Notes To SamulNori Drumset

The purpose of these notes is to highlight certain aspects of each variation (RS cell [rhythm/sticking cell]) appearing in SamulNori Drumset Part 1. Although each cell is very similar to its neighbours, they each feature unique characteristics which we will explore here. I would highly recommend familiarizing yourself with each cell before moving playing SamulNori Drumset Part 1.

Cell 1 is the introductory statement of the piece and features a single note performed on beat 1 of each measure. When playing cell 1, try to imagine the bass drum note sustaining for the entire measure, producing a long, low tone. In Korea, the low tone is known as kung.

Cell 1.

Cell 2 may be considered the primary example of a Korean RS cell. When studying the changgu (Korean hourglass drum), one may perform this cell for long periods at a time to fully realize the combined results of hohup, musical flow, tension and release, and a circular approach to drumming.

When performing cell 2, imagine that the bass drum tone triggers your left hand to raise the stick. Although the cell may feel empty once the first note has been played, the space between each note is an important aspect in Korean rhythm. While raising your hand you are filling the space with expectation or musical tension (not physical tension) which is resolved once the note on beat 3 (ta) is sounded on the snare drum.

When playing ta, try to let the stick fall from a raised position as opposed to hitting the drum, creating a long, relaxed tone free of tension and “twisted desire”.

The pattern beeing Kung lift drop (ta) kung lift drop (ta)

Cell 2.

In Cell 3 a bass drum is added on beat two. Although the cell has become more complex with the addition of an extra bass drum note, try to keep the same “lift – drop” motion with your left hand. The “feeling” of cell 3 is a definite ¾.

Cell 3.

In Cell 4 we see the addition of a further bass drum tone on the “and” of two. Again, try to maintain the left-hand lift-drop motion . A slight accent can be added to this new note so as to reveal an underlying 6/8 pulse.

Cell 4.

In Cell 5 a bass drum note is added on 3+ leading to a hypnotic 6/8 pulse. Cell 5 is at the core of numerous SamulNori pieces including Tasurum.

Cell 5.

Cell 6 sees the addition of the first left hand grace note. In Korea this note is performed as an “up” stroke, the hand striking the skin softly and continuing in an upward motion so as to perform the following accent.

Cell 6.

In Cell 7 we find the first occurrence of unison. As stated earlier, unison events are a vital aspect of Korean drumming which allow for the creation of polyrhythm.

From Cell 7 onward the high tones and low tones may be considered to be producing separate melodies independent of each other, with the oscillating double stoke on the low tone becoming a drone-like ostinato.

Cell 7.

Serial amplification continues in Cell 8 with an accented unison event on the last eigth-note of each measure, creating a repetitive, circular cycle.

Cell 8.

In Cell 9 we find the first occurrence of the high-tone “flam-stroke” (ki ta), an important ornamental element in Korean rhythms. As you become more familiar with performing ki, the distance between ki and dok can be closed to resemble a flam.

Cell 9.

Cell 10 sees a further occurrence of kidok.

Cell 10.

In Cell 11, the final in the series, the first stroke of each “pair” of bass drum occurrences is shifted one 16th note to sound on the final 16th note of each 6/8 cell, thus introducing the ku kung “skip beat” found in tasurum. Similarly with kidok, onece you become familiar with the bass drum “skip beat” the distance between notes can be closed thus resembling a flam.

Cell 11.