 各部樂皆同，惟馬上凱歌樂分用其八，人各一枚，擎而擊之。
Square chimes are steel rectangles—sixteen on one frame, matching the twelve primary pipes and four doubled pipes, as with serial bells and chimes. All share the same form and material. Only thickness varies among them. The doubled Yize piece is three fen, three hao, and four si thick, increasing step by step to the Yingzhong at six fen, four li, and eight hao. The upper third of the rear face forms a horizontal ridge with a hole at its top; yellow velvet cords suspend each piece on the frame at an angle, and it is struck with a small steel mallet. All music sections use the same design; only mounted victory-song music divides eight pieces among the players, each holding one aloft to strike.
26
雲鑼，范銅為之，十枚同架，應四正律、六半律，姑洗、蕤賓、夷則、無射四正律，半黃鍾至半無射六半律。 皆四旁穿竅，以黃絨紃繫於架，中四，左右各三，合三行為九宮形，其一上出。 以薄厚為次，下右應姑洗之律，厚二釐五豪二絲。 遞增至最上，應半無射之律，厚五釐九豪八絲。
Cloud gongs are cast copper—ten on one frame, matching four primary pipes and six half-pipes: Guxi, Ruibin, Yize, and Wushe among the primaries, and half Huangzhong through half Wushe among the halves. Each is pierced on four sides and tied to the frame with yellow velvet cords—four at center, three on each flank—arranged in three rows forming a nine-palace pattern with one gong projecting above. Thickness marks the gradation—the lower right gong matches the Guxi pipe at two li, five hao, and two si thick. Thickness increases step by step to the topmost gong, matching half Wushe at five li, nine hao, and eight si.
27
管即頭管，以堅木或骨角為之，大小各一，皆前七孔後一孔，管端設蘆哨，入管吹之。 大管以姑洗律管為體，徑二分七釐四豪，哨下口至末，長五寸七分六釐。 小管以黃鍾半積同形管為體，徑二分一釐七豪，哨下口至末，長五寸六分二豪。 皆間束以絲，兩端以象牙為飾。
Guan pipes—lead pipes of hard wood or bone and horn, one large and one small—each have seven front holes and one back hole, with a reed mouthpiece at the tip through which the player blows. The large pipe follows the Guxi pitch pipe in bore—two fen, seven li, and four hao in diameter, five cun, seven fen, and six li from below the mouthpiece to the end. The small pipe follows the half Huangzhong pipe in bore—two fen, one li, and seven hao in diameter, five cun, six fen, and two hao from below the mouthpiece to the end. Both are wrapped with silk at intervals, with ivory fittings at either end.
28
杖鼓，上下二面，鐵圈冒革，復楦以木匡，細腰。 匡高一尺九寸四分四釐、腰徑二寸八分八釐，兩端徑各八寸一分，上下面徑各一尺二寸九分六釐。 面匡俱魨黃，繪五采雲龍，緣以綠皮掩錢。 上下邊綴金鉤各六，以黃絨紃交絡之。 腰加束焉。 腰飾綠皮焦葉文。 以魨硃竹片擊之。
Stick drums are double-headed—iron rings covered with hide, mounted on a wooden frame with a narrow waist. The frame stands one chi, nine cun, four fen, and four li high; the waist measures two cun, eight fen, and eight li across; each end eight cun and one fen; each head one chi, two cun, nine fen, and six li in diameter. Head and frame are lacquered yellow with five-colored cloud-and-dragon designs, edged in green leather studded with coin-shaped bosses. Six golden hooks ring each head, laced together with crisscrossed yellow velvet cords. The waist is further bound with cords. The waist bears green leather in scorched-leaf patterns. It is played with lacquered vermilion bamboo slats.
29
拍板，以堅木為之，左右各三片。 近上橫穿二孔，以黃絨紃聯之，合擊以為節。
Clapper boards are hard wood—three slats on each side. Two holes pierce each slat near the top, linked with yellow velvet cords; the slats are clapped together to mark the beat.
30
中和清樂，用於冊尊典禮，宴饗進饌，除夕、元夕張燈亦用之。 其器：雲鑼二，笛二，管二，笙二，杖鼓一，手鼓一，拍板一。 笛、笙同中和韶樂，雲鑼、管、板同丹陛大樂。
Zhonghe Qing Music accompanies investiture rites, banquets when courses are served, and also New Year's Eve and the Lantern Festival when lanterns are displayed. Its instruments are two cloud gongs, two di, two guan pipes, two sheng, one stick drum, one hand drum, and one clapper board. The di and sheng match Zhonghe Shao Music; the cloud gongs, guan pipes, and clapper boards match Danbi Grand Music.
31
杖鼓同丹陛大樂而小，或半之，或為三之二。
Stick drums follow the Danbi Grand Music design but smaller—either half size or two-thirds.
32
手鼓，木匡冒革，面徑九寸一分二豪，腰徑一尺二分四釐。 以柄貫匡，持而擊之。
Hand drums have wooden frames covered with hide—the head nine cun, one fen, and two hao in diameter, the waist one chi, two fen, and four li across. A handle passes through the frame; the player holds it and strikes.
33
丹陛清樂，用於宴饗進茶、進酒，臨雍賜茶亦用之。 樂器均與中和清樂同。
Danbi Qing Music accompanies banquets when tea and wine are served, and also when tea is bestowed at the Imperial Lecture Hall. The instruments are identical to those of Zhonghe Qing Music.
34
導迎樂、鐃歌樂，用於乘輿出入。 鑾駕鹵簿則奏導迎樂，騎駕鹵簿則奏鐃歌之行幸樂，法駕鹵簿、大駕鹵簿則導迎樂間以鐃歌樂，惟大祀詣壇、廟則導迎樂、鐃歌樂設而不作。 凡三大節進表及進實錄、聖訓、玉牒，又親耕、親蠶、授時、頒詔、殿試、送榜、迎吻，凡前導以御仗出入者，皆奏導迎樂。 鐃歌之樂有鹵簿樂，其部一，曰鐃歌鼓吹。 有前部樂，其部一，曰前部大樂。 亦曰大罕波。 有行幸樂，其部三：曰鳴角，曰鐃歌大樂，曰鐃歌清樂。 有凱旋樂，其部二：曰鐃歌，曰凱歌。 鹵簿樂與前部大樂並列，亦曰金鼓鐃歌大樂，凡圜丘、祈穀、常雩，用大駕鹵簿，則前部大樂、鐃歌鼓吹、行幸樂三部並陳。 方澤，用法駕鹵簿，則陳前部大樂、鐃歌鼓吹。 太廟、社稷及各中祀，用法駕鹵簿，則陳鐃歌鼓吹。 朝會用法駕鹵簿同。 御樓受俘，用法駕鹵簿，則陳金鼓鐃歌大樂。 巡幸及大閱，用騎駕鹵簿，則陳鳴角鐃歌大樂、鐃歌清樂。 凱旋郊勞，則奏鐃歌。 迴鑾振旅，則奏凱歌。
Processional Welcome Music and Nao Song Music accompany the imperial carriage on its comings and goings. The Luanjia guard array plays Processional Welcome Music; the Qijia array plays nao song travel music; the Fajia and Dajia arrays alternate processional welcome music with nao song music—only when proceeding to altars and temples for great sacrifices are both ensembles present but silent. Processional Welcome Music accompanies every occasion when imperial regalia leads the way—presentations at the three great festivals, delivery of Veritable Records, Sacred Instructions, and Jade Registers, the emperor's personal plowing and sericulture, calendar distribution, edict promulgation, palace examinations, delivery of the examination lists, and the roof-beam ceremony. Nao song music includes guard-array music—one section called nao song drum-and-pipe music. There is vanguard music—one section called Vanguard Grand Music. It is also called Dahanbo. There is travel music in three sections: Horn Blasts, Nao Song Grand Music, and Nao Song Qing Music. There is triumphal music in two sections: Nao Song and Victory Song. Guard-array music and Vanguard Grand Music stand together, also known as Metal-Drum Nao Song Grand Music. For the Circular Mound, Prayer for Grain, and Regular Supplication for Rain, when the Dajia guard array is used, all three sections—Vanguard Grand Music, nao song drum-and-pipe music, and travel music—are deployed. At the Square Mound with the Fajia guard array, Vanguard Grand Music and nao song drum-and-pipe music are deployed. At the Imperial Ancestral Temple, the Altars of Soil and Grain, and other secondary sacrifices with the Fajia guard array, nao song drum-and-pipe music is deployed. Court assemblies with the Fajia guard array follow the same arrangement. When captives are received at the Imperial Tower with the Fajia guard array, Metal-Drum Nao Song Grand Music is deployed. Imperial tours and grand military reviews with the Qijia guard array deploy Horn Blasts Nao Song Grand Music and Nao Song Qing Music. At suburban feasts welcoming a victorious return, nao song is performed. When the imperial carriage returns and the troops are reassembled, victory song is performed.
35
導迎樂用戲竹二，管六，笛四，笙二，雲鑼二，導迎鼓一，拍板一。 笙、笛同中和韶樂，戲竹、雲鑼、管、板同丹陛大樂。
Processional Welcome Music employs two conductor's bamboo clappers, six guan pipes, four di, two sheng, two cloud gongs, one processional welcome drum, and one clapper board. The sheng and di match Zhonghe Shao Music; the conductor's bamboo clappers, cloud gongs, guan pipes, and clapper boards match Danbi Grand Music.
36
導迎鼓，制如大鼓而小，面徑二尺四分八釐，匡高一尺六寸二分。 繪五采雲龍，腹施銅膽。 旁施金鐶四，系黃絨紃。 二人舁行，擊以硃槌。
The processional welcome drum follows the large drum's design but smaller—the head two chi, four fen, and eight li in diameter, the frame one chi, six cun, and two fen high. It is painted with five-colored cloud-and-dragon designs, with a copper resonator mounted on the drum belly. Four gilt rings adorn the sides, tied with yellow velvet cords. Two bearers carry it in procession; it is struck with a vermilion mallet.
37
鐃歌鼓吹用龍鼓四十八，畫角二十四，大銅角八，小銅角八，金二，鉦四，笛十二，杖鼓四，拍板四。 笛同中和韶樂，板同丹陛大樂。
Nao song drum-and-pipe music employs forty-eight dragon drums, twenty-four painted horns, eight large and eight small copper horns, two jin, four zheng, twelve di, four stick drums, and four clapper boards. The di match Zhonghe Shao Music; the clapper boards match Danbi Grand Music.
38
龍鼓，木匡冒革，面徑一尺五寸三分六釐，匡高六寸四分八釐。 面匡繪飾金鐶俱如導迎鼓。 鐶系黃絨紃，行則懸於項，陳則置於架。 架攢竹三，貫以樞而搘之。
Dragon drums have wooden frames covered with hide—the head one chi, five cun, three fen, and six li in diameter, the frame six cun, four fen, and eight li high. The head, frame, painted decoration, and gilt rings all follow the processional welcome drum. Yellow velvet cords attach to the rings; on the march the drum hangs from the neck, when stationed it rests on a stand. The stand is three bamboo poles joined by a pivot pin for support.
39
畫角，木質，中虛腹廣，兩端銳。 長五尺四寸六分一釐二豪，上下束以銅，中束以藤五就，魨以漆。 以木哨入角端吹之，哨長七寸二分九釐。
Painted horns are wooden—hollow-bodied, wide in the middle, and tapered to sharp points at both ends. It measures five chi, four cun, six fen, one li, and two hao long—bound with copper at top and bottom, wrapped five times with rattan at the middle, and lacquered throughout. A wooden mouthpiece is fitted into the horn end for blowing; the mouthpiece is seven cun, two fen, and nine li long.
40
大銅角，一名大號，范銅為之，上下二截，形如竹筒，本細末大，中為圓球。 納上截於下截，用則引而伸之，通長三尺六寸七分二釐。
The large copper horn—also called the large hao—is cast in copper in two telescoping sections like a bamboo tube, narrow at the base and flared at the mouth, with a round bulb at the center. The upper section slides into the lower and is pulled out for use; fully extended, it measures three chi, six cun, seven fen, and two li.
41
小銅角，一名二號，范銅為之，上下二截。 上截直，下截哆，各有圓球相銜，引納如大銅角，通長四尺一寸四釐。 大角體巨聲下，小角體細聲高，不以長短論。
The small copper horn—also called the second hao—is cast in copper in two sections. The upper section is straight and the lower flared; interlocking round bulbs join the two parts, which slide together like the large copper horn; extended length is four chi, one cun, and four li. The large horn is bulky with a low pitch; the small horn is slender with a high pitch—size, not length, determines the tone.
42
金，范銅為之。 面平，徑一尺四寸五分八釐，深二寸二分七釐五豪。 旁穿二孔，結黃絨紃貫於木柄，提而擊之。
The jin is cast in copper. It has a flat face one chi, four cun, five fen, and eight li in diameter, and is two cun, two fen, seven li, and five hao deep. Two side holes take yellow velvet cords looped through a wooden handle; the player lifts it and strikes.
43
鉦，范銅為之，形如槃。 面平，口徑八寸六分四釐，深一寸二分九釐八豪，邊闊八分六釐四豪。 穿六孔，兩兩相比，周以木匡，亦穿孔，以黃絨紃聯屬之。 左右銅鐶二，系黃絨紃，懸於項而擊之。
The zheng is cast in copper, tray-shaped. The face is flat, the mouth eight cun, six fen, and four li across, the depth one cun, two fen, nine li, and eight hao, the rim eight fen, six li, and four hao wide. Six holes are drilled in opposing pairs; a wooden frame encircles the zheng and is pierced as well, and yellow velvet cords link the sets together. Two copper rings on either side take yellow velvet cords; hung from the neck, they are struck in play.
44
杖鼓，同丹陛大樂，惟面繪流雲，中為太極。
Stick drums follow Danbi Grand Music, except the head is painted with flowing clouds surrounding a Taiji symbol at the center.
45
前部大樂，用大銅角四，小銅角四，金口角四。 大銅角、小銅角制同鐃歌鼓吹。
Vanguard Grand Music employs four large copper horns, four small copper horns, and four gold-mouthed horns. Large and small copper horns follow the nao song drum-and-pipe design.
46
金口角，舊名瑣，木管，兩端金口，上弇下哆。 管長九寸八分九釐。 管上金口長二寸一分六釐，為壺盧形，加小銅槃二。 管下金口長四寸八分六釐，刻管如竹節相間，前七孔，後一孔，以蘆哨入管端吹之。
The gold-mouthed horn—formerly called the suo—is a wooden tube with gilt bell ends, narrow at the top and flared at the bottom. The tube is nine cun, eight fen, and nine li long. The upper gilt mouthpiece, two cun, one fen, and six li long, is shaped like a gourd and fitted with two small copper discs. The lower gilt mouth, four cun, eight fen, and six li long, is carved with bamboo-joint markings; seven finger holes face forward and one faces back; a reed whistle is inserted at the tube end for blowing.
47
鐃歌大樂，用金口角八，銅鼓二，銅點一，金一，鈸一，行鼓一。 金口角同前部大樂，金同鐃歌鼓吹。
Nao Song Grand Music calls for eight gold-mouthed horns, two copper drums, one copper dot, one jin, one cymbal, and one marching drum. Gold-mouthed horns match Vanguard Grand Music; the jin matches nao song drum-and-pipe music.
48
銅鼓，范銅為之，形如金，面徑九寸七分二釐，中隆起八分一釐，徑二寸六分七釐三豪。 邊穿孔二，以黃絨紃懸而擊之。
The copper drum is cast in copper, jin-shaped—the face nine cun, seven fen, and two li in diameter, with a central boss eight fen and one li high, two cun, six fen, seven li, and three hao across. Two rim holes take yellow velvet cords for suspension; it is struck in play.
49
銅點，制如銅鼓而小。
Copper dots follow the copper drum design but smaller.
50
鈸，范銅為之，面徑六寸四分八釐，中隆起一寸二分九釐六豪，徑三寸二分四釐。 穿孔貫紃，左右合擊以和樂。
Cymbals are cast in copper—the face six cun, four fen, and eight li in diameter, with a central boss one cun, two fen, nine li, and six hao high, three cun, two fen, and four li across. Cords pass through pierced holes; the pair is clashed together to mark the beat.
51
行鼓，一名紘羅鼓。 木匡冒革，上大下小，面匡繪飾如龍鼓。 金鐶四，貫以黃絨紃。 行則跨於馬上，陳則置於架。
The marching drum is also called the hongluo drum. It has a wooden frame covered with hide, larger at the top and smaller below; head and frame are painted and decorated like the dragon drum. Four gilt rings are strung with yellow velvet cords. On the march it is carried strapped across the saddle; when stationed it rests on a stand.
52
鐃歌清樂，用雲鑼二，笛二，平笛二，管二，笙二，金一，鈸一，銅點一，行鼓一。 笛、笙同中和韶樂，雲鑼、管同丹陛大樂，金同鐃歌鼓吹，鈸、銅點、行鼓同鐃歌大樂。
Nao Song Qing Music employs two cloud gongs, two di, two level di, two guan pipes, two sheng, one jin, one cymbal, one copper dot, and one marching drum. The di and sheng match Zhonghe Shao Music; cloud gongs and guan pipes match Danbi Grand Music; the jin matches nao song drum-and-pipe music; cymbals, copper dots, and marching drums match Nao Song Grand Music.
53
平笛，同中和韶樂，惟不加龍首尾。
Level di follow Zhonghe Shao Music but without the dragon head and tail ornamentation.
54
行幸樂，合鐃歌大樂、鐃歌清樂之數，益以大銅角八，小銅角八，蒙古角二。 大銅角、小銅角同鐃歌鼓吹。
Travel music combines the instrument counts of Nao Song Grand and Qing Music, plus eight large copper horns, eight small copper horns, and two Mongol horns. Large and small copper horns match nao song drum-and-pipe music.
55
蒙古角，一名蒙古號，木質，中虛末哆，上下二截。 角有雌雄二制，雄角上口內徑三分四釐五豪，雌角上口內徑二分八釐五豪，皆於管端施銅口，以角哨納入吹之。 雄者聲濁，雌者聲清。
The Mongol horn—also called the Mongol hao—is wooden, hollow-bodied, and flared at the mouth, in two sections. Mongol horns come in male and female types—the male's upper bore is three fen, four li, and five hao across, the female's two fen, eight li, and five hao; both take a gilt mouth at the tube end and a horn whistle for blowing. The male horn produces a low, thick tone; the female a clear, high one.
56
鐃歌用大銅角四，小銅角四，金口角八，金四，鑼二，銅鼓二，鐃四，鈸四，小和鈸二，花匡鼓四，得勝鼓四，海笛四，雲鑼四，簫六，笛六，管六，篪六，笙六。 大銅角、小銅角、金同鐃歌鼓吹，金口角同前部大樂，銅鼓、鈸同鐃歌大樂，簫、笛、篪、笙同中和韶樂，雲鑼、管同丹陛大樂。
Nao song music calls for four large and four small copper horns, eight gold-mouthed horns, four jin, two gongs, two copper drums, four naos, four cymbals, two small harmony cymbals, four flower-frame drums, four victory drums, four sea flutes, four cloud gongs, six xiao, six di, six guan pipes, six chi, and six sheng. Large and small copper horns and the jin match nao song drum-and-pipe music; gold-mouthed horns match Vanguard Grand Music; copper drums and cymbals match Nao Song Grand Music; xiao, di, chi, and sheng match Zhonghe Shao Music; cloud gongs and guan pipes match Danbi Grand Music.
57
鑼，制同銅鼓而厚，聲較銅鼓低小。
Gongs follow the copper drum design but are thicker, producing a lower, softer tone than copper drums.
58
鐃，范銅為之，面徑一尺二寸。 中隆起，穿孔貫紃，左右合擊。
Naos are cast in copper with a face one chi and two cun in diameter. The center is domed; cords pass through pierced holes, and the pair is clashed together.
59
小和鈸，制與鈸同，面徑七寸九分。 中隆起，穿孔貫紃，均與鈸同。
Small harmony cymbals follow the standard cymbal design, with a face seven cun and nine fen in diameter. The domed center, pierced holes, and cord threading all match the standard cymbal.
60
花匡鼓，即腰鼓，木匡冒革，面徑一尺五寸二分，匡高一尺六寸，繪花文。 座以檀，四柱交趺，以銅鐶懸鼓而擊之。
Flower-frame drums—the waist drum—have wooden frames covered with hide; the head is one chi, five cun, and two fen in diameter, the frame one chi and six cun high, painted with floral designs. A sandalwood stand with four crossed pillars supports it; copper rings suspend the drum for striking.
61
得勝鼓，木匡冒革，面徑一尺六寸一分，匡高五寸八分，繪雲龍。 座為四柱，懸鼓於上而擊之。
Victory drums have wooden frames covered with hide—the head one chi, six cun, and one fen in diameter, the frame five cun and eight fen high, painted with cloud-and-dragon designs. A four-pillared stand suspends the drum above for striking.
62
海笛，制如金口角而小，通長九寸五分。
Sea flutes follow the gold-mouthed horn design but smaller—nine cun and five fen long overall.
63
凱歌用雲鑼四，方響八，鈸二，大和鈸二，星二，銅點二，鐋二，簫四，笛四，管十二，笙四，杖鼓二，拍板二。 簫、笛、笙同中和韶樂，雲鑼、管、杖鼓同丹陛大樂，鈸、銅點同鐃歌大樂。
Victory song music employs four cloud gongs, eight square chime sets, two cymbals, two large harmony cymbals, two xing, two copper dots, two tang, four xiao, four di, twelve guan pipes, four sheng, two stick drums, and two clapper boards. Xiao, di, and sheng match Zhonghe Shao Music; cloud gongs, guan pipes, and stick drums match Danbi Grand Music; cymbals and copper dots match Nao Song Grand Music.
64
方響，制同丹陛大樂，分用其八，人各一枚，擎而擊之。
Square chimes follow the Danbi Grand Music design; eight are distributed so each player holds one aloft and strikes it.
65
大和鈸，制與鈸同，面徑一尺一寸八分。 中隆起，穿孔貫紃，左右合擊。
Large harmony cymbals follow the standard cymbal design, with a face one chi, one cun, and eight fen in diameter. The center is domed; cords pass through pierced holes, and the pair is clashed together.
66
星，范銅為之，口徑一寸八分，深一寸。 中隆起，各穿圓孔，貫以紃，左右合擊。
Xing are cast in copper—the mouth one cun and eight fen across, one cun deep. Each has a domed center and a round pierced hole for cords; the pair is clashed together.
67
鐋，范銅為之，面徑二寸七分，口徑三寸一分五釐，深六分。 穿孔貫紃，擊以木片。
Tang are cast in copper—the face two cun and seven fen in diameter, the mouth three cun, one fen, and five li across, six fen deep. Cords pass through pierced holes; it is struck with wooden slats.
68
拍板三片，束其二，以一拍之。
Clapper boards have three slats—two bound together and one used to strike them.
69
禾辭桑歌樂，親耕、親桑用之。 親耕用金六，鼓六，簫六，笛六，笙六，拍板六。 親桑用金二，鼓二，簫、笛、笙各六，拍板二。 簫、笛、笙同中和韶樂，板同丹陛大樂。
Grain Ode and Mulberry Song Music accompanies the emperor's personal plowing and sericulture rites. Personal plowing uses six jin, six drums, six xiao, six di, six sheng, and six clapper boards. Personal sericulture uses two jin, two drums, six each of xiao, di, and sheng, and two clapper boards. Xiao, di, and sheng match Zhonghe Shao Music; clapper boards match Danbi Grand Music.
70
金制同鐃歌鼓吹而微小。 槌用黃韋，瓜形，柄魨硃。
The jin follows the nao song drum-and-pipe design but in a smaller size. Mallets are yellow leather, gourd-shaped, with vermilion-lacquered handles.
71
鼓，制如龍鼓而微小，懸於項擊之。
Drums follow the dragon drum design but smaller, hung from the neck and struck.
72
慶神歡樂，凡群祀用之。 其器雲鑼二，管二，笛二，笙一，鼓一，拍板一，惟祀先蠶及關帝、文昌則加隆焉。 笛、笙、鼓同中和韶樂，雲鑼、管、板同丹陛大樂。
Joyous Celebration of the Spirits Music accompanies all collective sacrificial rites. Its instruments are two cloud gongs, two guan pipes, two di, one sheng, one drum, and one clapper board—except for rites to the Silkworm Goddess, Guandi, and Wenchang, which receive an expanded ensemble. Di, sheng, and drums match Zhonghe Shao Music; cloud gongs, guan pipes, and clapper boards match Danbi Grand Music.
73
宴樂凡九：一曰隊舞樂，一曰瓦爾喀部樂，一曰朝鮮樂，一曰蒙古樂，一曰回部樂，一曰番子樂，一曰廓爾喀部樂，一曰緬甸國樂，一曰安南國樂。
Banquet music comprises nine traditions: team dance music, Uriankhai music, Korean music, Mongol music, Muslim music, Tibetan music, Gurkha music, Burmese music, and Annamese music.
74
隊舞有三：一曰慶隆舞，凡殿廷朝會宮中慶賀宴饗皆用之； 一曰世德舞，宴宗室用之； 一曰德勝舞，凱旋筵宴用之。 三舞同制，皆舞而節以樂。 其器用箏一，奚琴一，琵琶三，三弦三，節十六，拍十六。
There are three team dances: first, the Celebratory Prosperity Dance, performed at all palace court assemblies, celebrations, and banquets; second, the Hereditary Virtue Dance, performed at banquets for the imperial clan; third, the Victorious Triumph Dance, performed at triumphal banquet feasts. All three dances share the same choreography, each performed to music that sets the rhythm. Their instruments are one zheng, one xiqin, three pipa, three sanxian, sixteen jie rhythm clappers, and sixteen pai clappers.
75
箏，似瑟而小，刳桐為質，通長四尺七寸三分八釐五豪。 十四弦，弦皆五十四綸，各隨宮調設柱。 底孔二。 前方，後上圓下平，通體魨金，四邊繪金夔龍。 梁及尾邊用紫檀，弦孔以象牙為飾。
The zheng resembles the se but smaller, its body hollowed from paulownia—four chi, seven cun, three fen, eight li, and five hao long overall. It has fourteen strings of fifty-four strands each, with movable bridges placed according to the mode. The base has two sound holes. The front face is square; the back is rounded above and flat below; the whole is lacquered and gilded, with gilt kui dragons painted along all four edges. The bridge and tail edge are red sandalwood; ivory ornaments the string holes.
76
奚琴，刳桐為質，二弦。 龍首，方柄。 槽長與柄等。 背圓中凹，覆以板。 槽端設圓柱，施皮扣以結弦。 龍頭下脣為山口，鑿空納弦。 綰以兩軸，左右各一，以木系馬尾八十一莖軋之。
The xiqin has a paulownia body and two strings. It has a dragon head and a square neck. The sound box matches the neck in length. The back is rounded and concave at the center, covered with a plate. A round pillar at the sound-box end takes leather loops for string attachment. The lip below the dragon head serves as the nut, hollowed to pass the strings through. Two tuning pegs, one on each side, secure the strings; it is played with a wooden bow strung with eighty-one horsehair strands.
77
琵琶，刳桐為質，四弦，曲首長頸，平面圓背，腹廣而橢。 槽面施覆手，曲首中間為山口。 設檀軸四以綰弦，左右各二，山口上以黃楊木為四象，下以竹為十三品，按分取聲。 中腰兩旁為新月形，腹內以細鋼條為膽，弦自山口至覆手，長二尺一寸六分，第一弦以硃飾之。
The pipa has a paulownia body, four strings, a curved head and long neck, a flat soundboard and rounded back, and a broad, oval belly. The sound-box face bears a hand guard; the center of the curved head serves as the nut. Four sandalwood tuning pegs secure the strings, two on each side; above the nut are four boxwood elephant-shaped pegs, and below are thirteen bamboo frets for obtaining pitch by division. The waist is crescent-shaped on both sides; fine steel strips reinforce the belly; the strings measure two chi, one cun, and six fen from nut to hand guard; the first string is trimmed in vermilion.
78
三弦，斫檀為質，修柄，方槽，圓角，冒以虺皮。 柄貫槽中，柄末槽端覆以木。 穿孔貫弦，匙頭下半鑿空納弦，以三軸綰之，左二右一。
The sanxian is carved from sandalwood, with a long neck, square sound box, rounded corners, and python-skin covering. The neck runs through the sound box; both the neck end and the sound-box end are capped with wood. Pierced holes carry the strings; the lower half of the spoon-shaped head is hollowed to anchor them, secured by three tuning pegs—two on the left and one on the right.
79
節，編竹如箕，魨硃，背為虎形。 用圓竹二，劃之以為節。
The jie rhythm clapper is woven bamboo shaped like a winnowing tray, lacquered vermilion, with a tiger-shaped back. It is played with two round bamboo rods scored to mark the beat.
80
拍，紫檀皮四片，束其三，以一拍之。
The pai clapper comprises four red-sandalwood-and-hide slats; three are bound together and struck with the fourth.
81
太祖平瓦爾喀部，獲其樂，列於宴樂，是為瓦爾喀部樂舞。 用觱篥四，奚琴四。 奚琴同隊舞樂。
When the Taizu pacified the Uriankhai tribe and captured their music, it was enrolled among the banquet music as the Uriankhai music and dance. It employs four bili pipes and four xiqin. The xiqin matches that used in team dance music.
82
觱篥，蘆管，三孔，金口，下哆，中有小孔。 管端開簧，簧口距管末四寸五分三釐。
The bili is a reed pipe with three finger holes, a gold mouthpiece, a flared bell, and a small vent hole midway. A reed is set at the pipe end, its mouth four cun, five fen, and three li from the pipe's tip.
83
太宗時，獲朝鮮國樂，列於宴樂，是為朝鮮國俳。 用笛一，管一，俳鼓一。 笛同中和韶樂，管同丹陛大樂。
During the Taizong's reign, Korean music was acquired and enrolled among the banquet music as the Korean troupe performance. It uses one di flute, one guan pipe, and one performance drum. The di matches that of Zhonghe Shao Music; the guan matches that of Danbi Grand Music.
84
俳鼓如龍鼓而小，懸於項擊之。
The performance drum resembles a dragon drum but smaller; worn suspended at the neck and struck.
85
太宗平察哈爾，獲其樂，列於宴樂，是為蒙古樂曲。 有笳吹，有番部合奏，皆為掇爾多密之樂，掌於什幫處。 笳吹用胡笳一，箏一，胡琴一，口琴一。 箏與隊舞所用同，惟設六弦。
When the Taizong pacified Chahar and captured their music, it was enrolled among the banquet music as Mongol musical pieces. It includes reed-pipe performance and frontier ensemble—both forms of duo er duo mi music administered by the Shibang Office. The reed-pipe ensemble employs one hu-jia, one zheng, one huqin, and one kouqin. The zheng matches that used in team dance music, but has only six strings.
86
胡笳，木管，三孔，兩端施角，末翹而哆。 自吹口至末，二尺三寸九分六釐。
The hu-jia is a wooden pipe with three holes, horn caps at both ends, and an upturned, flared bell. From blow-hole to tip it measures two chi, three cun, nine fen, and six li.
87
胡琴，刳木為質，二弦，龍首，方柄。 槽橢而下銳，冒以革。 槽外設木如簪頭以扣弦，龍首下為山口，鑿空納弦，綰以二軸，左右各一。 以木系馬尾八十一莖軋之。
The huqin has a hollowed wooden body, two strings, a dragon head, and a square neck. The sound box is oval, tapering to a sharp lower edge, and covered with hide. Outside the sound box a hairpin-shaped wooden piece clips the strings; the nut below the dragon head is hollowed to pass the strings, secured by two pegs, one on each side. It is played with a wooden bow strung with eighty-one horsehair strands.
88
口琴，以鐵為之，一柄兩股，中設簧，末出股外。 橫銜於口，鼓簧轉舌，噓吸以成音。
The kouqin is iron, with one handle and two prongs, a reed set between them, its tips extending beyond the prongs. Held crosswise in the mouth, its reed and tongue are set vibrating by breath drawn in and blown out.
89
番部合奏，用雲鑼一，簫一，笛一，管一，笙一，箏一，胡琴一，琵琶一，三弦一，二弦一，月琴一，提琴一，軋箏一，火不思一，拍板一。 簫、笛、笙同中和韶樂，雲鑼、管同丹陛大樂，箏、琵琶、三弦同隊舞樂。
The frontier ensemble employs one cloud gong, xiao, di, guan, sheng, zheng, huqin, pipa, sanxian, erxian, yueqin, tiqin, yazheng, huobusi, and clapper boards. The xiao, di, and sheng match Zhonghe Shao Music; the cloud gongs and guan match Danbi Grand Music; the zheng, pipa, and sanxian match team dance music.
90
胡琴，二弦，竹柄椰槽，面以桐。 槽徑三寸八分四釐，為圓形，與笳吹之胡琴橢而下銳者不同。 山口鑿空納弦，以兩軸綰之，俱在右。 弦自山口至柱，長二尺三分五釐二豪，以竹弓系馬尾八十一莖軋之。
This huqin has two strings, a bamboo neck and coconut shell sound box, and a paulownia face. The sound box is circular, three cun, eight fen, and four li in diameter—unlike the reed-pipe huqin, which is oval and tapers to a point. The nut is hollowed for the strings, secured by two pegs, both on the right side. The strings measure two chi, three fen, five li, and two hao from nut to bridge; a bamboo bow with eighty-one horsehair strands is drawn across them.
91
二弦，斫樟為質，槽面以桐，形長方，底有孔，槽面施覆手如琵琶。 曲首後鑿空納弦，綰以兩軸，左右各一。 弦長二尺三寸四釐，設十七品，按分取聲。
The erxian is carved from camphor with a paulownia soundboard, a rectangular body, sound holes in the base, and a pipa-style hand guard. Behind the curved head the strings pass through a hollow, secured by two pegs, one on each side. The strings are two chi, three cun, and four li long, with seventeen frets for obtaining pitch by division.
92
月琴，斫檀為質，四弦，槽面以桐，八角曲項，柄貫槽中，槽面施覆手。 曲項鑿空納弦，綰以四軸，左右各二。 弦長二尺三寸四釐，設十七品，與二弦同。
The yueqin is carved from sandalwood, with four strings, a paulownia soundboard, an eight-sided curved neck running through the sound box, and a hand guard on the face. The curved neck is hollowed for the strings, secured by four pegs, two on each side. The strings are two chi, three cun, and four li long, with seventeen frets—the same as the erxian.
93
提琴，四弦，圓木為槽，冒以蟒皮而空其下，竹柄貫槽中，末出槽外。 覆木扣弦，柄端鑿空納弦，綰以四軸，俱在右。 以竹弓系馬尾，夾於四弦間軋之。
The tiqin has four strings, a round wooden sound box covered with python skin and open underneath, and a bamboo neck running through the box with its tip projecting beyond. A wooden string clip covers the face; the neck end is hollowed for the strings, secured by four pegs all on the right. A bamboo bow strung with horsehair is drawn between the four strings.
94
軋箏，似箏而小，刳桐為質，十弦。 前後有梁，梁內弦長一尺六寸一分八釐，各設柱，以木杆軋之。
The yazheng resembles the zheng but smaller, its paulownia body bearing ten strings. Bridges run front and back; the vibrating length within them is one chi, six cun, one fen, and eight li; each string has a bridge post; a wooden rod is drawn across the strings.
95
火不思，似琵琶而瘦，四弦，桐柄，刳其下半為槽，冒以蟒皮。 曲首鑿空納弦，四軸綰之，俱在右。 弦自山口至柱長一尺七寸七分四釐。
The huobusi resembles a slender pipa, with four strings, a paulownia neck, a sound box hollowed from its lower half and covered with python skin. The curved head is hollowed for the strings, secured by four pegs all on the right. The strings measure one chi, seven cun, seven fen, and four li from nut to bridge.
96
拍板，紫檀三片，束其二，以一拍之。
The clapper boards are three red sandalwood slats; two are bound together and struck with the third.
97
高宗平定回部，獲其樂，列於宴樂之末，是為回部樂技，用達卜一，那噶喇一，哈爾札克一，喀爾奈一，塞他爾一，喇巴卜一，巴拉滿一，蘇爾奈一。
When the Gaozong pacified the Muslim regions and captured their music, it was placed last among the banquet music as Muslim performance music, employing one dabu, nagara, karak, karne, setar, rabab, balaman, and suernai.
98
達卜，木匡冒革，形如手鼓而無柄。 有大小二制，一面徑一尺三寸六分五釐二豪，一面徑一尺二寸二分四釐，皆魨黃，面繪采獅，以手指擊之。
The dabu is a handleless hand drum with a wooden frame covered in hide. It comes in large and small sizes—face diameters of one chi, three cun, six fen, five li, and two hao, and one chi, two cun, two fen, and four li—all lacquered yellow with polychrome lions painted on the head, played by finger strikes.
99
那噶喇，鐵匡冒革，上大下小，形如行鼓。 旁有小鐶，系黃絨紃。 兩鼓相聯，左右各以杖擊之。
The nagara has an iron frame covered with hide, wider above and narrower below, in the form of a marching drum. Small rings at the sides carry yellow velvet cords. Two drums are joined and struck with sticks, one in each hand.
100
哈爾札克，形如胡琴，椰槽，冒以馬革。 上木柄，下鐵柄。 槽底中開一孔，側開三小孔。 以馬尾二縷為弦，上自山口穿於後，以兩軸綰之，左右各一，下系鐵柄。 馬尾弦下設鋼絲弦十，上系木柄，下擊鐵柄，左右各五軸。 另以木杆為弓，系馬尾八十餘莖，軋馬尾弦，應鋼弦取聲。
The karak resembles the huqin, with a coconut shell sound box covered in horsehide. It has a wooden neck above and an iron handle below. The sound-box base has one central hole and three small side holes. Two horsehair strings pass from the nut through the back, secured by two pegs, one on each side, and attach below to the iron handle. Beneath the horsehair strings lie ten steel strings—anchored to the wooden neck above and resting against the iron handle below—with five pegs on each side. A separate wooden bow strung with eighty-odd horsehair strands bows the horsehair strings, which in turn resonate the steel strings to produce tone.
101
喀爾奈，狀如世俗洋琴，鋼絲弦十八，刳木中虛，左直右曲。 左設梁如琴之岳山，以系鋼弦之本。 鋼弦之末施木軸，似琴之軫，入於右端，高下相間作兩層，轉其軸以定弦之緩急。 以手冒撥指，或木撥彈之，通體雙弦，惟第一獨弦。
The karne resembles a Western zither, with eighteen steel strings in a hollowed wooden body, straight on the left and curved on the right. On the left a bridge like the qin's yueshan anchors the steel strings at their head. Wooden pegs like qin tuning pegs at the string ends enter the right side in two staggered tiers; turning them sets each string's tension. It is plucked with finger picks or a wooden plectrum; all courses are doubled except the first, which is single.
102
塞他爾。 形如匕，絲弦二，綱弦七，木柄通槽，下冒以革。 面平背圓，柄有線箍二十三道，如琵琶之品。 以九軸綰弦，柄端二軸綰絲弦。 二面三軸，左側四軸，綰鋼質雙弦一，獨弦六。 以手冒撥指，或木撥彈絲弦，應鋼弦取聲。
The setar. Shaped like a dagger, it has two silk and seven wire strings, a wooden neck running through the sound box, and a hide-covered lower body. The face is flat and the back rounded; twenty-three cord frets ring the neck like pipa frets. Nine tuning pegs secure the strings; two at the neck end hold the silk strings. Two pegs on the face and three more, with four on the left side, hold one paired steel course and six single strings. Finger picks or a wooden plectrum pluck the silk strings, which resonate the steel strings to produce tone.
103
喇巴卜，絲弦五，鋼弦二，木柄通槽，槽形如半瓶，下冒以革。 曲首鑿空納絲弦，以五軸綰之，左二右三，曲首右側以兩軸綰綱弦。 用手冒撥指，或木撥彈絲弦，應綱弦取聲。
The rabab has five silk and two steel strings, a wooden neck through a sound box shaped like half a bottle, and a hide-covered lower body. The curved head is hollowed for the silk strings, secured by five pegs—two left, three right—with two additional pegs on the right for the wire strings. Finger picks or a wooden plectrum pluck the silk strings, which resonate the wire strings to produce tone.
104
巴拉滿，木管，上斂下哆，飾以銅，形如頭管而有底，開小孔以出音。 管通長九寸四分，七孔前出，一孔後出，管上設蘆哨吹之。
The balaman is a wooden pipe, narrow above and flared below, copper-trimmed, shaped like a touguan but closed at the base, with small tone holes. The pipe is nine cun and four fen long, with seven front holes and one back hole; a reed mouthpiece atop the pipe supplies the air column.
105
蘇爾奈，一名瑣，木管，兩端飾銅，上斂下哆，形如金口角而小。 七孔前出，一孔後出，一孔左出，銅管上設蘆哨吹之。
The suernai, also called the suo, is a wooden pipe copper-trimmed at both ends, narrow above and flared below, resembling a small gold-mouthed horn. It has seven front holes, one back hole, and one left-side hole; a reed mouthpiece on the copper section supplies the air column.
106
高宗平定金川，獲其樂，及後藏班禪額爾德尼來朝，獻其樂，均列於宴樂之末，是為番子樂。 金川之樂：曰阿爾薩蘭，曰大郭庄，曰四角魯。 用得梨一，柏且爾一、得勒窩一。
When the Gaozong pacified Jinchuan and captured its music, and later when the Panchen Erdeni of Rear Tibet came to court bearing Tibetan music, both were placed last among the banquet music as Tibetan music. Jinchuan music includes Arsalan, Daguzhuang, and Sijiaolu. It employs one deli, one boqie'er, and one delewo.
107
得梨，似蘇爾奈而小。
The deli resembles the suernai but is smaller.
108
柏且爾，范銅二片，圓徑六寸，中隆起，穿孔貫紃，左右合擊。
The boqie'er consists of two cast copper discs six cun in diameter, domed at the center, pierced and linked by cord, clashed together in the hands.
109
得勒窩，形似達卜。
The delewo resembles the dabu in form.
110
班禪之樂：曰札什倫布，用得梨二，巴汪一，蒼清一，龍思馬爾得勒窩四。
Panchen music includes Tashilhunpo, employing two deli, one bawang, one cangqing, and four longsimar delewo.
111
得梨同金川樂，形制略大。
The deli matches that of Jinchuan music but is slightly larger.
112
巴汪，似喇巴卜，七弦。
The bawang resembles the rabab and has seven strings.
113
蒼清，制同雲鑼。
The cangqing is constructed like the cloud gongs.
114
龍思馬爾得勒窩，似那噶喇而制以銅，面徑一尺三寸，底銳，匡高一尺。
The longsimar delewo resembles the nagara but is copper, with a one-chi-three-cun face, a pointed base, and a one-chi frame height.
115
高宗平定廓爾喀，獲其樂，列於宴樂之末，是為廓爾喀樂舞。 用達布拉一，薩朗濟三，丹布拉一，達拉一，公古哩二。
When the Gaozong pacified Gurkha and captured their music, it was placed last among the banquet music as Gurkha music and dance. It employs one dabula, three salangji, one danbula, one dala, and two gonguli.
116
達布拉，似那噶喇，一面冒革。 有二制：其一面豐底銳，其一底微豐而漸削。 四圍俱系韋絛，聯以采縷，懸之腰間，以左右手合擊之。
The dabula resembles the nagara, with one head covered in hide. It comes in two styles—one with a broad face and sharp base, another with a slightly rounded base that tapers away. Hide thongs circle the frame, joined with colored cord, so it can be worn at the waist and struck with both hands.
117
薩朗濟，刻木為質，韋弦四，鐵弦九。 項長三寸，刳其中，面以魚牙刻佛為飾。 柄長五寸二分，槽面闊三寸，自上刳之，冒以革。 中腰削如缺月，束以黃韋。 底橢，鑿空於項以納韋弦，左右各二。 軸柄面穿孔九，自右至左，鱗次斜列，各納鐵弦。 軸九，俱在右，上五下四。 槽面設柱，中為九孔納鐵弦，上承韋弦。 以柔木系馬尾軋韋弦，應鐵弦取聲。
The salangji is carved from wood, with four gut strings and nine iron strings. The neck is three cun long, hollowed inside, its face ornamented with a Buddha carved in fish ivory. The neck is five cun and two fen long; the sound-box face is three cun wide, hollowed from above and covered with hide. The waist tapers to a crescent profile, wrapped in yellow leather. The base is oval; the neck is hollowed for four gut strings—two on each side. Nine holes pierce the peg face, set diagonally in overlapping rows from right to left, each carrying an iron string. All nine tuning pegs are on the right—five above and four below. A bridge on the soundboard holds nine iron-string holes at center, over which the gut strings pass. A flexible wooden bow strung with horsehair bows the gut strings, which resonate the iron strings to produce tone.
118
丹布拉，刻桐為質，以大匏為槽，直柄，面平背圓，鐵弦四，綰以四軸，上二，左右各一。 柄上以鐵片二為山口，一穿孔納弦，一承弦。
The danbula is carved from paulownia with a large gourd sound box, a straight neck, flat face and round back, four iron strings on four pegs—two above and one on each side. Two iron plates on the neck form the nut—one pierced to anchor the strings, the other to bear them.
119
達拉，范銅二片，圓徑二寸一分。 中隆起，穿孔，系以采縷，左右合擊。
The dala consists of two cast copper discs two cun and one fen in diameter. Domed at the center and pierced, they are linked with colored cord and clashed together in the hands.
120
公古哩，范銅為鈴，以采縷聯之，五十枚為一串，凡四串。 歌時二人各繫於股，雙足騰躍以出聲。
The gonguli are copper bells joined by colored cord, fifty to a strand, four strands in all. When they sing, two dancers strap them to their thighs and leap on both feet to sound them.
121
乾隆五十三年，緬甸國內附，獻其樂，列於宴樂之末，是為緬甸國樂。 有粗細二制：粗緬甸樂，用接內搭兜呼一，稽灣斜枯一，聶兜姜一，聶聶兜姜一，結莽聶兜布一。
In the fifty-third year of Qianlong, when Burma submitted to the empire and presented its music, it was placed last among the banquet music as Burmese music. It has coarse and fine styles. Coarse Burmese music employs one jienaidadouhu, one jiwanxieku, one niedoujiang, one nieniedoujiang, and one jiemangniedoubu.
122
接內搭兜呼，木匡冒革，匡上有紐，系以帛，橫懸於項，以手擊之。
The jienaidadouhu is a hide-covered wooden frame with loops for silk cords, worn horizontally at the neck and struck by hand.
123
稽灣斜枯，制似雲鑼，其數八，上下各四，同懸於架。 架後搘以二木，斜倚而擊之。
The jiwanxieku resembles the cloud gongs—eight in all, four above and four below, hung together on one frame. Two wooden props behind the frame support it at an angle for striking.
124
聶兜姜，木管銅口，近下漸哆，前七孔，後一孔。 管端設銅哨，加蘆哨於上，管與銅口相接處，以銅簽掩之。
The niedoujiang has a wooden tube and copper bell, flaring toward the lower end, with seven front holes and one back hole. A copper reed sits at the tube end with a reed pipe above; where tube meets bell a copper plug seals the joint.
125
聶聶兜姜，形如金口角而小，木管木口，餘與聶兜姜同。
The nieniedoujiang resembles a smaller jin koujiao, with wooden tube and wooden bell; otherwise it matches the niedoujiang.
126
結莽聶兜布，范銅二片，圓徑三寸五分。 中隆起，穿孔，貫以韋，左右合擊。
The jiemangniedoubu consists of two cast copper discs three cun and five fen in diameter. Domed and pierced, they are linked by a hide thong and clashed together in the hands.
127
細緬甸樂，用巴打拉一，蚌札一，總稿機一，密穹總一，得約總一，不壘一，接足一。
Fine Burmese music employs one badala, one bangzha, one zonggaoji, one miqiongong, one deyuegong, one bulei, and one jiezu.
128
巴打拉，以木為槽，形如船，通長二尺七寸五分。 前後兩端各為山峰形，兩峰之尖，絡以絲繩。 排穿竹板二十二片，皆闊一寸。 第一片長五寸二分，厚三分五釐，以次則長遞加而厚遞減，至末片則長一尺一寸五分，厚一分。 以竹裹綿為槌擊之。
The badala is a boat-shaped wooden trough two chi, seven cun, and five fen long overall. Both ends rise in peak shapes whose tips are linked by silk cord. Twenty-two bamboo slats, each one cun wide, are strung in sequence. The first slat is five cun two fen long and three fen five li thick; each successive slat grows longer and thinner until the last measures one chi one cun five fen long and one fen thick. It is played with cotton-wrapped bamboo mallets.
129
蚌札，木匡冒革，上大下小。 面徑六寸一分，底徑四寸，匡高一尺。 四圍俱系韋絛，以手擊之。
The bangzha is a hide-covered wooden drum, wider above and narrower below. The head measures six cun one fen across, the base four cun, and the frame one chi high. Hide thongs circle the frame and it is struck by hand.
130
總稿機，十三弦，曲柄，通槽，柄上曲如蠍尾。 槽面冒革，為四圓孔以出音。 順槽腹設覆手，穿孔十三，系弦，各斜引至柄束之，彈以手。
The zonggaoji has thirteen strings, a curved neck, and an open trough whose neck curls like a scorpion's tail. The soundboard is hide-covered with four round sound holes. A hand guard runs along the belly with thirteen string holes; the strings angle up to the neck and are plucked by hand.
131
密穹總，三弦，木質，為魚形。 體長方，腹下通長刳槽，無底，兩旁鐫鱗甲。 面設品五，為小圓孔九以出音，前四，中四，後一。 首形銳而上出，鐫須角鉅齒圓睛，尾形亦銳。 項上以銅為山口，系硃弦三，尾有鐶納弦，旁穿孔，設軸，左二右一，以手彈之。 得約總，三弦，木質，中虛，如扇形，中腰兩旁灣曲向內。 頸半穿孔納弦，綰以三軸，左二右一，槽末施木以系弦。 扣用木弓系馬尾八十餘莖軋之。
The miqiongong is a three-string wooden instrument shaped like a fish. Its rectangular body is hollowed through the belly without a base; scales are carved on both flanks. The face has five frets and nine small round sound holes—four forward, four amidships, one aft. The head rises sharp, carved with whiskers, horns, saw teeth, and round eyes; the tail tapers to a point. A copper nut at the neck carries three vermilion strings to a tail ring; side pegs—two left, one right—tune it for hand-plucking. The deyuegong is a hollow three-string wooden fan, its waist curving inward on both sides. Half-pierced neck holes carry the strings, tuned by three pegs—two left, one right—with an anchor block at the trough end. It is bowed with a wooden stick strung with eighty-odd horsehair strands.
132
不壘，以竹為管，上端以木塞其半為吹口。 七孔前出，一孔後出，最上一孔前出，加竹膜。
The bulei is a bamboo tube whose upper end is half-plugged with wood to form the blow hole. Seven front holes, one back hole, and a top front hole carry a bamboo reed membrane.
133
接足，范銅二片，口徑一寸八分。 中隆起，穿孔貫紃，左右合擊。
The jiezu consists of two cast copper cymbals one cun and eight fen across the mouth. Domed at center and pierced for cord, they are clashed together in the hands.
134
乾隆五十四年，獲安南國樂，列於宴樂之末，是為安南樂舞。 用丐鼓一，丐拍一，丐哨一，丐彈弦子一，丐彈胡琴一，丐彈雙韻一，丐彈琵琶一，丐三音鑼一。 安南土語，凡樂器之名，俱以丐字建首。
In the fifty-fourth year of Qianlong, when Annamese music was captured, it was placed last among the banquet music as Annamese music and dance. It employs one gey gu, gey pai, gey shao, gey tan xianzi, gey tan huqin, gey tan shuangyun, gey tan pipa, and gey sanyin luo. In the Annamese tongue, every instrument name begins with ge.
135
丐鼓，木匡冒革，空其下，徑八寸四分，承以架。 用竹桴二，或左手承鼓，右手以桴擊之。
The gey gu is a hide drum eight cun and four fen across, open beneath and set on a stand. It is played with two bamboo sticks, or held in the left hand and struck with the right.
136
丐拍，用檀板三：其一上端綴以連錢。 其一背刻雁齒，其一右為鋸牙。 左手執二板相擊，連錢激響，右手執鋸牙者，引擊雁齒，錯落成聲。
The gey pai uses three sandalwood clappers, one with linked coins at the top. One is back-carved with a sawtooth ridge; another is serrated on the right edge. The left hand claps two boards so the coins ring; the right hand draws the serrated slat across the ridged one for cascading tones.
137
丐哨，即橫笛，截竹為筒，漆飾，二十一節。 左第一孔為吹口，次加竹膜，右六孔，末二孔，俱上出，旁二孔對出，兩端飾以角。
The gey shao is a transverse flute of lacquered bamboo with twenty-one nodes. The leftmost hole is the embouchure, followed by a reed membrane; six right-hand holes, two end holes opening upward, and two opposite side holes; both ends are capped in horn.
138
丐彈弦子，三弦，斫檀為質，槽方而橢，兩面冒虺皮。 匙頭鑿空納弦，以三軸綰之，左二右一。
The gey tan xianzi is a three-string sandalwood instrument with an oval-square body covered in python hide on both faces. The spoon-shaped head is hollowed for the strings, secured by three pegs—two left, one right.
139
丐彈胡琴，二弦，竹柄，槽形如筒，底微豐，面冒虺皮。 曲首鑿空，兩軸俱自後穿前綰弦，弦自山口至柱，長一尺八寸，餘如番部合樂胡琴之制。
The gey tan huqin has two strings, a bamboo neck, a slightly rounded tubular body, and a python-hide face. The curved head is hollowed; both pegs thread frontward from the back; the strings measure one chi eight cun from nut to bridge; otherwise it follows the frontier-ensemble huqin.
140
丐彈雙韻，如月琴，四弦，斫檀為質，槽面以桐，形如滿月。 徑一尺一寸六分，厚一寸八分。 曲項鑿空納弦，綰以四軸，左右各二。 槽面覆手，山口下七品，俱以檀為之。
The gey tan shuangyun resembles the yueqin—a four-string sandalwood moon lute with a paulownia face. It is one chi one cun six fen across and one cun eight fen thick. The curved neck is hollowed for the strings, tuned by four pegs—two on each side. A hand guard caps the face, with seven sandalwood frets below the nut.
141
丐彈琵琶，四弦，刳桐為質，通長三尺。 項上鑿空納弦，綰以四軸，左右各二。 上設四象，下布十品。 弦自山口至覆手，長二尺一寸四分。
The gey tan pipa is a four-string paulownia lute three chi long overall. The neck is hollowed for the strings and secured by four pegs—two on each side. Four elephant-shaped nut pieces sit above, with ten frets below. The strings span two chi one cun and four fen from nut to hand guard.
142
丐三音鑼，范銅，三面，綰以鐵圈，聯如品字。 上一徑二寸四分五釐，右一徑二寸三分八釐，左一徑二寸三分。 承以檀柄，槌用角。
The gey sanyin luo is three cast-copper gongs linked by iron rings in a pin-shaped cluster. The top gong is two cun four fen five li across; the right two cun three fen eight li; the left two cun three fen. Each rests on a sandalwood handle and is struck with horn mallets.
143
賜宴樂，凡經筵禮畢賜宴，文、武鄉、會試賜宴，宴衍聖公，宴正一真人皆用之。 其器：雲鑼二，笛二，管二，笙二，鼓一，拍板一。 笛、笙、鼓同中和韶樂，雲鑼、管、板同丹陛大樂。
Imperial Gift Banquet Music accompanies the post-colloquium imperial feast, the civil and military examination banquets, banquets for the Duke of Yansheng, and banquets for the Zhengyi True Man. Its ensemble comprises two cloud gongs, two di flutes, two guan pipes, two sheng mouth-organs, one drum, and clapper boards. The di, sheng, and drum match those of Zhonghe Shao Music; the cloud gongs, guan, and clappers match Danbi Grand Music.
144
鄉樂，凡府、州、縣學春、秋釋奠皆用之。 其器麾一，編鐘十六，編磬十六，琴六，瑟二，排簫二，簫四，笛六，篪二，笙六，塤二，建鼓一，搏拊二，柷一，敔一。 制皆同中和韶樂。
Village Music is used for the spring and autumn sacrificial ceremonies at prefectural, departmental, and county schools. Its ensemble includes one conductor's baton, sixteen serial bells and chimes, six qin and two se, two panpipes, four xiao, six di, two chi, six sheng, two xun ocarinas, one set-up drum, two hand clappers, a zhù, and a yù. All are constructed like those of Zhonghe Shao Music.
145
鄉飲酒用雲鑼一，方響一，琴二，瑟一，簫四，笛四，笙四，手鼓一，拍板一。 琴、瑟、簫、笛、笙同中和韶樂，雲鑼、方響、板同丹陛大樂，手鼓同清樂。
The village drinking rite employs one cloud gong, one square sounding stone, two qin, one se, four xiao, four di, four sheng, one hand drum, and clapper boards. The qin, se, xiao, di, and sheng match Zhonghe Shao Music; the cloud gong, square sounding stone, and clappers match Danbi Grand Music; the hand drum matches Qing Music.
146
節，中和韶樂用。 結旄九重，蓋以金葉，束以綠皮。 硃杠，上曲為龍首以銜旄。 植架於東西各一，每架二節，司樂者執之以節舞。 導文舞曰節，導武舞曰旌，旌亦曰節，制與節同。
The jie dance baton is used in Zhonghe Shao Music. Nine tiers of yak-tail tassels are capped with gold leaf and bound with green leather. A vermilion staff curves into a dragon head that holds the tassels in its jaws. One stand is set to the east and one to the west, each bearing two batons that the music officers wield to lead the dance. The baton that leads civil dance is called jie; that for military dance is called jing—also termed jie—and is made the same way.
147
千，中和韶樂用。 木質，圭首，上半繪五采雲龍，下繪交龍，緣以五色羽文。 中為粉地，硃書「雨暘時若，四海永清。 倉箱大有，八方敉寧。 奉三永奠，得一為正，百神受職，萬國來庭」。 凡八語，佾各一語。 干背魨硃，有橫帶二，中施曲木，武舞生左手執之。
The gan shield is used in Zhonghe Shao Music. It is wooden with a scepter-shaped head; the upper half shows polychrome cloud-dragons, the lower interlaced dragons, trimmed with five-colored feather motifs. On a white ground in vermilion runs: "When rain and sunshine come in season, the four seas abide in peace. Granaries brim full; the eight directions rest in calm. Offer the three eternal sacrifices; take the One as standard; the hundred spirits assume their offices; the myriad states come to court." Eight lines in all—one for each row of dancers. Its back is lacquered vermilion with two horizontal bands and a curved wood grip; martial dancers hold it in the left hand.
148
戚，中和韶樂用。 木質，斧形，背黑刃白，柄魨硃，武舞生右手執之。
The qi axe is used in Zhonghe Shao Music. It is wooden and axe-shaped, black-backed with a white blade and vermilion handle; martial dancers grip it in the right hand.
149
羽，中和韶樂用。 木柄，植雉羽，銜以塗金龍首，柄魨硃，文舞生右手執之。
The yu plumes are used in Zhonghe Shao Music. A wooden shaft bears pheasant plumes in a gilded dragon head, the handle lacquered vermilion; civil dancers hold it in the right hand.
150
籥，中和韶樂用。 六孔竹管，魨硃，文舞生左手執之。
The yue flute is used in Zhonghe Shao Music. A six-holed bamboo pipe lacquered vermilion; civil dancers hold it in the left hand.
151
舞有二：用於祀神者曰佾舞，用於宴饗者曰隊舞。 凡佾舞武用干戚，文用羽籥。 干戚曰武功之舞，羽籥曰文德之舞，祭祀初獻以武舞，亞獻終獻以文舞，惟先師廟、文昌廟初獻、亞獻、終獻皆以文舞焉。 若大雩，則童子十六人衣皁衣，持羽翳，歌而舞皇舞，凡此皆隸於佾舞者也。 隸於隊舞者，初名蟒式舞，亦曰瑪克式舞。 乾隆八年，更名慶隆舞，內分大、小馬護為揚烈舞，是為武舞，大臣起舞上壽為喜起舞，是為文舞。 是年巡幸盛京，筵宴宗室，增世德舞。 十四年，平定金川，凱旋筵宴，又增德勝舞，三舞同制，各有樂章。 揚烈舞，用戴面具三十二人，衣黃畫布者半，衣黑羊皮者半。 跳躍倒擲，象異獸。 騎禺馬者八人，介胄弓矢，分兩翼上，北面一叩，興。 周旋馳逐，象八旗。 一獸受矢，群獸懾伏，象武成。 喜起舞，大臣二十二人，朝服儀刀入，三叩，興，退東位西鄉立。 以兩而進，舞畢三叩，退。 次隊繼進如前儀。 此隊舞之大較也。 外此則有四裔樂舞：東曰瓦爾喀、曰朝鮮，北曰蒙古，西曰回、曰番、曰廓爾喀，南曰緬甸、曰安南，皆同列於宴樂之末。 瓦爾喀部樂舞，司舞八人，均服紅雲緞鑲壯緞花補袍，狐皮大帽，豫立丹陛之西。 將作樂，進前三叩，退。 司樂八人，分兩翼上，跪一膝，奏瓦爾喀樂曲。 司舞進舞，以兩為隊，每隊舞畢，三叩，退。
Dance falls into two kinds—row dance for spirit sacrifice, team dance for feasts. In row dance, martial performers use shield and axe; civil performers use plumes and pipe. Shield and axe mark the martial dance; plumes and pipe mark the civil dance. Sacrifices open with martial dance and continue with civil dance at the second and third offerings—except at the temples of the Former Master and Wenchang, where all three offerings use civil dance alone. For the Great Supplication for Rain, sixteen boys in black robes hold feather screens and sing while performing the Imperial Dance—all of these fall under row dance. Team dance was originally called Python-style Dance, also known as Mark-style Dance. In Qianlong 8 it was renamed Celebratory Prosperity Dance. The large and small horse-guardian segments became the Fierce Display Dance—the martial dance—while ministers rising to dance and offer birthday wishes formed the Joyous Rising Dance—the civil dance. That same year, during an imperial tour to Shengjing, a clan banquet added the Worldly Virtue Dance. In year 14, after the pacification of Jinchuan, the triumphal banquet added the Virtuous Victory Dance. All three dances follow the same format, each with its own libretto. The Fierce Display Dance employs thirty-two masked dancers—half in yellow painted cloth, half in black sheepskin. They leap and tumble, mimicking strange beasts. Eight riders on hobbyhorses, armored and bearing bows and arrows, advance in two wings; facing north they bow once and rise. They wheel and charge, representing the Eight Banners. One beast takes the arrow; the rest cower in submission—symbolizing the completion of victory. In the Joyous Rising Dance, twenty-two ministers enter in court dress bearing ceremonial swords; they bow three times, rise, withdraw to the east, and stand facing west. They advance two at a time; when the dance ends they bow three times and withdraw. Each subsequent pair follows in the same manner. Such is the general outline of team dance. Beyond these are the music and dances of the four frontiers—Uriankhai and Korea in the east, Mongolia in the north, Muslim, Tibetan, and Gurkha in the west, Burma and Annam in the south—all placed last among the banquet music. Uriankhai music and dance employs eight dancers in red cloud-satin robes with bold-satin flower patches and fox-fur caps, pre-positioned west of the cinnabar steps. Before the music begins, they advance three steps, bow three times, and withdraw. Eight musicians advance in two wings, kneel on one knee, and play Uriankhai pieces. The dancers perform in pairs; when each pair finishes, they bow three times and withdraw.
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朝鮮國俳，笛技、管技、鼓技各一人，均戴氈帽，鏤金頂，服藍雲緞袍，椶色雲緞背心，藍綢帶。 俳長一人，戴面具，青緞帽，紅纓，服紅雲緞袍，白綢長袖綠雲緞虎補背心，十字藍綢帶。 倒擲技十四人，服短紅衣。 立丹陛兩旁。 俳長從右翼上，北面立，以高麗語致辭，笛、管、鼓技從右翼上，東北面立，倒擲技從左翼上，自東向西，各呈其藝。
The Korean troupe includes one di specialist, one guan specialist, and one drum specialist—all in felt caps with gilded tops, blue cloud-satin robes, palm-colored cloud-satin vests, and blue silk sashes. The troupe leader wears a mask, a blue satin cap with a red tassel, a red cloud-satin robe, white silk sleeves, a green cloud-satin tiger-patch vest, and a cross-shaped blue silk sash. Fourteen tumbling performers wear short red jackets. They stand on either side of the cinnabar steps. The troupe leader enters from the right wing, faces north, and delivers an address in Korean. The di, guan, and drum specialists enter from the right and stand facing northeast; the tumblers enter from the left, moving east to west, each displaying their skill.
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蒙古樂，笳吹，司樂器四人，司章四人，均蟒服，立丹陛旁。 番部合奏，司樂器十五人，亦均蟒服，立丹陛旁，與笳吹一班同入。 一叩，跪一膝，奏蒙古樂曲。
Mongol reed-pipe music employs four musicians and four banner-bearers, all in python-pattern robes, standing beside the cinnabar steps. The frontier ensemble comprises fifteen musicians, likewise in python-pattern robes, standing beside the cinnabar steps and entering together with the reed-pipe group. They bow once, kneel on one knee, and play Mongol pieces.
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回部樂，司樂器八人，均錦衣絹里雜色紡絲接袖衣，錦面布里倭緞緣回回帽，青緞鞾，綠綢荅膊。 司舞二人，舞盤二人，皆衣靠子錦腰襴紡絲接袖衣。 倒擲大回子四人，皆衣靠子雜色紡絲接袖衣，戴五色綢回回小帽。 小回子二人，雜色綢衣絹里。 皆豫立丹陛下，俟朝鮮國俳呈技後，上丹陛作樂。 司舞起舞，舞盤人隨舞。 畢，倒擲小回子繼進呈技。
Muslim music employs eight musicians in brocade outer robes with silk lining, multicolored spun-silk joined-sleeve garments, brocade-faced caps with Japanese-satin trim, blue satin boots, and green silk arm guards. Two dancers and two plate-dancers all wear tight-fitting brocade waist-apron spun-silk joined-sleeve garments. Four senior Muslim tumblers wear tight-fitting multicolored spun-silk joined-sleeve garments and five-colored silk Muslim caps. Two junior Muslim performers wear multicolored silk garments with silk lining. All are pre-positioned below the cinnabar steps; after the Korean troupe finishes, they ascend the steps and perform. The dancers perform, and the plate-dancers join them. When they finish, the junior Muslim tumblers follow to display their skills.
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番子樂，金川之阿爾薩蘭，司樂器三人，司舞三人，為戲獅，身長七尺，披五色毛，番名僧格乙，引獅者衣雜采，手執繩，系耍球一，五色，番名僧格乙阿拉喀。 大郭庄，番名大拉噶地，司舞十人，每兩人相攜而舞，一服蟒服，戴翎，掛珠，斜披黃藍二帶，交如十字； 一服藍袍，掛珠，斜披黃紫二帶，交如十字。 四角魯，番名得勒布，司舞六人，戴舞盔，番名達帽。 插雞翎各六，番名達莫乙。 背縛藤牌，番名賽斯丹。 帶系腰刀，番名江格乙。 左執弓，番名得木尼也。 右執箭壺，番名柏拉。 盛箭五枝，番名格必乙。 相對而舞。 班禪之札什倫布，番名柏拉噶，司樂器六人，司舞番童十人，各披長帶，手執斧一，番名沙勒鱉。 舞而歌梵曲。
Tibetan music—Jinchuan Arsalan—employs three musicians and three dancers in a lion play. The lion stands seven chi tall, draped in five-colored fur (Tibetan: Sengge Yi). The lion-leader wears multicolored garments and holds a rope tied to a five-colored trick ball (Tibetan: Sengge Yi Alaka). Daguzhuang (Tibetan: Dalagadi) employs ten dancers in pairs. One partner wears a python-pattern robe, plumes, prayer beads, and yellow and blue sashes crossed in an X; the other wears a blue robe, prayer beads, and yellow and purple sashes crossed in an X. Sijiaolu (Tibetan: Delebu) employs six dancers wearing dance helmets (Tibetan: Damao). Each bears six pheasant plumes (Tibetan: Damoyi). Rattan shields are strapped to their backs (Tibetan: Saisidan). Waist knives hang from their belts (Tibetan: Jiangge Yi). They hold bows in the left hand (Tibetan: Demuniye). Quivers are held in the right hand, Tibetan name Bola. Each quiver holds five arrows (Tibetan: Gebiyi). They dance facing one another. Panchen Tashilhunpo (Tibetan: Bolaga) employs six musicians and ten Tibetan boy dancers, each draped with long sashes and holding an axe (Tibetan: Shalebie). They dance while singing Sanskrit hymns.
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廓爾喀樂舞，司樂器六人，均衣回子衣，著紅羊皮鞾，內二人纏頭以洋錦，餘皆以紅綠布。 司歌五人，均以紅綠布纏頭，內一人衣綠綢衣，著紅采履，餘皆回子衣、紅羊皮鞾。 司舞二人，均衣紅綠綢衣，戴猩紅氈帽，金銀絲巾，著紅采履，束腰皆用雜色布。 舞者每足各系銅鈴一串，曰公古哩，騰躍出聲，歌舞並奏。
Gurkha music and dance employs six musicians in Muslim-style garments and red sheepskin boots—two with foreign brocade head wraps, the rest in red and green cloth. Five singers, all with red and green cloth head wraps—one in a green silk garment and red colored shoes, the rest in Muslim-style garments and red sheepskin boots. Two dancers wear red and green silk garments, scarlet felt caps, gold-and-silver thread scarves, and red colored shoes, with multicolored cloth sashes at the waist. Each dancer wears a string of copper bells called gonguli on each foot—the bells ring as they leap, and song and dance are performed together.
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粗緬甸樂，司樂器五人，司歌六人，均拖發扎紅，用緬甸衣冠。
Coarse Burmese music employs five musicians and six singers, all with loose hair tied with red, in Burmese dress.
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細緬甸樂，司樂器七人，均拖發扎紅，衣藍緞短衣。 司舞四人，衣閃緞短衣，皆雜色裙，以洋錦束腰，戴扎巾。 歌合以粗樂，舞合以細樂。
Fine Burmese music employs seven musicians with loose hair tied with red, wearing blue satin short jackets. Four dancers wear shimmering satin short jackets and multicolored skirts, with foreign brocade sashes and head wraps. Singing is accompanied by the coarse ensemble; dancing by the fine ensemble.
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安南國樂，司樂器九人，均戴道巾，衣黃鸝補服道袍，藍緞帶。 司舞四人，衣蟒衣，冠帶與司器同。 執采扇而舞。
Annamese music employs nine musicians in Daoist caps, yellow-oriole-patch Daoist robes, and blue satin sashes. Four dancers wear python-pattern robes with the same caps and sashes as the musicians. They dance holding colored fans.