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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$c Ornaments qf the B ~C Mode # # L
Transcription of Din Tranh Pe~ormance by Phong Nguyen Phrase -1 2 3 I * m * rW 44 r r
Page 2:
From Rice Paddies and Temple Yards:
Page 7:
about th AU~~LXS, 5 yorwarrd, 7 Lis
Page 11 and 12:
Preface This book-and-tape set repr
Page 13 and 14: Vietnam and Neighboring Countries i
Page 16 and 17: Much of Vietnam's earliest history
Page 18 and 19: A strong division of public opinion
Page 20 and 21: In spite of diverse racial origins.
Page 22 and 23: Vietnamese Mwicd Form and instrumen
Page 24 and 25: 2 ~ mm~peec~ ccd~ong: Vietnamese Mu
Page 26 and 27: Since the middle of the twentieth c
Page 29: fnhnve) fldn tarn. a three-shged tr
Page 32: Wid imfiwnenrs include the bamb flu
Page 35: The music of pre-I975 Viemam contin
Page 39 and 40: "Now everybody feels relaxed after
Page 41 and 42: I learned this game song by ear fro
Page 43 and 44: '7 am shaking the handzerchief up a
Page 45 and 46: "The egret is flying, flying" I lea
Page 47 and 48: *Notated without embellishments hca
Page 49 and 50: Lg Chim Quyln " Song of the Nightin
Page 51 and 52: = sounds sligh~ly higher: k = sound
Page 53 and 54: %!I. Qua C&u Gib Bay " The Wind on
Page 55 and 56: TeachingILearning Sequence Level: G
Page 57 and 58: B6 Doc Bb gun^ (daw yawk daw ngahng
Page 59 and 60: TeachingILearning Sequence Study Gu
Page 61 and 62: .!,= sounds slightly lower: T= soun
Page 63: "Golden Coin" or "Golden Fairy" Thi
Page 67 and 68: x. Ly !~+$Jzzu 0 "Song of the Black
Page 69 and 70: XI. The Voice of the iring The Trad
Page 71 and 72: Study Guide TeachingILearning Seque
Page 73 and 74: Words and Tramlation: Chi7Hh Classi
Page 75 and 76: mote: for precise pronunciation, ch
Page 77 and 78: Guide - to the Companion Tape Side
Page 79 and 80: Le, Giang, Nhat Vu Lu, Van Hoa Nguy
Page 81 and 82: (Rmrh and Cassettes) Chau Van Posse
Page 83 and 84: hythm, 60 syncopation in, 67,70,71
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