Vocal characteristics in "Sam-go-cho-ryŏ" from "Jŏg-byŏg-ga" sung by Gim Chang-ryong

The original “Sam-go-cho-ryŏ” from Jŏg-byŏg-ga sung by Gim Chang-ryong was recorded twice, once in 1926 and 1935. This study examines common points and differences in the melodies and Sa-sŏl from 'Sam-go-cho-ryŏ' recorded between these dates. It also identifies the characteristics of Gim Chang-ryong's vocal improvisation by comparing them with Jŏng Jŏng-ryŏl. The main contents of Sa-sŏl from “Sam-go-cho-ryŏ” recorded by Gim Chang-ryong in 1926 and in 1935 are mostly similar and partially recomposed. He added an ad-lib Jungmori Jangdan five measures intro to “Sam-go-cho-ryŏ” recorded in 1926. The drummer Sim Jŏng-soon performed numerous chooimsae in the uppermost range of Gim Chang-ryong. Gim Chang-ryong frequently used the rhythm “2bac+2bac+2bac” and made Sa-sŏl tight and close recorded in 1926 and 1935 from “Sam-go-cho-ryŏ.” The various melody types appeared to be have both the characteristics of Pyong-jo and U-jo from “Sam-go-cho-ryŏ” sung in 1926 and 1935, respectively. The melody line is similar in the first measure and part of it. In the disk of 1926, “fa” often showed among Pyong-jo composed by Sol·La·do·re·mi. In 1926, he performed “Sam-go-cho-ryŏ” in slow three sub beats Jinyang, while, in 1935, he performed it in quick two sub beats Jinyang. Sixteenths appeared frequently in the melody in 1926 and were mostly replaced by quarter notes, which is the eighth notes, simplifying the melody. According to the piece recorded in 1926 and 1935, before singing the next syllable, Gim Chang-ryong repeated the former syllable shortly and also used a Jŏng-ga melody; a tone- Major 2nd down-a tone-the fourth high tone. Therefore, both recordings appear to have the original characteristics of Gim Chang-ryong's vocal techniques, except that the melodies changed according to the speed of singing. Every melody and slow and quick beats are accurately separated from “Sam-go-cho-ryŏ” sung by Jŏng Jŏng-ryŏl. Meanwhile, the quick part of Gim Chang-ryong's melody continues without an accurate beat, so it prohibits a person who is learning his vocal from catching and checking his melody. Thus, it is certainly considered that the vocal characteristics of Gim Chang-ryong made his performance totally not handed down to next generation. His unique vocal techniques are captured in “Sam-go-cho-ryŏ” recorded in 1926 and 1935. Additionally, the improvisation of his performance includes a melody without an accurate beat.