INTRODUCTION

TO VIETNAMESE MUSIC

                     by Nguyễn Vĩnh Bảo                                                       

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Western music centers on harmonic sequences whereas Vietnamese music is built on melodic construction and single note colorations. It beauty lies not so much in the succession of notes as in each separate note itself. Each note is an entity in itself, calculated to evoke in the mind of the listener a special reaction. Thus, the Vietnamese musician adorns his sound with ornamentations which we might call “bent” notes. The tension of each string can be greatly increased by downward finger pressure. The musician bends almost every note. There are very great possibilities for modifying the coloring of one and the same tone. The timbre is thus of the utmost importance.

In order to understand and appreciate Vietnamese music, the ear must learn to distinguish subtle nuances.

I. MODAL MUSIC

Each mode is characterized by:

1. a modal scale
2. intervals of this scale
3. specific ornamentations
4. determined mood
5. tempo

II. REPERTOIRE

In the Music for Diversion of the South (Nha.c Tài Tu+? Nam Bô.) there are four modes:

1. BAC MODE - cheerfulness and happiness music.

There are 6 pieces:

1. Luu thuy truong
2. Phú luc chan
3. Bình bán chan
4. Xuân tình chan
5. Tây Thi vn
6. Co ban van

2. BAC NHAC LE MODE - ceremonial, religious music.

There are 7 pieces:

1. Xàng xê
2. Ngu doi thuong
3. Ngu doi ha
4. Long ngâm
5. Long dang
6. Van giá
7. Tieu khúc

3. NAM MODE - includes 3 pieces of three characters

1. Nam xuân - (serenity and tranquility)
2. Nam ai - (grievances)
3. Ðao ngu cung - (solemnity)

4. OÁN MODE – expresses profound pain.

There are 4 pieces:

1. Tu dai oán
2. Phung cau hoàng
3. Phung hoàng cau
4. Giang nam cuu khúc