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Plucked String Instruments |
Kayagum | The kayagum is traditionally a 12-string instrument said to be modelled after a similar Chinese instrument (chin) in the 6th century. There are two versions of the instrument: beobgum is the version used in court music and the sanjo kayagum, better adapted for faster melodic passages with strings closer together, is used in folk music. The kayagum is constructed from a rectangular board of paulownia wood with silk strings stretched across it. The instrument has moveable bridges under each string, the right hand plucks the strings while the left hand presses down on the left of the bridge to determine the pitch and create various ornaments and effects. Traditionally the kayagum had only 12 strings but modern versions can include up to 25 strings. |
Komungo | The komungo is an instrument unique to Korea, no other similar instrument is found in any other region of the world. The komungo has 6 strings held on a rectangular wooden base made from paulownia wood (Royal Princess Tree). The second, third, and fourth strings rest on a sequence of 16 frets while the first, fifth, and sixth strings are supported by moveable bridges. The strings are plucked or struck with a small bamboo plectrum about the size of the average household pencil. The tone of the komungo is usually quite deep and was popular in music of the upper classes but it is also used in such folk music forms as sinawi and sanjo. |
Hyang-bipa | The hyang-bipa is a 5-stringed instrument played with a pick which was passed onto the Shilla Dynasty (618-932) from the Gokuryo Dynasty and was one of the 3 string instruments of the Shilla Dynasty. Originally the instrument had 5 frets but during the Chosun Dynasty this was increased to 10 frets and modern versions can have up to 12 frets. Modern versions of the instrument have a range of almost 3 octaves. The Chinese character hyang means "native", thus indicating that this instrument is native to Korea. | |
Dang-bipa | The dang-bipa is a 4-stringed instrument with 12 frets and modern versions have a range of more than 3 octaves. The Chinese character dang refers to China, thus indicating that the dang-bipa is a native Chinese instrument. The instrument was introduced into Korea during the Shilla Dynasty when there was a good deal of trade between Korea's Shilla and China's Dang dynasties. |
Wolgeum | The literal translation of wol-geum is "moon-harp", named probably for the instrument's resemblance to the Chinese character for moon. Similar in form to a banjo, the traditional instrument has 4 strings with 13 frets, modern versions of the wolgeum can have 26 frets with a range of over 2 octaves. |
Daejaeng | During the Koryo Dynasty this instrument was brought to Korea from China where it had originally been used in folk music. Similar in form to the kayagum, the daejaeng is constructed with 15 silk strings stretched over a sturdy rectangular board of paulownia wood. The instrument is slightly larger than the kayagum and thus has a deeper, heavier sound with a range of 2 octaves. Lamentably, the lovely daejaeng is virtually unused and leads a rather obscure existence. |
Seul | The seul was brought to Korea from China during the Koryo Dynasty and today is used in Aak. Similar in appearance to the kayagum, the seul has 25 strings affixed to a rectangular board made of paulownia wood. The right hand plucks the upper 12 strings while the left hand plucks the lower 12 strings, when played together the two notes are a perfect octave apart. The middle dividing string is not played. The instrument plays in the lower registers and has a range of 24 semi-tones, thus just under 2 octaves. |
Geum | The geum, also known as the chil-hyeon-geum (7 string geum), is constructed with 7 strings stretched over a rectangular wooden base made of paulownia wood. Instead of frets or bridges there are 13 pearl inlays on the side of the instrument indicating specific pitches. The instrument was brought to Korea from China during the Koryo Dynasty and was used in various pieces until about the 15th century. Today the geum is only used in the music of Confucian Shrine ceremonies. |
Gonghu | There are 3 types of these small harp-like instruments classified according to their shapes: the perpendicular sugonghu, the rounded whagonghu, and the angular daegonghu and sogonghu. Documentary evidence shows that the sogonghu and whagonghu were used in the Goguryo Dynasty and the gonghu was also used in the Baekche Dynasty. These instruments originally came from Central Asia and are very rarely found in any traditional music performances. |
Bowed String Instruments |
Haegum | The haegum is a two-stringed spike fiddle which was brought to Korea from Central Asia, probably through China. The two strings are tuned a perfect fifth apart and the sound is produced by running a bow lengthwise between the strings. One noteable characteristic of the haegum is that in its construction, it uses all eight classes of materials as specified by the traditional Chinese system of instrument classification |
Ajaeng | The ajaeng is constructed with 7 silk strings stretched over a rectangular base made of paulownia wood. It plays in the lower registers and is normally only used in large ensemble works. During the Koryo Dynasty the instrument was only used together with instruments of Chinese origin but beginning in the Chosun Dynasty it was used in ensembles of both Chinese and native Korean instruments. There are 3 tuning systems for the ajaeng, each built on a different 5-tone scale. The intervals between the strings are always either second or thirds. |
Struck String Instruments |
Yanggum | The yanggum is a delightful instrument with metal strings and is the Korean version of a dulcimer. Although not as common as the kayagum or komungo, its sounds provide a quite mystical effect and give ensemble pieces a sound not normally associated with Korean music. |
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Transverse Wind Instruments |
Daegum | The daegum, used extensively in both court music and folk music, is one of the most treasured traditional instruments in Korea. It is a large transverse bamboo flute which can produce a large range of tone qualities, from lower mournful sounds to high-pitched tones. A membrane-covered hole on the back of the instrument gives the daegum its characteristic raspy sound. The daegum is native to Korea and the largest of the samchuk (three bamboo) flutes from the Unified Shilla Dynasty (618-932). The daegum has a range of two octaves plus a fourth and is constructed with one blowhole, six fingered holes, and a single open hole at the base of the instrument. |
Junggum | The junggum is the middle-sized instrument of the samchuk (three bamboo) flutes from the Unified Shilla Dynasty (618-932). Slightly smaller than the daegum but similar in tonal quality, the junggum also has a range of two octaves plus a fourth, but slightly higher in pitch than the daegum. Since the late Chosun Dynasty, the junggum has normally been used in ensembles made up of native Chinese instruments, even though the junggum is native to Korea. The instrument is constructed with one blowhole, six fingered holes, and five open holes at its base. |
Sogum | The sogum is the smallest of the samchuk (three bamboo) flutes from the Unified Shilla Dynasty (618-932). Documents show us that in the 15th century. the sogum had a similar - although slightly higher - range with the daegum and junggum, but since then, the sogum has rarely been used in performance practice. The instrument is constructed with a single blowhole and six fingered holes. |
Dangjok | The dangjok is a native Chinese instrument and documents do not tell us exactly when the instrument was brought to Korea and adopted into the music culture, but after the 15th century it became gradually more Koreanised. It has a bright, clear sound and can play the highest pitches of all Korean instruments. The dangjok is constructed with a single blowhole and six fingered holes and has a range of about two octaves. The instrument is very similar to the sogeum and is only distinguished by the number of fingerholes. |
Ji | The ji dates back to the Paekche and Goguryo dynasties and is now normally used only in a-ak (refined music). The ji has a relatively small range, just over a single octave. It is constructed with a protruding notched blowhole and five fingered holes. |
Vertical Wind Instruments |
>Reed Instruments |
Taepyongso | The taepyongso is a lovely buzzy conical bore which came to Korea from central Asia in true nomadic spirit, around the end of the Koryo Dynasty. The instrument is constructed with a body made of hard wood and a metal cone attached to the end. The body has one hole on the back and 7 finger-holes on the front. The taepyongso is rather high-pitched with a range of one octave plus a fifth. |
Dang-Piri | The wide mouthpiece makes this instrument quite difficult to play but the sound it produces is wide and magnanimous. The instrument originally had 3 holes on the back and 7 finger holes on the front but from the 15th century the instrument was constructed with only one hole on the back. The character tang indicates that this is a native Chinese instrument. The dang-piri has a range of one octave plus a fifth. |
Hyang-Piri | Like the dang-piri, the hyang-piri is also constructed with one hole in the back and 7 finger holes on the front of the bamboo body. Its double-reed is slightly smaller than the tang-piri's reed and quite similar to that of the Western oboe. The hyang-piri is a rather prominent instrument in Korean music culture and often carries the principal melody in large ensemble works. The instrument produces quite a dark tone colour with a range of an octave plus a 6th, slightly lower than that of the dang-piri. |
Se-Piri | The sepiri is said to be more difficult to play than the hyang-piri and tang-piri but its range of tones is identical to that of the hyang-piri. Because its volume is quite low, the se-piri is often used as accompaniment in vocal works and works for small ensemble. |
Saeng-Hwang | This instrument, native to Korea, is a mouth organ constructed with 17 bamboo tubes and has both a mouthpiece and playing technique similar to that of the Western harmonica. Traditionally the mouthpiece was made of gourd but modern instruments use wood. With a bright cheery sound the saeng-hwang is often used in duets with a danso, another wind instrument. This instrument dates back to the three kingdoms period and has a tonal range of an octave plus a fifth. An image of the saeng-hwang is found on the bronze bell at Sangwon Temple and this bell dates back to the year 725. |
Non-Reed Instruments |
Danso | The danso has a U-shaped notch at the addressing end, one hole on the back and 4 finger holes. This small wooden instrument has a bright clear sound and is often used in works for small ensemble or as vocal accompaniament as well as being a popular solo instrument. It first apeared in the Chosun Dynasty and is also used in duets together with the yanggum or the saenghwang. The danso has quite a wide range spanning two full octaves. |
Tungso | The tungso comes in two slightly different forms: the tungso used in court music and the tungae found in folk music. The tungso has one hole on the back and 5 finger-holes on the front. The tungae has one hole on the back, 4 finger-holes and one open hole on the front. The tungso is a native Chinese instrument and in the Koryo Dynasty was used in ensembles with other instruments of Chinese origin. Later during the Chosun Dynasty, the tungso was also used in native Korean works. Today the tungso is also played quite often as a solo instrument. The instrument is rather rangy, spanning a full two octaves plus a third. |
Jeok | The jeok is another native Chinese instrument with one hole on the back, five finger-holes and two open holes on the front. Like the ji, the jeok originally had a cross-shaped wooden insert in the end hole but modern versions of the instrument no longer have this insert. The tungso is often used together with the tungso. The jeok originally had four holes, in the late Han Dynasty this was increased to five holes, finally during the Song Dynasty the jeok was constructed with six holes and this is the very instrument which was brought to Korea during the Koryo Dynasty. The instrument has a range of just over one octave, thus not very rangy. |
Yak | The yak has only three finger-holes but is able to play all 12 distinct tones. Originally an instrument used in Chinese aak, the yak came to Korea during the Koryo Dynasty and was used during the performance of cultural dances. The yak was originally fashioned from a reed plant but now of course it is constructed out of wood. Today the yak is used in the performance of Confucian Shrine Rituals. |
Hun | The hun is one of the few Korean instruments made of clay and it can formed in several shapes including the classic egg, a ball, or a hemisphere, the Korean hun is normally shaped like a hemisphere. The instrument has one blowhole at the top, two holes in the back and three finger-holes on the belly, capable of playing all twelve distinct tones with precisely the same range as the yak. The tone is quite low and dark making it the perfect partner for the ji, with which it is sometimes paired. The hun is very similar to the ocarina found in various music cultures around the world. |
So | The so, resembling an over-sized set of pan flutes, is a remarkable instrument which dates back to ancient China. The so is constructed in several forms with 12, 16, or 24 pipes, the Korean version normally has 16 pipes. The wooden base holding the pipes in place is quite eccentric, with wings like a pheonix and elaborate decorative inlays. The instrument plays in the upper registers with a range just a shade over an octave. |
Nabal | The nabal is a long brass instrument used in both folk music and court music and it is actually the only Korean instrument made of brass. As the instrument has no finger holes it is not a melodic instrument but rather plays a single lengthy note. The precise frequency of the tone produced can be quite different depending on the size of the individual instrument. The nabal was used primarily in the military march music Daechuita and it was also used in rural farmer's music to signal the beginning and end of performances. |
Nagak | The nagak is a curious instrument made by boring a hole into the end of a conch. The musician then blows artistically into this hole to produce a tone, whose pitch depends of course on the size of the conch. The nagak was brought from China and was used occasionally during the Koryo Dynasty and today it is employed in performances of Daechuita, the military music of Korea. |
Percussion |
Pyeongyeong | The pyeongyeong is constructed with 2 rows of 8 pumice slabs giving the instrument precisely a 16-tone range. The percussionist strikes the pumice slabs with a mallet to produce the sound. Along with the pyeonjong, this instrument was brought from China during the Koryo Dynasty and during the reign of King Sejong (1418-1450) when pumice was discovered in Kyonggi Province, the instrument was constructed in Korea. One aspect of the pumice slabs is that they are not sensitive to changes in temperature or humidity and are thus reliable in establishing the relative pithes of an nsemble piece. The pyeongyeong is used in a number of orchestral works, normally together with the pyeongjong. |
Pyeonjong
| The pyeonjong is constructed with two rows of 8 metal bells, thus giving the instrument a range of precisely 16 tones, a full octave below the pyeongyeong. The percussionist strikes the bells with an oxhorn mallet to produce the sound. The instrument was brought to Korea from the Song Dynasty in China around the 12th century, and was constructed in Korea beginning in the 15th century. The pyeonjong is used in various court music pieces, normally together with the pyeongyeong and the instrument is particularly important in Confucian ritual music. |
Banghyang | The banghyang is constructed with 16 rectangular iron slabs arranged in two rows of eight, and held in an elaborately decorated wooden frame. Today the instrument is only used in performances of Royal Ancestral Shrine music. The range of the instrument is identical to that of the pyeongyeong. Each slab is identical in length and width but the thickness of the slabs are different, thus creating the 16 different pitches. |
Ulla | The ulla is constructed with 10 round copper plates held in a lovely wooden frame, the percussionist produces the sound by striking the plates with a small wooden hammer. The tone is bright and sharp, tuned to the notes of a D-flat major scale. The ulla is normally used in Chuita and other works with instruments of Chinese origin. It is not known exactly when the instrument was brought to Korea but it is conjectured to be some time around the late 19th century. |
Teukjong | The teukjong consists of a single large bell suspended from an ornate wooden frame, the bell is tuned to the note of C. It was originally used in both the deungga (terrace orchestra) and the hunga (courtyard orchestra), but now it is only found in the deungga for the Confucian Shrine Ceremony and Royal Ancestral Shrine ceremony. The teukjong is struck to signal the opening of the occasion. The percussionist strikes the bell with a long cowhorn mallet. |
Teukgyeong | The teukgyeong consists of a single pumice slab suspended from an ornately decorated wooden frame. The percussionist strikes the pumice slab with a mallet to produce the tone, tuned to the note c, one octave above the teukjong. Note that the teukgyeong is simply a single-tone version of the splendid pyeongyeong. In the 15th century the teukgyeong was used in both the deungga (terrace orchestra) and the hunga (courtyard orchestra) but today it is only used in the deungga for performances of both the Confucian Shrine Ceremony and the Royal Ancestral Shrine Ceremony. |
Janggu | The janggu is surely one of the most important instruments in Korean music culture, found in virtually all pieces of Korean court music and folk music. The instrument is shaped like an hourglass tipped on its side, the thick leather stretched over the left face is relatively lower in pitch while the thin leather stretched over the right face is higher in pitch. Thickish cords are attached to the two leather membranes allowing the percussionist to vary somewhat the relative pitch of the two faces. The percussionist can produce the sound with various techniques using a wooden stick or the bare hand to strike the two leather membranes of the instrument. Historical documents show us that the janggu is quite an old instrument dating back to before the Shilla Dynasty. |
Buk | The buk is one of the very oldest of all traditional Korean instruments and dates back to the earliest dynastic beginnings. The buk is a type of barrel drum which exists in various forms and sizes. It is constructed with two leather membranes stretched over a wooden frame. The buk is found in several types of folk music and is of particular importance in pansori as it is the only instrument used to accompany the vocalist. The percussionist sits on the floor cradling the buk between hand and leg and strikes one of the leather faces with a small wooden mallet made of birch wood to produce the sound. The right hand holds the mallet and the percussionist also strikes the frame of the instrument to produce sharp woody sounds. The left hand is used primarily to hold the buk but can also produce sound by whacking the leather face with the palm. |
Uh | Made of wood, the uh is probably the only instrument in the world which is constructed to look like a tiger. The uh is part of both the Confucian Shrine Ceremony and the Royal Ancestral Shrine Ceremony, used to signal the end of each movement as the percussionist thrice strikes the head with a bamboo stick and then scrapes the tiger's back three times. This produces a ripply wooden sound as the back is constructed with 27 edged teeth and the stick is split into nine pieces. Together with the Chuk, the uh was brought to Korea during the Koryo Dynasty. |
Bak | The bak is made from six pieces of birch wood affixed to a leather strip and used to signal the beginning and ending of musical works as well as changes in dance sections. The bak has been used for since the Unified Shilla Dynasty, in the Chosun Dynasty the instrument was used in both native Korean and Chinese works. Today the bak is used only in Botaepyong and Jeongdaeyop found in the music of the Royal Ancestral Shrine Ceremony, the bak is struck once at the opening and thrice at the end of each musical section. |
Chuk | The chuk is constructed in the form of a wooden box with a circular hole carved out of the top, the sound is produced by a wooden stick striking the inner surface of the box, creating a rather thumpy sound. According to traditional performance methods the base of the chuk was struck with the wooden stick and then the left and right sides struck thrice each. Modern techniques call for the percussionist simply to strike the base of the instrument nine times. The instrument was brought to Korea during the Koryo Dynasty and today is used in both the Confucian Shrine Ceremony and Royal Ancestral Shrine Ceremony. |
Jabara | The jabara is a set of two round metal instruments quite similar to the Western cymbal. The bal, yobal, dongbal, and hyangbal are all forms of this instrument. The jabara is used in daechuita and often found in the instrumental ensembles used in shaman rituals. The jabara can range from deep profound tones to loud sharp tones as found in the military march music. |
Jing | The geumjing, na, geumna, and geum differ only in size and are all forms of this instrument. The jing is constructed with a round metal gong suspended from a wooden frame. As the mallet used to strike the jing is covered with soft cloth, the instrument has a sublime smooth sound. The instrument is used in daechuita, farmers' music, and dance accompaniament, normally struck on the first beat of each rhythmic section. The jing is also one of the four percussion instruments used in samullori, the exciting modern adaptation of traditional percussion music. |
Daegum | The daegum is a smaller version of the jing and it is used in the Jeongdaeyop orchestral suite found in the Royal Ancestral Shrine Ceremony, struck once at the opening of each musical section. The daegum represents a retreat and is struck at the end of the jonghun movement to indicate the closing of the ceremony. |
Bu | The bu is made of clay and formed in the shape of a cooking pot. The percussionist strikes the instrument with a bamboo stick split into 9 pieces to produce the sound. The bu was found in China's Ju Dynasty but it is not known exactly when the bu was brought to Korea. Written documents tell us that 10 of these instruments were made during the reign of King Sejong (1418-1450) in the 15th century. Today the bu is used in the Confucian Shrine Ceremony. |
Sogeum | The sogeum is also called the ggwaenggwari, ggwaengmaegi, and ggwaengsoiri. The instrument is a small metal cymbal much smaller than the daegum and used in the Jeongdaeop suite found in the Royal Ancestral Shrine Ceremony, particularly prominent in the bunung movement. The sogeum is also found in folk music especially in the rhythmically vibrant farmers' music. |
