Ch’il Ch’ae/Tension and Release

Our focus here is the rhythmic cycle ch’il ch’ae, an example of which can be heard within the larger context of the piece Uosdari [Uttari], performed by SamulNori (Kim Duk Soo, Samulnori, King, SYNCD-115). Traditionally a marching rhythm from Kyonggi province (the province immediately surrounding Seoul), ch’ilch’ae contains 36 eighth notes grouped as 5/5/6/5/5/5/5, the name ch’ilch’ae (ch’il = seven, ch’ae = strikes) referring to the seven accents that appear in the cycle.

Ch’ilch’ae may be considered as both a collection of seven archetypal forms grouped 5/5/6/5/5/5/5, or as a series of accents suggesting a grouping of 5/5/3/3/5/5/10, a slight variation that is diluted as additional accents are added throughout the piece.

Although ch’ilch’ae can be understood as a syncopated quarter note structure containing stronger and weaker beats, the cycle is more clearly expressed as a timeline with the following grouping of eighth notes.

5,5,6,5,5,5,5
8

In the following figure we see ch’ilch’ae with quintuple and sextuple groupings of eighth notes outlined by the seven accents appearing in the patterm. Though it would be possible to view the material as a collection of single and duple eighth-note occurrences (2122122121212212221212), it is perceived more as a series of binary and ternary cells which are bound together to form larger quintuple and sextuple archetypal models (3+2, 3+3, 2+3).

The seven archetypal forms appearing in ch’ilch’ae can be grouped into three archetypal models that remain constant throughout the performance: a) quintuple model grouped as 3 + 2 (trochaic), b) quintuple model grouped as 2 + 3 (iambic) and c) sextuple model grouped as 3+3.

In many Korean rhythmic motifs, including ch’ilch’ae and tasurum, thematic development is achieved through a process termed here as serial amplification. Serial amplification may be described as the staggered ornamentation of RS cells occurring over the course of several repetitions of a rhythmic motif. This additive process has been described by Keith Howard as “filling in the spaces”#.

In ch’ilch’ae, development is acheived through the addition of a single note (or accent) with each repetition of the structure, a process I've termed serial amplification. Each amplification event occurring in ch’ilch’ae sees the addition of a single element to each of the motifs seven cells with additive elements occurring in a pre-conceived series.

A common feature of RS cells found in Korean traditional music is the appearance of unison. In Korean RS cells, unison notes add a layer of complexity to rhythm/sticking cells, enhancing the inherent “poly-rhythmic” possibilities within a given rhythmic pattern. By poly-rhythmic I am referring to the effect of rhythmic counterpoint that eventuates when a single rhythmic pattern is played across two sound sources. The pattern can thus be interpreted as both a single rhythm stream (both sound sources considered two parts of single rhythm stream) or as two independent streams (each sound source considered an autonomous rhythm stream). In ch’ilch’ae, the kunggulch’ae (low tone) part does not deviate from the motif throughout the ten repetitions (single rhythm stream). As the variations become more complex and more unison notes appear, the high and low tones may be considered as independent rhythmic streams, with a high-tone “melody” developing in isolation to the right hand ostinato pattern.

An essential component of Korean percussion music is the concept of tension and release, expressed by Kim Il Sup as neago (produce), tara (heat up), p’unda (tie up/tense) and iwan (release) *.

I have heard several forms of this expression from a variety of changgu teachers in Korea. My first teacher, Kang Sun Il, described the Korean conception of rhythmic tension and release as “hold, lift, tighten, release”.

According to Kim Il Sup:

Rhythmic patterns that reflect life’s tension and release are more accurately understood by the soe players expression“weave in and out”. The rhythmic pattern should weave betweenmale and female. This is the meaning of “weave in and out”+.

Using changgo (hourglass drum) verbal notation, we see ch’ilch’ae grouped into four phrases. The function of the final phrase can be expressed as the “female” or yang (consequent) variation of the “male” or yin (antecedent) phrase found in line one.

Kung ta kung kung ta kung (male/yin/antecedent)

Kung ta kung ta kung ta kung

Kungg ta kung

Kung kung ta kung ta kung (female/yang/consequent)

A common feature in nongak motifs is the use of inverted archetypes to generate rhythmic tension and release. In ch’ilch’ae, the series of trochaic patterns is rhythmically resolved through the use of an iambic/trochaic combination.

kung kung ta (iambic form)

kung ta kung (trochaic form)

 

# Howard 1991: 26
*(cited in Hesselink 1995:14)
+ (Hesselink 1999: 13)