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本书为香港古琴家及音乐学者谢俊仁先生关于古琴学习与进阶方面的力作。以问答形式，讨论古琴爱好者常遇到的问题与疑惑，既亲切可读，有具备一定的学理深度。内容分为《音律卷》、《弹奏卷》、《传承与创新卷》、《琴谱与琴曲卷》，基本涵盖了古琴学习中方方面面的问题，内容精审，适合各个阶段阅读。
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| 內容簡介： |
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经历三千年积淀的古琴文化，有浩瀚的琴谱与理论文字传世，更有不同门派口传心授的弹奏方式，现代琴人只能窥探得其中的少部分。《古琴进阶六十六问》为香港古琴家及音乐学者谢俊仁继2016年《审律寻幽：谢俊仁古琴论文与曲谱集》之后的另一力作，以问答形式，讨论古琴爱好者常遇到的问题与疑惑。内容分为《音律卷》、《弹奏卷》、《传承与创新卷》、与《琴谱与琴曲卷》，题目包括：古谱变音的运用，使用“苦音”的琴曲，纯律调弦，古代琴调名称的理解，如何弹好左手的滑音，琴曲多变的节拍，琴人如何运用古琴的音色变化，琴弦的金属噪音，减字谱在传承过程的功用，打谱如何才可以接近古人的原意，如何开拓古琴音乐的新领域，《琴谱谐声》的奇怪律学理论的来源，较早版本的《忆故人》跟彭庆寿所传版本的分别等等，范围涵盖理论与实践。作者以深入浅出的文字，论述他多年来在中外发表过的重点论文的概要，以及多项未曾发表过的琴学心得。年青琴人与学者希望进一步探究精彩的古琴音乐世界时，此书提供了具启发性的思考材料。
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| 關於作者： |
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谢俊仁，香港中文大学民族音乐学博士。1970年代随关圣佑习乐理与创作，1980年代随关圣佑、刘楚华及蔡德允习古琴，积极参与古琴创作、打谱、教学和研究。其《双乙反调》为中国古琴考级六级选曲，曾发表三十多篇有关古琴和中国音律等课题的中外论文，并参与撰写《上海图书馆藏古琴文献珍萃·稿钞校本》提要。其个人唱片《一闪灯花堕》和《秋月清霜》于2001年和2011年出版，其个人古琴论文与曲谱集《审律寻幽》于2016年出版。谢氏为退休医生，现为香港德愔琴社副社长以及中文大学音乐系古琴导师与副研究员。
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| 目錄：
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目 录
荣序/
1
余序/
1
自序/
1
卷一
音律与琴调
基本律学篇
和也者，其众音之窾会，而优柔平中之橐钥乎。
1. 弹琴需要懂律学吗？ ······························································2
2. 五度相生律是什么？ ······························································3
3. 五度律按音徽位如何计算？ ·····················································5
4. 为什么不使用十二平均律弹奏传统琴曲？ ·································11
5. 为何实际按音位置与理论位置有差别？ ····································13
按音位置篇
音有律，或在徽，或不在徽；固有分数以定位，若混而不明，和于何出？
6. 清初琴谱很多按音位置都不符合五度相生律，这都属手误或
计算错误吗？ ·····································································14
7. 如何解读未使用徽分法的明朝琴谱的按音位置？ ························17
8. 哪年代的琴谱才全面使用标准的五度相生律按音位置？ ···············19
纯律篇
设按有不齐，徽有不准，得和之似，而非真和，必以泛音辨之。
9. 如何推断个别琴曲的调弦律制？ ·············································21
10. 明朝琴曲是否主流使用纯律调弦？ ········································25
11. 什么是“徽法律”和“准法律”？朱熹《琴律说》属哪种？ ·········27
古谱变音篇
其为音也，宽裕温柔，不事小巧，而古雅自见。一室之中，宛在深山邃谷，老
木寒泉，风声簌簌，令人有遗世独立之思，此能进于古者矣。
12. 中国音乐不是主要使用五声音阶的吗？ ··································29
13. 为何管平湖的《广陵散》和《白雪》打谱版本很少变音？ ··········32
14. 清商音的出现表示乐曲转调吗？ ···········································33
15. 明朝还有什么乐种使用“含变音五声音阶”？ ···························38
16. 为何这些变音到了清朝便逐渐消失？ ·····································41
民间音律篇
然琴中雅俗之辨争在纤微。但能体认得静、远、淡、逸四字，有正始风，斯俗
情悉去，臻于大雅矣。
17. 有什么证据支持琴曲曾使用民间音律？ ··································44
18. 什么是民间传统音乐的“苦音”？ ··········································46
19. 徵调之外，还有什么琴曲使用苦音？ ·····································48
20. 清朝还有什么乐种使用苦音？ ··············································50
21. 古谱使用苦音带出什么意义？ ··············································51
琴调篇
然必胸次磊落，而后合乎古调。
22. 为什么明朝琴谱的商调、角调和徵调都不符合现代对调式的
理解？ ············································································54
23. 商角调是什么？碣石调又是什么？ ········································57
24. 紧五为何称作蕤宾调？ ·······················································59
25. 紧二五为何称作凄凉调？ ····················································61
26. 徐理《琴统》提出什么方法解决调名的混淆？清朝琴谱又
怎样做？ ·········································································63
27. 怎样的琴调系统才适合？ ····················································66
卷二
弹奏
指法篇
贝经云：“若无妙指，不能发妙音。”
28. 为什么《神奇秘谱》的《酒狂》全曲用“打”而不用“勾”？ ······70
29. 古谱的复合指法为何要“挹煞”前音？ ··································73
30. “搯起”还是“掐起”才对？ ················································74
31. “托”与“擘”在明朝琴谱的意义是倒过来的吗？ ·····················75
32. 怎样弹奏“吟”“猱”才令音准清晰？ ····································76
33. 如何弹好左手的按音动作？为何古琴音乐属线性？ ···················78
34. 如何弹好右手的变化？ ·······················································81
节拍篇
大速贵急，务令急而不乱，依然安闲之气象，而能泻出崩崖飞瀑之声。
35. 为什么很多琴曲的记谱都不适合划分为固定小节？ ···················84
36. 为什么某些老琴家的录音的拍子很难数得清楚？ ······················87
37. 为何很多传统琴曲都是渐快？但《长门怨》的渐快又感觉
不到？ ············································································89
38. 散板如何处理才适当？ ·······················································91
音色篇
和、静、清、远、古、淡、恬、逸、雅、丽、亮、采、洁、润、圆、坚、宏、
细、溜、健、轻、重、迟、速
39. 为什么古琴使用减字谱？ ····················································93
40. 散音、按音与泛音的频谱图有什么分别？ ·······························94
41. 琴人如何运用古琴的音色变化？ ···········································98
42. 音色变化如何影响音高的感知？ ···········································99
43. 古琴的虚音与节奏如何互动？ ·············································101
琴弦篇
音渐入妙，必有次第。左右手指既造就清实，出有金石声，然后可拟一亮字。
至于弦声断而意不断，此政无声之妙，亮又不足以尽之。
44. 钢弦的金属噪音从何而来？ ················································103
45. 如何减低钢弦的金属噪音？ ················································106
46. 为何还要使用丝弦？ ·························································107
47. 如何减低丝弦的摩擦噪音？ ················································110
卷三
传承与创新
传承篇
大音希声，古道难复，不以性情中和相遇，而以为是技也，斯愈久而愈失其
传矣。
48. 减字谱没有记录节奏，是否代表琴曲的节奏可以任意处理？ ······112
49. 古琴教学应该使用现代乐谱吗？ ··········································114
50. 为什么有些琴曲在蜕变时，连曲名也改变了？ ························116
51. 弹琴为何要学习传统文化？ ················································118
52. 何谓“大音希声”？ ···························································119
打谱篇
是以节奏有迟速之辨，吟猱有缓急之别。章句必欲分明，声调愈欲疏越，皆是
一度一候，以全其终曲之雅趣。
53. 我们为什么要弹奏古谱？ ···················································122
54. 怎样打谱才可以接近古人的原意？ ·······································123
55. 怎样处理节奏才可以令乐曲流畅？ ·······································126
创新篇
故成连之教伯牙于蓬莱山中，群峰互峙，海水崩折，林木幽冥，百鸟哀号，曰：
“先生将移我情矣。”
56. 怎样的创新才是建基于传统？ ·············································129
57. 如何开拓古琴音乐的新领域？ ·············································132
58. 没有学过作曲的琴人可以尝试创作吗？作曲家写琴曲，要先学
弹琴吗？ ········································································136
卷四
琴谱、琴器与琴曲
琴谱与文献篇
严天池诗：“几回拈出阳春调，月满西楼下指迟。”
59. 《琴声十六法》是否冷谦所作？ ············································140
60. 《古冈遗谱》是否宋末遗谱？ ···············································141
61. 《琴谱谐声》等清朝琴谱的奇怪律学理论从何而来？ ·················145
62. 《琴用指法》与《碣石调幽兰》是姊妹篇吗？ ··························147
琴器篇
盖琴为清庙明堂之器，声调宁不欲廓然旷远哉？
63. 科技如何协助老琴的研究？ ················································149
64. 博物馆收藏的珍贵老琴，应否让琴人弹奏？ ···························154
琴曲篇
盖音至于远，境入希夷，非知音未易知，而中独有悠悠不已之志。吾故曰：“求
之弦中如不足，得之弦外则有余也。”
65. 传统琴曲的整体结构有什么特色？ ·······································157
66. 较早版本的《忆故人》跟彭庆寿所传版本有什么不同？ ············159
67. 《洞庭秋思》究竟属什么调？ ···············································163
68. 《碣石调·幽兰》如何利用音色变化？ ···································165
69. 我创作的《双乙反调》有什么特色？ ····································169
70. 我创作的《一闪灯花堕》有什么特色？ ·································170
71. 我创作的琴箫合奏有什么特色？ ··········································171
跋
回顾篇
故于兴到而不自纵，气到而不自豪，情到而不自扰，意到而不自浓。
72. 我为什么喜欢古琴？ ·························································176
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