[continued]
This reveals that the “trigger” (or at least one of the triggers) for a Yin-Yang exchange may very well be the half-step, i.e., the pien tone. A Yin line of C-D can change its modality by raising the second note (D) by a half-step and turn it into a C-E
Yang line. By applying the pien tone (the raising or lowering by a half-step) a Yin line can turn into a Yang line and vice versa. This is also the way one pien mode is changed into another. This convenient and economic gesture of transformation reflects the “terseness in realization” aspect of Chou’s music/system.
Just as there are Eight Trigrams there are eight pien modes in Chou’s system:
| Chou’s pien modes | I Ching trigrams |
|---|---|
| Heaven | Chien |
| Lake | Lui |
| Sun | Li |
| Thunder | Zhan |
| Wind | Sun |
| Water | Gan |
| Mountain | Kan |
| Earth | Kun |
Legend has it that the Eight Trigrams were invented by Fuxi, one of the fabled leaders of ancient Chinese civilization. But it was the founder of the Chou dynasty, Emperor Wen, who devised the sixty-four hexagrams and their accompanying aphorisms which made up the original I Ching (hence the I Ching is also known as Chou I).
Chou’s answer for the hexagrams is his sixty-four Modal Complexes. Just as the hexagram is a stacking of two trigrams one on top of the other, Chou’s Modal Complex is a succession of two pien modes which satisfies the following three conditions.