and Temple Yards

Vietnamese music, regardless of genre, and is linked closely to the concept of mode. Vibrato
(rung), staccato (md), and pushing (nhh ) are delicately applied as principal performance
techniques for stringed instruments such as zither and lute, and the voice. Based on specific
types of pentatonic, hexatonic, or heptatonic scales, these techniques must be employed in
order to give each pitch its characteristic sound quality. Arpeggios and glissandos are also
characteristic performance techniques for the d& tranh. Without the ornamentation, a pitch
may not be accurate in its sound as designated by the Vietnamese tradition. Ornamentation,
as for this piece, is indicated in the score by the following symbols:
\/$
Vibrato is strictly played on pitches 2 and 5
Staccato (i.e. tapping lightly on the string)
can be used on any pitch
Pushing (i-e., grace note) is sometimes heard
on the 4th pitch
In the Vietnamese tradition, music is performed in a half-improvised, half-composed
manner. This means that the conventional notes at the strong beats are constantly maintained
as the skeletal framework of the music. In the transcription of the piece, the conventional
pitches found at even measures (i.e. 2, 4, 6, S...)
are mark& with 'k." These pitches
sometimes anticipate the strong beat and are sounded just before it, or hesitate a bit and sound
just after it. The syncopation produced by this technique is characteristic of instrumental
music from central Vietnam.
(
lunirig ofthe 9dn Tianh for 'Kim in "
I
R n
!&LID (or Dw) of "Kim%en
Illustrating the Spec$c Ornaments qf the B ~C Mode
# #
L