with all finger-holes
stopped and has a range of over two octaves. Folk instruments, generally
pitched a tone higher, are somewhat shorter.Large
transverse bamboo flute of Korea (tae: ‘large’; gŭm:
‘flute’). It is also called chŏ or chŏttae. The
standard taegŭm is about 80 cm long and has six finger-holes plus
the blowing-hole and a membrane-covered hole. It gives the pitch b with all finger-holes
stopped and has a range of over two octaves. Folk instruments, generally
pitched a tone higher, are somewhat shorter.
Since the blowing-hole is large, the performer can obtain gradations of pitch by varying air pressure and by altering the angle of embouchure; the wide vibrato characteristic of Korean music is produced by simultaneously bobbing the head up and down and rotating the instrument slightly. The finger-holes are also large and nearly equidistant. Between the blowing-hole and the first finger-hole is an aperture covered with a thin, fragile reed membrane; a curved metal plate laced to the instrument can be slid over the membrane hole for protection. Towards the far end of the flute are two to five unstopped holes which define the maximum sounding length and decorate the instrument. Owing to its large size the taegŭm is awkward to play. The performer supports the extension of the blowing-hole end on the left shoulder and in reaching the finger-holes must bend the left wrist sharply backward (see illustration).
The taegŭm
sounds in three basic registers. The middle register is obtained by overblowing
the low register at the octave (these two registers each having the compass of
an octave), and the four notes in the high register are obtained by overblowing
at the 12th: thus the same fingering yields e', e'' and b''. In its lower range the sound is both gentle and
full, but the membrane imparts a piercing buzzing quality to high or loud
notes.
The taegŭm, together with the chunggŭm (‘medium flute’) and sogŭm (‘small flute’), is mentioned as one of three important flutes of the United Silla period (668–935 ad), and it has remained a dominant instrument in Korea. The treatise Akhak kwebŏm (1493) gives the full length of the instrument as 86·4 cm (but maximum sounding length about 70 cm) and goes to the trouble of demonstrating seven sets of fingerings for different modes; it also reveals that the taegŭm was an important member of numerous ensembles.
Today the taegŭm is used in a variety of ensembles and as a solo instrument in both court and folk traditions. In the court tradition it appears in hyangak (‘native music’), such as the long suite Yŏngsan hoesang, and in tangak (‘Chinese music’), such as Nagyangch’un. A particularly favoured court solo is Ch’ŏngsŏng chajin hanip. In the folk tradition it is used in shaman ensembles (sinawi) and the virtuoso solo genre, sanjo. It also serves as a tuning instrument in ensembles.
Sŏng Hyŏn, ed.: Akhak kwebŏm [Guide to the study of music] (Seoul, 1493/R), 7.28a–30b
Chang Sahun: Han’gak akki taegwan [Korean musical instruments] (Seoul, 1969), 12–20
K. Howard: Korean Musical Instruments: a Practical Guide (Seoul, 1988), 99–117
ROBERT C. PROVINE