CLASSICAL VIETNAM INSTRUMENT (part 2)
(Source: Nam Mai Phan - VN)

______________________ THE ZITHER WITH 36 STRING
The 36-string zither is a percussion instrument. It has the shape of an isosceles trapezoid, with a slightly convex sound board made of light, porous, unvarnished wood. The bridges and sides are made of hardwood. The bottom is flat. There are two staggered lines of 18 bridges on the sound board. The bridges on the left have hooks to which the strings are attached; those on the right have pegs for tuning. The strings are of metal. Those on the left, numbering 18, are tuned as follows:
C, D, E, F-sharp, G-sharp, A-sharp, C1, D1, El, F-sharp 1, G-sharp 1, A-sharp I, C2, D2, E2, F-sharp 2, G-sharp 2, A sharp 2.
The 18 strings on the right are tuned as follows: C-sharp, D-sharp, F, G, A, B, C-sharp 1, D-sharp 1, FI, GI, Al, B1, C-sharp 3, D-sharp 2, F2, G2, A2, B1.
The range of the instrument covers three octaves from C to B2. The strings are struck with two thin flexible bamboo sticks tipped with felt.
The playing technique includes a quick run, vibrato, stopping, and pressing. The tones are bright and merry and the notes of an arpeggio can be played in swift succession or simultaneously.
The instrument plays an important role in the band accompanying cheo and cai luong operas. The 36-string zither can be played to accompany instrument solos, singing, or as part of an orchestra. Recently, more strings have been added so that all semi-tones can be played.

______________________________ SAO TRUC (FLUTE)
Sao Truc or Truc flute refers to a wind instrument with arch-form blowing hole. This very flute is so popular in countryside of Vietnam. Truc flute is made from a bamboo or hornless bamboo tube with length varying from 40 to 55 cm, diameter varying from 1.5 to 2 cm. At one end of flute, there is an oval hole known as blowing hole. There is a rush pith or a soft wooden piece located inside the tube near the blowing hole and functions to adjust pitches when necessary. Being straightly with the blowing hole are 6 finger holes, of which, the first hole is 12 cm far from the blowing hole, while the others are in the same distance of 1 cm. Uncovering in turns 6 finger holes will give respective tones including Do1, Re1, Mi1, Fa1, Sol1, La1, Si1, and Do2. At the other end on the other side of the flute, there is a non-covering hole called definite-pitched hole.
When playing, flutist holds the flute transversally to the right side and places his mouth at the blowing hole. The flutist can control air column (slight blowing makes air column move slowly and weakly, as opposed to strong blowing makes air column move fast and strongly). Truc flute is usually performed solo or in ensemble with other instruments in orchestras of Vietnamese popular opera Cheo, Van singing genre, and Royal Small Orchestra.
At the end of 70 decade of the 20th century, artists Dinh Thin and Ngo Nam made renovation to this flute as they changed the 6-finger-hole flute into 10-finger-hole flute in order to extend register. Thanks to this, flutists find more easily when performing musical pieces such as Tieng goi mua xuan (The call of spring) by Dinh Thin, Tinh que (Love for the Country) by Hoang Dam, and a number of others.


________________________ GONGS OR CONG-CHIENG
Gongs are musical instruments made of alloy bronze, sometimes with gold, silver, or black bronze added to their composition.
In the Kinh language, the word cong identifies convex gongs and the word chieng refers to the flat ones. Gongs vary in size from 20 to 120 cm in diameter.
Gongs may be played one at a time or in groups of 2 to 20 units. The Muong, as well as other ethnic groups in the Truong Son-Tay Nguyen regions, use gongs not only to beat the rhythm but also to play polyphonic music. Ensembles of gongs usually include several sets that vary in number and function during the performance.
Gongs can be struck with wooden sticks, mallets, or even bare hands. There are techniques that can be used to shut off sounds and to produce melodies.
In some ethnic groups, gongs are only intended for men to play. However, the sac bua gongs of the Muong are played by women. In other ethnic groups, both men and women may play. In general, taboos regarding cong-chieng customs differ from ethnicity to ethnicity.Gongs hold great significance and value for many ethnic groups in Tay Nguyen. The gongs play an important role in the lives of the inhabitants of Tay Nguyen; from birth until death, the gongs are present at all the important events, joyful as well as unfortunate, in their lives. Almost every family has at least one set of gongs.
In general, gongs are considered to be sacred instruments. They are mainly used in offerings, rituals, funerals, wedding ceremonies, New Year’s festivities, agricultural rites, victory celebrations, etc.
In the Truong Son-Tay Nguyen region, playing the gongs electrifies the people participating in dances and other forms of entertainment. Gongs have been an integral part of the spiritual life of many ethnic groups in Vietnam. *MEI

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