Daegeum 141

Chapter 4
Daegeum
Kim Jeong-seung
Translated by Kim Hye-lim

Ⅰ. Material Quality and Structure of Daegeum 142

Ⅱ. Types and Pitch Register of Daegeum 143

Ⅲ. Traditional Way of Playing and Music Notation 149

Ⅳ. Modern Playing and Notation Methods 168

Appendix 1. Daegeum's Harmonics and Multiphonics 179

Appendix 2. Table of Trills and Tremolos Used for Performance and Compositions 202
142 Traditional Korean Instruments: A Practical Guide for Composers

Ⅰ. Material Quality and Structure of Daegeum

Ssangoljuk is literally translated, "double bone bamboo." This type of bamboo is known to be the most
suitable for making the transverse flute, daegeum. Usually bamboo has no or only one bone. However,
this ssangol bamboo is grooved on both sides of the stem, and it is a rare kind of bamboo as it is in fact an
abnormal mutation. Daegeum can also be made with hwangjuk (“yellow bamboo”). However, the dense
bamboo body of ssangol bamboo is known to be the best material to for a clear and firm sound.
The structure of daegeum is as follows. Daegeum has a chwigu (embouchuer) through which air is blown
into the instrument. It has six finger holes, jigong. There is a hole called “cheonggong” which is used to
create a unique buzzing sound by attaching the inner skin of reeds (cheong). Daegeum makes the sound of
jeonpye-eum. This is the sound when the fingers cover all the holes producing lowest sound. The daegeum
also has one or two holes pierced to determine the pitch and to balance each pitch. These holes are called
chilseong gong.

<Figure 1>
Structure of daegeum

Cheonggarigae 1 jigong 3 jigong 5 jigong Chilseonggong

Chwigu (cheong protective lid) (the first (the third (the fifth (tuning modulation holes)
(embouchure) finger hole) finger hole) finger hole)

Cheonggong 2 jigong 4 jigong 6 jigong

(oval-shaped aperture for (the second (the fourth (the sixth
cheong membrane) finger hole) finger hole) finger hole)
 Daegeum 143

Ⅱ. Types and Pitch Register of Daegeum

1. Jeongak Daegeum
Jeongak daegeum is a type of daegeum used to play court music and pungnyu music. Jeongak daegeum
is longer and larger than the sanjo daegeum (folk music daegeum), making it suitable for expressing a
relatively majestic and thrilling tone. When Korean traditional music instruments and Western musical
instruments play together, the main instrument used is jeongak daegeum with its jigong (hole) position and
inner diameter adjusted to solve the pitch problem in the ensemble. The lowest tone with all finger holes
closed (jeonpye-eum) of the jeongak daegeum for the orchestra is set to B for consistency of the pitch
because the jeonpye-eum of the traditional jeongak daegeum is the middle of B and B. However, because
the popular belief is that such an adjustment cannot be regarded as an improvement and so the adjusted
instrument is referred to as jeongak daegeum or B daegeum.1)

<Photo 1>
Jeongak daegeum and
B daegeum

The dimensions of jeongak daegeum are shown below. The correlation between the inner diameter, the
length of the pipe (the distance from the center of the embouchure to the tip of the pipe, i.e., the distance up to
the chilseonggong), and the size and position of the jigong, etc., may vary depending on the tendency of the
instrument maker and the performer. Compared to jeongak daegeum, the B daegeum, which has a lower sound
level, has an inner diameter of 0.5-1mm wide, or a somewhat greater distance between chwigu and jigong.

<Figure 2>
Dimensions of the jeongak daegeum (National Gugak Center system)2)
（measure: mm）
715.1

22.6 17.5 10.1 9.7 9.7 10.2 9.5 9.7 8.3

70.1 153.2 122.2 36 35 34.7 33.9 32.4 126.7 27.5
17 7
9

The distance from the center of the embouchure to the tip of the pipe: 697.6mm

1) The instrument used in newly composed traditional music is also called “changjakgok(yong) jeongak daegeum” or “singok(yong) jeongak daegeum.”
2) The National Gugak Center, Gugakki silcheuk jaryojip, Seoul: The National Gugak Center, 2008. p.34.
144 Traditional Korean Instruments: A Practical Guide for Composers

According to the description on page 34 of Korean Traditional Music Instrument Actual Dimensions Data
Collection 1, the register of the daegeum is divided into three, namely low pitched register, middle pitched
register, and high pitched register. The register of jeongak daegeum used in traditional music is B 3~E . In
new composition, E6~A 6 was added, and the high pitched range was expanded by 4 degrees. The pitch A6
3)
can be played depending on the skill of the performer resulting in a range of three octaves. The sound of
the daegeum has a large difference between the low pitched field and high pitched field. Therefore, if a low-
pitched sound is used in the ensemble, the sound volume issue among the instruments needs to be considered.
It should be noted that sounds using half hole fingering (bangyubeop) in the low and middle registers are
very weak. In Korean traditional music, half hole fingering is a way of playing the instrument with a hole half
blocked or closed. The high pitch register is louder than the low pitch register and can be used mixed with
strong cheong sounds.
<Score 1> is a notation of all the sounds that can be played on the jeongak daegeum in traditional music
and creative music. Among them, music notated with white notes indicates a commonly used tone in
traditional music. This is a sound familiar to the player, so it is comfortable and stable. The black notes are
notes used in original compositions other than traditional music. Among them, the sounds in brackets are
notes using half hole fingering, so the sound may be weak, the pitch unstable, and it is difficult to play fast. To
get the correct tone, the notes that require an embouchure re-adjustment during the performance are marked;
caution is needed when playing these notes.
In the course of composition when the notes in brackets and marked with ' ↑ ‘, ‘↓’ are used. If both
4)
half hole fingering and cross fingering are possible, for example, E5 like notes are not included in half
hole fingering but are treated as cross fingering and are not included in brackets. On the other hand, if re-
adjustment of the embouchure is performed at the same time in order to obtain accurate sound by cross
fingering, like E4, it is expressed as half hole fingering instead of cross fingering.

: Notes for traditional music, : Notes for contemporary music : Notes for half-hole fingerings
<Score 1> low register ↑ : widen the embouchure, ↓: contracting the embouchure
※: notes that are difficult to play
The register of jeongak
daegeum

middle register

high register

3) Kim Jeong-seung, Daegeum changjakgogeul wihan yeonjubeop yeongu, (Seoul, Seoul National University Ph.D. Dissertation), 2012.
4) Cross fingering is a useful technique for half tone making. The musician closes the finger holes not in order from the first one near the mouth
hole. Instead, the musician uses fingers to close and open holes arbitrarily and make new and changed pitches from the original pitch made.
 Daegeum 145

대금 145

2. Sanjo Daegeum
Sanjo daegeum is an instrument that originated in the 19th century by shortening the pipe of jeongak
daegeum and widening the embouchure to allow for more freedom to express various performance styles of
2. 산조대금
folk music.
Sanjo
산조대금은 daegeum has a shorter
민속악의 다양한pipe 연주법을 than jeongak
length 자유롭게 표현하기daegeum
위하여by 10cm.
정악대금의 As a result,
관을 the짧게 overall
하고 playing
취구를
range has increased. The initial sanjo daegeum was a C-tuned pipe which is whole tone higher than jeongak
넓혀 19세기에 탄생된 악기이다. 정악대금에# 비해 관의 길이가 10cm가량 짧아짐에 따라 연주 음역이 전
daegeum, but now it is common to make a C -tuned pipe a minor third higher than jeongak daegeum. This
체적으로 높아졌는데,
enables fast 초기
and colorful 산조대금은
musical 정악대금보다
expression. However, 장2도 높은
sanjo C관이었으나
daegeum has the현재는 단3도 높은
pitch intervals C #관
between
each hole
으로 제작하는 arranged
것이to일반적이다.
fit folk music. Therefore,
정악대금에 비해 this길이가
instrument has difficulty
짧고 취구가 커짐으로써 playing original
빠르고 다채로운 music 음악
with
5)
the 표현이
적 correct 가능하다.
pitches. To그러나
compensate
각 지공간의for this,음정
the D간격이 민속악에daegeum
pipe modified 적합하게, an improvement
배열되어 창작곡over 합주the시 sanjo
정확
daegeum, has emerged. On this instrument, auxiliary
한 음을 연주하는 데 어려움이 있다. 이를 보완하기 위해 산조대금을 개량한 D관 개량대금 과 같은 악기 keys were attached and the spacing of 5)the holes was

adjusted.
에서는 보조키를 달고 지공의 간격을 조정하였다.

<Photo
<사진 2>2>
Sanjo daegeum
산조대금

<Figure
<그림 3> 3>
The dimensions of sanjo daegeum
6) (National Gugak Center system)
6)
산조대금의 치수(국립국악원 소장)

(단위: mm）
（measure: mm)
709
709
3.1 13 3.2 10.5 10.3 10.1 9.9 9.9
3.1 13 3.2 104.4 10.5 10.3 10.1 9.9 9.9
18.3
100.5 24.1 119.3 41.4 40.6 35.5 31.5 30.7 95.9 18.3
100.5 24.1 119.3 104.4 41.4 40.6 35.5 31.5 30.7 95.9
5.9
5.9

28.3
28.3
15.3
7.1
15.3
7.1

（The distance from the center of the embouchure to the tip of the pipe: 596.1mm）
(취구 중앙~관끝 거리: 596.1mm)

5) See the next section on Modified Daegeum

6) The National Gugak Cetner, Ibid, p. 37.

5) ‘3. 개량대금’ 항 참조.

6) 국립국악원, 앞의 책, 37쪽.
146 Traditional
창작을 위한 국악기 Korean Instruments:
이해와 활용 A Practical Guide for Composers

low register
<악보 2>2>
<Score
The register음역
산조대금의 of
sanjo daegeum

middle register

high register

3. Modified
개량대금 Daegeum
Modified daegeum,
개량대금은 전통대금 has운지에
auxiliary keys in 않는
사용하지 positions
손가락,for fingers
즉 왼손 not엄지와
used for
약지, 오른손daegeum
traditional 약지 등의 fingering,
위치에 i.e. 보
left thumb, ring finger, right-hand ring
조키를 달아 가급적 반규법을 쓰지 않고 12반음을 연주하기 위해 제작되었다. finger. This instrument was designed to play 12 (chromatic) half tones
without using half hole fingering as much as possible.
현재 사용되는 개량대금은 보조키가 세 개인 개량대금과 두 개인 개량대금으로 나뉜다. 개량대금을 위
Currently there are two types of modified daegeum used, depending on the number of auxiliary keys.
해 따로
There is 작곡된 작품은
the modified 많지 않으며,
daegeum 연주의
with three 편의나keys
auxiliary 효과를 위해modified
and the 작곡가와 연주가의
daegeum 판단에
with 따라 선별적으
two auxiliary keys.
The following
로 사용되는 추세이다. modified daegeum sound register notes make no distinction between white and black
notes.
다음에 However,
제시된only the notes음역
개량악기의 using악보에는
the half hole
흰 음표와fingering
검은are음표의marked구분with없이 brackets.
괄호를Compared
사용해 반규법을 to jeongak
쓰
daegeum, modified daegeum shows a decrease in the number of notes that need the use of half hole fingering
는 음만 표시하였다. 정악대금에 비해 반규법을 쓰거나 취구를 조절해야 하는 음의 수가 줄어들었음을 알
or a re-adjustment of the embouchure.
수 있다.

1) Modified Daegeum with7) Three Auxiliary Keys7)

1) This
보조키 세 개의 개량대금
is the modified daegeum with three holes and auxiliary keys added to the B daegeum.
B 관 대금에 세 개의 지공을 추가하고 보조키를 장착한 B 관 개량대금이다.

<사진 3>3>
<Photo
B관modified
개량대금daegeum

7) 대금연주가
7) Manufactured
임재원 daegeum player Lim Jae-won.
by a 제작.
Lim, Jaewon,
임재원, 「정악대금 Jeongak
개량에 daegeum gaeryang-e
대한 연구」, daehan 창간호,
『한국악기학』 yeongu, (한국퉁소연구회,
Hanguk akgiihak changganho,
2003) 참조. (Hanguk Tungso Yeonguhoe, 2003)
 Daegeum 147
대금 147

low register
<Score 3>
A register
<악보 3> for the B
modified
B 관 개량대금의 daegeum
음역

middle register

high register

2) Modified Daegeum with8)two auxiliary keys 8)

2) 보조키 두 개의 개량대금
There are four kinds of modified daegeum with a total of two auxiliary keys. They are: the modified B
정악대금에
daegeum, which지공을 두 holes
has two 개 추가하여
added to개량한 B 관 개량대금과
the jeongak 그것의
daegeum; the 완전4도
modified 위 이조악기인
E daegeum, whichEis관a 개량대
perfect
fourth
금을 비롯해 higher올림표(sharp,
than the modified B daegeum;
#) 계통 조를 연주하기 the D위한
modified daegeum for
D관 개량대금, B관playing
개량대금까지 pieces with
총 네many
종류의 sharp
대
notes;
금이 있다. and the B modified daegeum.

<사진 4>4>
<Photo
From
위부터theB ,top: B , EB, 관
B, D, D
and E modified daegeum
개량대금

8) Manufactured by a daegeum player Lee Yong-gu.

8) Hwang, Gyeong-ho,
대금연주가 이용구 제작. Gaeryang daegeumui gujo mit teukseong-e daehan yeongu, (Seoul: Korean National University of Arts, MA Thesis, 2014).
황경호, “개량대금의 구조 및 특성에 대한 연구”, (서울: 한국예술종합학교 석사학위논문, 2014) 참조.
148 Traditional Korean Instruments: A Practical Guide for Composers

B modified
<Score 4> daegeum
The registers for
the B , E , D and B
modified daegeum E modified
daegeum

Low register
D modified
daegeum

B modified
daegeum

B modified
daegeum

E modified
daegeum
Middle register

D modified
daegeum

B modified
daegeum

B modified
daegeum

E modified
daegeum

High register
D modified
daegeum

B modified
daegeum
 Daegeum 149
대금 149

Ⅲ. Traditional Way of Playing and Music Notation

Ⅲ. 전통적 연주법과 기보법
1. Posture for Playing
1. 연주자세
A performer plays the daegeum on the shoulder to freely express nongeumbeop (a way of manipulating
악기의 하중을 분산해 효과적으로 지탱하고 팔을 사용하는 농음법을 자유롭게 구사하기 위해 대금을
ornamental sounds), which requires dispersing the instrument load effectively and using the arm for support.
어깨에
This is a올린 상태로
playing 연주한다.
posture 이는 양손과
that is different from턱으로 악기를
most other 고정시켜
transverse wind연주하는 대부분의
instruments 횡적류a악기와는
that demand fixed the
position
다른 of the instrument
연주자세이다. 전통적 with both hands and
연주법에서는 악기jaws.
끝이Traditional
내려가거나 methods
올라가지 of playing
않도록 require
가급적 the수평을level유지하
of the
instrument to be kept as horizontal
고, 양팔을 적당히 들어 올려 고개를 너무 숙이지 않도록 한다. as possible so that the end of the instrument does not go down or up. The
player lifts both arms properly and keeps his head from falling too far.

<사진 5>
<Photo 5>
대금의
A 연주자세
posture for daegeum
playing
150 Traditional Korean Instruments: A Practical Guide for Composers

2. Embouchure Handling Method

150 창작을 위한 국악기 이해와 활용

1) Chwigu (the Embouchure)

2. 취법
Every daegeum differs somewhat depending on the person making it. The reason is that to make a
daegeum, first of all, the natural bamboo needs to be selectively chosen, and it is also made by elaborate
workmanship. The size and position of chwigu, cheonggong and jigong are also somewhat different
1) 취구
according to the demands of the
대금은 자연산 performer.
대나무를 In particular,
채취하여 수작업으로 chwigu can be연주가의
제작되므로 formed요구에in various
따라 취구, sizes청공,
depending
지공의 크
on the performer’s preference.
기와 위치에 다소 차이가 있다. 특히 취구는 연주가의 선호도에 따라 다양한 크기로 제작할 수 있다. 대금
Daegeum can vary은its 다른pitch
횡적류 by악기보다
a quarter tone, and
큰 취구를 이용해 even
좁게는 more broadly totone,
쿼터톤(quarter a major
1/4음),third,
넓게는using
장3도까지a larger
그음
chwigu than other transverse
고를 변화시킬 wind instruments.
수 있다. 전통 현악기의 The players
연주에서 왼손으로of traditional
줄을 움직여 음고에 string변화를
instruments
주듯이, 대금은usually
취구
change the pitch by moving the string with
를 활용하여 다양한 주법을 구사하게 된다. their left hand fingers. Likewise, daegeum players use chwigu
to practice various modes of playing the instrument.
<사진 6>
<Photo 6> 대금과 플룻의 취구 비교

The comparison of embouchure

between daegeum and flute

2) Jeochwi · Pyeongchwi · Yeokchwi

Jeochwi (low register), pyeongchwi (middle register) and yeokchwi (high register) are traditional terms,
2) 저취·평취·역취
9)
all referring to different 저취·평취·역취는
degrees of "overblowing." This chwibeop (embouchure
각각 저음역·중음역·고음역을 연주할 때 사용되는 handling취법으로
method)‘오버블로윙
is used
to play low, mid, and(overblowing)
high sound ’을
9)
registers,
의미하는respectively.
전통적 용어이다. The세difference
취법 간의 차이는 between입김의the속도와 chwibeop
three 압력의 변화에is기인한
due
to changes in velocity다. and저취는
pressure
창에 김이 of a 서리게
player’s
하듯puffs
느리고 of따뜻하며 For jeochwi,
breath. 부드러운 입김을 the player중음역과
사용한다. uses a 고음역을
slow, warm,
연주하
and soft steam of breath.
기 위한 Performers
평취와 역취로 move갈수록 from pyeongchwi
저취보다 빠르고 시원하며 to yeokchwi
날카로운to입김을 play 사용하게
the mid 된다.and high
수도꼭지의range호
sounds. The more the스player끝을 막으면moves 나오는 up,물의the속도가
faster빨라지듯이,
and cooler입술 their
모양을breath steam나오는
바꿔 입김이 will be구멍의than
모양과when
크기를they조
play jeochwi. For example,
절해줌으로써 blocking
속도를 the비롯한
end 입김의
of the 성질을
hose of
바꿀 the수 faucet
있다. 입술will모양의
speed변화up없이the 입김의
water 양만으로도
coming out.
속도
Likewise, changing the shape of the lips changes the shape and size of the hole where the breath is released.끝
를 변화시킬 수 있지만 이와 같은 취법은 입김이 빨리 소진되어 원활한 호흡에 지장을 줄 수 있다. 호스
It can also change properties,
을 막지 않고 including
물의 속도를 the높이려면
speed of the breath.
수도꼭지를 풀어 훨씬 Players
많은 양의can 물을
change
흘려보내야air speed
하는 only by the
것과 유사하다.
amount of breath without changing the lip shape. However, such a chwibeop can be exhausted quickly, which세
따라서 각각의 취법을 구사하기 위해서는 입술의 모양과 입김의 양을 적절히 조절해야 한다. 연주가는

can interfere with smooth

가지 취법breathing.
이외에도,This 턱 위치에phenomenon
따른 입김의is방향, similar
입김의 to강도,
when혀의a much larger amount
위치와 목구멍의 of water
모양 등 소리를 변화

being poured out of a faucet is required to increase its speed without blocking the end of the hose. Therefore,
시키는 다양한 변수에 대한 연구와 연습을 통해 자신이 추구하는 소리를 만들어 가게 된다.

in order to effectively use each chwibeop, it is necessary to adjust the shape of the lips and the volume of the
lips appropriately. There are a variety
9) 관악기에서 of ways that performers can make their own sound in addition to these
입김의 속도와 압력 등을 조절하여 일정한 운지에서 바탕음 대신 특정한 배음을 연주하는 주법.

three chwibeops. They need to study and practice the variables. For example, there are many ways to change
the sound, such as the direction of breathing, along the chin position, the intensity of the breath, the position
of the tongue, and the shape of the throat.

9) Overblowing refers to a technique that can produce specific overtones not the fixed pitch by controlling pressure and speed of breath.
 대금 151
Daegeum
대금 151

3. 운지법
3.
3. Fingering
운지법 Method
대금의 파지법을 왼손과 오른손으로 나누어 살펴보면 다음과 같다.
Daegeum's
대금의 파지법을 unjibeop
왼손과(a way of holding나누어
오른손으로 the instrument
살펴보면by다음과
hand)같다.
is divided into categories for left and right
hands as follows.
<사진 7>
<Photo 7> 파지법
<사진 7>왼손
대금의
A way of
대금의 왼손holding
파지법 the
instrument by a left hand

Performers use left hand index finger and middle finger to make a “ㄷ” (a Korean consonant alphabet)
shape,
왼손and 검지와 with중지를
the ring
ㄷfinger
모양으로 straightened,
만들고 약지는 to cover
곧게the first hole,
편 상태로 각각 the제1지공,
second 제2지공,
hole, and제3지공을
the third hole,
막는
왼손 검지와
respectively. 중지를
The thumb ㄷ 모양으로 만들고 약지는 곧게 편 상태로 각각 제1지공, 제2지공, 제3지공을 막는
다. 엄지는 검지와 중지의supports
중간 위치에 the lower
해당하는 part 악기
of the아랫부분을
instrument받쳐줌으로써
corresponding무게를
to the분산하는
middle position
동시에
between
다. 엄지는 index
검지와finger중지의
and middle
중간 위치에finger. By doing so,
해당하는 악기 it acts
아랫부분을to distribute the weight무게를
받쳐줌으로써 of the instrument
분산하는 동시에 and to
악기가 흔들리지 않도록 고정하는 역할을 한다.
fix the instrument
악기가 흔들리지 않도록 so that 고정하는
it does not역할을
shake. 한다.

<Photo
<사진 8>8>
A way8>
<사진
대금의 of holding
오른손 파지법the
instrument
대금의 오른손 by 파지법
right hand

Performers lightly support the underside of the instrument with the thumb of the right hand, distributing
the오른손
weight 엄지로
once again,
악기 allowing
아랫부분을 the가볍게
instrument
받쳐to다시 be held
한 번securely
악기의 in 무게를place분산하고
during performance.
연주 시에 안정감 Eventually,
있게
the 오른손
weight 엄지로
of the 악기 아랫부분을
instrument is 가볍게
distributed 받쳐
to the 다시 한
shoulder, 번 악기의
left thumb, 무게를
and 분산하고
right thumb.연주The 시에 안정감
performer 있게
covers
악기를 고정할 수 있도록 한다. 결국 악기의 무게는 어깨, 왼손 엄지, 오른손 엄지의 세 군데로 분산된다.
the fourth
악기를 고정할and the수 fifth
있도록 holes
한다. with결국the 악기의
center knuckle
무게는 어깨, of the 왼손
index엄지,
finger오른손and the엄지의
middle세finger,
군데로 respectively.
분산된다.
오른손 검지와 중지의 가운데 마디로 각각 제4지공과 제5지공을 막고 약지의 끝마디로 제6지공을 막는다.
Then, the
오른손 검지와end of the ring
중지의 가운데finger is used
마디로 각각 to cover
제4지공과 the sixth
제5지공을 hole. When
막고 약지의 playing끝마디로
most of the transverse
제6지공을 wind
막는다.
대부분의 횡적류
instruments, 악기는 오른손
the performer 손가락을
slightly 가볍게
bends their 구부려
right hand손가락 fingers끝부분으로
to cover the지공을 holes 막는데, 대금은
with their 지공
fingertips.
대부분의 횡적류 악기는 오른손 손가락을 가볍게 구부려 손가락 끝부분으로 지공을 막는데, 대금은 지공
Daegeum
간의 간격이 players,
멀어 위와 however,
같은 파지법을 the banjibeop
must use 사용해야 한다.above,
넓게 벌린 as the
손가락에spacing가급적 between
힘이 the들어가지
holes is 않도록
too great.
자
간의 간격이do멀어
Performers not 위와
put 같은
as much파지법을
force as사용해야
possible 한다.
on 넓게
their 벌린spread
widely 손가락에 가급적
fingers, but 힘이 to
need 들어가지
maintain 않도록
a 자
natural
연스러운 자세를 유지해야 좋은 연주가 가능하다.
posture for자세를
연스러운 good performance.
유지해야 좋은 연주가 가능하다.
152 Traditional Korean Instruments: A Practical Guide for Composers

Traditional daegeum uses unji (fingering) in such a way that the six holes are closed or opened based on
the above banjibeop. In some cases performers use half hole fingering to cover half a hole, or performers use
a fingering method to block or open the holes with fingers slipping sequentially between the holes.
In daegeum, there are 729 unji that can be made by opening, closing, or half closing (bangyu) the holes,
but the number of unji used in traditional music is limited to about 20. There are continuing studies on various
unji and associated harmonic structure other than traditional unji.10)

<Table 1> Some in the 729 ways of daegeum fingerings 11)

No. Fingering No. Fingering No. Fingering No. Fingering No. Fingering No. Fingering
1  2 ◐ 3  82 ◐ 83 ◐◐ 84 ◐
4 ◐ 5 ◐◐ 6 ◐ 85 ◐◐ 86 ◐◐◐ 87 ◐◐
7  8 ◐ 9  88 ◐ 89 ◐◐ 90 ◐
10 ◐ 11 ◐◐ 12 ◐ 91 ◐◐ 92 ◐◐◐ 93 ◐◐
13 ◐◐ 14 ◐◐◐ 15 ◐◐ 94 ◐◐◐ 95 ◐◐◐◐ 96 ◐◐◐
16 ◐ 17 ◐◐ 18 ◐ 97 ◐◐ 98 ◐◐◐ 99 ◐◐
19  20 ◐ 21  100 ◐ 101 ◐◐ 102 ◐
22 ◐ 23 ◐◐ 24 ◐ 103 ◐◐ 104 ◐◐◐ 105 ◐◐
25  26 ◐ 27  106 ◐ 107 ◐◐ 108 ◐
28 ◐ 29 ◐◐ 30 ◐ 109 ◐◐ 110 ◐◐◐ 111 ◐◐
31 ◐◐ 32 ◐◐◐ 33 ◐◐ 112 ◐◐◐ 113 ◐◐◐◐ 114 ◐◐◐
34 ◐ 35 ◐◐ 36 ◐ 115 ◐◐ 116 ◐◐◐ 117 ◐◐
37 ◐◐ 38 ◐◐◐ 39 ◐◐ 118 ◐◐◐ 119 ◐◐◐◐ 120 ◐◐◐
40 ◐◐◐ 41 ◐◐◐◐ 42 ◐◐◐ 121 ◐◐◐◐ 122 ◐◐◐◐◐ 123 ◐◐◐◐
43 ◐◐ 44 ◐◐◐ 45 ◐◐ 124 ◐◐◐ 125 ◐◐◐◐ 126 ◐◐◐
46 ◐ 47 ◐◐ 48 ◐ 127 ◐◐ 128 ◐◐◐ 129 ◐◐
49 ◐◐ 50 ◐◐◐ 51 ◐◐ 130 ◐◐◐ 131 ◐◐◐◐ 132 ◐◐◐
52 ◐ 53 ◐◐ 54 ◐ 133 ◐◐ 134 ◐◐◐ 135 ◐◐
55  56 ◐ 57  136 ◐ 137 ◐◐ 138 ◐
58 ◐ 59 ◐◐ 60 ◐ 139 ◐◐ 140 ◐◐◐ 141 ◐◐
61  62 ◐ 63  142 ◐ 143 ◐◐ 144 ◐
64 ◐ 65 ◐◐ 66 ◐ 145 ◐◐ 146 ◐◐◐ 147 ◐◐
67 ◐◐ 68 ◐◐◐ 69 ◐◐ 148 ◐◐◐ 149 ◐◐◐◐ 150 ◐◐◐
70 ◐ 71 ◐◐ 72 ◐ 151 ◐◐ 152 ◐◐◐ 153 ◐◐
73  74 ◐ 75  154 ◐ 155 ◐◐ 156 ◐
76 ◐ 77 ◐◐ 78 ◐ 157 ◐◐ 158 ◐◐◐ 159 ◐◐
79  80 ◐ 81  160 ◐ 161 ◐◐ 162 ◐

4. Utilizing the Cheong Reverberation

There is a special hole called “cheonggong” between the daegeum’s chwigu and the remaining holes.
Cheonggong means a hole for the “cheong”. The cheong is the inner skin of reeds. The instrument maker
collects the reeds, extracts the inner membrane (skin), dries them to be made into thin film and uses the film
to cover the cheonggong of the instrument. The cheong’s proper reverberation is the most important factor
determining the acoustic identity of traditional daegeum.
Video 1 : Performance of "Cheongseonggok" without cheong’s reverberation
Video 2 : Performance of "Cheongseonggok" with cheong’s reverberation

The process of attaching the cheong to the instrument is as follows. The maker cuts the cheong to the
proper size for cheonggong and dips it in water. He applies glue around the cheonggong and wipes the water
from the cheong. Then he bonds the cheong to the daegeum and smooths the wrinkles of the cheong in that

10) Kim, Jeong-seung, Ibid.

11) The numbers in the table show the orders of the 729 possible fingerings. The entire table is found in the Appendix 1: Daegeum's Harmonics
and Multiphonics.
 Daegeum 153

state. The reverberation of the cheong can be more or less, depending on the degree of tension adjusted
when the wrinkles are smoothed. The tighter it is pulled, the less sound the cheong makes; whereas the more
loosely it is fixed, the easier it becomes to make the cheong sound.
After fixing the cheong on the daegeum, the performer will need to season the cheong for a certain period
of time to get a good sound. The duration depends on the thickness of the cheong, the performer’s method of
sticking the cheong on the instrument, and the characteristics of the performer. In some cases, a good cheong
sound is produced immediately after the cheong is attached, but in general, a good cheong sound is obtained
after more than three days or sometimes even more than one week. If the cheong is too loose, its tension can
be adjusted by wetting it. If the thickness of the cheong is too thin and it is determined that its usefulness
is limited, it can be removed and a new cheong be replaced. When the cheong is thin and loose, most of
the notes will be echoey. Conversely, the condition of the cheong may be tensed and thick. In this case, the
cheong should be moistened by saliva or breathing. The cheong sound is then echoed temporarily only on
certain notes. The performer can play the instrument without cheong reverberation at all when the cheong is
stuck very tightly and unaffected by humidity.
The aesthetic judgment about the cheong sound is subjective. Therefore, its aesthetic value is difficult to
present as statistical or objective data. The cheong reverberation when playing traditional music is entirely
up to each performer. When playing contemporary pieces, there are cases where there is no indication of
the composer’s instructions for cheong reverberation at all. As such, performers have no choice but to rely
on their own musical instincts and the nature of their instrument in handling cheong reverberation. When
considering the effects of cheong reverberation on a tone in daegeum performance, composers also should
share and utilize information about cheong sound. The chart below shows the playing range of the daegeum.
In particular, it distinguishes between a note that can easily produce a cheong sound and a note that does not.
The cheong reverberation of sanjo daegeum is much like that of jeongak daegeum based on unjibeop. For
example, cheong reverberation utilization B3, which is the lowest pitch of jeongak daegeum, and C#4, which
is the lowest pitch of sanjo daegeum, is similar to cheong reverberation degree 3. However, sanjo daegeum
can produce a relatively sharp and strong cheong sound compared to jeongak daegeum due to its short pipe
and large embouchure structure. When playing contemporary pieces, especially when the performers want to
adjust and utilize the cheong sound, it is desirable for the composer and the performer to have some level of
discussion.

low register
<Score 5>
The Use of cheong
reverbartion of jeongak
daegeum
middle register

high register
154 Traditional Korean Instruments: A Practical Guide for Composers

* Every note can be played without cheong reverberation.

Cheong 1: Notes played with a stable cheong sounds even when the cheong is not polished enough.
Cheong 2: Notes played with a cheong sounds only when the cheong is polished enough.
Cheong 3: Notes played with a cheong sounds only when the cheong is very thin and lose. Difficult to create cheong sounds.
Cheong 4: Notes played with no cheong sounds.

5. Nongeum
Nongeum is equivalent to the vibrato of Western music (for traditional string instruments it is called
nonghyeon). To create the daegeum’s nongeum, the performer uses his arms to widen and narrow the chwigu.
Such an action changes the sound of the pitch played up or down. Nongeum is classified depending on
the degree to which the performer changes the pitch height. Depending on the degree of change in speed,
nongeum is also classified as fast nongeum and slow nongeum.
Nongeum is notated in a way that describes the actual sound. In traditional notation, the musicians use a
vertical notation and note it with symbols such as “ ”, “ ” and so on. When nongeum is notated in standard
Western staff notation, nongeum is notated with a non-traditional notation method, using a horizontal line for
example, like “ ”.

1) Vibrato in Jeongak
The nongeum of jeongak gives a feeling of temperance due to the unextended variation of pitch height,
unlike the nongeum of folk music. Jeongak nongeum is not as wide. According to the music, nongeum may
be performed differently. For example, nongeum is used very sparingly in dangpiri (a traditional oboe for
court music) music and in jeryeak (music for royal ancestral memorial service).12) By contrast, pungnyu
music13) is more active in using nongeum. When using nongeum in accompanying vocal music, various
degrees may be preferred depending on the expression of the singers. In jeongak instrumental music, it is
common not to notate the nongeum in detail. The reason is that first, there are nongeum rules and practice
passed down among musicians according to the music even though there are not elaborately draw nongeum
symbols in many notations. Second, some music, such as pungnyu, may have a slightly different nongeum
interpretation depending on the performer. Traditionally in a piece of music played among music enthusiasts
or men of taste, the diversity of interpretation was not confined to a fixed framework presented in the sheet
music, but the free interpretation of the performers was respected. After all, a jeongak music performance
displays the co-existence of a traditionally shared expression and a free interpretation among the performers.
Vocal music is notated using nongeum symbols depicting the nongeum shape of the song. The music
notation for pyeong sijo (one of the genres of aristocratic vocal music) below demonstrates that well.
Pyeong sijo is the most basic in singing the sijo, the Korea’s representative fixed form poetry that developed
toward the end of Goryeo kingdom. It reveals the fact that the nongeum marks of "Haeryeong" and
"Hahyeondodeuri", which correspond to instrumental notes among the following musical notes, are notated
by the author to help the reader’s understanding.

12) The musical features of Munmyo jeryeak and Jongmyo jeryeak, the two representative court rite music, are different that the former has no
vibrato while the later has refined vibratos in melody. The music pieces like Boheoja, Nakyangchun, Yeomillak ryeong, and Haeryeong are wind
orchestral music which the dangpiri leads the main melody.
13) Pungnyu music refers to the literati or elite male music which had been developed by amateur musicians in upper class. The genre includes
ensemble music like Yeongsanhoesang and variated pieces from Boheoja, and classical vocal music like gagok, gasa, and sijo.
 Daegeum 155

<Score 6>
(Notation of nongeum for jeongak nongeum)
Excerpt from "Haeryeong"
Video 3

<Score 7>
(Notation of nongeum for jeongak nongeum)
Excerpt from “Hahyeondodeuri” in Yeongsanhoesang
Video 4
156 Traditional Korean Instruments: A Practical Guide for Composers

<Score 8>
(Notation of nongeum for jeongak nongeum)
Excerpt from pyeongsijo "Dongchangi"
Video 5

2) Vibrato in Folk Music

Folk music using sanjo daegeum has a wider range of expression than jeongak. The nongeum of folk
music has a larger pitch height than that of jeongak, and its frequency varies. Traditional musicians do not
notate nongeum in detail in the score of jeongak instrumental music, but folk music is different. Sanjo is the
representative folk instrumental music. Sanjo scores use nongeum symbols to describe each sound. And it is
a principle of minsogak to have an elaborate nongeum notation because a sanjo is created by a certain master
and the purpose is to exactly transfer that master’s playing style onto the notation.
 Daegeum 157

<Score 9>
(Notation of nongeum for sanjo daegeum)
Excerpt from "Jingyang" in Seo Yong-seok school of daegeum sanjo
Video 6

Ucho mode (Bb)

Contemporary music can use nongeum of various forms that composers and performers desire, as well as
nongeum styles that are used in traditional music.
158 Traditional Korean Instruments: A Practical Guide for Composers

6. Toeseong, Chuseong, and Bending Sound

1) Toeseong and Chuseong

Toeseong corresponds to the action of dropping the pitch height by narrowing the embouchure hole in
the nongeum playing method. In contrast, chuseong corresponds to the action of increasing the pitch height
by widening the embouchure hole. Eventually, when the performer plays them successively, it becomes a
form of nongeum.
There are two ways to play toeseong and chuseong. One way is to use only embouchure hole without
changing fingering, and the other one is to change fingering as well as embouchure hole. As with toeseong
and chuseong using only embouchure hole, the variation of the pitch height depends on the size of the
embouchure hole. In the normal embouchure method, jeongak daegeum can retreat or push the sound by
a half-tone up or down. Sanjo daegeum can retreat or push the sound by a whole tone up or down. When
retreating or pushing a sound with the embouchure hole as wide or narrow as possible, jeongak daegeum
can change the pitch height to about whole tone and the sanjo daegeum can change the pitch height to
about a major third. On the other hand, when the performer uses embouchure hole and fingering holes
together, it is possible to change the pitch height wider than when using embouchure hole alone. Toeseong
and chuseong which utilize embouchure hole and fingering holes together is mainly used in playing
sanjo daegeum. On the other hand, performers playing original songs may adopt it when performing
contemporary pieces on the jeongak daegeum according to a composer’s demand.14)
In jeongganbo (Korean traditional notation system created by King Sejong), in court music, toeseong is
notated like “ ”, and chuseong like “ ”. In the notation of folk music, toeseong is recorded with “ ”,
while chuseong is recorded with “ ”, as in court music.
Musicians may notate toeseong, chuseong and glissando in the same way in Western staff notation. They
are notated by drawing a line between two notes specifying the starting and ending notes of a glissando.
Some composers use the jeongganbo notation to emphasize the traditional playing method of toeseong and
chuseong.

2) Bending Sound
Bending sound refers to a sound or a playing method that quickly retreats down a half-tone at the same
time as playing. The bending sound is one of the important techniques for dealing with music in genres such
as pansori and sanjo. This is not used in the traditional playing method for jeongak daegeum. However, in
original songs, the performers use the bending sound with jeongak daegeum.
In folk music, musicians notate the bending sound with “ ”, just as for toeseong in court music. Musicians
use short ornamental grace notes to in Western staff notation differently from those for toeseong or glissando.
Performers express toeseong, chuseong and bending sounds in various ways. First, each of these three
playing methods can adjust the speed and pitch height. The performers may play chuseong again after
toeseong or vice versa. They can play nongeum, toeseong and chuseong all at the same time. They can bend
sounds more than once in a row in the case of a bending sound. And they can use the bending sound in
conjunction with toeseong or chuseong.

14) See the “2. Glissando” part in the Chapter IV for the toeseong technique in newly composed pieces.
 Daegeum 159

<Score 10>
(Notation of toeseong and chuseong) Excerpt from "Boheoja"
Video 7
160 Traditional Korean Instruments: A Practical Guide for Composers

<Score 11>
(Notation of toeseong, chuseong, and bending sounds of sanjo daegeum)
Excerpt from " jungjungmori" in Seo Yong-seok school of daegeum sanjo
Video 8

Ucho mode (Bb)

 Daegeum 161

7. Tonguing
In contemporary music performance, performers use various tonguing techniques such as single tonguing,
double tonguing, triple tonguing, and flutter tonguing. However, in traditional music performance, only the
single tonguing method is used.
In the performance of Western wind instruments, the interpretation of tonguing by musicians is different.
Similarly, in the tonguing method of traditional music, there is a difference of opinion about the position and
method of tonguing according to the performer. Tonguing is performed by using the pronunciation of tu, du,
lu, etc. according to the flow of the music. In jeongganbo, tonguing is recorded as “ㅎ” (a Korean consonant
letter), which means tongue.

8. Musical symbols
The notation method of jeongganbo refers to all the symbols except the names of “yul” (the twelve
standard tones for traditional music) as musical symbols. The musical symbols include those for ornamental
sound notation, abbreviation symbols instead of note names, other symbols related to speed, accents and
various playing methods, etc. Representative musical symbols and their notational methods are given below.
The symbols related to nongeum, toeseong, chuseong, and etc. have been discussed above and are therefore
omitted here.
162 Traditional Korean Instruments: A Practical Guide for Composers

<Table 2> The symbols for counting beats

Symbols Eexplanations Eexample

약음에
약음에
약음에

bb œœ œœ
潢 潢
A tone one note lower - = - = &
& JJJ 1
1
1
南

bb œœ b œ
& b b JœœJ
潢 潢
A tone two notes lower - = - = & 2
2
2
林

bbb œœ œœ
JJ
潢 潢
A tone one note higher - = - = &
&
&
3
3
3
汰

bœ
bbb œœœ bb œJJœJ
潢 潢
Two notes higher - = - = &
& 4
4
4
㳞

& bbb œœœ œœ bbb œœœ

潢 潢
A tone one note higher and written note - = - = &
&
5
5
5
汰潢

潢 潢
& bbb œœœ œœ bbb œœœ
A tone one note lower and written note - = - = &
& 6
6
6
南潢

bœ
潢 潢
& bbb œœœ œœ b œ
&
A tone one note higher and 7
7
- = - = 7
a tone two notes higher 汰㳞

bœ
& b œ œœ bb œœ
潢 潢
&
A tone one note lower and 8
8
- = - = 8
a tone two notes lower
南林

b œ œœ b œ
& bœ bœ
潢
&
A written note, a tone one note higher, 9
9
9
潢 = 汰 =
a written note
潢

潢 潢
bœ bœ œ œ
&
A tone two notes higher, a tone one 10
- = - =
note higher and a written note 3
㳞汰潢

潢 潢
bœ œ bœ œ
A tone one note higher, a written tone
- = - = & 11
and a tone one note lower 3
汰潢南
 Daegeum 163

<Table 3> Symbols for ornamental sound notation

Symbols Eexplanations Eexample

jj
bb œœ
汰潢
œœj
&
A tone one note higher and
潢 = - =
& œœjj
j
bœ
& bb œœ
a written note 1
1 œœj
& œ
&
1
1
1
1
1 j
㳞潢 œœj
bb œœ
A tone two notes higher and
&
& œœjj
j
œœjj bb œœ
&
潢 = - = 2
2
bœ
a written note 2
2
& œ
2
2
2 &
j bb œœ
& œœj
南潢
& bœ
A tone one note lower and
j
œœjj
3
& bb œœ
潢 = - = 3
œœjj
&
a written note 3
3
& œ
- 3
3
3

& œœj
j bb œœ
& bœ
林潢
A tone two notes lower and 4
j
潢 = - = 4
& œœjj
œœjj bb œœ
&
a written note 4
4
&
4
- 4
4 œ

œœ
bœ
œœ b œ
汰㳞汰
&
& œœ bb œœ œ
œœ
A written one, a tone one note higher 5
&
bœ
= 55 œœ bb œœ
&
汰 = -
5 œ
&
and a written note 5
5
- 5
œœ b œ œœ
汰潢汰 6 &
&
bœ
œœ bb œœ œœ
&
A written one, a tone one note lower
œ
6 œœ bb œœ
& œ bœ
汰 = - = 6
&
6
and a written note 6
6
- 6
bb œœ b œ
bœ œœ
7 &
& bœ
bb œœ bb œœ œœ
&
潢㳞汰 7
bb œœ bb œœ
œ
A tone one note lower, a tone one
&
7
7
bœ
&
汰 = - = 7
note higher and a written note 7
7
œœ
-
œœ b œ bb œœ
&
&
bœ
œ
œœ bb œœ bb œœ
œ
8
& œœ bb œœ bbb œœœ
汰潢㳞 8
A written note, A tone one note lower 8
8
& œ bœ œ
&
汰 = 汰 = 8
8
bb œœ b œ œ
and a written note 8
œ
- b œ

& bbb œœœ bbb œœœ œœ

&
9 b œ bb œœ
& bœ œ
9
淋潕淋
&
Used to emphasize the note, 淋 lower 9
9
&
汰 = - = 9
9
Also used on staff notation 9
-
164 Traditional Korean Instruments: A Practical Guide for Composers

<Table 4> Extra Symbols

Symbols Eexplanations Eexample 그 밖의

그 밖의 악상기호
악상기호

bbb œœœ ...

그
그 밖의
밖의 악상기호
œœœ bb œœ .. œœœ
악상기호

b œ.
그 밖의 악상기호
œb œ œ
& œœ bbbœœœ.... œœ
그 밖의 악상기호

& bb œœ .
&
㳞
&
1/2 beat longer than the written note 1
&
-汰 = 1
&
11
1/2 beat shorter than the written note 潢汰 1
1

bbbœœœ
&
& bb œœ ‰‰‰‰
㳞
&
Rest for the indicated beats, similar to
& ‰‰
- = 2
2
&
22
&
a ‘rest’ used in Western staff notation
2
2

œ
œœœ bbbœœJœ ,,, œœJœ bbbœœœ
汰

&
& œœ
& bb JœœJ ,, bb œœ
-
JœœJ
3
3
& JJ
潢 3
& JJ
Breathing pause = 33
南 3
3
潢

œœCCCCC œCC
œœJJCCCœC
-
œ Jœ
& œJJœJCCJ
&
& œJœJCJ
4
&
Sudden release of finger hole/s to 4
&J J
汰 44
create a lively effect 汰
= 4
4
Breathing pause
SSS
b Sœ
& bbbbSœœœœ
&
&
5
5
&
& bœ
55
A sudden or marked emphasis 仲 =
5
5

& bœ
6
& bbbœœ...œ.
&
&
& b œ..
Staccato 仲 = 6
&
66
6
6

œœœJœ œœœtounguing
œtounguing
tounguing

&
& JJœœJJ
&
汰
œœtounguing
Multiple tounging using the tounguing
tounguing

&
= 7
&J
汰 7 tounguing

&
pronunciation “ru” 77
- 7
7

bbbbU
œœœUœ
U
& U
& bb œœ
Prolonged note or rest 㳞 = 8
8 &
& U
&
88
8
8 &

... bbbœœœ œœœ ...

œ
潢
9 &
&
& .... bb œœ œœ ....
.. ..
Repeat =
&
9
&
9
99
汰 9
9
 Daegeum 165

Observe the differences between court and folk music for daegeum when comparing Korean traditional
and western staff notations.

<Score 12>
Excerpt from "Byeonjo dugeo" in Jajinhanip
Video 9

Transcribed by Kim jeong-seung

166 Traditional Korean Instruments: A Practical Guide for Composers
 Daegeum 167

<Score 13>
gyemyeon mode（C – tonic key）
Excerpt from "jajinmori"
in Seo Yong-seok school of
daegeum sanjo
Video10

(후략)

후
략
168 Traditional Korean Instruments: A Practical Guide for Composers

IV. Modern Playing and Notation Methods

The playing method covered in this chapter is based on the B daegeum, which is most frequently used for
performing contemporary music. It is noted here that the fingering and harmonics of the modified instrument
with added auxiliary keys, the sanjo instrument or the transposing instrument with shorter pipe, are different
from the contents of this paper. Harmonics, multiphonics, trill, tremolo, etc., require special fingering, and
special playing methods and the fingering table posted here is intended to smooth communication between
the performer and composer.

1. Tonguing
The tonguing of daegeum used in contemporary music is the same as in the modern concert flute. Single
tonguing, double tonguing, triple tonguing, and flutter tonguing are possible. In addition, various types of
tonguing can be done by combining each tonguing technique.

1) Single Tonguing
This is the most basic tonguing. This allows the performers to get a clear pronunciation of sound. They
play each note one by one with the same tongue movement. They use the “tu” pronunciation as a basis, but
they can make different musical expressions by pronouncing “du” and “ru” using the difference in degree of
blocking air.

2) Double Tonguing
Performers using double tonguing pronounce “tuku-tuku” with the pronunciation “ku” connected after
single tonguing. Performers who use this add the action of blocking the throat with the back of the tongue, as
opposed to single-tonguing movements. By doing so they lower the tension of the tongue. This allows them
to perform faster tongue movements. This is suitable for playing fast passage. However, using this, the “ku”
pronunciation is easily weakened and the tone may change. Therefore, it is important to maintain the balance
between “tu” and “ku” as much as possible.

3) Triple Tonguing
The triple tonguing method combines “tu” and “ku” pronunciations and produces such sounds as “tkt”,
“tkk”, “ttk”, etc.

4) Flutter Tonguing
There are two methods for flutter tonguing, one using the tongue, and the other using the udder. This
method where the tongue is used, the performer has to roll the tongue while gently putting the tip of the
tongue in the palate and releasing air. At this time, the performer produces a “hu” sound like “hudrrrr”,
simultaneously directing the tongue towards the root of the upper part. And the sound is shifted to the “r”
pronunciation shortly after the weak “d” pronunciation (middle pronunciation of d and r) When using
tonguing, the performer makes a U shape with the tongue by gently raising and rolling the edge of the tongue.
The sounds from the flutter tonguing of the daegeum decreases, as it goes further down to the lower pitch
 Daegeum 169

register, and it becomes difficult to play it. In this case, the performer positions the tip of the tongue from
the tooth to the palate. In other words, the performer moves finely from “d” to “r”, and it is better to find the
sounding position correctly. Flutter tonguing using the udder occurs at a deep position in the larynx. Just as the
cat purrs when sleeping, the performer should be careful not to close the inside of his or her neck. And while
broadening his or her mouth, he or she gently exhales from behind his neck. This has the advantage of being
able to produce a comfortable and clean sound at low register unlike just using the tonguing. In addition,
flutter tonguing can use various ways of tonguing by combining pronunciations such as h, k, d, g, ch, p, r.

2. Glissando
There are two ways to play glissando. The first method of glissando is the fast method of fingering the
sound between the beginning and ending notes. It should be noted that this glissando playing method cannot
use most half hole fingerings and cross fingerings due to the speed of playing, so it is impossible to play all
12 half tones. The second method of glissando is to smoothly push the sound up and down not by blocking
the sound but by sliding or opening the fingering holes while adjusting the embouchure hole using traditional
playing methods of toeseong and chuseong. In this case, it is possible to play effectively when the start and
end sounds are within each range. In other words, glissando within each register, low, middle or high, is not a
problem. However, glissando crossing the sound registers cannot smoothly carry the sound as if strings were
changed during the glissando of string instruments. In the interval between F5 and B5, harmonics can be used
to minimize the feeling of losing sound.

<Score 14>
Excerpt from "Nabiui
yeonga", composed by
Yi Yeong-ja
Video11

The glissando above is a playing method that quickly fingers the sound between the beginning and end
pitches. In the following music score, the glissando is notated. This shows a glissando using an embouchure
hole while the performer closes or opens the fingering holes like a finger slide. In glissando down from B 5
(high pitched register) to B 4 (middle pitched register), the middle pitched register starts at A5. So, in general,
a performer will not be able to smoothly connect sounds when fingering from B5 to A5 as soon as they start
the glissando. As described above, using harmonics available in B5 to F5, players can minimize the disruption
of glissando over the high and mid ranges. The subsequent glissando between A 4 and C4 does not have this
problem, since both A4 and C4 belong to the lower range.

<Score 15>
Excerpt from "The
Poet, KIM SAT GAT",
composed by Hi -
Kyung Kim
Video12
170 Traditional Korean Instruments: A Practical Guide for Composers

3. Harmonics
In string instruments, harmonics is the technique where the performer gently touches a string at a node
1/2, 1/3, or 1/4 of its length to produce a harmonic or overtone of that specific pitch. The harmonics of wind
instruments, howeve r, are created by overblowing. daegeum is an open pipe without a reed (gaegwan)15)
instrument that creates harmonics through the conversion of embouchure methods such as jeochwi (low
register), pyeongchwi (middle register), yeokchwi (high register), which were defined above. The harmonics
of daegeum occur in a certain unji and they appear in the order of most open pipe instruments harmonic
overtone series. However, they also come in uneven pitch height harmonics depending on the fingerings, in
particular, when cross fingering and half hole fingering are used, when the harmonics may be pulled from
other overtone series. In the harmonics of wind instruments, the pitch height tends to decrease sharply as the
harmonics that occur on the back side decrease, or the tone tends to darken as the volume decreases. This also
applies to the daegeum. When using half hole fingering, there is a slight difference in the pitch height of the
harmonics due to the varying degree that finger holes are closed by the performer.
All harmonics obtained after the first harmonics in the series are generically referred to as harmonics. But
“harmonics” today has two different meanings. One stands for the natural harmonic series, and the other
stands for modern playing methods. In other words, not all the harmonics obtained through overblowing can
be used in the “harmonics playing method.”
For example, if a performer tries to play in the modern harmonics method, which can only be played with
the same fingering as the fundamental tone, there will be a contradiction in the Score method. Consider the
following harmonics playing method.

<Score 16> the note to be produced <Score 17>

Notation for G5 Notation for C5
Harmonics (based on the note of the fingering
Harmonics (based on
the fingering for C4) position the fingering for C4)

Video 13 <Score 16> and <Score 17>

The sound of the G5 (C4's third harmonic) played on the C4 fingering () is clearly different from
the original G5 (), so the performer can feel the effects. The C4 fingering ()is utilized
as an alternative fingering for G5's original fingering ( or ↑). The sound thus obtained
becomes a unique sound that is different from the original fingering, so that the players can feel the effect of
the harmonic method.

On the other hand, the second harmonic C, played on the C4 fingering (), can only be played
with the same C4 fingering. In other words, the fingering of the fundamental tone is the original fingering of the
second harmonic. Eventually this sounds the same as the music score on the side. The score on the side does
not show the fingering notes of C4 because they use the same fingering. Only C5 has been notated. Therefore,
it can be played only with the same fingering as the harmonic fundamental tone (1st harmonic). Thus, it

15) Open pipe means the structure that the both ends of the wind instruments are open, for example the flute and the daegeum. When apply
overblowing technique to the open pipe instruments, the musician can earn overtones of multipled frequency which is one octave higher
than the original pitch, such as C-C1-G1-C2-E2-G2.... On the other hand, close pipe instrument such as clarinet produces different overtones
multipled in odd numbers, like the third, the fifth, and the seventh overtone, following the original pitch.
 Daegeum 171

can be seen that this is not suitable for harmonics, which is originally a fingering without harmony. Some
notes produce harmonics very well, while others do not work so well. This usually depends on the particular
instrument and the skill of the performer. Here are some examples. The shaded notes in the table below are
suitable for harmonics that can be played with each fingering.

<Table 5>
Notes to be 1st 2nd 3rd 4th 5th 6th
An Example of Harmonics Fingerings played overtone overtone overtone overtone overtone overtone
1  B 3, B 4 B3 B4 F5 B5 D 6 16) F6
F4, F5
2  F4 F5 C6 F6
C6

3 ↓ D4 D4 D5 A5

4  A 5, E6 A4 A5 E6

5  E6 A4 A5 E6

It is found that fingering no.1 () can obtain 6 harmonics from the fundamental tone B 3. F5 is
a low harmonic of four notes (suitable for harmonics). F5's original fingering is fingering no.2 ().
The third harmonic, F5 of fingering no.1, has a darker tone than F5 of fingering no. 2 (F5's original fingering),
so the performer can feel the effect of the harmonic method.

The second harmonic of fingering no. 5 is A 5 (). This is played by fingering other than the
original fingering (). Therefore, the effect of the harmonics method should exist, but in fact it
does not. Likewise, if there is no acoustic difference between the original fingering (A 5 ) and
the harmonics fingering (A 5  ), there is no reason for a performer to use the harmonics method
for harmonics or overtones. In this case, if a player changes the harmonics fingering to number 3 fingering
(↓), the effect of the harmonic method in the third harmonic A 5 results. The sound of the A 5
played generally with the original fingering () and the sound of the A 5 played with the harmonics
method (↓) have a different volume and tone.

Video 14 Fingering comparison between normal A 5 () sound and harmonics (↓)

In the score of the wind harmonic method, there are such cases that the composer only displays the desired
harmonic notes without the notes to be fingered, in addition to the methods such as <Score 16> and <Score
17>. In the case of the daegeum, performers can also find appropriate harmonics fingerings maximized to 729
ways. “Appendix 1. daegeum’s harmonics and multiphonics,” is based on the harmonic series recorded here,
and musicians can find various harmonics needed for playing and composing. For example, if the players
want to play F#5 with harmonics, they can play fingering #29 and #82 and need only to check the tone of F#5
of the harmonics and then select one of them.

16) The symbol with an arrow above ♭ is to indicate a quarter tone which means a quarter pitch higher tone than the tone with ♭
The accidentals from the lowest to highest are as follow.
172 Traditional Korean Instruments: A Practical Guide for Composers

4. Multiphonics
Multiphonics is a method of playing two or more sounds simultaneously in one unji. daegeum
performances include jeochwi, pyeongchwi and yeokchwi for chwibeop (embouchure method). This
instrument can perform various multiphonics using fingering methods such as half hole fingering and cross
fingering. When performing multiphonics, daegeum can produce different tones depending on the presence
or absence of cheong reverberation.
Appendix 1 “daegeum's harmonics and multiphonics,” shows the possible harmonics that are categorized
by fundamental tones. The writer has ordered the harmonics according to the difficulty of the performance,
so that it can be utilized in composition and performance. These are divided into five classes from easy,
numbered 1, to very difficult, numbered 5, but there are some differences according to performer and
instrument. Each performer needs to check for an actual performance, and it is important to keep in mind that
the pitch height of the quarter tone may also vary depending on the playing habits.
If the performer uses multiphonics for contemporary music, they can refer to the fingering table included
in the Appendix 1.2 to help them.
다 음 주 법 의  예  김 대 성  '대 숲 소 리 '

 
           
<Score 18>
    


          
       
(An example of multiphonics)
       
   
Excerpt from "Daesupsori ",
 
composed by Kim Dae-seong
 
Video 15
 
    
  

        
       
5

  

 

5. Trill and Tremolo

Performers who play daegeum with six fingerings without auxiliary keys, and with traditional playing
methods such as blocked or open fingering, find it very hard to play trills and tremolo on the instrument
because of limited notes. They need to use half hole fingering and the harmonic method to produce a trill or
tremolo performance for a wide variety of musical forms.
Table 6 summarizes the sounds that can be used in trill and tremolo mode for performance and
composition. The notes indicated in the box are the ones possible for both the trill and the tremolo. Musicians
can use the charts to know in advance whether they can play the required notes in trill and tremolo. For
example, if a player wants to know if B 3↔A 4 tremolo of <Score 19> is possible, they can check the B 3 in the
box and make sure that there is an A4 in the Western staff noation of that line. Conversely, when a performer
wants to know whether they can play the A 4↔B 3 tremolo, they can find the B 3 inside the box first and then
check if there is an A 4 in the score of that line. In other words, they can find the lowest note of the two notated
notes for the trill or tremolo playing method in the box first, and then check if the remaining note is given in
the score of that row.

<Score 19>
B 3↔A 4, A 4↔B 3
Tremolos

Tremolo Tremolo
 Daegeum 173

If a performer is unfamiliar with fingering using half hole fingering or the hamonics methods in
performance, he can refer to the unji table, which is also shown under the Score. In the composition process,
if the artist notates the trill and tremolo marked with “◐” or “h.t” with the fingering table posted on the music
sheet, performers will get good assistance from it.

<Table 6>
Extract from the table Lower register
of trills and tremolos
for performance and
composition17)

6. Double Trill
This is a trill technique that is played simultaneously on two fingering holes. The performers can play this
with two fingers of the same hand. However, to express fast trills effectively, they must combine one finger of
the left hand and one finger of the right hand. The following shows a few notation methods.
<Score 20> * Indication of the hole where the trill is executed
Notation example I actual playing
for double trill
Video 16

<Score 20> shows how a double trill is notated, which is to write “d.t” (double trill) above the two notes
while showing the fingering below the notes so that the performer would be able to produce the correct trill
notes.

<Score 21>
Notation example II
for double trill
Video 17

In <Score 21>, the author marked “t.t” on a note to help the performers find a comfortable unji. In this
case, there are two ways to do this. One way is to use the left hand index finger and middle finger in the
original fingering. The other is to play it with both hands by raising the right hand index finger on the second
fingering. On the other hand, notation 3 indicates the time at which a performer should move his right hand to
the left hand fingering, and the notes to be played, in order to play the double trill comfortably and fast.

17) See “Appendix 2. Table of Trills and Tremolos Used for Performance and Compositions” for the entire chart.
174 Traditional Korean Instruments: A Practical Guide for Composers

<Score 22>
Notation example III
for double trills
Video 18

7. Multiphonics Trill
A multiphonics trill is a technique for changing tone colours by moving one finger.

<Score 23> actual playing

Notation for
multiphonics trill
Video 19

8. Method Using the Mouthing for the Instruments with Embouchures

(Trumpet Embouchure)
This is a method of playing with the mouthing of an embouchure instrument, such as a trumpet, completely
with the lips in the embouchure. This is notated as a “trumpet sound”, but the actual sound is in fact very
different. It is therefore advisable to notate with a “trumpet embouchure”, which means using the mouthing
method of the trumpet (but not producing the trumpet sound!). The actual pitch height is one octave lower than
the daegeum’s low pitch register. The most commonly used register is one octave between B 2 and B 3.

<Score 24>
Excerpt from "Jasi",
composed by Hwang
Byung-ki
Video 20

9. Method for Simultaneously Playing the Daegeum and Singing

This is a technique when a performer plays daegeum and sings at the same time. Depending on the
performer, the tone of the voice and note register can be used to produce an effective sound.

<Score 25>
Excerpt from "Saengui
hangaunde", composed
by Yi Chan-hae
Video 21
 Daegeum 175

10. Playing Method with Airy Sound

Performers have to send out half of their breath from the daegeum embouchure to get a proper sound.
In the playing method using the wind sounds, players create wind sounds by controlling the amount of air
coming in and out of the embouchure. They can produce a soft or rough wind sound, and they can achieve a
different effect by fingering the fingering holes. Daegeum has a large embouchure so they can create a variety
of strong and thin sounds using the wind. The entire sound register can be played using wind sounds.

<Score 26>
Excerpt from "The
Poet, KIM SAT GAT",
composed by Hi-
Kyung Kim

Video 22

11. Breath Tonguing

This is a playing method of tonguing in which the performers alternate between the normal daegeum
sound and wind sound. If performers use this tonguing method, the instrument will produce normal sound
and then one can switch to wind sound or vice versa. Like the playing method using wind sounds, this
method can be played to maximize strong and thin sound.

<Score 27>
Excerpt from "Saengui
hangaunde", composed
by Yi Chan-hae
Video 23

12. Way to Express the Inhaling and Exhaling Sounds

When a player inhales, only the breath sound can be heard. If a performer plays the instrument roughly
with exhalation, it can produce the same effect as a wind sound, and when playing normally, it produces
sounds similar to a normal daegeum sound.

<Score 28>
Excerpt from "The Poet,
KIM SAT GAT",
composed by Hi-
Kyung Kim
Video 24
176 Traditional Korean Instruments: A Practical Guide for Composers

13. Playing Method with Rubbing the Fingering Holes

This is a way to create a different effect, like a trill, by rubbing one or more fingering holes as one might
quickly rub the surface of the instrument.

<Score 29>
Excerpt from "The Poet,
KIM SAT GAT",
composed by Hi-Kyung
Kim

Video 25

14. A playing Method that Changes the Tone by Using the Same
Sounding Fingering
This is a playing method that uses fingering to change the tone or change the pitch very finely when
the fingering changes. It mainly utilizes the cross fingering or harmonics playing method. Players can find
fingerings that allow fine sound changes in the fingerings of the same note in the table, “Appendix 1,” and
they can use them in this playing method.
<Score 30>
Excerpt from "The Poet, KIM
SAT GAT", composed by Hi-
Kyung Kim

Video 26

15. Method with Whispering and Mixing with Strong Pronunciation

For this technique, performers whisper while playing the instrument in a normal mouthing way. Then
pronunciation and the voice of the performer are introduced into the instrument, and at the same time the
instrument produces the wind sound. They pitch height can be changed when performers add fingering and
pronunciation to their playing.

<Score 31>
(Notation for method of whispering)
Excerpt from "The Poet, KIM SAT
GAT", composedby Hi-Kyung Kim

Video 27

<Score 32>
(Notation for mixing with strong
pronounciation) Excerpt from "The
Poet, KIM SAT GAT", composedby
Hi-Kyung Kim

Video 28
 Daegeum 177

16. Circular Breathing

This is the same as circular breathing in reed instruments. In the musical instruments of the flute system,
the action to circulate the breath is very difficult and is not used well. However, it may be possible, depending
on the performer.
<나 비 의 연 가 > 카 덴 자 中

  
이영자

        
    
  
          
 
   

  

<Score 33>

Excerpt from "Nabiui Circular
Breathing
yeonga", composed by

         
Yi Yeong-ja

 
        

3
Video 29
 
  

17. Playing Method Combined with Beat Box

This is a combination of playing a beatbox and a daegeum playing method. Performers create drum
set sounds with their mouths, such as kick drum, snare, and high hat, and combine those sounds with the
daegeum sounds.
Greg Pattillo '3 Beats for Beat Box Flute`중

<Score 34>  Rowdy


    
Excerpt from "3 Beats for
Flute", composed by Greg            
patillo

  B�  Ps�    Ps    Ps    Ps 
Video 30
     
B B B

  
           
                  
Intense and pushing forward

 
         
         7
   
 Sh ch ch k  k ch k  ch k Sh ch ch k    
f 
B B Ps B   BPsB

ch ch



                                            

 

    
 B  B PsB
  B    B B Ps B   B Ps B

  B PsB
  B 
Ps B B

  

  
178 Traditional Korean Instruments: A Practical Guide for Composers

18. Method with Tapping Holes

The players produce a percussion effect by tapping fingering holes.

Video 31
 Daegeum 179

Appendix 1. Daegeum's Harmonics and Multiphonics

< 바 탕 음 : b♭ > <바 탕 음 : b> <바 탕 음 : c>

w w b w b w b ww bw w w
w ww Lw w w
w bw b w b ww Lw
1) ● ● ● ● ● ● 2) ● ● ● ● ● 3) ● ● ● ● ● ○

w w w ww ww w w
◐

& b w b w b ww b ww w w w w
bw bw w w w w w
③ ② ④ ③ ④ ② ② ③ ④ ② ④ ③ ③ ③

< 바 탕 음 : d♭ >

nw w w
b w b n ww b w nw w nw nw bw w
w w
b w b ww b w
5) ● ● ● ●
j w� b w
4) ● ● ● ● ◐ ● ◐ ◐ 6) ● ● ● ● ○

b w Lw b w Lb ww Lw L b ww
◐

& bw b w b w b w bw bw b w
bw bw bw bw bw
② ② ④ ⑤ ③ ③ ② ⑤ � ③ ④ ④ ③

<바 탕 음 : d>

bw w w bw nw nw w b n ww
w( L w) w Lw
9) ● ● ● ● ○ ○

bw bw b b ww w w jw w w n w
8) ● ● ● ● ○

j w ( n w)j ( )
7) ● ● ● ● ○ ●

bw w b ww
◐

& bw bw bw bw j w n w j w nw j
bw bw bw j w ( n w) jw n w
② ④ ② ② ③ ③ ② ③ ②

nw w jw nw
w
j n ww b w Lw w
w
b w bL ww b ww
w bw bw bw jw
●●
10) ● ● ● ◐ 11) ● ● ● ●◐ ◐ 12) ● ● ● J ◐ ●○ J
& Lw j w jw jw jw nw nw nw nw w w w Lw
Lw Lw Lw Lw Lw Jw
③ ④ ④ ③ ③ ④ ③ ③ ③

bw nw w nw nw nw
L
bw
nw j w jn ww nw j w jn ww
13) ● ● ● ◐ ◐● 14) ● ● ● ◐ ◐ ◐ 15) ● ● ● ○ ◐ ◐

& Lw nw nw nw nw nw nw
Lw Lw Lw Lw Lw
② ③ ② ③ ② ③ ④

Lw Lw Lw Lw
18) ● ● ● ○○
bw nw n Lww
16) ● ● ● ○● 17) ● ● ● ○ ◐

bw
◐ ◐

Lw n w L w Ln ww Lw n w nw
◐

& Lw nw nw nw Lw Lw
Lw Lw Lw Lw Lw
③ ④ ③ ④ ④ ② ③

<바 탕 음 : e♭ >
w w bw w b w b ww
bw J w jw bw bw
20) ● ● ● ○ ● 21) ● ● ● ○ ● ○
bw bw jw
19) ● ● ● ○ ● ●

bw nw b w b n ww b w
◐

& bw nw nw nw nw Lw Lw Lw Lw
bw w bw bw bw bw
① ① ④ ① ③ ⑤ ① ② ② ⑤

bw bw b w b w b b ww J w bw bw J w bw J b ww
24) ● ● ● ○ ○
Jw
22) ● ● ● ○ ◐ ● 23) ● ● ● ○ ◐ ◐ ◐

bw bw b w b w bw bw bw bw bw bw bw
& bw bw b w bw bw bw bw
② ② ② ⑤ ② ② ② ② ⑤

bw bw bw bw
bw bw b b ww b b ww bw bw bw bw b ww
25) ● ● ● ○ ○ ● 26) ● ● ● ○ ○ 27) ● ● ● ○ ○ ○
J
◐

bw bw bw bw
& bw bw bw bw bw bw bw
② ② ③ ③ ③ ③ ③

<바 탕 음 : e>
28) ● ● ◐ ● ● ●
w w ww
29) ● ● ◐ ●●
w jw
◐ 30) ● ●
w
◐ ●●○
w w
w w lw lw bw w L bw b L ww
&w w w w Lw Lw
② ④ ③ ③ ③

w w w w w
b w jw w jj ww
31) ● ● ● ● 32) ● ● ● 33) ● ● ◐ ● ◐ ○

jw j
◐ ◐ ◐

bw jw jw jw jw
◐ ◐

& Lw Lw Lw Lw Lw Lw
③ ③ ③ ③ ③
180 Traditional Korean Instruments: A Practical Guide for Composers

w w w w w w
jj ww Lw nw Jw n J ww
34) ● ● ◐ ●○● 35) ● ● ◐ ●○ ◐ 36) ● ● ◐ ●○○

jw j jw nw nw nw nw
& Lw Lw Lw Lw Lw Lw
③ ④ ③ ② ③ ②

w w w
w w nw j w
37) ● ● ●● 38) ● ● ● 39) ● ● ●○
w w
◐ ◐ ◐ ◐ ◐

Lw Lw nw
◐ ◐

& Lw Lw Lw Lw Lw Lw
① ③ ③

40) ● ●
w
●
w w ○ Lw

nw j w nj ww nw j w
◐ ◐ ◐
41) ● ● 42) ● ● ◐ ◐ ◐

nw nw nw nw
◐ ◐ ◐ ◐

& Lw Lw Lw Lw Lw Lw
③ ③ ③ ③

w ○ b w Lw ○ ○ Lw
w nw bw nw j w
43) ● ● ◐ ◐ ○● 44) ● ● 45) ● ●
nw nw nw nw
◐ ◐ ◐ ◐ ◐

& Lw Lw Lw Lw Lw Lw
③ ④ ③

w w w bw Lw L w
Lw
nw w nw w
46) ● ● ◐ ○●● 47) ● ● ○●◐ ◐ 48) ● ● ○●○
◐

jw jw nw nw
& Lw Lw Lw Lw Lw Lw Lw
③ ④ ③ ③

jw
51) ● ● ○ ○
w w n w jw
◐ ◐
49) ● ● ○ ● 50) ● ● ◐ ○ ◐ ◐

nw nw nw nw nw
◐ ◐

& Lw Lw Lw Lw Lw Lw
④ ④ ③

w jw jw w jw
52) ● ● ○○● 53) ● ● ◐ ○○ ◐ 54) ● ● ◐ ○○○

n w jw
◐

nw nw nw nw nw
& Lw Lw Lw Lw Lw Lw
③ ③ ③

< 바탕음 : f >

55) ● ● ○ ● ● ●
w w w
56) ● ● ○ ● ● w Lw
57) ● ● ○ ● ● ○
w w w
w w nw L
◐

nw nw w w w
& Lw Lw Lw Lw Lw w w w
① ① ① ① ②

w w ww nw w nw w nw
jw Lw j L ww
58) ● ● ○ ● ● 59) ● ● ○ ● 60) ● ● ○ ● ○
jw jw jw jw jw
◐ ◐ ◐ ◐

w w
&w w w nw nw nw nw nw
① ② ① ③ ① ③ ③

nw w nw w w w
jw Lw w bw
61) ● ● ○ ● ○ ● 62) ● ● ○ ● ○ 63) ● ● ○ ● ○ ○
jw jw jw jw w w
◐

& nw nw nw nw w w
② ① ③ ① ②

w jw w jw w w ww
w Lw
64) ● ● ○ ●● 65) ● ● ○ ● 66) ● ● ○ ●○
w w w
◐ ◐ ◐

Lw
◐

&w w w w w w w
① ② ① ②
 Daegeum 181

67) ● ● ○
w
● w jw
68) ● ● ○
w w j ww
69) ● ● ○
w
○
w w w
w j w j
◐ ◐ ◐ ◐ ◐

w w w w w w
◐ ◐

&w w w w w w w w
① ① ① ③ ① ④ ③

w w w
w jw
jw w ww w ww
70) ● ● ○ ○● 71) ● ● ○ ○ 72) ● ● ○ ◐ ○○

w w w w w w
◐ ◐ ◐

&w w w w w w
① ④ ① ③ ① ③

w w w jw j ww w w w w
w w w w
73) ● ● ○ ○ ● ● 74) ● ● ○ ○ ● 75) ● ● ○ ○ ● ○
w w j w w w w w w
◐

w
&w w w w w w w w w w
③ ③ ③ ② ③ ④ ① ④ ④

w w w j ww
w jw j ww j ww w jw j ww w jw
76) ● ● ○ ○ ● 77) ● ● ○ ○ ◐ ◐ 78) ● ● ○ ○ ○
w w w
◐ ◐

&w w w w w w w w
① ② ④ ① ③ ① ⑤

w w
w jw j ww w ww w jw j ww
79) ● ● ○ ○ ○ ● 80) ● ● ○ ○ ○ 81) ● ● ○ ○ ○ ○
w w w w
◐

&w w w w w w w w w
① ③ ① ③ ① ③

jw nw w jw w w ww
w w ww w
82) ● ●●●● 83) ● ●●● 84) ● ●●●○
w w w w w w
◐ ◐ ◐ ◐

#w #w #w
& nw nw Lw Lw Lw Lw
③ ④ ③ ⑤ ① ③ ③

<바 탕 음 : f＃, g♭ >

w Lw w w Lw b ww L w Lw Lw
85) ● ◐ ● ● ◐ ● 86) ● ●● 87) ● ●● ○
bw bw w bw b ww bw
◐ ◐ ◐ ◐ ◐

w w w w
& #w #w #w #w #w #w #w
② ③ ① ④ ② ① ②

w Lw L ww w w Lw w w Lw Lw
88) ● ●●○● 89) ● ●●○ 90) ● ●●○○

Lw j w L w Ljww j w Lw j w Ljww j w
◐ ◐ ◐ ◐

Lw Lw Lw
& #w #w #w #w #w #w #w #w #w #w
① ④ ② ② ③ ③ ③ ① ③ ③

J w bw Jw bw J w nw J w nw
91) ● ◐ ● ◐ ○ ○ 92) ● ◐ ● ◐ ● ◐ 93) ● ◐ ● ◐ ● ○

w bw w b ww w b w w w w w w w ww
& bw bw bw bw bw bw
① ③ ③ ③ ② ② ④

Lw b w J w bw Jw Jw J w bw Jw
94) ● ◐ ● ◐ ◐ ● 95) ● ◐ ● ◐ ◐ ◐ 96) ● ◐ ● ◐ ◐ ○
Lw
w w w ww w w w w w w bw w w
& bw bw bw bw bw bw bw
① ③ ③ ② ④ ③ ② ③

w bw J w bw Jw J w bw Jw
97) ● ◐ ● ◐ ○ ● 98) ● ◐ ● ◐ ○ ◐ 99) ● ◐ ● ◐ ○ ○
w
w w w w w w w bw w w
& bw bw bw bw bw bw
② ② ② ② ② ③
182 Traditional Korean Instruments: A Practical Guide for Composers

J w nw w bw nw w bw nw
100)● ◐ ● ○ ● ● 101) ● ◐ ● ○ ● ◐ 102) ● ◐ ● ○ ● ○
Jw bw
bw w bw bw w j w w w w
& bw bw bw bw bw bw
② ② ③ ① ②

bw bw bw bw bw bw bw bw
103) ● ◐ ● ○ ◐ ● 104) ● ◐ ● ○ ◐ ◐ 105) ● ◐ ● ○ ◐ ○

w w w w w w w w jw w j ww
& bw bw bw bw bw bw
③ ③ ② ③ ② ③

bw bw bw bw bw bw bw bw bw
106) ● ◐ ● ○ ○ ● 107) ● ◐ ● ○ ○ ◐ 108)● ◐ ● ○ ○ ○

Jw w Jw Jw Jw Jw Jw Jw w Jw Jw
& bw bw bw bw bw bw
② ② ③ ② ② ②

w Jw w Jw Jw
109)● ◐ ◐ ● ● ● 110) ● ◐ ◐ ● ● ◐ 111) ● ◐ ◐ ● ● ○

bw bw jw w jw j ww n w Jw nw nw
& bw bw bw bw jw jw
② ① ③ ① ③

w Jw w Jw Jw J w
112) ● ◐ ◐ ● ◐ ● 113) ● ◐ ◐ ● ◐ ◐ 114) ● ◐ ◐ ● ◐ ○

jw jw j ww Jw Jw J ww Jw Jw Jw
Jw
& bw bw bw bw bw bw
① ② ① ③ ① ④

w Jw Jw J w Jw Jw J w Jw
115)● ◐ ◐ ● ○ ● 116)● ◐ ◐ ● ○ ◐ 117) ● ◐ ◐ ● ○ ○
w
J w jw Jw JJ w Jw Jw Jw Jw Jw Jw
& bw bw bw bw bw bw
① ④ ② ② ① ①

w Jw
Jw
w Jw Jw J w
118) ● ◐ ◐ ◐ ● ● 119)● ◐ ◐ ◐ ● ◐ 120)● ◐ ◐ ◐ ● ○

bw bw b ww b ww Jw Jw Jw Jw
& bw bw bw bw bw bw
② ④ ④ ③ ②

Jw Jw Jw Jw Jw J w Jw
121)● ◐ ◐ ◐ ◐ ● 122) ● ◐ ◐ ◐ ◐ ◐ 123) ● ◐ ◐ ◐ ◐ ○

Jw j w J w Jjww j w Jw w Jw J ww J ww Jw Jw Jw
& bw bw bw bw bw bw
① ④ ③ ② ④ ④ ① ②

124) ● ◐ ◐ ◐ ○ ● 125) ● ◐ ◐ ◐ ○ ◐ 126) ● ◐ ◐ ◐ ○ ○

bw w bw bw
b ww
bw w bw bw b ww
bw
bw Jw
Jw
Jw
Jw
Jw
& bw bw bw bw bw bw
① ③ ① ④ ③ ② ③

w Jw w Jw Jw JJ ww
127)● ◐ ◐ ○ ● ● 128) ● ◐ ◐ ○ ● ◐ 129) ● ◐ ◐ ○ ● ○

bw bw bw bw b w Jw bw
& bw bw bw bw bw bw
② ③ ④ ③

w bw bw
130)● ◐ ◐ ○ ◐ ● 131) ● ◐ ◐ ○ ◐ ◐ 132) ● ◐ ◐ ○ ◐ ○

Jw w Jw bw bw bw bw
& bw bw bw bw bw bw
④ ② ②
 Daegeum 183

w bw b ww w bw w bw
133) ● ◐ ◐ ○ ○ ● 134) ● ◐ ◐ ○ ○ ◐ 135) ● ◐ ◐ ○ ○ ○

bw bw b w Jw bw bw bw b ww
& bw bw bw bw bw bw
③ ③ ③ ③ ③

w bw jw b w
bw
jb ww J w Jw
Jw Jw
136) ● ◐ ○ ● ● ● 137) ● ◐ ○ ● ● ◐ 138) ● ◐ ○ ● ● ○

bw bw jw Jw
& bw bw bw bw jw jw jw
② ② ③ ① ①

Jw J w Jw Jw J w Jw bw Jw
139) ● ◐ ○ ● ◐ ● 140)● ◐ ○ ● ◐ ◐ 141)● ◐ ○ ● ◐ ○
277
jw jw jw bw bw bw bw bw
&jw jw jw jw jw jw
② ② ② ③ ③

Jw Jw Jw Jw Jw Jw
142) ● ◐ ○ ● ○ ● 143) ● ◐ ○ ● ○ ◐ 144) ● ◐ ○ ● ○ ○
283
bw w bw bw b w Jw bw bw bw bw bw b b ww bw
&jw jw jw jw jw jw
③ ③ ② ③ ② ③ ③

w Jw Jw J w Jw J w
145) ● ◐ ○ ◐ ● ● 146) ● ◐ ○ ◐ ● ◐ 147) ● ◐ ○ ◐ ● ○
Jw
289
bw bw bw bw bw bw bw
&jw jw jw jw jw jw jw
② ② ③ ③

Jw Jw bw bw
148) ● ◐ ○ ◐ ◐ ● 149) ● ◐ ○ ◐ ◐ ◐ 150) ● ◐ ○ ◐ ◐ ○
295
b w Jw bw b w Jw bw bJ ww bw bw bw bw
&jw jw jw jw jw jw
③ ② ④ ② ③

Jw b w bw Jw Jw
w bw bw
151) ● ◐ ○ ◐ ○ ● 152) ● ◐ ○ ◐ ○ ◐ 153) ● ◐ ○ ◐ ○ ○
301
bw bw bw bw bw bw bw bw
&jw jw jw jw jw jw
② ② ④ ② ②

Jw
154) ● ◐ ○ ○ ● ●
Jw
155) ● ◐ ○ ○ ● ◐
Jw
156) ● ◐ ○ ○ ● ○
307
jw J w jw b w Jw bw b w Jw bw
&jw jw jw jw jw jw
① ② ②

bw bw bw
157) ● ◐ ○ ○ ◐ ● 158) ● ◐ ○ ○ ◐ ◐ 159) ● ◐ ○ ○ ◐ ○
313
b w Jw bw bw bw bw bw bw bw
&jw jw jw jw jw jw
② ③ ②

bw
160) ● ◐ ○ ○ ○ ● 161) ● ◐ ○ ○ ○ ◐ 162) ● ◐ ○ ○ ○ ○

bw Jw bw jw bw jw J w
jw jw
&jw jw jw jw jw jw
③ ② ③

w nw Jw
163) ● ○ ● ● ● ● 164) ● ○ ● ● ● ◐ 165) ● ○ ● ● ● ○

jw jw nw w nw n ww nw bw nw
& bw bw jw jw jw jw
① ① ④ ①
184 Traditional Korean Instruments: A Practical Guide for Composers

< 바탕음 : g >

w bw bw bw bw
166) ● ○ ● ● ◐ ● 167) ● ○ ● ● ◐ ◐ 168) ● ○ ● ● ◐ ○
331
nw nw Jw bw w Jw Jw bw bw J w b w b b ww b w
& jw jw jw jw nw nw nw nw
② ① ③ ③ ③ ③

w bw n ww w bw J ww J ww bw bw
bw
b b ww
bw
169) ● ○ ● ● ○ ● 170) ● ○ ● ● ○ ◐ 171) ● ○ ● ● ○ ○
337
nw nw Jw Jw bw bw
& nw nw nw nw nw nw nw nw
① ③ ① ③ ③ ① ③ ②

172) ● ○ ● ◐ ○ ○
bw bw J w nw
173) ● ○ ● ◐ ● ◐
bw bw nw
174) ● ○ ● ◐ ● ◐
343
bw bw bw bw bw bw bw
& nw nw nw nw nw nw
① ② ① ②

w bw w bw bw bw bw
175) ● ○ ● ◐ ◐ ● 176) ● ○ ● ◐ ◐ ◐ 177) ● ○ ● ◐ ◐ ○
349
nw nw n ww bw bw b ww bw bw bw bw b b ww bw
& nw nw nw nw nw nw nw nw
② ② ① ② ② ① ③ ③

Jw bw Jw w bw bw bw bw bw
178) ● ○ ● ◐ ○ ● 179) ● ○ ● ◐ ○ ◐ 180) ● ○ ● ◐ ○ ○
w
355
bw bw nw nw nw bw bw bw
& nw nw nw nw nw nw nw nw
① ② ② ④ ③ ① ①

bw nw nw bw nw nw
jw J w bw bw
181) ● ○ ● ○ ● ● 182) ● ○ ● ○ ● ◐ 183) ● ○ ● ○ ● ○
361
jw w jw jw jw bw
& nw nw nw nw nw nw
① ③ ② ②

bw bw bw bw bw bw bw bw bw
184)● ○ ● ○ ◐ ● 185) ● ○ ● ○ ◐ ◐ 186) ● ○ ● ○ ◐ ○
367
bw w bw bw jw J w jw jw jw jw jw jw
& nw nw nw nw nw nw
② ③ ② ④ ③ ① ②

bw jw jw bw jw jw bw bw
187) ● ○ ● ○ ○ ● 188)● ○ ● ○ ○ ◐ 189) ● ○ ● ○ ○ ○
373
bw w bw bw jw w jw jw jw jw jw
& nw nw nw nw nw nw
② ② ① ② ① ②

w bw nw Jw
bw
nw bw
bw b bn www
190) ● ○ ◐ ● ● ○ 191) ● ○ ◐ ● ● ◐ 192) ● ○ ◐ ● ● ○
379
jw jw nw nw
& nw nw nw nw nw nw
① ① ① ④

w bw n ww
bw
jw b w
bw bw
jw b w
bw
jb ww
bw
193) ● ○ ◐ ● ◐ ● 194)● ○ ◐ ● ◐ ◐ 195)● ○ ◐ ● ◐ ○
385
nw nw nw jw jw jw jw
& nw nw nw nw nw nw
① ② ② ② ② ② ③ ③

w bw bw bw jw b w bw
196) ● ○ ◐ ● ○ ● 197) ● ○ ◐ ● ○ ◐ 198) ● ○ ◐ ● ○ ○
391
bw bw b ww jw b w jw jw jw jw jjww jw
& nw nw nw nw nw nw nw nw
② ③ ② ③ ① ③ ②
 Daegeum 185

bw bw bw
199) ● ○ ◐ ◐ ● ● 200) ● ○ ◐ ◐ ● ◐ 201) ● ○ ◐ ◐ ● ○

397
n wb w n w jw bw jw bw jb ww jw bw j w jb ww
& nw nw nw nw nw nw nw
② ② ③ ③ ② ④

w bw bw bw bw bw
202) ● ○ ◐ ◐ ◐ ● 203) ● ○ ◐ ◐ ◐ ◐ 204) ● ○ ◐ ◐ ◐ ○
403
jw jw jw b w jw jw jw b w jw jb ww jw
& nw nw nw nw nw nw
② ① ③ ② ④ ③

205) ● ○ ◐ ◐ ○ ● 206) ● ○ ◐ ◐ ○ ◐ 207) ● ○ ◐ ◐ ○ ○

J w bw bw bw bw bw bw
409
jw jw jJ ww jw jw b w jw jb ww jw jw jw jw
& nw nw nw nw nw nw
② ⑤ ③ ② ④ ③ ② ③

bw
208) ● ○ ◐ ○ ● ○
bw Jw
209) ● ○ ◐ ○ ● ◐
bw Jw
210) ● ○ ◐ ○ ● ○
415
nw bw nw jw b w jw nw bw nw
& nw nw nw nw nw nw
② ② ②

bw
211) ● ○ ◐ ○ ◐ ●
b b ww bw bw
212) ● ○ ◐ ○ ◐ ◐
bw bw bw
213) ● ○ ◐ ○ ◐ ○
bw
421
jw b w jw bw
jw nw nw nw nw nw nw
& nw nw nw nw nw nw nw
① ③ ③ ② ③ ② ③

jw bjj www jw jw jw jw
214) ● ○ ◐ ○ ○ ● 215) ● ○ ◐ ○ ○ ◐ 216) ● ○ ◐ ○ ○ ○
427
jw b w jw nw bw nw nw nw bw nw nw
& nw nw nw nw nw nw
② ③ ② ③ ② ③

bw bw bw bw bw bw bw
217) ● ○ ○ ● ● ● 218) ● ○ ○ ● ● ◐ 219) ● ○ ○ ● ● ○
433
nw nw nw nw nw nw jw b w jw bw
& nw nw nw nw nw nw nw
② ③ ① ③ ② ②

bw
220) ● ○ ○ ● ◐ ●
bw bw
221) ● ○ ○ ● ◐ ◐
bw bw
222) ● ○ ○ ● ◐ ○
439
nw bw nw nw jw b w jw jb ww jw jw b w jw bw
jw
& nw nw nw nw nw nw
② ③ ② ④ ③ ② ③

bw bw bw bw bw bw
jw b w nw bw n w Jw J ww
223) ● ○ ○ ● ○ ● 224)● ○ ○ ● ○ ◐ 225) ● ○ ○ ● ○ ○
445
jw jw nw nw w jw
& nw nw nw nw nw w
② ③ ② ② ② ④ ③

bw bw bw bw
226) ● ○ ○ ◐ ● ● 227)● ○ ○ ◐ ● ◐ 228) ● ○ ○ ◐ ● ○
451
nw bw nw nw jw b w jw bw jw b w jw bw
& nw nw nw nw nw nw nw w
① ③ ② ③ ② ③

bw bw bw bw bw
229) ● ○ ○ ◐ ◐ ● 230) ● ○ ○ ◐ ◐ ◐ 231) ● ○ ○ ◐ ◐ ○
457
jw b w jw bw w jw b w jw jb ww jw n w Jw nw
& nw nw nw nw nw nw nw
① ③ ③ ② ④ ④ ②
186 Traditional Korean Instruments: A Practical Guide for Composers

bw bw bw
nw bw nw bw nw bw
232) ● ○ ○ ◐ ○ ● 233) ● ○ ○ ◐ ○ ◐ 234) ● ○ ○ ◐ ○ ○
463
nw nw nw
& nw nw nw nw nw nw
② ② ②

bw bw bw
nw bw n w jw nj ww nw bw
235) ● ○ ○ ○ ● ● 236) ● ○ ○ ○ ● ◐ 237) ● ○ ○ ○ ● ○
469
nw nw nw
& nw nw nw nw nw nw nw
② ② ④ ①

bw bw bw bw bw jw b w
238) ● ○ ○ ○ ◐ ● 239) ● ○ ○ ○ ◐ ◐ 240) ● ○ ○ ○ ◐ ○
475
nw nw nw nw nw nw nw
& nw nw nw nw nw nw
② ④ ② ②

jw jw jw
241) ● ○ ○ ○ ○ ● 242) ● ○ ○ ○ ○ ◐ 243) ● ○ ○ ○ ○ ○
481
nw bw nw nw bw nw nw bw nw
& nw nw nw nw nw nw
② ② ②

Lw L w Lw L w
244) ◐ ● ● ● ● ● 245)◐ ● ● ● ● ◐ 246)◐ ● ● ● ● ○
w
w bw w b ww Lw Lw Lw Lw
& nw bw n b ww w w
487

w nw w nw
③ ③ ⑤ ③ ③

J w ∫J w bw
247) ◐ ● ● ● ◐ ● 248) ◐ ● ● ● ◐ ◐ 249) ◐ ● ● ● ◐ ○

493
Lw Lw Lw bw bw bw bw bw
& Lw Lw Jw Jw bw bw
④ ③ ①

bw
250)◐ ● ● ● ○ ● 251)◐ ● ● ● ○ ◐ 252)◐ ● ● ● ○ ○
Jw
499
bw bw jw bw jw nw bw nw
& bw bw Jw Jw Jw Jw
③ ① ①

253) ◐ ● ● ◐ ○ ○
bw bw
254)◐ ● ● ◐ ● ◐
bw
255)◐ ● ● ◐ ● ○
505 nw nw nw bw nw bw bw bw
&J w Jw Jw Jw bw bw
① ② ①

j < 바 탕 음 : Ab >
髋ꧮ鮲뎦ꌆꕒ&

bw bw bw bw
ꏦꁪ&駖ꁻ
256)◐ ● ● ◐ ◐ ● 257)◐ ● ● ◐ ◐ ◐ 258) ◐ ● ● ◐ ◐ ○
Jw Jw
511 Jw Jw Jw nw nw nw nw
&Jw Jw Jw Jw Jw bw bw
③ ② ② ②
髋뭿ꭚ앞돊뎊뛚驙
j
髋ꧮ鮲뎦ꌆꕒ&
ꏦꁪ&駖ꁻ j
髋ꧮ鮲뎦ꌆꕒ&
ꏦꁪ&駖ꁻ

Jw Jw Jw bw n b ww bw
259)◐ ● ● ◐ ○ ● 260)◐ ● ● ◐ ○ ◐ 261) ◐ ● ● ◐ ○ ○
517
w w nw nw nw nw
& bw bw bw bw bw bw bw bw
② ④ ② ④ ①
髋ꧮ鮲뭿ꭚ앞

bw bw Jw bw Jw
돊뎊뛚驙

jw bw bw bw
262) ◐ ● ● ○ ● ● 263)◐ ● ● ○ ● ◐ 264) ◐ ● ● ○ ● ○
523
w jw j ww jw jw nw nw nw
&Jw bw bw bw bw bw bw bw
③ ② ③ ① ④
 Daegeum 187

bw bw
265)◐ ● ● ○ ◐ ● 266)◐ ● ● ○ ◐ ◐ 267)◐ ● ● ○ ◐ ○
bw bw bw bw
529
J w jw jw Jw bw bw b w Jw Jw
& bw bw bw bw bw bw bw bw bw
③ ④ ⑤ ② ② ①

268)◐ ● ● ○ ○ ● 269)◐ ● ● ○ ○ ◐ 270)◐ ● ● ○ ○ ○

bw bw bw bw
535
J w jw Jw jw bw bw b b ww bw bw b b ww
& bw bw bw w bw bw bw bw
④ ④ ③ ② ②

Jw Jw bw
271)◐ ● ◐ ● ● ● 272) ◐ ● ◐ ● ● ◐ 273) ◐ ● ◐ ● ● ○
541 Jw Jw Jw Jw bw bw
& bw bw bw bw bw bw
④ ④ ③

Jw Jw bw
274)◐ ● ◐ ● ◐ ● 275) ◐ ● ◐ ● ◐ ◐ 276) ◐ ● ◐ ● ◐ ○
547 Jw Jw jw nw nw
& bw bw bw bw bw
④ ③

bw bw bw
277)◐ ● ◐ ● ○ ● 278)◐ ● ◐ ● ○ ◐ 279) ◐ ● ◐ ● ○ ○
553 bw bw bw nw nw bw nw nw
& bw bw jw bw bw bw
④ ④ ④

Jw bw bw
280) ◐ ● ◐ ◐ ● ● 281) ◐ ● ◐ ◐ ● ◐ 282) ◐ ● ◐ ◐ ● ○
559
w bw bw jw jw
& bw bw bw bw bw
④ ④

bw bw bw bw bw
283)◐ ● ◐ ◐ ◐ ● 284)◐ ● ◐ ◐ ◐ ◐ 285) ◐ ● ◐ ◐ ◐ ○
565 Jw Jw w w w
& bw bw bw bw bw bw
④ ⑤ ④

286)◐ ● ◐ ◐ ○ ● 287)◐ ● ◐ ◐ ○ ◐ 288)◐ ● ◐ ◐ ○ ○

bw bw bw bw bw bw
571
w w w
& bw bw bw bw bw bw
③ ③ ③

bw bw bw bw bw
289) ◐ ● ◐ ○ ● ● 290)◐ ● ◐ ○ ● ◐ 291)◐ ● ◐ ○ ● ○
577
w w w w
& bw bw bw bw bw bw
⑤ ④ ⑤

292) ◐ ● ◐ ○ ◐ ● 293)◐ ● ◐ ○ ◐ ◐ 294)◐ ● ◐ ○ ◐ ○

bw bw bw bw bw bw
583
w w w w w
& bw bw bw bw bw bw bw
③ ③ ⑤ ④

jw jw jw jw jw jw
295)◐ ● ◐ ○ ○ ● 296)◐ ● ◐ ○ ○ ◐ 297)◐ ● ◐ ○ ○ ○
589
w w w w w
& bw bw bw bw bw bw
③ ③ ③
188 Traditional Korean Instruments: A Practical Guide for Composers

298) ◐ ● ○ ● ● ● 299) ◐ ● ○ ● ● ◐ 300) ◐ ● ○ ● ● ○

w w w w
595
w bw #w bw bw #w bw
& bw bw bw bw bw
④ ③

Jw w w
301)◐ ● ○ ● ◐ ● 302) ◐ ● ○ ● ◐ ◐ 303)◐ ● ○ ● ◐ ○
601 Jw Jw w w
& bw bw bw bw
④

304)◐ ● ○ ● ○ ●
bw
305) ◐ ● ○ ● ○ ◐
Jw Jw
306) ◐ ● ○ ● ○ ○
Jw Jw
607 bw bw nw nw nw nw
& bw bw bw bw
④ ⑤ ⑤

307) ◐ ● ○ ◐ ● ●
w 308) ◐ ● ○ ◐ ● ◐
w 309) ◐ ● ○ ◐ ● ○
w
613
w w #w w w #w w
& bw bw bw bw bw
⑤ ⑤

310)◐ ● ○ ◐ ◐ ● 311) ◐ ● ○ ◐ ◐ ◐ 312) ◐ ● ○ ◐ ◐ ○

w w
619
w w w #w w w #w w
& bw bw bw bw bw bw
⑤ ⑤ ③

w w w w w
313) ◐ ● ○ ◐ ○ ● 314) ◐ ● ○ ◐ ○ ◐ 315) ◐ ● ○ ◐ ○ ○
625
w #w w w w
& bw bw bw bw bw bw
④ ④ ⑤

316)◐ ● ○ ○ ● ●
w 317)◐ ● ○ ○ ● ◐ 318)◐ ● ○ ○ ● ○ bw
631
w #w w w #w # ww w w
& bw bw bw bw bw bw
⑤ ③ ④

w # ww w w w w
319) ◐ ● ○ ○ ◐ ● 320)◐ ● ○ ○ ◐ ◐ 321)◐ ● ○ ○ ◐ ○
637
w #w w #w w w w
& bw bw bw bw bw bw
② ③ ④

w w w w
322) ◐ ● ○ ○ ○ ● 323) ◐ ● ○ ○ ○ ◐ 324) ◐ ● ○ ○ ○ ○
643
w #w # ww w #w #w w
& bw bw bw bw bw bw
③ ③ ④

Jw Jw bw J w
325) ◐ ◐ ● ● ● ● 326) ◐ ◐ ● ● ● ◐ 327) ◐ ◐ ● ● ● ○

649 bw bw bw bw bw bw w bw
& bw bw bw bw bw bw
⑤ ⑤ ⑤

328)◐ ◐ ● ● ◐ ● 329)◐ ◐ ● ● ◐ ◐ 330)◐ ◐ ● ● ◐ ○

Jw Jw bw bw bw bw
655
bw bw bw bw bw bw bw
& bw bw bw bw bw bw
② ② ⑤ ② ⑤
 Daegeum 189

331) ◐ ◐ ● ● ○ ● 332) ◐ ◐ ● ● ○ ◐ 333) ◐ ◐ ● ● ○ ○

661 bw bw bw b b ww jw bw jw w bw w
& bw bw bw bw bw bw bw
③ ③ ③ ③

bw bw Jw Jw
bw bw bw bw b ww
334) ◐ ◐ ● ◐ ○ ○ 335) ◐ ◐ ● ◐ ● ◐ 336) ◐ ◐ ● ◐ ● ○
667
w w w bw bw
& bw bw bw bw bw bw bw bw
④ ③ ④ ③ ②

bw b b ww bw bw bw bw bw
337)◐ ◐ ● ◐ ◐ ● 338)◐ ◐ ● ◐ ◐ ◐ 339)◐ ◐ ● ◐ ◐ ○
bw
673

w w w w w
& bw bw bw bw bw bw bw bw
② ③ ② ② ②

340) ◐ ◐ ● ◐ ○ ●
bw bw 341) ◐ ◐ ● ◐ ○ ◐
bw bw bw 342) ◐ ◐ ● ◐ ○ ○
bw bw
679
w w w w w w w
& bw bw bw bw bw bw bw bw bw
② ② ② ④ ③ ②

Jw bw Jw bw Jw
343)◐ ◐ ● ○ ● ● 344) ◐ ◐ ● ○ ● ◐ 345)◐ ◐ ● ○ ● ○

685 Jw b w Jw
bw
Jw w w
bw
w w
bw
& bw bw bw bw bw bw bw bw bw
② ② ④ ② ④ ②

bw Jw bw bw bw bw bw
346)◐ ◐ ● ○ ◐ ● 347)◐ ◐ ● ○ ◐ ◐ 348)◐ ◐ ● ○ ◐ ○
691
w w w w w w
& bw bw bw bw bw bw bw bw bw
④ ② ④ ② ③ ③

bw bw bw bw bw bw
349)◐ ◐ ● ○ ○ ● 350)◐ ◐ ● ○ ○ ◐ 351)◐ ◐ ● ○ ○ ○
697
w w w w bw w w
& bw bw bw bw bw bw bw bw w
③ ② ③ ② ④ ②

bw bw bw bw
352) ◐ ◐ ◐ ● ● ● 353) ◐ ◐ ◐ ● ● ◐ 354)◐ ◐ ◐ ● ● ○
703 bw bw bw bw bw w
& bw bw bw bw bw bw bw
④ ④ ⑤ ⑤

Jw bw
Jw bw bw bw bw bw
355) ◐ ◐ ◐ ● ◐ ● 356) ◐ ◐ ◐ ● ◐ ◐ 357)◐ ◐ ◐ ● ◐ ○
709
bw Jw Jw w w
& bw bw bw bw bw bw bw bw
③ ③ ④ ④ ⑤

Jw b w Jw
358) ◐ ● ◐ ● ○ ● 359) ◐ ◐ ◐ ● ○ ◐ 360)◐ ◐ ◐ ● ○ ○
bw bw Jw b w Jw Jw bw
715
w w nw w w
& bw bw bw bw w bw bw bw
② ⑤ ④ ② ④ ②

Jw J w bw bw bw bw
361)◐ ◐ ◐ ◐ ● ● 362) ◐ ◐ ◐ ◐ ● ◐ 363) ◐ ◐ ◐ ◐ ● ○
721
bw bw bw bw w
& bw bw bw bw bw
④ ④
190 Traditional Korean Instruments: A Practical Guide for Composers

bw w
bw bw bw bw bw bw
364)◐ ◐ ◐ ◐ ◐ ● 365)◐ ◐ ◐ ◐ ◐ ◐ 366)◐ ◐ ◐ ◐ ◐ ○
727 Jw w w w w w nw
& bw bw bw bw bw bw bw bw bw
③ ③ ③ ② ⑤ ③

bw bw bw bw b w Jw bw
367) ◐ ◐ ◐ ◐ ○ ● 368)◐ ◐ ◐ ◐ ○ ◐ 369)◐ ◐ ◐ ◐ ○ ○
733 bw bw w w w w w
& bw bw bw bw bw bw bw bw bw
⑤ ③ ⑤ ④ ④ ③

Jw bw Jw bJ ww Jw Jw
Jw bw bw
370)◐ ◐ ◐ ○ ● ● 371)◐ ◐ ◐ ○ ● ◐ 372)◐ ◐ ◐ ○ ● ○

Jw bw
739
w w w w w
& bw bw bw bw bw bw bw
⑤ ④ ④ ⑤ ⑤ ③

bw bw bw bw jw jw
373)◐ ◐ ◐ ○ ◐ ● 374)◐ ◐ ◐ ○ ◐ ◐ 375) ◐ ◐ ◐ ○ ◐ ○
745 Jw Jw Jw Jw w w
& bw bw bw bw bw bw bw bw bw
③ ③ ③ ③ ⑤ ⑤

jw
376)◐ ◐ ◐ ○ ○ ●
jw jw 377)◐ ◐ ◐ ○ ○ ◐
bw bw bw 378)◐ ◐ ◐ ○ ○ ○
jw
751
w w w w w w w w
& bw bw bw bw bw bw bw bw
⑤ ④ ⑤ ⑤ ③ ④ ④

Jw bw bw bw bw bw
bw bw b w jw
379) ◐ ◐ ○ ● ● ● 380) ◐ ◐ ○ ● ● ◐ 381)◐ ◐ ○ ● ● ○
757 bw bw bw bw bw bw w
& bw bw bw bw bw bw
⑤ ⑤ ⑤ ④ ④ ④

bw bw bw bw bw bw bw bw
bw Jw bw
382) ◐ ◐ ○ ● ◐ ● 383) ◐ ◐ ○ ● ◐ ◐ 384) ◐ ◐ ○ ● ◐ ○
763
bw bw nw nw nw w w w
& bw bw bw bw bw bw bw
④ ④ ④ ③ ④ ⑤ ⑤

bw bw bw bw bw bw bw
bw bw Jw b w J w jw
385) ◐ ◐ ○ ● ○ ● 386) ◐ ◐ ○ ● ○ ◐ 387)◐ ◐ ○ ● ○ ○
769 bw bw bw Jw Jw bw bw
& bw bw bw bw bw bw bw
④ ③ ③ ③ ③ ④ ④

bw bw Jw Jw Jw Jw
bw bw b w jw J w jw Jjww
388)◐ ◐ ○ ◐ ● ● 389)◐ ◐ ○ ◐ ● ◐ 390)◐ ◐ ○ ◐ ● ○
775
bw bw bw bw Jw
& bw bw bw bw bw bw
④ ④ ③ ③ ④ ④

bw bw bw bw bw bw
391) ◐ ◐ ○ ◐ ◐ ● 392) ◐ ◐ ○ ◐ ◐ ◐ 393)◐ ◐ ○ ◐ ◐ ○
781 Jw b w Jw Jw J w jw Jw Jw Jw b w Jw Jw
& bw bw bw bw bw bw
③ ③ ③ ④ ④ ④

bw
394) ◐ ◐ ○ ◐ ○ ●
bw bw bw
395)◐ ◐ ○ ◐ ○ ◐
jb ww bw
396)◐ ◐ ○ ◐ ○ ○
bw
787
Jw b w bw Jw Jw jw Jw Jj ww J w jw Jw Jw
& bw bw bw bw bw bw bw
② ③ ④ ③ ④ ④ ④ ④
 Daegeum 191

bw jb ww bw jb ww bw
J w jw Jj ww J w jw Jj ww J w jw Jj ww
397) ◐ ◐ ○ ○ ● ● 398) ◐ ◐ ○ ○ ● ◐ 399)◐ ◐ ○ ○ ● ○
793 Jw Jw Jw
& bw bw bw bw bw bw
③ ④ ⑤ ③ ④ ⑤ ② ④

jw jw jw bw
Jj ww J w jw
400) ◐ ◐ ○ ○ ◐ ● 401)◐ ◐ ○ ○ ◐ ◐ 402) ◐ ◐ ○ ○ ◐ ○
799 Jw Jw Jw Jw Jw
& bw bw bw bw bw bw bw
③ ④ ③ ⑤ ⑤

jw jw jw
403) ◐ ◐ ○ ○ ○ ● 404) ◐ ◐ ○ ○ ○ ◐ 405) ◐ ◐ ○ ○ ○ ○
805
Jw Jw Jw Jw Jw Jw
& bw bw bw bw bw bw
③ ③ ③

Jw J w Jw Jw Jw
406) ◐ ○ ● ● ● ● 407)◐ ○ ● ● ● ◐ 408)◐ ○ ● ● ● ○
811 bw bw bw Jw bw bw Jw bw bJ ww bw
& bw bw bw bw bw bw
③ ③ ③ ⑤ ⑤

Jw Jw Jw Jw
409)◐ ○ ● ● ◐ ● 410)◐ ○ ● ● ◐ ◐ 411)◐ ○ ● ● ◐ ○
Jw
817
bw bw bw bw bw bw
& bw bw bw bw bw bw
④ ④ ②

412)◐ ○ ● ● ○ ● 413)◐ ○ ● ● ○ ◐ 414)◐ ○ ● ● ○ ○

bw Jw bw bJ ww Jw jJ ww nw bw bw
823
jw jw (w) w n ww n w n w
& bw bw bw bw bw bw bw bw b w bw b w
② ④ ③ ③ ③ ③ ② ④

bw Jw Jw
Jb ww bw bw bw bw b b ww
415)◐ ○ ● ◐ ○ ○ 416)◐ ○ ● ◐ ● ◐ 417) ◐ ○ ● ◐ ● ○
829 Jw Jw bw bw
& bw bw bw bw bw bw bw bw
③ ④ ③ ② ④

bw b b ww bw bw bw b b ww
418) ◐ ○ ● ◐ ◐ ● 419) ◐ ○ ● ◐ ◐ ◐ 420) ◐ ○ ● ◐ ◐ ○
835 bw bw w w w bw bw
& bw bw bw bw bw bw bw bw
④ ③ ④ ③ ④ ②

bw Jb ww bw b b ww bw Jb ww
421) ◐ ○ ● ◐ ○ ● 422) ◐ ○ ● ◐ ○ ◐ 423) ◐ ○ ● ◐ ○ ○
841 Jw Jw Jw bw Jw Jw
& bw bw bw bw bw bw
③ ② ④ ③ ③ ②

Jw Jw Jw
bw bw Jw bw bw bw Jw bw Jb ww
424) ◐ ○ ● ○ ● ● 425) ◐ ○ ● ○ ● ◐ 426) ◐ ○ ● ○ ● ○
847
bw Jw Jw Jw
& bw bw bw bw bw bw bw bw
③ ③ ④ ② ③ ④

bw Jw
Jb ww bw Jb ww Jw bw Jb ww
427) ◐ ○ ● ○ ◐ ● 428) ◐ ○ ● ○ ◐ ◐ 429) ◐ ○ ● ○ ◐ ○
853 Jw Jw Jw Jw Jw
& bw bw bw bw bw bw
① ② ② ③ ③ ④
192 Traditional Korean Instruments: A Practical Guide for Composers

bw bw w
Jw bw bw Jb ww w J ww
430) ◐ ○ ● ○ ○ ● 431) ◐ ○ ● ○ ○ ◐ 432) ◐ ○ ● ○ ○ ○
859 Jw jw Jw Jw Jw Jw
& bw bw bw bw bw bw bw bw
④ ② ③ ⑤ ④ ③ ④

Jw bw bw
J ww bw bw Jw
433) ◐ ○ ◐ ● ● ● 435) ◐ ○ ◐ ● ● ○
J 434) ◐ ○ ●●
Jw Jw bw bw bw bw
◐ ◐
865

& bw bw bw bw bw bw
④ ④ ④ ③ ⑤

Jw Jw JJ ww w bw bw
436)◐ ○ ◐ ● ◐ ● 437)◐ ○ ◐ ● ◐ ◐ 438)◐ ○ ◐ ● ◐ ○
871 Jw Jw Jw Jw Jw Jw Jw
& bw bw bw bw bw bw
⑤ ③ ② ④ ⑤

Jw Jw Jw bw bw
JJ ww J w jw
439) ◐ ○ ◐ ● ○ ● 440) ◐ ○ ◐ ● ○ ◐ 441) ◐ ○ ◐ ● ○ ○
877 bw bw bw Jw Jw Jw Jw
& bw bw bw bw bw bw
③ ③ ③ ③ ③ ④

bw bw w bw
J w jw
442) ◐ ○ ◐ ◐ ● ● 443) ◐ ○ ◐ ◐ ● ◐ 444) ◐ ○ ◐ ◐ ● ○
883 bw bw bw Jw bw
& bw bw bw bw bw bw
③ ③ ④

bw bw w jw
445) ◐ ○ ◐ ◐ ◐ ● 446) ◐ ○ ◐ ◐ ◐ ◐ 447) ◐ ○ ◐ ◐ ◐ ○
889 Jw Jw Jw Jw Jw Jw
& bw bw bw bw bw bw
③ ④ ④

jw jw jw jw jw
448) ◐ ○ ◐ ◐ ○ ● 449) ◐ ○ ◐ ◐ ○ ◐ 450) ◐ ○ ◐ ◐ ○ ○

895
Jw bw Jw J w jw Jw Jw J w jw Jw Jw
& bw bw bw bw bw bw
③ ③ ⑤ ③ ⑤

451) ◐ ○ ◐ ○ ● ●
Jw 452) ◐ ○ ◐ ○ ● ◐
Jw 453) ◐ ○ ◐ ○ ● ○
Jw
901 J w jw Jw J w jw Jw Jj ww J w jw Jw
& bw bw bw bw bw bw
③ ④ ④ ⑤

jw
454) ◐ ○ ◐ ○ ◐ ●
jw
455) ◐ ○ ◐ ○ ◐ ◐
jw
456) ◐ ○ ◐ ○ ◐ ○
907
J w jw Jw J w jw Jw Jj ww J w jw Jw Jj ww
& bw bw bw bw bw bw
⑤ ⑤ ④ ⑤ ⑤

jw jw jw
J w jw Jj ww J w jw J w jw
457) ◐ ○ ◐ ○ ○ ● 458) ◐ ○ ◐ ○ ○ ◐ 459) ◐ ○ ◐ ○ ○ ○
913 Jw Jw Jw
& bw bw bw bw bw bw
④ ⑤ ⑤ ⑤

J w jw bw w bw
J w jw
460) ◐ ○ ○ ● ● ● 461) ◐ ○ ○ ● ● ◐ 462) ◐ ○ ○ ● ● ○
919
bw bw Jw bw bw
& bw bw bw bw bw bw
⑤ ⑤ ⑤
 Daegeum 193

bw bw w bw
Jw Jw Jw Jw
463)◐ ○ ○ ● ◐ ● 464) ◐ ○ ○ ● ◐ ◐ 465) ◐ ○ ○ ● ◐ ○
925 Jw Jw Jw Jw
& bw bw bw bw bw bw
④ ④ ③

bw w bw bw w bw
Jw Jw J ww
466) ◐ ○ ○ ● ○ ● 467) ◐ ○ ○ ● ○ ◐ 468) ◐ ○ ○ ● ○ ○
931 Jw Jw Jw Jw Jw Jw
& bw bw bw bw bw bw
③ ③ ③ ③ ④

w bw bw w bw w bw
469) ◐ ○ ○ ◐ ● ●
w J ww
470) ◐ ○ ○ ◐ ● ◐ 471) ◐ ○ ○ ◐ ●○
937 Jw Jw Jw Jw Jw Jw Jw
& bw bw bw bw bw bw bw bw
④ ④ ③ ③ ④ ③

bw bw bw jw
J w jw J w jw J w jw w
472) ◐ ○ ○ ◐ ◐ ● 473) ◐ ○ ○ ◐ ◐ ◐ 474) ◐ ○ ○ ◐ ◐ ○
943 Jw Jw Jw Jw
& bw bw bw bw bw bw bw
⑤ ⑤ ④ ③ ③

w bw bw w jw bw w jw
475) ◐ ○ ○ ◐ ○ ● 476) ◐ ○ ○ ◐ ○ ◐ 477) ◐ ○ ○ ◐ ○ ○
949 bw bw bw Jw Jw Jw Jw Jw
& bw bw bw bw bw bw
④ ④ ⑤ ④ ④

w bw w bw w jw
478) ◐ ○ ○ ○ ● ● 479) ◐ ○ ○ ○ ● ◐ 480) ◐ ○ ○ ○ ● ○
955 Jw Jw bw bw Jw Jw
& bw bw bw bw bw bw
④ ⑤ ④

w jw w jw w jw
481) ◐ ○ ○ ○ ◐ ● 482) ◐ ○ ○ ○ ◐ ◐ 483) ◐ ○ ○ ○ ◐ ○
961
bw bw Jw Jw Jw Jw
& bw bw bw bw bw bw
⑤ ④ ③

w
484) ◐ ○ ○ ○ ○ ●
w 485) ◐ ○ ○ ○ ○
w w 486) ◐ ○ ○ ○ ○ ○
w w
Jw Jw Jw Jw Jw Jw
◐

967

& bw bw bw bw bw bw
④ ③ ③

bw Jw bw bw bw bw bw bw
487) ○ ● ● ● ● ● 488) ○ ● ● ● ● ◐ 489) ○ ● ● ● ● ○
973
bw bw b w bw bw b w bw bw b w
& bw bw bw bw bw bw bw
② ④ ② ④ ③ ④

bw bw bw bw
bw Jw bJ ww
490) ○ ● ● ● ◐ ● 491) ○ ● ● ● ◐ ◐ 492)○ ● ● ● ◐ ○
979
jw jw bw bw bw
& bw bw bw bw bw bw bw
② ① ③ ③

bw bw bw bw L b ww
493) ○ ● ● ● ○ ● 494) ○ ● ● ● ○ ◐ 495) ○ ● ● ● ○ ○
985
jw jw jw jw jw Lw Lw
& bw bw bw bw bw bw bw
① ③ ① ① ④
194 Traditional Korean Instruments: A Practical Guide for Composers

bw bw bw
496) ○ ● ● ◐ ○ ○ 497) ○ ● ● ◐ ● ◐ 498) ○ ● ● ◐ ● ○

991 bw bw bw bw bw bw b b ww bw bw bw
& bw bw bw bw bw bw
③ ① ④ ②

bw bw
nw bw n b ww nw bw n b ww bw b b ww
499) ○ ● ● ◐ ◐ ● 500) ○ ● ● ◐ ◐ ◐ 501) ○ ● ● ◐ ◐ ○
997 nw nw bw bw
& bw bw bw bw bw bw bw bw bw
① ③ ① ③ ① ③

502) ○ ● ● ◐ ○ ●
bw
503) ○ ● ● ◐ ○ ◐
Jw
504) ○ ● ● ◐ ○ ○

nw nw n b ww nw bw nw n b ww Jw bw Jw bw
Jw
& bw bw bw bw bw bw bw bw bw
① ③ ① ② ① ③

bw bw bw bw bw n b ww bw Jb ww
505) ○ ● ● ○ ● ● 506) ○ ● ● ○ ● ◐ 507) ○ ● ● ○ ● ○

jw jw jw jw n w nw Jw Jw
& bw bw bw bw bw bw bw bw bw
② ③ ① ③ ② ③

bw bw bw bw bw bw
508) ○ ● ● ○ ◐ ● 509) ○ ● ● ○ ◐ ◐ 510) ○ ● ● ○ ◐ ○

w w w jw jw jw w w w
& bw bw bw bw bw bw bw jw jw
① ③ ① ③ ① ①

512) ○ ● ● ○ ○ ◐
bw bw bw bw Jw J ww
511) ○ ● ● ○ ○ ● 513) ○ ● ● ○ ○ ○
J
w w w w w w Jw Jw
& bw bw bw bw bw bw bw bw
① ② ① ① ③ ④

bw
514) ○ ● ◐ ● ● ●
bw
515) ○ ● ◐ ● ● ◐ 516) ○ ● ◐ ● ● ○

bw bw bw bw Jw J ww
J
bw bw Jw Jw
& bw bw bw bw bw bw bw
② ④ ④ ④

bw
bw bw bw bw bw b b ww
517) ○ ● ◐ ● ◐ ○ 518) ○ ● ◐ ●○● 519) ○ ● ◐ ●○ ◐

bw w jw w jw w bw bw
& bw bw bw bw bw bw bw bw bw
② ② ③ ② ③ ③

bw bw bw Jw bw bw bw
520) ○ ● ◐ ● ○ ● 521) ○ ● ◐ ● ○ ◐ 522) ○ ● ◐ ● ○ ○

w jw w jw w Jw Jw Jw bw bw
& bw bw bw bw bw bw bw bw bw
② ③ ③ ② ③ ③

bw bw bw
bw bw bw bw
523) ○ ● ◐ ◐ ● ● 524) ○ ● ◐ ◐ ● ◐ 525) ○ ● ◐ ◐ ● ○

bw w bw w w bw bw
& bw bw bw bw bw bw bw
③ ② ② ②

bw bw bw bw bw bw bw bw
526) ○ ● ◐ ◐ ◐ ○ 527) ○ ● ◐ ◐ ◐ ◐ 528) ○ ● ◐ ◐ ◐ ○

Jw Jw Jw Jw Jw Jw Jw Jw
& bw bw bw bw bw bw bw bw bw
① ③ ① ① ② ②
 Daegeum 195

529) ○ ● ◐ ◐ ○ ● 530) ○ ● ◐ ◐ ○ ◐ 531) ○ ● ◐ ◐ ○ ○

Jw bw Jw bw bw bw Jb ww
Jw Jw Jw Jw Jw
& bw bw bw bw bw bw bw bw
② ③ ① ② ②

532) ○ ● ◐ ○ ● ●
bw bw
533) ○ ● ◐ ○ ● ◐
bw bw
534) ○ ● ◐ ○ ● ○

Jw Jw Jw Jw Jw Jb ww Jw bw Jw bw
Jw
& bw bw bw bw bw bw bw bw bw
② ② ② ③ ① ②

535) ○ ● ◐ ○ ◐ ● 536) ○ ● ◐ ○ ◐ ◐ 537) ○ ● ◐ ○ ◐ ○

Jw bw Jw Jb ww Jb ww Jw jw Jw jw jw jw
Jw Jw Jw Jw
& bw bw bw bw bw bw bw bw bw
② ② ④ ② ② ② ③

jw jw jw bw bw
538) ○ ● ◐ ○ ○ ● 539) ○ ● ◐ ○ ○ ◐ 540) ○ ● ◐ ○ ○ ○
Jw Jw Jw w w w bw bw
& bw bw bw jw jw jw jw jw
② ③ ① ① ④

bw Lw bw
541) ○ ● ○ ● ● ● 542) ○ ● ○ ● ● ◐ 543) ○ ● ○ ● ● ○

bw bw bw bw bw bw
& jw jw jw jw jw jw
③ ③ ④

bw bw bw
544) ○ ● ○ ● ◐ ● 545) ○ ● ○ ● ◐ ◐ 546) ○ ● ○ ● ◐ ○

Jw Jw bw bw bw bw
& jw jw jw jw jw jw
④ ④ ⑤

bw bw bw
547) ○ ● ○ ● ○ ● 548) ○ ● ○ ● ○ 549) ○ ● ○ ● ○ ○
bw bw bw Jw Jw Jw
◐

& jw jw jw jw jw jw
⑤ ⑤ ⑤

bw bw bw
bw bw
550) ○ ● ○ ●● 551) ○ ● ○ ● 552) ○ ● ○ ●○

J w jw
◐ ◐ ◐ ◐

bw bw bw Jw
& jw jw bw jw bw jw
④ ③ ④

jw jw jw
553) ○ ● ○ ◐ ◐ ● 554) ○ ● ○ ◐ ◐ ◐ 555) ○ ● ○ ◐ ◐ ○

Jw Jw Jw Jw Jw Jw
& jw jw jw jw jw jw
④ ④ ④

jw jw jw
556) ○ ● ○ ○● 557) ○ ● ○ ○ 558) ○ ● ○ ○○
Jw Jw Jw Jw Jw Jw
◐ ◐ ◐ ◐

& jw jw jw jw jw jw
③ ④ ⑤

w bw bw bw
J w jw J w jw J w jw
559) ○ ● ○ ○ ● ● 560) ○ ● ○ ○ ● 561) ○ ● ○ ○ ● ○
Jw Jw Jw
◐

& jw jw jw jw jw jw
⑤ ④ ③
196 Traditional Korean Instruments: A Practical Guide for Composers

w bw
b ww w
562) ○ ● ○ ○ ● 563) ○ ● ○ ○ 564) ○ ● ○ ○ ○

b w jw b w jw b w jw
◐ ◐ ◐ ◐

bw bw bw
& jw jw jw jw jw jw
③ ④ ⑤ ⑤

565) ○ ● ○ ○ ○ ● 566) ○ ● ○ ○ ○ 567) ○ ● ○ ○ ○ ○

w w b ww w
◐

b w jw bw b w jw bw b w jw bw
& jw jw jw jw jw jw
③ ③ ④ ④

568) ○●●●●
Jw 569) ○ ●●●
bw 570) ○ ●●●○
bw
bw bw b b ww bw bw bw bw
◐ ◐ ◐ ◐

bw bw bw
& jw jw jw jw jw jw
③ ⑤ ④ ④

bw bw bw bw
bw bw b b ww bw bw
571) ○ ●● ● 572) ○ ●● 573) ○ ●● ○
bw bw jw jw
◐ ◐ ◐ ◐ ◐ ◐ ◐

& jw jw jw jw jw jw jw
③ ③ ④ ②

bw b b ww bw bw bw bw
574) ○ ◐ ●●○● 575) ○ ◐ ●●○ ◐ 576) ○ ◐ ●●○○

bw bw jw bw jw bw
& jw jw jw jw jw jw jw
② ③ ② ②

bw Jb ww bw bw bw bw
577) ○ ◐ ● ◐ ○○ 578) ○ ◐ ● ◐ ● ◐ 579) ○ ◐ ● ◐ ●○

Jw Jw jw jw jw jw
& jw jw jw jw jw jw jw
① ② ② ②

bw b b ww bw bw Jb ww bw bw
580) ○ ● ● 581) ○ ● 582) ○ ● ○
bw bw Jw Jw
◐ ◐ ◐ ◐ ◐ ◐ ◐ ◐ ◐ ◐

Jw
& jw jw jw jw jw jw jw jw
④ ③ ② ③ ①

bw bw bw Jb ww bw Jb ww
583) ○ ● ○● 584) ○ ● ○ 585) ○ ● ○○

w bw Jw Jw Jw Jw
◐ ◐ ◐ ◐ ◐ ◐ ◐

w w
& jw jw jw jw jw jw jw jw jw
② ③ ② ③ ③ ③

bw bw bw bw
586) ○ ●○●● 587) ○ ●○● 588) ○ ●○●○
bw bw bw bw
◐ ◐ ◐ ◐

bw Jw b w Jw Jw Jw bw bw b w
& jw jw jw jw jw jw jw jw jw
③ ③ ① ③ ① ③

bw
589) ○ ●○ ● 590) ○ ●○ 591) ○ ●○ ○

bw bw b b ww bw Jb ww bw Jb ww
◐ ◐ ◐ ◐ ◐ ◐ ◐

bw Jw Jw Jw Jw
& jw jw jw jw jw jw jw jw jw
② ③ ① ② ① ③

592) ○ ●○○● 593) ○ ●○○ 594) ○ ●○○○

bw Jb ww bw Jb ww bw Jb ww
◐ ◐ ◐ ◐

Jw Jw Jw Jw Jw Jw
& jw jw jw jw jw jw jw jw jw
② ③ ② ③ ③ ③
 Daegeum 197

bw bw bw
bw bw bw bw
595) ○ ◐ ◐ ●●● 596) ○ ◐◐ ●● ◐ 597) ○ ◐ ◐●●○

Jw Jw bw bw
&jw jw jw jw jw jw
④ ③ ②

bw bw
b b ww bw bw b b ww bw
598) ○ ● ● 599) ○ ● 600) ○ ● ○
bw bw bw Jw Jw
◐ ◐ ◐ ◐ ◐ ◐ ◐ ◐ ◐ ◐

&jw jw jw jw jw jw jw jw
② ③ ③ ④ ③

bw
601) ○ ●○● 602) ○ ●○ 603) ○ ●○○
bw b b ww bw Jb ww bw bw b b ww
◐ ◐ ◐ ◐ ◐ ◐ ◐

Jw bw Jw Jw bw
& jw jb w jw jw jw jw jw jw jw
③ ④ ② ③ ③ ③

bw bw bw
bw bw b b ww bw bw bw bw b b ww
604) ○ ◐ ◐ ◐ ●● 605) ○ ◐ ◐ ◐ ● ◐ 606) ○ ◐ ◐ ◐ ●○
bw bw bw
& jw jw jw jw jw jw jw jw
④ ④ ③ ③ ③

bw bw b b ww bw b b ww
607) ○ ◐ ◐ ◐ ◐ ● 608) ○ ◐ ◐ ◐ ◐ ◐ 609) ○ ◐ ◐ ◐ ◐ ○

bw bw bw bw bw bw
&jw jw jw jw jw jw jw jw
③ ② ③ ③ ④

bw b b ww bw b b ww bw
610) ○ ◐ ◐ ◐ ○● 611) ○ ◐ ◐ ◐ ○ ◐ 612) ○ ◐ ◐ ◐ ○○

bw bw bw bw bw bw
&jw jw jw jw jw jw jw jw
② ③ ③ ③ ③

bw bw bw
bw bw bw bw b w jw
613) ○ ◐ ◐ ○●● 614) ○ ◐ ◐ ○● ◐ 615) ○ ◐ ◐ ○●○

bw bw bw
& jw jw jw jw jw jw
④ ③ ③

bw b b ww jw bw
616) ○ ○ ● 617) ○ ○ 618) ○ ○ ○
bw bw bw bw bw bw
◐ ◐ ◐ ◐ ◐ ◐ ◐ ◐ ◐ ◐

&jw jw jw jw jw jw jw
③ ⑤ ⑤ ⑤

jw bw bw
619) ○ ○○● 620) ○ ○○ 621) ○ ○○○
bw bw bw bw bw bw
◐ ◐ ◐ ◐ ◐ ◐ ◐

&jw jw jw jw jw jw
③ ③ ③

Jw Jw bw
622) ○ ◐ ○●●● 623) ○ ◐ ○●● ◐ 624) ○ ◐ ○●●○

bw bw bw bw bw bw
&jw jw jw jw jw jw
③ ③ ②

bw bw bw
625) ○ ◐ ○● ◐ ● 626) ○ ◐ ○● ◐ ◐ 627) ○ ◐ ○● ◐ ○

bw bw bw bw bw bw
&jw jw jw jw jw jw
④ ③ ③
198 Traditional Korean Instruments: A Practical Guide for Composers

628) ○ ○●○● 629) ○ ○●○ 630) ○ ○●○○

bw bw bw
◐ ◐ ◐ ◐

bw bw bw bw bw bw
&jw jw jw jw jw jw
② ③ ③

bw bw bw
631) ○ ◐ ○ ◐ ●● 632) ○ ◐ ○ ◐ ● ◐ 633) ○ ◐ ○ ◐ ●○
bw bw bw bw bw bw
&jw jw jw jw jw jw
④ ② ③

634) ○ ○ ● 635) ○ ○ 636) ○ ○ ○

bw bw Jw
◐ ◐ ◐ ◐ ◐ ◐ ◐ ◐ ◐ ◐ ◐

bw bw bw bw bw bw
&jw jw jw jw jw jw
③ ③ ④

Jw Jw Jw
637) ○ ◐ ○ ◐ ○● 638) ○ ◐ ○ ◐ ○ ◐ 639) ○ ◐ ○ ◐ ○○
bw bw bw bw bw bw
&jw jw jw jw jw jw
② ③ ④

Jw Jw bJ ww Jw
640) ○ ◐ ○○●● 641) ○ ◐ ○○● ◐ 642) ○ ◐ ○○●○

Jw Jw bw bw bw
& jw jw jw jw jw jw
③ ③ ③

Jw Jw Jw
643) ○ ◐ ○○ ◐ ● 644) ○ ◐ ○○ ◐ ◐ 645) ○ ◐ ○○ ◐ ○

bw bw bw bw bw bw
&jw jw jw jw jw jw
③ ③ ②

Jw Jw Jw
646) ○ ◐ ○○○● 647) ○ ◐ ○○○ ◐ 648) ○ ◐ ○○○○

bw bw bw bw bw bw
&jw jw jw jw jw jw
③ ④ ④

Jw Jw Jw
bw bw bw bw bw bw
649) ○ ○ ● ● ● ● 650) ○ ○ ● ● ● ◐ 651) ○ ○ ● ● ● ○
bw bw bw
& jw jw jw jw jw jw
③ ③ ③

bw bw bw
652) ○ ○ ● ● ● 653) ○ ○ ● ● 654) ○ ○ ● ● ○
bw bw bw bw bw bw
◐ ◐ ◐ ◐

&jw jw jw jw jw jw
③ ③ ③

bw bw Jw nw bw
655) ○ ○ ● ● ○ ● 656) ○ ○ ● ● ○ ◐ 657) ○ ○ ● ● ○ ○

bw bw jw bw nw
&jw jw jw jw jw jw
③ ① ③

bw bw bw Jw
658) ○ ○ ● ○○ 659) ○ ○ ● ● 660) ○ ○ ● ●○
bw
◐ ◐ ◐ ◐

bw bw bw bw bw bw
&jw jw jw jw jw jw
② ③ ③
 Daegeum 199

bw
bw bw bw bw
661) ○ ○ ●● ◐ ◐ 662) ○ ○ ● ◐ ◐ ◐ 663) ○ ○ ● ◐ ◐ ○

bw bw bw bw bw
& jw jw jw jw jw jw
③ ③ ②

bw bw b b ww bw
664) ○ ○ ● ◐ ○● 665) ○ ○ ● ◐ ○ ◐ 666) ○ ○ ● ◐ ○○

bw bw bw bw bw bw
& jw jw jw jw jw jw jw
③ ② ④ ③

bw Jw Jw
bw bw bw bw b b ww bw bw
667) ○ ○ ● ○ ● ● 668) ○ ○ ● ○ ● ◐ 669) ○ ○ ● ○ ● ○

bw bw bw
& jw jw jw jw jw jw jw
② ② ③ ③

bw bw
670) ○ ○ ● ○ ● 671) ○ ○ ● ○ 672) ○ ○ ● ○ ○

bw bw bw bw bw
◐ ◐ ◐ ◐

bw bw bw bw
& jw jw jw jw jw jw
② ② ②

bw bw jw
673) ○ ○ ● ○ ○ ● 674) ○ ○ ● ○ ○ 675) ○ ○ ● ○ ○ ○
bw bw bw bw bw bw
◐

& jw jw jw jw jw jw
② ② ②

bw bw bw
676) ○ ○ ◐ ●●● 677) ○ ○ ◐ ●● ◐ 678) ○ ○ ◐ ●●○

bw bw bw bw bw bw
& jw jw jw jw jw jw
② ③ ③

bw bw bw
679) ○ ○ ◐ ● ◐ ● 680) ○ ○ ◐ ● ◐ ◐ 681) ○ ○ ◐ ● ◐ ○

bw bw bw bw bw bw
& jw jw jw jw jw jw
② ② ③

bw bw bw
682) ○ ○ ◐ ●○● 683) ○ ○ ◐ ●○ ◐ 684) ○ ○ ◐ ●○○

bw bw bw bw bw bw
& jw jw jw jw jw jw
④ ④ ③

bw bw bw
685) ○ ○ ◐ ◐ ●● 686) ○ ○ ◐ ◐ ● ◐ 687) ○ ○ ◐ ◐ ●○

bw bw bw bw bw bw
& jw jw jw jw jw jw
② ② ②

688) ○ ○ ● 689) ○ ○ 690) ○ ○ ○

bw bw bw
◐ ◐ ◐ ◐ ◐ ◐ ◐ ◐ ◐ ◐

bw bw bw bw bw bw
& jw jw jw jw jw jw
② ② ①

691) ○ ○ ○● 692) ○ ○ ◐ ◐ ○ ◐ 693) ○ ○ ◐ ◐ ○ ○

bw bw bw
◐ ◐

bw bw bw bw bw bw
& jw jw jw jw jw jw
② ③ ③
200 Traditional Korean Instruments: A Practical Guide for Composers

<바 탕 음 : a>

jw bw jw
694) ○ ○ ◐ ○ ● ● 695) ○ ○ ○● 696) ○ ○ ○●○
bw bw bw bw bw bw
◐ ◐ ◐

& nw nw nw nw nw nw
③ ③

697) ○ ○ ○ ● 698) ○ ○ ○ 699) ○ ○ ○ ○

jw bw jw
◐ ◐ ◐ ◐ ◐ ◐ ◐

bw bw bw bw bw bw
& nw nw nw nw nw nw
③ ② ②

700) ○ ○ ○○● 701) ○ ○ ○○ 702) ○ ○ ○○○

jw jw jw
◐ ◐ ◐ ◐

bw bw bw bw bw bw
& nw nw nw nw nw nw
③ ② ②

bw bw bw
703) ○ ○ ○ ● ● ● 704) ○ ○ ○ ● ● ◐ 705) ○ ○ ○ ● ● ○

bw bw bw bw bw bw
& nw nw nw nw nw nw
④ ③ ②

706) ○ ○ ○ ● ● 707) ○ ○ ○ ● 708) ○ ○ ○ ● ○

bw bw bw
◐ ◐ ◐ ◐

bw bw bw bw bw bw
& nw nw nw nw nw nw
③ ④ ④

bw bw bw
709) ○ ○ ○ ● ○ ● 710) ○ ○ ○ ● ○ ◐ 711) ○ ○ ○ ● ○ ○

bw bw bw bw bw bw
& nw nw nw nw nw nw
③ ③ ④

bw bw bw
712) ○ ○ ○ ◐ ●● 713) ○ ○ ○ ◐ ● ◐ 714) ○ ○ ○ ◐ ●○

bw bw bw bw bw bw
& nw nw nw nw nw nw
③ ③ ④

715) ○ ○ ○ ● 716) ○ ○ ○ 717) ○ ○ ○ ○

Jw bw bw
◐ ◐ ◐ ◐ ◐ ◐ ◐

bw bw bw bw bw bw
& nw nw nw nw nw nw
③ ③ ④

718) ○ ○ ○ ○● 719) ○ ○ ○ ○ 720) ○ ○ ○ ○○

bw bw bw
◐ ◐ ◐ ◐

bw bw bw bw bw bw
& nw nw nw nw nw nw
③ ③ ④

Jw Jw bw
721) ○ ○ ○ ○ ● ● 722) ○ ○ ○ ○ ● ◐ 723) ○ ○ ○ ○ ● ○

bw bw bw bw bw bw
& nw nw nw nw nw nw
④ ② ③

724) ○ ○ ○ ○ ● 725) ○ ○ ○ ○ 726) ○ ○ ○ ○ ○

Jw bw bw
◐ ◐ ◐ ◐

bw bw bw bw bw bw
& nw nw nw nw nw nw
② ② ③
 Daegeum 201

727) ○ ○ ○ ○ ○ ● 728) ○ ○ ○ ○ ○ ◐ 729) ○ ○ ○ ○ ○ ○

bw bw bw bw bw bw bw bw bw
& nw nw nw nw nw nw
③ ③ ④
202 Traditional Korean Instruments: A Practical Guide for Composers

Appendix 2. Table of Trills and Tremolos Used for Performance and Compositions

대금2 (2018.4)

● 지공을 막음, ◐ 지공을 반만 막음, ○ 지공을 열음

↑ 취구를 넓힘, ↓ 취구를 좁힘
h·t 하모닉스

& bw nw bw nw w bw nw bw
bw w
저음역

● ● ● ● ● ● ● ● ● ○○
● ● ● ● ● ● ● ○ ○ ●●
● ● ● ● ● ◐○ ○ ● ○ ●●
● ● ● ◐ ○ ● ○ ● ○ ○●
● ● ○ ● ○ ● ○ ● ○ ○●
● ○ ● ● ● ● ● ● ● ●○

& bw nw w bw nw bw nw
w w bw nw
● ● ● ● ● ● ● ● ● ○ ○
● ● ● ● ● ● ● ○ ○ ● ○
● ● ● ● ● ◐ ○ ● ○ ● ○
● ● ● ◐ ○ ● ○ ● ○ ● ○
● ● ○ ○ ○ ● ○ ● ○ ● ○
◐ ○ ◐ ◐ ◐ ◐ ◐ ◐ ◐ ◐ ◐
↑ ↑

& bw nw w bw nw bw
w bw nw
● ● ● ● ● ● ● ● ○
● ● ● ● ● ● ○ ○ ●
● ● ● ● ◐ ○ ● ○ ●
● ● ◐ ○ ● ○ ● ○ ●
● ◐ ● ○ ● ○ ● ○ ●
○ ○ ○ ○ ○ ○ ○ ○ ○

& bw nw bw nw w bw nw bw
● ● ● ● ● ● ○● ○
● ● ● ● ● ○ ●○ ●
● ● ● ◐○ ○ ● ●○ ●
● ◐ ○ ● ○ ● ●○ ●
○ ○ ○ ○ ○ ○ ●○ ○
● ● ● ● ● ● ●● ●

& w bw nw w bw nw bw nw
●● ● ● ● ● ● ○ ○
●● ● ● ● ○ ○ ● ○
●● ● ◐ ○ ● ○ ● ○
◐● ○ ◐ ◐ ◐ ○ ◐ ○
○○ ○ ○ ○ ○ ○ ○ ○
○○ ○ ○ ○ ○ ○ ○ ○
↑ ↑ ↑ ↑

대금 - 1 -
 Daegeum 203

대금 (2018.4)

& bw nw w bw nw bw nw
●● ● ● ●● ● ○ ○
●● ● ● ◐○ ○ ● ○
●● ◐ ○ ●● ○ ● ○
○○ ○ ○ ○● ○ ○ ○
○● ○ ○ ○● ○ ○ ○
●● ● ● ●● ● ● ●
↑ ↑ ↑

& w w bw nw bw nw
●● ● ●● ● ○ ○
●● ● ○○ ○ ● ○
◐◐ ○ ◐◐ ○(◐) ◐ ◐
○● ○ ○● ○ ○ ○
○● ○ ○● ○ ○ ○
●● ● ●● ● ● ●
↑ ↑ ↑

& w bw nw bw nw w
●● ● ● ○ ○ ●
●● ◐ R.H ○ ● ○ ●
○○ ○ ○ ○ ○ ●
○● ○ ○ ○ ○ ●
○● ○ ○ ○ ○ ●
●● ● ● ● ● ●
↑ ↑ ↑

& bw nw bw nw bw
● ● ○ ○ ●
○◐ ○ ○ ○ ●
● ○ ● ○ ●
● ○ ● ○ ●
● ○ ● ○ ●
● ● ● ● ●
↑ ↑ ↑

& w bw nw bw
●● ○◐ R.H ○ ●
○○ ○○ ○ ●
○● ○○ ○ ●
○● ○○ ○ ●
○● ○○ ○ ●
●○ ●○ ○ ●
↑ ↑

대금 - 2 -
204 Traditional Korean Instruments: A Practical Guide for Composers

대금 (2018.4)

& bw nw bw nw
○○ ○ ● ●
●● ○ ● ●
●● ○ ● ●
○● ○ ● ●
○● ○ ● ●
◐◐ ◐ ● ◐
↑ ↑

bw nw w bw nw bw
& bw w bw nw
중음역
● ● ● ● ● ● ● ● ● ○
● ● ● ● ● ● ● ○ ○ ●
● ● ● ● ● ○ ○ ● ● ○
● ● ● ○ ○ ● ○ ○ ● ○
● ● ○ ● ○ ● ○ ○ ● ○
● ○ ● ● ● ○ ● ● ○ ●

bw nw w bw nw bw nw
& w w bw nw
● ● ● ● ● ● ● ● ● ○ ○
● ● ● ● ● ● ● ○ ○ ● ○
● ● ● ● ● ○ ○ ● ○ ○ ○
● ● ● ○ ○ ● ○ ○ ○ ○ ○
● ● ○ ● ○ ● ○ ○ ○ ○ ○
◐ ○ ◐ ◐ ◐ ○ ◐ ◐ ◐ ◐ ◐
↑

bw nw bw nw w bw nw bw
& w
● ● ● ● ● ● ● ○ ○
● ● ● ● ● ● ○ ● ○
● ● ● ● ○ ○ ● ● ○
● ● ◐ ○ ● ○ ○ ○ ○
● ○(◐) ● ○ ● ○ ○ ○ ○
○ ○ ○ ○ ○ ○ ○ ○ ○

bw nw bw nw w bw nw bw nw
&
●● ● ● ● ● ● ○ ○ ○
●● ● ● ● ● ○ ● ● ●
●● ● ● ○ ○ ● ● ○ ●
●● ◐ ○ ● ○ ○ ○ ○ ●
◐○ ○ ○ ◐ ○ ○ ○ ○ ○
○● ● ● ○ ● ● ● ● ○

대금 - 3 -
 Daegeum 205

대금 (2018.4)

w bw nw w bw nw bw nw
&
●●● ●● ●● ● ● ○ ○ ○
●●● ●● ●● ● ○ ● ● ○
●●● ●● ◐○ ○ ● ● ○ ○
◐●○ ○○ ●○ ○ ○ ○ ○ ●
○○● ○○ ○● ○ ○ ○ ○ ○
○○● ○● ○● ● ● ● ● ○
↑ ↑

bw nw w bw nw bw nw
&
●● ● ● ● ○ ○ ○
●● ● ● ○ ● ● ○
●● ◐ ○ ● ● ○ ○
○○ ○ ○ ○ ○ ○ ○
●○ ○ ○ ○ ○ ○ ●
○● ● ● ● ● ● ○
↑ ↑

w w bw nw bw nw
&
●● ● ● ● ○ ○
●● ● ○ ○ ● ○
○◐ ○ ○ ○ ○ ◐
●○ ○ ● ○ ○ ○
●○ ○ ● ○ ○ ○
○● ○ ○ ○ ○ ●
↑

w bw nw bw nw bw
&
●● ● ●● ○● ○ ○
●● ○ ○● ●● ● ●
○● ● ●● ○● ● ●
○● ○ ●● ○● ● ○
○● ○ ●● ○○ ○ ○
●● ● ○○ ●● ○ ○
h·t h·t h·t h·t

bw nw bw nw bw
&
●● ●● ○● ○ ○
○● ○● ○● ● ●
●● ●● ●● ● ●
○● ●● ○● ● ○
○● ●● ○○ ○ ○
○◐ ○○ ○○ ◐ ○
h·t h·t h·t

대금 - 4 -
206 Traditional Korean Instruments: A Practical Guide for Composers

대금 (2018.4)

w bw nw bw
&
●●● ○● ○○ ○
○○● ○● ○● ●
○●● ●● ●● ●
○●● ●● ●● ○
○●● ●○ ○○ ○
●○○ ○○ ○○ ○
h·t

bw nw bw w
&
○○● ○● ○ ●
○●● ●● ● ●
○●● ●● ● ○
○●● ●◐ ○ ○
○●○ ○○ ○ ○
●○○ ○○ ○ ○
h·t h·t h·t

w bw
&
○○ ○●
○● ●●
○● ●●
○● ○●
○○ ○●
●○ ○●
↑ h·t ↑

bw nw w bw nw bw
고음역 &
●● ●●● ●●● ● ○ ○
●● ●●● ●○● ○ ● ○
●● ◐○● ○●○ ○ ○ ○
○● ○●● ○○● ○ ○ ○
●● ●●● ●●● ● ○ ●
●● ●●○ ●●○ ● ● ●
h·t

w w bw bw
&
●● ●● ● ○○
●● ●○ ○ ○○
◐● ○◐ ○ ○○
○● ●○ ○ ○○
●● ●● ● ●○
●○◐ ○● ● ●●

대금 - 5 -
 Daegeum 207

대금 (2018.4)

w bw nw bw
&
●● ●● ○ ○○
●● ○○ ● ○○
○○ ○○ ○ ○○
○● ○● ○ ○●
○● ○● ○ ○●
●○ ●○ ● ●●

bw nw bw
&
● ● ○○
○ ○ ○○
○ ● ○○
○ ● ●○
○ ○ ●○
● ● ●●

w bw nw
&
●● ○● ○
○● ○● ●
●● ○● ○
●● ○○ ○
○○ ○○ ○
●● ●● ●
h·t h·t

bw nw w bw
&
○○○○ ○ ●● ●
●○●○ ● ●● ○
●○●○ ○ ○○ ○
○●●● ○ ●● ●
○●○○ ○ ●○ ○
●●●● ● ●● ●
↑

w w
&
○ ●
● ●
○ ○
○ ●
○ ○
● ●

대금 - 6 -
208 Traditional Korean Instruments: A Practical Guide for Composers
210 Traditional Korean Instruments: A Practical Guide for Composers