산조의 기본청과 보조청

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서울대학교 음악대학 동양음악연구소
민족음악학, Vol.18, pp. 111-129
Sanjo would be long and tedious unless its ch'ang, the central tone, varies in

the course of music. The change of ch'ang reflects a tightly organized pattern: a piece consists of a kibon ch'ang[fundamental tone], usually middle c, and its modulations (relative ch'ang) that occur based on the central tone to fifth above and fourth below, forming the tonic and dominant relationship. Then pojo ch'ang[auxiliary tone] appear a major second above and below those fundamental

ch'ang depending upon instruments. As shown in the following diagram, two different patterns are found in sanjo. In kayagum sanjo, the fundamental ch'ang, c,

and its relative ch'ang, g, and G, are approached by an interval of major second

above auxiliary ch'ang{d, a, and A). In komungo sanjo, on the other hand, the

fundamental and its relative ch'ang are decorated by a major second below

auxiliary ch'ang(B flat, f, and F). While the use of ch'ang varies according to

instruments, Sanjo usually starts with an auxiliary ch'ang and then precedes to

the fundamental ch'ang. Such changes in ch'ang makes Sanjo not only one of the

most beautiful traditional genre with its rich melodic lines that can show off

performers' virtuosity, but also a very carefully planned music.
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College of Music (음악대학)Asian Music Research Institute (동양음악연구소)Journal of the Asian Music Research Institute (동양음악, JAMRI) 민족음악학 Volume 18 (1996)
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