The first piece of "Jeongdaeeop-jiak" is "Somu", which is also known as an 'entrance music'. While the music is playing, the dancers for the military dance enter and as the first piece, it summarizes the theme of "Jeongdaeeop-jiak". People thank heaven for its care from their ancestors that enabled the win and accomplishments in a war. This theme of Somu is very similar to what the other example, Nu tuong xuat quan had to express, to celebrate victories and accomplishments of Vietnamese military force.
According to the Western score (Song) of Jongmyo jeryeak, the key signature starts from F major (B flat) and changes in to Eb major (B, E, A flat) at measure 6. Based on the notation that I made by ear for Nu tuong xuat quan, the key signature of the piece stays in A major (F, C, G sharp) throughout the whole piece.
According to the Western score (Song) of Jongmyo jeryeak, the key signature starts from F major (B flat) and changes in to Eb major (B, E, A flat) at measure 6. Based on the notation that I made by ear for Nu tuong xuat quan, the key signature of the piece stays in A major (F, C, G sharp) throughout the whole piece.
Below is a detailed version of notation that I have made for Nu tuong xuat quan. You might find it useful to follow along while listening to the audio file.
notation-vietnam.docx | |
File Size: | 90 kb |
File Type: | docx |
1. Melodic Contour in Theme Development
Nu tuong xuat quan tends to explore a wide range of notes throughout the piece because the audience can hear from both low registered voice line to high registered instrumental register. There is no huge leaps or jumps that are evident from listening to the recording. However, based on the melody line that I notated by ear (Figure 1a, 1b) we can see that its melodic contour is very smooth and gentle as far as the melody development is concerned because most of the times they are either descending or ascending in 1st, 2nd, or 3rd. The characteristic of static and smooth melody line is also evident in Jongmyo jeryeak. Although we can see more leaps and jumps (i.e. measures 6-7) than in Vietnamese court music, overall melodic development draws a smooth ascending and descending contour. Thematic melody line is fragmented in both pieces throughout the cycles of repetitive melodic structure. From Vietnam court music (Figure 3b), subject melody (measures 1-2) is repeated again in measures 5-6. In Jongmyo, Akjang sings a similar melody line with a slight change in rhythm (Figure 1b) in measure 10-11. (Bb-C-Bb-C)
2. Rhythmic Patterns
Figure 2a: measure 6-8
One of the main characteristics that both pieces of court music displays is the use of ostinati rhythmic patterns. On the left is an image of three percussion instruments Banghyang, Pyeon-gyeong and Pyeonjong playing in the same rhythmic pattern. The first and third measure play in the exact same rhythmic pattern composed of two eighth notes and two quarter notes. There is a slight variation in the middle bar where a dotted quarter note is used instead.
The rhythmic patterns of Jongmyo jeryeak can be described as clean and distinctive in a sense that the rhythmic patterns are very repetitive in long cycles. From the measure 6 to 23 (end), this group of rhythm section instruments (Banghyang, Pyeon-gyeong, Pyeonjong) play every "section" of changing rhythmic patterns in unison. Figure 2b shows the last three measure of "Somu" played by the percussion section. Although its time signature changes every measure (6 dotted quarter notes - 2 dotted quarter notes - 4 dotted quarter notes), the fact that these instruments play in union does not change. All of them continue to play in the same rhythmic pattern, which gives an overall sense of unison and harmony throughout the performance.
The rhythmic patterns of Jongmyo jeryeak can be described as clean and distinctive in a sense that the rhythmic patterns are very repetitive in long cycles. From the measure 6 to 23 (end), this group of rhythm section instruments (Banghyang, Pyeon-gyeong, Pyeonjong) play every "section" of changing rhythmic patterns in unison. Figure 2b shows the last three measure of "Somu" played by the percussion section. Although its time signature changes every measure (6 dotted quarter notes - 2 dotted quarter notes - 4 dotted quarter notes), the fact that these instruments play in union does not change. All of them continue to play in the same rhythmic pattern, which gives an overall sense of unison and harmony throughout the performance.
In comparison, the rhythm section of Vietnamese court music also brings in a sense of unison and repetition. The whole piece is introduced with the gong-drum pattern, which the duration of notes get shortened as the tempo increases. Then, after a sudden stop, the gong-drum pattern returns at its original speed again. This leads into the introduction of female voice lines at 0:40 (Figure 3a). One of the most evident example of a rhythmic pattern and its unison is at 1:00 (Figure 3b), when the female voice line and Kèn bầu (oboe) play in the same rhythmic pattern.
In addition, many different kinds of percussion instruments can be heard throughout the piece including, cymbals, woodblocks and drums. For example, from 2:22 we can clearly hear fast-tempo woodblock rhythm, which plays constant 8th notes while the melody line is played by Kèn bầu. Also, from 3:40 there is a set of percussion instruments playing in a group (cymbals, woodblocks, rim shots on drums) that supports this organized ensemble yet gives a feeling of busyness and chaos. Its seemingly "unorganized" rhythmic pattern gives an ambiguity in meter for the audience to hear.
In addition, many different kinds of percussion instruments can be heard throughout the piece including, cymbals, woodblocks and drums. For example, from 2:22 we can clearly hear fast-tempo woodblock rhythm, which plays constant 8th notes while the melody line is played by Kèn bầu. Also, from 3:40 there is a set of percussion instruments playing in a group (cymbals, woodblocks, rim shots on drums) that supports this organized ensemble yet gives a feeling of busyness and chaos. Its seemingly "unorganized" rhythmic pattern gives an ambiguity in meter for the audience to hear.
3. Use of Ornamentation
The use of ornamentation is clearly evident in both cultures of traditional court music. In Vietnamese court music, this technique of ornamentation can be heard through the female voices' singing the melody lines. As shown from figure 3a and 3b, this group of female vocalists sing in unison with the same pattern of ornamentations without any harmony.
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An example of ornamentation can be also found in Jongmyo jeryeak, in both the voice (Akjang) and instrument. Figure 1a and 1c are a few excerpts from the Western score of Jongmyo jeryeak and it shows the use of trills and ornamentations of certain notes. Both Akjang (voice) and Taepyeongso use the technique of appoggiatura, which is a note of embellishment one step above from the main note. Taepyeongso at measure 21 is an example of appoggiatura.
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