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초록·키워드
Included in the terms of Korean Nongak rhythmic patterns are Chai or Machi, some of which are numbered. For example Il-chai-koot, Oeh-machi, Oeh-machi-jilkoot, I-chai-koot, Du-machi, Deon-sam-chai-koot, Neurin-sam-chai-koot, Se-machi, O-chai-jilkoot, and Kilgunak-chil-chai.
These rhythmic patterns are independent of Nongak Sibi-chai that consists of 12 serial rhythmic patterns.
Chai is a mallet which they play percussion with; Machi is also a mallet. Chida and Machida mean striking and playing in Nongak. Chai and Machi mean rhythmic pattern in Nongak and sharmanism music, such as Chun-doong-chai and Kyup-machi.
The figure added to these terms of rhythmic pattern originated from the number of strokes played by the Jing(Large Gong):
① In Il-chai-koot (onc-chai), Oeh-machi (Single-machi), Oeh-machi-jilkook(single-machi-march) the Jing is beaten once in a measure.
② In I-chai-kook (two-chai), Du-machi (two-machi) the Jing is beaten twice.
③ In Doen-sam-chai (fast-three-chai), Neurin-sam-chei (slow three-chai), Se-machi (three machi) the Jing is bitten three times.
④ In O-chai-kook (five-chai), O-chai-jilkoot (five-chai-march) the Jing is beaten five times.
⑤ In Kilgunak-chil-chai (seven-chai-march) the Jing is beaten seven times.
There are two types. In the first type the ling is beaten many times in a measure, and in the second type just one time. In the older style the ling is beaten many times. For in sharmanism music the Jing is beaten many times.
The mixed time, as in O-chai-jilkoot and Kilgunak-chil-chai, is an older style in Korean music.
These rhythmic patterns which include Chai or Machi motivate to combine into Nongak-12chai.
These rhythmic patterns are independent of Nongak Sibi-chai that consists of 12 serial rhythmic patterns.
Chai is a mallet which they play percussion with; Machi is also a mallet. Chida and Machida mean striking and playing in Nongak. Chai and Machi mean rhythmic pattern in Nongak and sharmanism music, such as Chun-doong-chai and Kyup-machi.
The figure added to these terms of rhythmic pattern originated from the number of strokes played by the Jing(Large Gong):
① In Il-chai-koot (onc-chai), Oeh-machi (Single-machi), Oeh-machi-jilkook(single-machi-march) the Jing is beaten once in a measure.
② In I-chai-kook (two-chai), Du-machi (two-machi) the Jing is beaten twice.
③ In Doen-sam-chai (fast-three-chai), Neurin-sam-chei (slow three-chai), Se-machi (three machi) the Jing is bitten three times.
④ In O-chai-kook (five-chai), O-chai-jilkoot (five-chai-march) the Jing is beaten five times.
⑤ In Kilgunak-chil-chai (seven-chai-march) the Jing is beaten seven times.
There are two types. In the first type the ling is beaten many times in a measure, and in the second type just one time. In the older style the ling is beaten many times. For in sharmanism music the Jing is beaten many times.
The mixed time, as in O-chai-jilkoot and Kilgunak-chil-chai, is an older style in Korean music.
These rhythmic patterns which include Chai or Machi motivate to combine into Nongak-12chai.
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