The Korean Sanjo lit. free form an instrumental improvisation, has a framework of three basic rhythms, to which others may be added. Sartjo used to be played only on the bagagem (or kayakko) a long-zither with twelve strings, and then, about fifty years ago the komungo (or huangam) sarin was introduced by a famous player. More recently players of other instruments have found in this form a perfect vehicle for displaying their musicianship. The kanungo, another long-zither has six strings of twisted silk, the second third and fourth being stretched over sixteen fixed frets. the other strings having each a single movable bridge. The first string (E serves as a drone, the melody is played on the second (whose second fretis tuned to the third (whose othfret is also tuned to B while the fourth (BP), and sixth (B at the lower octave) are struck successively to end the music. This unusual way of tuning the instrument is probably due to the fact that the left-hand ring and middle fingers are kept pressed to the second and third strings all the time, so that these are never played open. Only the forefinger and the thumb move freely. The effect of vibrato and slur is produced by a lateral push of the string to raise the pitch, unlike the downward push used by kayagam players A short stick held in the right hand is used to pluck the strings. Both these instruments - purely Korean so it is claimed have a long history, dating back at least to around the beginning of the 7th century A complete sanjo on either of these instruments would have filled one side of the record, and therefore, with reluctance, since the player is a remarkable musician, I give here only part of the first movement of a komungo santie in a future album. I hope it will be possible to give the piece is tool, and one complete and much shorter sumo played on the seng (lit. scratch zither). This is a bowed long-zither,
introduced from China into Korea during the Koryo Dynasty (918-1392): it is said to have a Mongolian origin. The ajung has seven twisted silk strings, tuned to A♭ B♭ C E♭ F A♭ B, ascending. The bow is a plain stick of Forsythia wood, about three feet in Imgth, rubbed with resin. Every sanjo is accompanied by a large hourglass drum, the chang-go, with a history as old as that of the two long-zithers. The left-hand skin is struck with the palm of the hand, the right with a stick towards the periphery. As he plays the drummer utters words to encourage and applaud the soloist, they are part and parcel of any performance and are quite audible here. And in order to display another drumming technique, and another rhythm, part of the first movement of a hajok sanjo is included. Hojok 14, barbarian pipe) and nallari (an onomatopoeic word) are the common names of this conical oboe properly called taev'yongso. Similar to the Chinese son, it is also derived from the Persian surma and was introduced from China Into Korea in the 15th century for use in military and other kinds of outdoor music. Finally, there is included a famous piece, a song accompanied by a komugo and a changgo, a soldiers' complaint.

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