4:28
Dai Amei · all three stanzas of Jianjia from the Qin Airs of the Book of Songs
Across the Water · Jianjia
在水一方White dew gathers on the reeds while the distant figure remains across the water. Across the Water does more than borrow an ancient title: it sings all three stanzas of Jianjia, then lets a contemporary refrain answer that unreachable waterway from the bank.
Press play. Let it finish.
Hear Across the Water · Jianjia in full: a 4:28 Mandarin Book of Songs setting with complete MP3 and full-length vertical source-lyric film. The twelve classical lines, new refrains, public Dai Amei Persona, two-version family, work-level timestamp, video_is_stale=true and no-long-silence master are all disclosed.
The words are allowed to finish too.
[Intro]蒹葭蒼蒼，白露為霜。水邊有歌，輕輕回望。[原詩]蒹葭蒼蒼，白露為霜。所謂伊人，在水一方。溯洄從之，道阻且長。溯游從之，宛在水中央。[間奏][原詩]蒹葭萋萋，白露未晞。所謂伊人，在水之湄。溯洄從之，道阻且躋。溯游從之，宛在水中坻。[Refrain]在水一方，輕輕唱，一片白露一片霜。我在岸上，你在水中央，隔著千年也相望。[Instrumental Interlude][原詩]蒹葭采采，白露未已。所謂伊人，在水之涘。溯洄從之，道阻且右。溯游從之，宛在水中沚。[Final Refrain]在水一方，慢慢唱，一聲阿妹繞蘆蕩。白露未已，月色未央，伊人還在我心上。[Outro]蒹葭蒼蒼，歌聲清涼。Hear the crossing without erasing either shore.
Not only ‘the one I seek is across the water’: all three Jianjia stanzas enter the song
不是只唱“所谓伊人，在水一方”：三章《蒹葭》全部进入歌曲The source lyric marks three [Original Poem] blocks containing all twelve lines of Jianjia from the Qin Airs of the Book of Songs. Line-by-line comparison with the public classical text confirms the sequence from pale reeds and white dew through the first stanza's figure at midstream, the second stanza's changed reeds, dew, bank, ascent and islet, and the third stanza's final lexical turns. No line is removed or reordered, and no modern sentence is passed off as pre-Qin text. The twelve classical lines contain 134 characters and hash to 7111ed5850250e45897ded331fc5788fc0a6166baf82dfdb827e0e389341983b. The page calls this a new Book of Songs setting—not an archaeological reconstruction, recovered ancient melody or sole authoritative reading.
‘We still look across a thousand years’ is today's answer, not a lost line from the Book of Songs
“隔着千年也相望”是今天的回答，不是《诗经》失落的一句The complete 342-character source lyric hashes to 680d2b7d426b080e5b16b9df1ad32d49abb3e148bd0c5c40c9dacc1b0dd356da. Outside the classical blocks it explicitly labels an intro, refrain, final refrain and outro. A song beside the water, two people looking across a thousand years and one Amei phrase circling the reed marsh are contemporary additions. They turn the poem's threefold repetition into a singable structure without supplying a false ending or fixing the distant figure as one historical person, lover, political ideal or spirit. The creative act is to let source and response coexist without borrowing each other's names.
Work, voice root and album boundary each keep separate evidence; has_vocal=false cannot erase audible singing
作品、声线根节点与专辑边界各有自己的证据；has_vocal=false 不能推翻实际歌声The complete doorway binds public Suno work 3bf936e7-b1f4-40de-8474-2ca61f7adcac, titled 在水一方 and created at 2026-08-18T01:41:21.301Z. The synchronized catalogue groups two registered variants as one work but supplies no evidence for naming the other version. The source reports chirp-fenix, public v5.5, type=gen, task=vox and is_remix=false. metadata.persona_id and the embedded object both identify public Dai Amei Persona c23ec7da-c90b-4d9b-893f-5685fedf9dca; its public root work is 月下竹影, d4557de9-a8ae-4e66-b855-2c02710cfebd. That root proves voice provenance, not this song's lyric parent or cover source. In the current work response, albums is empty, caption is absent and ownership_reason is subscribed. Top-level is_owned is absent; is_owned=false appears only inside the embedded Persona, so those account-relation layers are not collapsed or treated as copyright conclusions. has_vocal=false conflicts with task=vox, the complete lyric, the pure-delicate-female-vocal tag and singing in the film, so the archive marks a provider-field anomaly instead of calling the work instrumental. The MP3 embeds media time 2026-08-18T01:41:25Z, about 3.7 seconds after work creation; both timestamps remain distinct.
Four minutes twenty-eight seconds in full; the source film is verifiable, but video_is_stale=true stays visible
四分二十八秒完整可听；来源影片可以核验，但 video_is_stale=true 不能被藏起来The archive decodes the complete 4:28 48 kHz stereo MP3 and the 267.605-second 824×1464 H.264 / AAC vertical film, checking frames at 5, 45, 90, 135, 180, 225, 260 and 267 seconds. Black negative space divides the 1024×1024 source artwork into two frames: a cold white close-up of dew-covered reeds above; a blue-grey full moon, dark trees, water and reflected light below. It is source imagery, not proof of a real location, season, botanical specimen or photographic process. The film places that square inside a rounded card over silver-grey and deep-blue blur. by @liwei, Made with Suno, Traditional-Chinese captions and source structure labels remain visible as sampled frames move from intro through all three classical stanzas to final refrain and outro. Audio and video differ by about 0.315 seconds, and a -50 dB audit finds no silence lasting two seconds or longer. The public interface also returns video_is_stale=true. The archive therefore calls the current file a verified source-lyric-film snapshot, not the provider's final or immutable rendering, and claims no human singer, filmed location, human-proofed captions or traditional Dai performance.
DAI AMEI
傣族阿妹Meet Dai Amei, Weiyang Sound's most extensive virtual-singer archive: 36 public works and thirty-one verified complete masters, now 31 / 31 playable in full. The newly opened Amei Sings Late Autumn retains all eight lines of Li Qingzhao's A Twig of Plum Blossom while separating its contemporary refrain and variation. Silver Bells to the Ganges keeps thirty contemporary positions, a hulusi / bansuri exchange, imagined-geography boundaries and the provider state of its triptych moon film visible. Frontier Moon, Lotus Picking at Southern Pond in Autumn, Clear Water River, Crossing the River for Lotus, Spring River under the Moon, One Moon over Chang’an and Hengtang Road continue the route through classical watersides, cross-cultural dialogue and urban homesickness, while all nine verified Nine Songs dossiers remain public.
Open the complete singer archive ↗Music becomes a vertical window.
This file-verified complete vertical music film stays aligned with the MP3. The format belongs to phone viewing, but the work has not been cut into a trailer.
Here, complete has file-level evidence.
MP3 · MP3 · 177 kbps · 48 kHz · stereo
MP4 · H264 High + AAC · 824×1464 · 10 fps
MP3 / film duration difference · 0.315 s
The page reports archive-master specifications. Public media is either delivered as a lightweight on-site copy or sent through a verified site doorway to the identical source file. Both keep full duration and source dimensions; no song is shortened.
After this song, there is more than ‘next’.
A catalogue order can only point forward. This compass explains three different reasons to continue: follow a voice, stay with a cultural thread, or cross a language bridge. Every doorway opens a verified complete master.
Lotus Songs at Southern Pond
采莲南塘DAI AMEI continues in a different work, so character continuity can be heard rather than merely asserted.
DAI AMEI · Dai Amei · a joined setting of two Tang-dynasty Lotus-Picking Songs by Wang Changling and Li BaiOpen the complete recording ↗
Farewell at the Long Pavilion · Lingwan 01A
长亭送别·灵婉 01AStay inside Enter 100 Chinese Classical Poems, but let another complete work change the angle of entry.
LINGWAN · Wang Shifu · Romance of the Western Chamber · Yuan-drama ballad 01A · LingwanOpen the complete recording ↗
Gold Flickers over Painted Hills · Lingwan
小山金明灭·灵婉Mandarin Chinese · Traditional-Chinese source lyric captions gives way to Mandarin Chinese · mixed-script source captions. The shift is audible, and both cultural origins remain named.
LINGWAN · Wen Tingyun · Pusa Man: Xiaoshan Chongdie Jin Mingmie · Late-Tang 01C · LingwanOpen the complete recording ↗The song ends. Its cultural life continues.
One recording. Three honest ways to pass it on.
Each draft keeps the complete duration, cultural origin and evidence boundary intact. Copying happens only on your device; nothing is posted automatically. Full MP3 and MV embed codes let an outside blog carry the verified work without re-uploading or shortening it.
“蒹葭苍苍，白露为霜。”完整听傣族阿妹《在水一方》：4 分 28 秒，把《诗经·秦风·蒹葭》三章原诗唱完，再让“隔着千年也相望”的当代副歌落在芦苇、白露与水光之间。原诗与新增唱词逐层标明；傣族色彩是创作编曲，不替现实传统发言。
Jianjia's reeds, white dew and unreachable figure travel through a complete 4:28 Mandarin recording by Dai Amei. The dossier verifies all twelve classical lines, a 342-character full prompt, the public Persona, exact Suno work, 48 kHz MP3 and full source-lyric film. The source marks video_is_stale=true, so the film is preserved as a verified snapshot—not called an immutable final render.
All three stanzas of Jianjia, sung in full by Dai Amei: 4:28 of reeds, white dew and a new refrain looking across a thousand years.