Tang-era pieces for which score materials survive
compiled by David Badagnani (rev. 4 October 2026)
In an effort to make this repertoire more accessible, this document contains a list of the approximately 250 pieces, suites, and songs from China's Tang period (唐代, 618-907) for which score materials survive in China and Japan, listed in alphabetical order based on the pinyin spelling of the first character in the title.
This list comprises ensemble pieces and suites (including those grouped into both the Tōgaku and Komagaku categories), modal preludes, gigaku (masked drama-dance) pieces, and saibara songs, as well as solo biwa, koto, and qin pieces. Note that, of the Tang-era pieces whose score materials are preserved in Japan, at least several dozen of them were probably created in Japan rather than transmitted from China, although composed in the same general style.
At least 56 of the Tang-era pieces for which score materials survive in Sino-Japanese collections are attested in Chinese historical sources (i.e., historical records, poems, and other literary works); for more information, visit the following page:
Page from a Sino-Japanese score collection purchased in 1969 by Dr. Laurence Picken (1909-2007), including the tablature scores for Yuedian Yue《越殿樂》(Japanese: Etenraku / えてんらく) and Wu Chang Yue《五常樂》(Japanese: Goshōraku / ごしょうらく)
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Tang-era pieces with score materials preserved in China
1) Changsha Nü Yin《長沙女引》(Prelude: The Lady of Changsha) - Dunhuang Scores, P.3808, no. 20
2) Huan Xisha《浣溪沙》(Washing by the Stream, fragment) - Dunhuang Scores, P.3719
3) Ji Hu Xiangwen《急胡相问》(Quick "The Barbarian Asks") - Dunhuang Scores, P.3808, no. 19
4) Ji Quzi《急曲子》(Quick Piece) - Dunhuang Scores, P.3808, no. 6
5) Ji Quzi《急曲子》(Quick Piece) - Dunhuang Scores, P.3808, no. 9
6) Man Quzi: Xinshizi《慢曲子。心事子》(Slow Piece: Affairs of the Heart) - Dunhuang Scores, P.3808, no. 15
7) Nong《弄》《{头}弄》- Dunhuang Scores, P.3808, no. 2
8) Pin Nong《品弄》- Dunhuang Scores, P.3808, no. 1
12) Shui Guzi《水鼓子》- Dunhuang Scores, P.3808, no. 18
13) Shui Guzi《水鼓子》- Dunhuang Scores, P.3808, no. 25
14) [Untitled] (佚名) - Dunhuang Scores, P.3808, no. 11
15) [Untitled] (佚名) - Dunhuang Scores, P.3808, no. 21
16) Ying Fu《营富》(Building Wealth) - Dunhuang Scores, P.3808, no. 23
18) You Ji Quzi《又急曲子》(Another Fast Piece) - Dunhuang Scores, P.3808, no. 17
19) You Man Quzi《又慢曲子》(Another Slow Piece) - Dunhuang Scores, P.3808, no. 4
20) You Man Quzi: Xi Jiang Yue《又慢曲子。西江月》(Another Slow Piece: Moon Over the Western River) - Dunhuang Scores, P.3808, no. 13
21) You Man Quzi《又慢曲子》(Another Slow Piece) - Dunhuang Scores, P.3808, no. 8
22) You Man Quzi《又慢曲子》(Another Slow Piece) - Dunhuang Scores, P.3808, no. 10
23) You Man Quzi《又慢曲子》(Another Slow Piece) - Dunhuang Scores, P.3808, no. 14
24) You Man Quzi: Yizhou《又慢曲子。伊州》(Another Slow Piece: Yizhou) (the former name of Hami in eastern Xinjiang) - Dunhuang Scores, P.3808, no. 16
25) You Quzi《又曲子》(Another Piece) - Dunhuang Scores, P.3808, no. 5
26) You Quzi《又曲子》(Another Piece) - Dunhuang Scores, P.3808, no. 7
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Tang-era pieces with score materials preserved in Japan
Notes: all of the following pieces are classified as Tōgaku, unless otherwise indicated. Japanese print and online sources generally use "楽" in place of 樂.
1) A Gui Niang《阿媯娘》(Japanese: Agirō / あぎろう)
2) A Ye Qi Li《阿夜岐利》(Japanese: Ayagiri / あやぎり) - Komagaku
4) An Gong Zi《安弓子》(Japanese: An-kyūshi / あんきゅうし) - is this the same piece as《安公子》?
5) An Gongzi《安公子》(Japanese: Ankōshi / あんこうし) (The Peaceful Young Lord) - is this the same piece as《安弓子》?
7) Ba Tou《抜頭》or《拔頭》(Japanese: Batō / ばとう) (Extracting the Head)
8) Bai Bin《白濱》(Japanese: Hōhin / ほうひん or Hakuhin? / はくひん?) - Komagaku
9) Bai Zhu《白柱》(Japanese: Hakuchū / はくちゅう) (The White Pillar)
10) Banshe Canjun《盤渉參軍》(Japanese: Banshiki Sangun / ばんしきさんぐん) ("Joining the Army" [in] Banshe [Mode])
11) Banshe Diao《盤渉調》(Japanese: Banshiki-chō / ばんしきちょう) - modal prelude for 5-string lute from Gogen-fu
12) Beiting Yue《北庭樂》or《北𨓀樂》(Japanese: Hokuteiraku / ほくていらく) (Music of the Beiting [Protectorate])
13) Biqi'er《弊𢍆兒》or《弊契兒》 (Japanese: Heikeiji / へいけいじ) (probably a corruption of Qibi'er《契苾兒》, a song of Central Asian origin that enjoyed popularity in Luoyang during the reign of Empress Wu Zetian)
14) Cai Sang Lao《採桑老》or《採桒老》(Japanese: Saishōrō / さいしょうろう or Saisōrō / さいそうろう) (The Old Mulberry[-Leaf] Gatherer)
15) Cao Niang Kun Tuo《曹娘褌脱》(Japanese: Sōrō-kodatsu / そうろうこだつ or Sōrō-kotatsu / そうろうこたつ)
16) Cao Po《曹婆》or《曹波》(Japanese: Sōba / そうば) (Old Lady Cao, or an abbreviated form of Cao Poluomen 曹婆罗门, the name of a Sogdian musician who served as a court musician during the Northern Wei Dynasty)
17) Chang Bao Yue《長寳樂》(=《長寶樂》) (Japanese: Chōhōraku / ちょうほうらく or Chōbōraku ちょうぼうらく) - Komagaku
18) Chang Ming Nü'er《長命女児》or《長命女兒》(Japanese: Chōmei-joji / ちょうめいじょじ) (The Long-Lived Daughter)
19) Chang Qing Zi《長慶子》(Japanese: Chōgeishi / ちょうげいし or Chōkeishi / ちょうけいし)
20) Chang Sheng Yue《長生樂》(Japanese: Chōseiraku / ちょうせいらく) (Music of Longevity)
21) Chang Xiong Yue《常雄樂》(Japanese: Jōburaku / じょうぶらく or Jōyūraku? / じょうゆうらく?)
22) Chen Tai Niang《陳太娘》(Japanese: Chintairō? / ちんたいろう?)
23) Chenghe Yue《承和樂》(Japanese: Shōwaraku / しょうわらく) (Music of Inherited Harmony or Music of Continuing Harmony)
26) Cheng Yan Yue《承燕樂》(Japanese: Shōenraku / しょうえんらく) (Banquet Reception Music)
27) Chi Bai Lianhua Yue《赤白蓮花樂》or《赤白蓮華樂》(Japanese: Shakubyaku-rengeraku / しゃくびゃくれんげらく)
28) Chi Bai Tao Li Hua《赤白桃李花》(Japanese: Sekihaku Tōrika / せきはくとうりか) (Red and White Peach and Plum Blossoms)
29) Chongguang Yue《重光樂》(Japanese: Jūkōraku / じゅうこうらく) (Music of Renewed Radiance)
30) Chong Ming Yue《崇明樂》or《宗明樂》(Japanese: Sōmeiraku / そうめいらく) (Music of Exalted Clarity)
31) Chun Ting Yue《春庭樂》or《春𨓀樂》(Japanese: Shunteiraku / しゅんていらく) (Music of the Spring Courtyard)
34) Cui Ma Yue《催馬樂》(Japanese: Saibara / さいばら)
35) Da Bao Yue《大寶樂》(Japanese: Daihōraku? / だいほうらく? or Taihōraku? / たい ほう らく?)
36) Da Bu Yue《大補樂》(= Da Pu Yue《大酺樂》) (Japanese: Daihoraku? / だいほらく?)
37) Da Ding Yue《大定樂》(Japanese: Daijōraku / だいじょうらく)
X) Da Gu《大孤》(Japanese: Daiko / だいこ) - gigaku
39) Dashi Diao (1)《大食調（一）》(Japanese: Taishiki-chō / たいしきちょう) - modal prelude for 5-string lute from Gogen-fu
40) Dashi Diao (2)《大食調（二）》(Japanese: Taishiki-chō / たいしきちょう) - modal prelude for 5-string lute from Gogen-fu
41) De Ban Zi《徳伴字》(=《德伴字》) (Japanese: Tokubanji / とくばんじ) (The Virtuous Companion)
42) Deng Tian Yue《登天樂》(Japanese: Tōtenraku / とうてんらく) (Music of Ascending to the Heavens)
43) Diaozi《調子》(Japanese: Chōshi / ちょうし) (modal prelude) in Banshe Diao / Banshiki-chō (盤渉調 / ばんしきちょう) for mouth organ from Giyōden Chiku-fu
44) Diaozi《調子》(Japanese: Chōshi / ちょうし) (modal prelude) in Dashi Diao / Taishiki-chō (大食調) (=太食調) (たいしきちょう) for mouth organ from Giyōden Chiku-fu
45) Diaozi《調子》(Japanese: Chōshi / ちょうし) (modal prelude) in Huangzhong Diao / Ōshiki-chō (黃鐘調) (=黄鐘調) (おうしきちょう) for mouth organ from Giyōden Chiku-fu
46) Diaozi《調子》(Japanese: Chōshi / ちょうし) (modal prelude) in Ping Diao / Hyōjō (平調 / ひょうじょう) for mouth organ from Giyōden Chiku-fu
47) Diaozi《調子》(Japanese: Chōshi / ちょうし) (modal prelude) in Shuang Diao / Sōjō (雙調 / そうじょう) for mouth organ from Giyōden Chiku-fu
48) Diaozi《調子》(Japanese: Chōshi / ちょうし) (modal prelude) in Yiyue Diao / Ichikotsu-chō (壹越調) (=壱越調) (=一越調) (いちこつちょう) for mouth organ from Giyōden Chiku-fu
49) Dijiu《地久》(Japanese: Chikyū / ちきゅう) (The World is Lasting) - Komagaku
50) Fan Jia Chong《番假崇》(Japanese: Banka-sō / ばんかそう) - modal prelude for 4-string lute
51) Fan Long Zhou《泛龍舟》or《汎龍舟》(Japanese: Hanryūshū / はんりゅうしゅう or Hanryōshū / はんりょうしゅう) (The Floating Dragon Boat)
53) Funan《扶南》or《府南》(Japanese: Funan / ふなん) (the name of an ancient Indianized kingdom of mainland Southeast Asia)
54) Gan Cheng Yue《感城樂》(Japanese: Kanjōraku / かんじょうらく or Kanzeiraku / かんぜいらく) (Music Inspired by the City)
55) Gan'en Duo《感恩多》(Japanese: Ka-o-ta / かおた) (Abundant Gratitude)
56) Gan Qiu Yue《感秋樂》or《感穐樂》(Japanese: Kanshūraku / かんしゅうらく) (Moved by Autumn Music)
57) Ganzhou《甘州》,《泔洲》, or《泔州》(Japanese: Kanshū / かんしゅう; historical form: Kansiu / かんしう) (a prefecture located in modern-day Gansu, northwest China, which served as a commercial hub on the Northern Silk Road)
58) Gaoli Long《高麗龍》(Japanese: Koma-ryū / こまりゅう) (The Goryeo Dragon) - Komagaku
59) Gu Niao Su《古鳥蘓》(=《古鳥蘇》) (Japanese: Ko-toriso / ことりそ) - Komagaku
60) Gui De Hou《歸徳侯》or《貴德侯》(=《貴徳侯》) (Japanese: Kitoku-kō / きとくこう) (The Marquis of Returning Virtue) - Komagaku
61) Guo Tou Yue《褁頭樂》(=《裹頭樂》) (Japanese: Katōraku / かとうらく) (Head-Wrapping Music)
62) Haiqing Yue《海青樂》(Japanese: Kaiseiraku / かいせいらく) (Music of the Gyrfalcon)
63) Hanzui Yue《酣酔樂》(=《酣醉樂》) or Ganzui Yue《甘醉樂》(Japanese: Kansui-raku / かんすいらく) (Dead Drunk Music) - Komagaku
64) Hedian《賀殿》(Japanese: Katen / かてん) (Felicitations at the Hall)
65) He Feng Yue《和風樂》or《和鳳樂》(Japanese: Wafūraku / わふうらく or Kafūraku / かふうらく)
66) He Manzi《何滿子》(Japanese: Kamanshi / かまんし) (the name of a court singer from Cangzhou, Hebei who was charged with a crime and imprisoned during the Tianbao era [742-756] of the reign of Emperor Xuanzong of Tang, and who then composed and sang a lament as a plea for clemency)
68) He Quzi《河曲子》(Japanese: Kakyokushi / かきょくし) (River Song) - is this part of a larger suite?
71) Huangzhong Diao《黃鐘調》(=《黄鐘調》) (Japanese: Ōshiki-chō / おうしきちょう) - modal prelude for 5-string lute from Gogen-fu
72) Hudie Yue《胡蝶樂》(Japanese: Kochōraku / こちょうらく) (Butterfly Music) - Komagaku
73) Hu Tong Yue《胡童樂》(Japanese: Kodōraku / こどうらく)
74) Hu Weizhou《胡渭州》(Japanese: Koishū / こいしゅう) (Barbarian [Music of] Weizhou [a prefecture located in modern-day Gansu and Ningxia, northwest China])
75) Hu Yin Jiu《胡飲酒》(Japanese: Konju / こんじゅ, Koinju / こいんじゅ, Koinzu / こいんず, Konzu / こんず, or Kōnju / こおんじゅ) (Sogdians Drinking Wine)
76) Hu Yong Ci《胡詠詞》(Japanese: Koeishi / こえいし)
77) Huan Cheng Yue《還城樂》(Japanese: Genjōraku / げんじょうらく)
78) Huangdi Po Zhen Yue《皇帝破陣樂》(Japanese: Ō-dai hajin-raku / おうだいはじんらく) (The Emperor Breaks the Formations Music)
79) Huangdi Santai《皇帝三臺》(Japanese: Ō-dai Sandai / おうだいさんだい) (The Emperor's "Three Terraces")
80) Huang Ren Ting《皇仁庭》or《皇仁𨓀》(Japanese: Ō-nin Tei / おうにんてい) (Courtyard of the Emperor's Benevolence)
81) Huangzhang《皇麞》(Japanese: Ōjō / おうじょう) (Huangzhang [Valley] 黄麞谷 was the site where the Tang general Wang Xiaojie 王孝傑 was killed in battle against Khitan forces during the reign of Empress Wu Zetian)
82) Hui Bei Yue《廻坏樂》, 《迴坏樂》,《廻杯樂》,《廽坏樂》, or《廽盃樂》(Japanese: Kaibairaku / かいばいらく)
83) Hui Hu《廻忽》,《廽忽》,or《囬忽》(Japanese: Kaikotsu / かい こつ)
84) Ji De《鷄徳》or《鷄德》or《雞德》or《鶏德》(Japanese: Keitoku / けいとく) (The Rooster's Virtue)
85) Ji Ming Yue《鷄鳴樂》(=《鶏鳴樂》) (Japanese: Keimeiraku / けいめいらく) (Rooster Crowing Music)
86) Jialouluo《迦樓羅》(Japanese: Karura / かるら) (Garuda)
87) Jia Ye Jing《榎葉井》(Japanese: Kayōsei / かようせい or Enohai / えのはい) (The Hackberry-Leaf Well)
88) Jianqi Huntuo《劍氣褌脱》or《劔氣褌脱》or《剣氣禈脱》(Japanese: Kenki-kodatsu / けんきこだつ or Kenki-kotatsu / けんきこたつ) (Swordplay and Acrobatics)
89) Jiang Lü Yin《将律音》(Japanese: Shōritsu-on? / しょうりつおん?) - piece for solo 4-string lute
90) Jieshi Diao You Lan《碣石调幽兰》- piece for solo qin
91) Jingang《金剛》(Japanese: Kongō / こんごう)
92) Jin Su De or Jin Xiu De《進宿德》or《進宿徳》(Japanese: Shinshotoku / しんしょうとく or Shinsotoku / しんそとく) - Komagaku
93) Jin Zeng Li Gu《進曾利古》(=《進曽利古》) (Japanese: Shimusoriko? / しむそりこ? or Shinsoriko? / しんそりこ?) - Komagaku
94) Jiu Cheng Yue《九城樂》(Japanese: Kyūjōraku / きゅうじょうらく or Kyūseiraku / きゅうせいらく) (Music of the Nine Citadels)
95) Jiu Huzi《酒胡子》(Japanese: Shukoshi / しゅこし) (The Wine Puppet, The Vinous Sogdian, or The Drunken Sogdian) or Zui Gongzi《醉公子》(Japanese: Suikōshi / すいこうし) (The Drunken Lordling)
97) Jiu Qing Si《酒清司》(Japanese: Shuseishi / しゅせいし) (The Officer in Charge of Wine Clarification; this title may be a corruption of《酒清詞》[Jiu Qing Ci], which might translate as something like "Lyric on the Clarity [or Clarification] of Wine")
98) Kunlun Baxian《崑崘八仙》(=《崑崙八仙》) (Japanese: Konron Hassen / こんろんはっせん) (The Eight Immortals of Kunlun [Mountain])
99) Lang Junzi《郞君子》(Japanese: Rōkunshi / ろうくんし) (The Noble Gentleman) or Lao Junzi《老君子》(Japanese: Rō-kunshi / ろうくんし) (The Old Gentleman)
100) Lin Ge《林歌》or《林謌》(Japanese: Ringa / りんが) - Komagaku, but also exists in a Tōgaku version
101) Linyi Luan Sheng《林邑亂聲》(Japanese: Rinyū-ranjō / りん ゆうらんじょう)
102) Liu Hu Zhou《六胡州》(Japanese: Rokkoshū / ろっこしゅう or Rikkoshū / りこしゅう or Rokukoshū / ろくこしゅう or Rokukoshiu / ろくこしう)
104) Lun Gu Kuntuo《輪鼓褌脱》(Japanese: Rinko-kodatsu / りんここだつ or Rinko-kotatsu / りんここたつ) (Spinning Drum Acrobatics)
105) Luntai《輪䑓》or《輪臺》(Japanese: Rindai / りんだい) (a county near modern-day Ürümqi, Xinjiang)
106) Luoling Wang《羅陵王》or Ling Wang《𨹧王》(=《陵王》) (Japanese: Raryō‐ō / しんらりょうおう or Ryō-ō / りょうおう)
107) Nasuli《納蘓利》or《納蘇利》(Japanese: Nasori / なそり) - Komagaku
108) Niao《鳥》(Japanese: Tori / とり) (The Bird)
109) Niao Xiang Yue《鳥向樂》(Japanese: Chōkōraku / ちょうこうらく)
110) Nong Dian Yue《弄殿樂》(Japanese: Rōtenraku / ろうてんらく or Rōdenraku / ろうでんらく) (Playing Music in the Palace Hall)
111) Nong Qiang Yue《弄槍樂》or Nong Qiang《弄搶》(=《弄槍》) (Japanese: Rōsōraku / ろうそうらく or Rōsō / ろうそう)
112) Paigan《拍桿》(Japanese: Hakukan / はくかん)
113) Peilu / Beilu《倍臚》or《陪臚》 (Japanese: Bairo / ばいろ) (Bhairava)
114) Ping Diao Huofeng《平調火鳳》(Japanese: Hyōjō Kahō / ひょうじょうかほう)
115) Ping Diaozi《平調子》(Japanese: Hyōjōshi / ひょうじょうし) - modal prelude for 5-string lute from Gogen-fu
116) Ping Man Yue / Heibanraku《平蠻樂》or《平蛮樂》(へいばんらく) (Music of Pacifying the Southern Barbarians or Music of the Pacified Southern Barbarians)
117) Poluomen《婆羅門》(Japanese: Baramon / ばらもん) (The Brahman)
118) Qian Jin Nü'er《千金女児》or《千金女兒》(Japanese: Senkin-joji / せんきんじょじ) (The Daughter [Worth] a Thousand Gold [Pieces])
121) Qin Wang Po Zhen Yue《秦王破陣樂》(Japanese: Jinnō hajin-raku / じんのうはじんらく or Shinnō hajin-raku / しんのうはじんらく) (The Emperor of Qin Breaks the Formations Music)
125) Qing Yun Yue《慶雲樂》(Japanese: Kyōunraku / きょううんらく) (Auspicious Clouds Music)
127) Renhe Yue《仁和樂》(Japanese: Ninnaraku / にんならく) (Benevolence Music) - Komagaku
128) Ruyi Niang《如意娘》(Japanese: Nyoirō / にょいろう) (The Wish-Fulfilling Lady, probably referring to Empress Wu Zetian)
129) San Shou Po Zhen Yue《散手破陣樂》(Japanese: Sanju hajin-raku / さんじゅはじんらく) (Breaking the Formations Music in Free Style)
130) Santai《三䑓》(=《三臺》) (Japanese: Sandai / さんだい) (Three Terraces)
131) Santai Yan《三䑓塩》or《三臺塩》(Japanese: Sandai-en / さんだいえん) (Three Terraces Song)
132) San Yin Da Qiu Yue《散吟打毬樂》(Japanese: Sangin-chōgyūraku? / さんぎんちょうぎゅうらく) (=《散金打毬樂》, Sankin-chōgyūraku? / さんきんちょうぎゅうらく?) or《散吟打毬樂》or《散吟打球樂》(Japanese: Sangin-tagyūraku / さんぎんたぎゅうらく)
134) Shang Yuan Shi Shang Liu Quan《上原石上流泉》(Japanese: Shōgen Sekishō Ryūsen / しょうげんせきしょうりゅうせん or Jōgen Sekijō Ryūsen / じょうげんせきじょうりゅうせん) (Above the Original "On a Rock by a Flowing Spring" or Above the Original "A Spring Flowing Over Stones") - piece for solo 4-string lute
135) Shao Ying Yue《韶應樂》or《詔應樂》(=《韶応樂》) (Japanese: Shō-ō-raku / しょうおうらく)
137) Shi Chuan Yue《石川樂》(Japanese: Sessenraku / せっせんらく or Setsusenraku / せつせんらく) (Music of the Rocky Stream)
138) Shi Cui Yue《拾翠樂》(Japanese: Jissuiraku / じっすいらく or Jisuiraku / じすいらく) (Gathering Kingfisher Feathers)
139) Shi Shang Liu Quan《石上流泉》(Japanese: Sekishō Ryūsen / せきしょうりゅうせん or Sekijō Ryūsen / せきじょうりゅうせん) (On a Rock by a Flowing Spring or A Spring Flowing Over Stones) - piece for solo 4-string lute
140) Shi Tian Yue《十天樂》(Japanese: Jittenraku / じってんらく) (Ten Devas Music)
141) Shizi《獅子》(Japanese: Shishi / しし) - gigaku
142) Shuren Santai《庶人三䑓》or《庶人三臺》(Japanese: Shonin-sandai / しょにんさんだい or Sonin-sandai / そにんさんだい) (The Commoners' "Three Terraces")
143) Song Qiu Yue《送秋樂》(Japanese: Sōshūraku / そうしゅうらく) (Music for Bidding Farewell to Autumn)
144) Su Fangfei《蘇芳菲》or《蘓芳菲》(Japanese: Sohōhi / そほうひ)
146) Suluomi《蘓羅密》(=《蘇羅密》) (Japanese: Soramitsu / そらみつ)
147) Sumozhe《蘓莫者》(=《蘇莫者》) (Japanese: Somakusha / そまくしゃ) (the name of a water-splashing festival celebrated in the oasis states of Central Asia, which was introduced to Chang'an via the Buddhist kingdom of Kucha by the 6th or 7th century)
148) Su Zhi Mo Li《蘇志摩利》,《蘇志磨利》, or《蘓志磨利》(Japanese: Soshimari / そしまり) - Komagaku
149) Taichang Boshi Yang Zhen Cao《大常博士楊真操》(Japanese: Daijō Hakushi Yōshinsō / だいじょうはくしようしんそう or Daijō Hakushi Yōshinzō / だいじょうはくしようしんぞう) (The True Version of Master Yang of the Court of Imperial Sacrifices) - piece for solo 4-string lute
150) Taicu Jue Banshe Diao Niao Ge Wan Sui Yue《太簇角盤涉調鳥歌萬歲樂》(Japanese: Taisō-kaku Banshiki-chō Chō-ka Manzairaku / たいそうかくばんしきちょうちょうかまんざいらく)
151) Taiping Yue《太平樂》(Japanese: Taiheiraku / たいへいらく) (Music of Great Peace)
152) Ti Qin Yue《提琴樂》(Japanese: Teikin-raku / ていきんらく) (Taking Up the Qin)
153) Tian Chang Jiu《天長久》(Japanese: Tenchōkyū / てんちょうきゅう) (The Heavens are Everlasting)
155) Tuanluanxuan《團乱旋》(=《團亂旋》) (Japanese: Toraden / とらでん) (The Whirl-Around)
156) Tui Su De《退宿徳》or《退宿德》) (Japanese: Daisōtoku? / だいそうとく?, Daisotoku / だいそとく, or Daishōtoku? / だいしょうとく?) - Komagaku
158) Wan Sui Yue《萬歳樂》(=《萬歲樂》) (Japanese: Manzairaku / まんざいらく) (Music of Ten Thousand Years [of Longevity])
159) Wang Zhaojun《王昭君》(Japanese: Ōshōkun / おう しょうくん)
160) Wei Qing Tangtang《韋𡖖堂堂》(=《韋卿堂堂》) (Japanese: Ikyō-dōdō / いきょうどうどう) (The Majesty of Minister Wei or The Majesty of Lord Wei)
162) Wu Chang Yue《武昌樂》(Japanese: Bushōraku / ぶしょうらく) (Music of Martial Prosperity)
164) Wu Meiniang《武媚娘》(Japanese: Bubirō / ぶびろう or Muminyō / むみにょう) (Charming Lady Wu, probably referring to Empress Wu Zetian)
168) Xia Yin Yue《夏引樂》(Japanese: Ka-in-raku / かいんらく) (Summer Prelude Music)
169) Xian You Xia《仙遊霞》or《仙𨔼霞》(Japanese: Sen'yūga / せんゆうが) (Immortals Wandering in the Rosy Mist)
171) Xiao Langzi《小郞子》(Japanese: Korōji / ころうじ or Korōshi / ころうし) (The Young Gentleman)
172) Xiao Niangzi《小娘子》(Japanese: Korōji / ころうじ) (The Young Maiden)
173) Xin He Pu《新河浦》(Japanese: Shin-kafu / しんかふ)
174) Xin Luoling Wang《新羅陵王》(Japanese: Shinraryō‐ō / しんらりょうおう)
175) Xin Mohe《新靺鞨》(Japanese: Shin-maka / しんまか) - Komagaku
176) Xin Niao Su《新鳥蘓》(=《新鳥蘇》) (Japanese: Shin-toriso / しんとりそ) - Komagaku
177) Xin Yue Luan Sheng《新樂亂聲》(Japanese: Shingaku-ranjō / しんがくらんじょう)
178) Xing Ming Yue《興明樂》(Japanese: Kōmeiraku / こうめいらく)
179) Xue Wen Ti《薛問提》(Japanese: Setsumondai / せつもんだい) (this title is probably a transliteration of a Central Asian term)
180) Yan Xi Yue《延喜樂》(Japanese: Engiraku / えんぎらく) (Music of Lasting Joy) - Komagaku
183) Yi De Yan《壹德塩》or《一德塩》(=《壹德鹽》) (Japanese: Ittoku-en / いっとくえん)
184) Yidu Shi《移都師》(Japanese: Itoshi / いとし)
185) Yi Jin Yue《溢金樂》(Japanese: Ikinraku / いきんらく) (Brimming With Gold Music)
186) Yi Nong Yue《壹弄樂》(Japanese: Ichirōraku / いちろうらく) (First Variation Music)
187) Yi Tuan Jiao《壹團嬌》(Japanese: Itto-kyō / いっときょう or Itsutokeu / いつとけう) (A Bevy of Tender Beauties)
189) Yinqu《音取》(Japanese: Netori / ねとり) in Banshe Diao / Banshiki-chō (盤渉調 / ばんしきちょう) for mouth organ from Giyōden Chiku-fu
190) Yinqu《音取》(Japanese: Netori / ねとり) in Dashi Diao / Taishiki-chō (大食調) (=太食調) (たいしきちょう) for mouth organ from Giyōden Chiku-fu
191) Ying Tian Yue《應天樂》(=《応天樂》) (Japanese: Ōtenraku / おうてんらく) (Music of Obeying [the Will of] Heaven)
194) Youji Zuowu / Yuki-sakumotsu or Yuki-sakubutsu?《悠紀作物》
195) You Zi Nü《逰字女》(=《遊字女》) (Japanese: Yūjijo / ゆうじじょ) - possibly a corruption of《遊兒女》(Japanese: Yūnijo / ゆうにじょ)
196) Yuan Ge《元歌》(Japanese: Genka / げんか)
197) Yushu Hou Ting Hua《玉樹後𨓀花》or《玉樹後庭華》(=《玉樹後庭花》) (Japanese: Gyokuju gotei-ka / ぎょくじゅごていか or Gyokuju kōtei-ka / ぎょくじゅこうていか) (A Jade Tree's Rear-Court Blossom)
199) Yue Diao《越調》(Japanese: Kotsu-chō / こつちょう) - modal prelude for 5-string lute from Gogen-fu
200) Zao Tan Shi《早彈時》(Japanese: Hayadanji / はやだんじ) (When Playing [literally "Plucking"] in the Morning?)
201) Zao Yin Yang Zhen Cao《早引楊真操》(Japanese: Hayabiki Yōshinsō / はやびきようしんそう)
202) Zhi Qi Chuan or Zhi Qi Zhuan《志岐傳》(Japanese: Shikiden / しきでん)
203) Zhu Ji Zuowu / Suki-sakumotsu or Suki no sakubutsu?《主基作物》(すきのつくりもの?)
205) Zhuomu Diao《啄木調》(Japanese: Takuboku Chō / たくぼくちょう) (Woodpecker Tune) - piece for solo 4-string lute
207) Zuowu《作物》(Japanese: Sakumotsu / さくもつ or Sakubutsu / さくぶつ) (The Crops)
----------------------------------------------
TO ADD FROM:
Hu De Yue《胡徳楽》- in which score collection(s) does this piece appear?
Additional Komagaku pieces?
● Entori / Enori (延利 / 恵利): A classic Komagaku dance piece frequently grouped alongside core right-side repertoire like Nasori and Batō.
● Entori / Enori (延利 / 恵利): A classic Komagaku dance piece frequently grouped alongside core right-side repertoire like Nasori and Batō.
● Ryoen (陵園): A traditional Komagaku piece performed in the right-side (u-gaku) tradition.
● Koma-no-kotobuki (高麗寿): A celebratory Komagaku piece (kym / congratulatory dance genre) often cited in historical court performance records.
Is there a《登殿樂》in a Meiji-era source, and is it a corruption of《登天樂》?
Giyōden Chiku-fu
Pieces in Yiyue Diao / Ichikotsu-chō (壹越調) (=壱越調) (=一越調) (いちこつちょう)
17. Se He Niao《澁河鳥》(Japanese: Shingachō / しんがちょう).) - is this a corruption of《沁河鳥》?
18. Gequzi?《歌曲子》- p. 34
19. Jialingbin?《迦陵賔》(=《迦陵頻》) - p. 34
Pieces in Huangzhong Diao / Ōshiki-chō (黃鐘調) (=黄鐘調) (おうしきちょう)
93. Qing Bai Lianhua Yue《青白蓮華樂》(=《赤白蓮花樂》) (Japanese: Seibyaku-rengeraku / せいびゃくれんげらく) - p. 129 - is this a corruption of《赤白蓮花樂》?
94. 《鳥急》? - p. 130
Sango Yōroku
Pieces in Yiyue Diao / Ichikotsu-chō (壹越調) (=壱越調) (=一越調) (いちこつちょう)
25. Pusa《菩蕯》(=《菩薩》) (Japanese: Bosatsu / ぼさつ) (Bodhisattva) - is this a movement from a suite?
26. Daoheng《道行》(Japanese: Michiyuki / みちゆき) - p. 231 - is this a movement from a suite?
Pieces in Banshe Diao / Banshiki-chō (盤渉調 / ばんしきちょう)
137. Quan《犬》(Japanese: Ken / けん or Inu? / いぬ?) - p. 560
138. Wan Xu《顏徐》(=《頑徐》) (Japanese: Ganzo / がんぞ) - p. 563
149. Jiehan or Juhan《桔捍》(Japanese: Kikkan / きっかん or Kekkan / けっかん) - p. 574
Jinchi Yōroku
Pieces in Banshe Diao / Banshiki-chō (盤渉調 / ばんしきちょう)
119. Kunlun《崑崙》(Japanese: Konron / こんろん) (Kunlun [Mountain]) - is this the same piece as《崑崘八仙》(=《崑崙八仙》?
120. Lishi《力士》(Japanese: Rikishi / りきし)
121. Wu Tu《吴土》(Japanese: Godo / ごど or Guto / ぐと)
122. Zui Gu《酔孤》(Japanese: Suiko / すいこ or Suiku すいく )
Tenkanraku hoka gigaku-fu
1) Tian Gan Yue《天感樂》(Japanese: Tenkanraku? / てんかんらく?)
2)《曺樂》
3)《妓樂》（師子・呉公・金剛・迦楼羅・崑崙・力士・波羅門・大狐・酔胡・武徳楽（譜なし））
5)《鳳声樂》
6)《勝樂》、〓《女＋武》媚娘
9)《長元樂》(Japanese: Chōgenraku? / ちょうげんらく?)（題名のみ）
Ruisō Chiyō
Pieces in Dashi Diao / Taishiki-chō (大食調) (=太食調) (たいしきちょう)
49. Wu Chang Taiping Yue《武昌太平樂》(Japanese: Bushō-taiheiraku / ぶしょうたいへいらく)
Pieces in Qishi Diao / Kotsujiki-chō or Kotsushiki-chō (器食調, =乞食調 / こつじきちょう or こつしきちょう)
59. Yin Quan Yue《飲泉樂》(Japanese: Insenraku? / いんせんらく?) - p. 263
Pieces in Shuang Diao / Sōjō (雙調 / そうじょう)
Pieces in Banshe Diao / Banshiki-chō (盤渉調 / ばんしきちょう)
90. Ci Zun???《慈尊???》(Japanese: ? / ?) - p. 364
91. Ci Zun Cheng Dao Yue《慈尊成道樂》(Japanese: ? / ?) - p. 367
Komagaku pieces - Gaoli Qu / Koma-kyoku / (高麗曲 / こまきょく)
115. Gou ?《狗?》(Japanese: ? / ?) - p. 445
119. Ju Lun Jia Xu《俱倫甲序》(Japanese: ? / ?) - p. 449
122. Gaoli Quan《高麗犬》(Japanese: Koma-ken? / こまけん? or Koma-gen? / こまげん? or Koma-inu? / こまいぬ?) (The Goryeo Dog) - Komagaku
124. Xin Ceng Li Gu? or Xin Zeng Li Gu?《新曾利古》(Japanese: Shinzoriko / しんぞりこ)
125. ?《?鼻胡德》(Japanese: ? / ?) - p. 456
129. Na Ceng? Li or Na Zeng? Li《納曽利》(Japanese: Nasori / なそり) - p. 458
Rosei Yōroku
Pieces in Yiyue Diao / Ichikotsu-chō (壹越調) (=壱越調) (=一越調) / いちこつちょう
4. Niao Po《鳥破》(Japanese: Tori no Ha / とりのは) (The Bird: Broaching) - p. 6
5. Yi Nong Yue《一弄樂》(=《壹弄樂》) (Japanese: Ichirōraku / いちろうらく) (First Variation Music) - p. 6
12. Pusa《菩薩》(Japanese: Bosatsu / ぼさつ) (Bodhisattva) - p. 10
15. Se He Niao《渋河鳥》(=《沁河鳥》) (Japanese: Shingachō / しんがちょう) - p. 12 - is this a corruption of《沁河鳥》?
Pieces in Ping Diao / Hyōjō (平調 / ひょうじょう)
An Gong Shi《安弓士》(Japanese: An-kyūshi / あんきゅうし) - is this the same piece as An Gong Zi?
Pieces in Shuang Diao / Sōjō (雙調 / そうじょう)
33. Niao Po《鳥破》(Japanese: Tori no Ha / とりのは) (The Bird: Broaching) - p. 25
Pieces in Huangzhong Diao / Ōshiki-chō (黃鐘調) (=黄鐘調) (おうしきちょう)
36. Tao Li Hua《桃李花》(Japanese: Tōrika / とうりか) - p. 28 - is this the same piece as《赤白桃李花》?
47. Lian Hua Yue《蓮華樂》(Japanese: Rengeraku / れんげらく) - p. 37 - is this the same piece as《赤白蓮華樂》?
49. Shi Zui Yue Po《十酔樂破》(Japanese: Jusuiraku no Ha? / じゅすいらくのは?) - p. 38
Pieces in Taishi Diao / Taishiki-chō (太食調 / たいしきちょう)
59. San Shou Po《散手破》(Japanese: Sanju no Ha / さんじゅのは) (Breaking [the Formations] in Free Style) - p. 48
67. Qin Huang《秦皇》(Japanese: Shinkō / しんこう) (The Emperor of Qin) - p. 53 - is this another name for a different piece?
85. Liu? Hua Yuan《柳花菀》(=《柳花苑》) (Japanese: Ryūka-en / りゅうかえん) (The Willow-Blossom Garden) - p. 99
88. Tao Li Hua《桃李花》(Japanese: Tōrika / とうりか) - p. 102 - is this the same piece as《赤白桃李花》?
95. Hehuan Yan? - p. 105
94. Niao ?《鳥?》- p. 106
95. Huan Cheng Yue?《還城樂》(Japanese: Genjōraku / げんじょうらく) - p. 106
96. Qin Wang Wu Fa?《秦王舞法?》(Japanese: Shin-ō buhō? / しんおうぶほう?) - p. 107
99. Su Fangfei Yishuo《蘓芳菲異說》(=《蘇芳菲異說》) (Japanese: Sohōhi Isetsu? / すうほうひ いせつ?)
100. Huan Cheng Yue Po《還城樂破》(Japanese: Genjōraku no Ha / げんじょうらくのは) - p. 109
101. Xian You Xia Yishuo《仙逰霞異說》(《仙遊霞異說》) (Japanese: Sen'yūga Isetsu? / せんゆうが いせつ?) (Immortals Wandering in the Rosy Mist, Heterodox Version) - p. 109
Hōshō-fu
Pieces in Yiyue Diao / Ichikotsu-chō (壹越調) (=壱越調) (=一越調) (いちこつちょう)
2. ?《迦陵頻》(Japanese: ? / ?) - p. 7
Pieces in Ping Diao / Hyōjō (平調 / ひょうじょう)
5. ?《皇摩急》(Japanese: ? / ?) - p. 15
7. ?《三乃臺塩》(Japanese: ? / ?) - p. 18
11. ?《陪臚》(Japanese: ? / ?) - p. 25
12. ?《慶德》(Japanese: ? / ?) - p. 27
Pieces in Shuang Diao / Sōjō (雙調 / そうじょう)
13. Sata《颯踏》(Japanese: Sattō / さっとう) - p. 31
14. ?《入破》(Japanese: ? / ?) - p. 35
16. ?《部德樂》(Japanese: ? / ?) - p. 39
Pieces in Huangzhong Diao / Ōshiki-chō (黃鐘調) (=黄鐘調) (おうしきちょう)
19. ?《捨翠樂》(Japanese: ? / ?) - p. 47
Pieces in Taishi Diao / Taishiki-chō (太食調 / たいしきちょう)
26. ?《傾盃樂》(Japanese: ? / ?) - p. 65
27. Ba Tou《拔頭》(=《抜頭》) (Japanese: Batō / ばとう) (Extracting the Head) - p. 67
Kaichū-fu『懐中譜』is a collection of Tang-era scores in tablature for transverse flute, in three volumes, dating to c. 1095 and compiled by Oga no Koresue (大神惟季 / おおがの これすえ, 1026-1094).
The collection's contents are as follows:
一越调
《音取》、《品玄》、《入调》、《上调子》
沙陀调
《狮子》、《大菩萨》、《小菩萨》
平调
《音取》、《品玄》、《入调》、《临调子》、《回忽》、《偈颂》
太食调
《音取》、《品玄》、《上调子》
双调
《音取》、《品玄》、《入调》
黄钟调
《音取》、《品玄》、《入调》
盘涉调
《音取》、《品玄》、《入调》
高丽秘曲
《颜徐》、《俱伦甲序》、《造物》、《狛犬》、《常武乐》、《狛龙》、《进曾利古》
The Fushiminomiya-bon Biwa-fu『伏見宮本琵琶譜』, sometimes also rendered as『（伏見宮本）琵琶譜』(Fujiangong Ben Pipa Pu in Chinese) is a facsimile scroll, believed to have been written in Japan c. 921-922, and held in the collection of the Library of the Imperial Palace in Tokyo (Kunaichō Shoryōbu, 宮内庁書陵部). The collection, which is in effect a tutor for finger-plucked 4-string pipa with four frets, written in in pipa tablature, comprises two distinct manuscripts:
1) The Biwa Sho Chōshi Hon『琵琶諸調子品』(Pipa Zhu Diaozi Pin in Chinese), comprising a set of brief "tuning-testing" pieces for 27 different tunings, is a copy of a scroll believed to have been given in 838 to the Japanese diplomat and musician Fujiwara no Sadatoshi (藤原貞敏, 807-867) by the Chinese pipa master Lian Chengwu (廉承武) of Yangzhou, then 85 years of age, with whom Fujiwara studied while visiting China during Japan's final mission to Tang China in 838, during the reign of the Tang emperor Wenzong (文宗, r. 827-840). The copy was written in Japan in 921-922 by Prince Sadayasu (Sadayasu Shinnō, 870-924), who added an augmented preface and a few interpolated comments to the body of the text.
1.《壹越調絃合》
2.《壹越上調絃合》
3.《沙陀調》
4.《雙調絃合》
5.《平調絃合》
6.《大食調絃合》
7.《乞食調》
8.《少食調》
9.《道調絃合》
10.《黃鐘調絃合》
11.《大黃鐘調絃合》
12.《水調絃合》
13.《万涉調絃合》
14.《风香調絃合》
15.《返风香調絃合》
16.《仙女調絃合》
17.《林钟調絃合》
18.《清調絃合》
19.《杀孔調絃合》
20.《难調絃合》
21.《仙鹤調絃合》
22.《凤凰調》
23.《鸳鸯調絃合》
24.《南品調絃合》
25.《玉神調絃合》
26.《碧玉調絃合》
27.《啄木調》
2) The Nangū Biwa-fu『南宮琵琶譜』(Nangong Pipa Pu in Chinese), a 25-sheet manuscript containing 13 extended preludes in three mode-keys (Dorian and Mixolydian on A and Dorian on E), was written in Japan in 921-922 by Prince Sadayasu (Sadayasu Shinnō, 870-924) for his pupil Prince Atsumi (Atsumi Shinnō, 敦實親王, 893-967).
2) The Nangū Biwa-fu『南宮琵琶譜』(Nangong Pipa Pu in Chinese), a 25-sheet manuscript containing 13 extended preludes in three mode-keys (Dorian and Mixolydian on A and Dorian on E), was written in Japan in 921-922 by Prince Sadayasu (Sadayasu Shinnō, 870-924) for his pupil Prince Atsumi (Atsumi Shinnō, 敦實親王, 893-967).
The collection's contents are as follows:
1.《风香調 丘泉一手》
2.《同調 丘泉二手》
3.《同調 丘泉三手》
4.《同調 白力相手》
5.《返风香調 丘泉一手》
6.《同調 丘泉二手》
7.《同調 》
8.《同調 》
9.《黃鐘調 律音》
10.《同調 律音》
11.《同調 吕音》
12.《黃鐘調 手弹》
13.《同調 手弹》
风香调合黄钟调
《应天乐》、《平蛮乐》（返风香调弹）、《海青（仙）乐》（返风香调弹）、《其驹》、《大鸟》
返风香调合双调
《春庭乐》、《鸟（迦陵频）》、《沁（澁）河鸟》
黄钟调合平调
《还城乐》
Minamoto no Tsunenobu-hitsu Biwa-fu『源経信筆琵琶譜』is a collection of Tang-era scores in tablature for the biwa (essentially the same 4-fret instrument as the bent-neck pipa (曲項琵琶) in use in China during the Tang Dynasty), dating to the 11th century and compiled by the nobleman Minamoto no Tsunenobu (源経信 / みなもとのつねのぶ, 1016-1097). It contains a colophon (okugaki) noting that the nobleman Kujō Kanezane (1149-1207) received the manuscript as a gift from his father, Kujō Tadamichi, in the 3rd year of the Ōho era (1163). This date provides a firm latest possible date for the manuscript's existence, confirming it was already a precious, inherited object by the mid-12th century. The manuscript was later passed down through the Kujō family.
The collection's contents are as follows:
返风香调
《一手》、《 手》、《三手》、《四手》、《五手》、《上原石上流泉》。
黄钟调
《一手》、《二手》。
返黄钟调
《 》。
风香调
《一手》、《 手》。
风香调
《一手》、《三手》、《四手》。
双调
《 》、《拨合》。
清调
《拨合》。
风香调
《散吟打球乐（泛龙舟急之）》
黄钟调
《长命女儿》、《散手序》。
风香调
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Early Chinese Music Resources: Sui and Tang
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Tang-era pieces whose titles are attested in Chinese historical sources
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Glossary/miscellaneous other information
● 雅樂 = gagaku (ががく) / yayue - Japanese court music, largely originating from court banquet music of China and Korea
https://kotobank.jp/word/%E9%9B%85%E6%A5%BD-43291
● 燕樂 or 宴樂 = yanyue / engaku (えんがく) - banquet music https://kotobank.jp/word/%E7%87%95%E6%A5%BD-447379
● 燕樂 or 宴樂 = yanyue / engaku (えんがく) - banquet music https://kotobank.jp/word/%E7%87%95%E6%A5%BD-447379
● 舞樂 = wu yue / bugaku (ぶがく) - Japanese court dance (and) music, largely originating from court banquet dance and music of China and Korea
● 唐樂 (Tang yue; Japanese: Tōgaku / とうがく) - Japanese court music, largely originating from court banquet music of China
● 高麗樂 = Gaoli yue / Komagaku (こまがく) - Japanese court music, largely originating from court banquet music of Korea
● 伎樂 = jiyue / gigaku (ぎがく) - a now-extinct genre of masked drama-dance performance, imported into Japan during the Asuka period
https://kotobank.jp/word/%E4%BC%8E%E6%A5%BD-50020
● 古樂 = kogaku (こがく) / gu yue - "ancient/old music"
● 新樂 = shingaku (しんがく) / xin yue - "new music"
● 調 (diao; Japanese: chō / ちょう) - mode or mode-key (transposed mode)
● 調子 = diaozi / chōshi (ちょうし) - 1. mode or mode-key (transposed mode); 2. an unmetered piece used to create the atmosphere of a particular mode-key, played either as a prelude for a (metered) instrumental piece or suite in that mode or to accompany the entrance of dancers in dance suites
https://kotobank.jp/word/%E8%AA%BF%E5%AD%90-97848
● 入調 = rudiao / nyūjō (にゅうじょう) - an unmetered piece used to create the atmosphere of a particular mode-key, played to accompany the exit of dancers in dance suites
https://kotobank.jp/word/%E5%85%A5%E8%AA%BF-110444
● 音取 = yinqu / netori (ねとり) - a short introductory piece usually played at the beginning of a kangen program in order to tune the instruments and indicate to the audience the mode and mood of the music to follow, thus setting the tonal atmosphere of the concert; it can be described as a highly stylized form of "tuning"
https://kotobank.jp/word/%E9%9F%B3%E5%8F%96-111471
● 拍子 = paizi / hyōshi (ひょうし) - 1) beat of the large drum; 2) a measure in which such a beat falls
● 同曲 = tongqu / dōkyoku (どうきょく) - secondary version or notation [of the preceding movement] (found in Sino-Japanese scores)
● 只拍子 = zhi paizi / tadabyōshi (ただびょうし) - original/ordinary version [of a movement] (found in Sino-Japanese scores)
● 樂拍子 = yue paizi / gakubyōshi (がくびょうし) - a movement that has been subjected to the formulaic application of melodic elaboration (found in Sino-Japanese scores beginning in the 11th century)
● 換頭 or 喚頭 = huan tou / kandō or kantō (かんどう or かんとう) - "a change to the beginning"; specifically, a section that replaces the beginning of a movement when it is repeated; one returns to the body of the movement at the place marked 同 (tong / dō) or 返付 (fan fu / kaeshizuke)
● 曲 (qu; Japanese: kyoku / きょく) - piece
● 大曲 (daqu; Japanese: taikyoku / たいきょく) - a grand suite comprising multiple movements of varying tempo levels, often performed to accompany singing and/or dance
● 中曲 (zhongqu; Japanese: chūkyoku / ちゅうきょく) - a piece of moderate/medium length; used to refer to both suites and single movements
● 小曲 (xiaoqu; Japanese: shōkyoku / しょうきょく) - "small piece"; an individual single-movement piece
● 序 (xu; Japanese: jo / じょ) - prelude/beginning
● 破 (po; Japanese: ha / は) - "broaching"/breaking/developing
● 急 (ji; Japanese: kyū / きゅう) - quick/rushing to the end
● 入破 (ru po; Japanese: juha / じゅは) - entering [and] "broaching"/breaking/developing, a movement type that appears in many suites
● 遊聲 (yousheng; Japanese: ゆうせい / yūsei) - processional, a movement type that appears in several suites
● 颯踏 (sata; Japanese: sattō / さっとう) - "stamping," a movement type that appears in several suites
● 管弦 (guanxian; Japanese: kangen / かんげん) - an ensemble formation comprising string, wind, and percussion instruments
https://kotobank.jp/word/%E7%AE%A1%E5%BC%A6-48668
● 詠 = yong / ei (えい) - a movement with poetic text, meant to be sung
● 帖 = tie / jō (じょう) - generally used in Sino-Japanese tablatures to indicate numbered sub-sections of a given xu, po, or ji movement, which are often, but not always of the same length. According to Steven Nelson, "these can have the same melodies, the same melodies with the opening phrase(s) replaced by something similar of the same length, the same melodies with something attached at the head (as in the case of Etenraku), different melodies, or even different melodies and lengths; for bugaku dances, the dance movements usually differ for different jō even if the music is the same." The term can also refer to a strict repetition of a given xu, po, or ji movement. Note that, in Chinese literature about music, the term 疊 (die, which is also pronounced jō in Japanese) is used instead to mean the same thing.● 半帖 = ban tie / hanjō (はんじょう) - used to indicate the middle of a piece
● 撥合 = bo he / kakiawase - a category of very brief tuning pieces for lute and zither, of Japanese origin, with the earliest notations dating to the 11th century
● 絃合 = xian he / o-awase - a category of very brief tuning pieces for lute and zither, of Chinese origin
● 秘曲 = mi qu / hikyoku (ひきょく) - "secret piece," a solo piece that, by tradition, was only to be transmitted to a very small number of carefully selected students during a teacher's lifetime
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Thanks to Steven G. Nelson and Keith Wong for assistance with this page.
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