웃도드리 거문고 운지법에 관하여

Abstract

This study is about fingering of Utdodeuri Geomungo out of Dodeuri derived from Boheoja. Following is the result of study. When playing all the Utdodeuris which are written on the current score of Geomungo, Gayageum, Daegeum, Haegeum and Piri, it is found out that only Geomungo sounds incorrect pitch in some part. This study raised a question about that and compared the Utdodeuri notes in the score of Geomungo, Gayageum, Daegeum, Haegeum and Piri and found out that all the scores are notated with the same 南呂 interval. The notes of all the instruments including Geomungo are notated in the same way, but only Geomungo sounds inharmonious. It seems that it is because some fingering of Utdodeuri Namryeo of Geomungo score is notated by Gyeongan method. The parts that Gyeongan method is notated on current Utdodeuri of Geomungo are the 6th beat of 1st gak(刻) in 3rd movement, the 4th and 5th beat of 1st gak in 5th movement, the 2nd and 3rd beat of 4th gak in 6th movement and the 2nd and 3rd beat of 4th gak in 7th movement. Therefore to grasp the accuracy of interval and fingering at this part, investigated are the sameness or difference between the interval and fingering of the Utdodeuri in current Geomungo score and those collected in many old scores since the Eoeunbo in 1700s. Investigation shows that all the notes of Utdodeuri in current Geomungo score and in many old scores since the Eoeunbo are notated with the same Namryeo, while fingering is different(Gyeongan method and Yeokan method) depending on each old score. Unlike the current score, the scores notated in Yeokan method are Eoeunbo, Yeokyangaun, Hyeongeumoeumtongron, Samjukgeumbo, Iwangjikaakbo and Aakbohyeongeumbo. There is a record in Geomungo Anbeopjo in Akhakgwebeom, “There are fixed Gwes. A novice should try to play a fixed Gwe(괘) as it is and once mastered, he can do Yeokan freely and may well make a sound of the next Gwe.” It implies that once a player has mastered a function, he can cross the border of Gyeongan and Yeokan, expressing various techniques freely. Such cross-border and free expression of various techniques might be the reason why Namryeo interval notated in Utdodeuri Gyeongan method of current Geomungo score sounds inharmonious. The teacher of the researcher herself(Yun-Guk Gu, a professor emeritus in Kyungpook National University), who studied in Korean Classical Musician Training School, maintained that old masters mostly relied on face to face lesson rather than notating the melody in handing over musical technique. That might be the cause of confusion that brings the mixture of two methods. Another reason might be that players just play the Namryeo interval of Utdodeuri, the part this study introduced, in the same way as in the old ten Gwe:Gyeongan method, never considering the size or structure of musical instruments that were changed as time passed by. For these reasons, the current Geomungo Utdodeuri sounds unique and imperfect in the ensemble. In conclusion, all the Gyeongan methods that are notated on the current Geomungo Utdodeuri should be replaced with Yeokan method or Jeongak and Sanjo instruments should clearly be divided as in case of Gayageum, Daegeum, Piri and Ajaeng, so as to escape the discord of interval as in the current Geomungo score Utdodeuri.