Structure

The two pieces, Arirang for Gayageums with 18 and 25 Strings and Guyun: El Maestro, have a similar tertiary structure of ABA’. Arirang for Gayageums with 18 and 25 Strings exactly follows ABA’ form with each section played in a unique Korean musical style. Section A starts from the beginning of the piece to 0:36. Although it is arranged differently in this piece, this section is usually chorus in other Arirang variations. In this section, the two gayageums play the main theme together, creating unified sound, but with the harmonic bass line accompanied at the same time. Also, there is a technique called arppegiation used not only in this section, but throughout the piece. For example, running notes that lead to the first note of the piece at the very beginning of the piece and another running notes at 0:05 are arppegiations found in this section A.

Section B is from 0:37 to 1:01. This section is the widely known melody of Arirang not only in Korean culture, but also in other cultures throughout the world. In this section as well, the two gayageums plays the theme together with harmonic bass line and some arppegiations. From 1:02 to 1:04 is the small transitional section, played at forte, and leads to the next section.

Section A’ is from 1:05 to 1:29 and is very similar to the first section A, only at a slightly faster tempo. There is no major difference from Section A and gives the similar mood, because it is still played with arppegiation.

Guyun: El Maestro is also similarly structured in ABA’ form, but with an introduction in the beginning and an exposition at the end of the piece. The introduction is from bar 1 to bar 5, played at an irregular tempo, with a marking of con libertia. For example, in the beggining, the piece starts adagio, but in bar 2 and 3, the tempo accelerates. Finally in bar 5, with the marking of ritardando, the tempo slows down.
Section B, from bar 24 to 31, uses the similar rhythm, , throughout the section. Because the rhythm is fairly simple, the melody in this section is uncomplicated. Near the end of the section, another phrase uses another similar rhythm at a faster tempo, with triplet accompaniments, making a transition to the Section A’.


Section A’ is from bar 40 to 55. Although the same theme and melody is used as the first Section A, it is more embellished and complicated with more improvisations. For example, at bar 42, fast grace notes enrich the similar rhythm at bar 12 in Section A. After this bar, the rest of the section is played at another similar rhythm with 2 beats of half notes and the last beat of a quarter note. The effect of this repeated rhythm is that it leads to the end of the section and resolves on the long last note.


The coda is from 56 to the end of the piece. This section is interesting because the tempo varies within this section. For example, from bar 55 to 57, the phrase is played at a slow tempo, but the tempo accelerates at bar 58 and 59, with sixteenth notes. The last four bars of the piece are very relaxing at a slower tempo with arppegiation and end the piece peacefully.