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Korean traditional rhythm also called Jangdan (장단) is a rhythm in which the rhythmic form is repeated with a percussion instrument such as a Janggu or hourglass drum. There is a basic format, but there are many variations while playing the songs. Korean traditional music is usually sung within the Jangdan, played by the Janggu or eastern drum. This accompaniment is called 'hitting the Jangdan'. But in music mainly composed by percussion instruments like Korean traditional folk music, it is called 'hitting the steel' or 'hitting the Pungmul(풍물)' which is Korean traditional folk music. Jangdan can be categorized into two groups: Jeong-Ak (formal music) Jangdan and Min-Sok-Ak (traditional folk music) Jangdan.

How to read Jangdan

When playing janggu, usually chae is used with the right hand and nothing on the left. However, while playing outdoor music or Samul Nori, people use gung chae with their left hand. Also, it is general to hit the middle side of the chae side, but exceptionally, a corner of the chae side with a small volume is used while playing solo or indoor music.

Jeong-Ak (Formal music) Jangdan

Jangdan, used in Jeong-Ak, is usually played by Janggu. It is often used in Jangdan in Young-San-Hoe-Sang(靈山會相). Also, Jangdan's music for national ceremonies is an example. There are many combinations of rhythms in slow Jeong-Ak Jangdan, many Doduri in normal speed Jangdan, and many Ta-ryoung in fast Jangdan.

Sang-Young-San Jangdan

Sang-Young-San Jangdan has a very slow 10-beat tempo. If one beat is considered a half note, the Jangdan is a 10/2 beat tempo, and if considered a quarter note, the Jangdan is a 10/8+8+8 beat tempo. Sometimes it is considered a 20-beat tempo for very slow music. The Sang-Young-San Jangdan is used in the first and middle part of the Young-San-Hoe-Sang(靈山會相), 1~3 chapter of Yeo-Min-Rak(與民樂), 1~4 chapter of Bo-Heo-Sa/Bo-Heo-Ja(步虛子).

Se-Ryoung-San Jangdan

Se-Ryoung-San Jangdan is a 10-beat tempo, similar to Sang-Young-San Jangdan but a bit faster, so it has many variations. It is used in Se-Young-San in Young-San-Hoe-Sang, Ga-Rak-Deo-Ri, 4~7 chapter of Yeo-Min-Rak, and 5~7 chapters of Bo-Heo-Sa/Bo-Heo-Ja(步虛子).

Doduri Jangdan

Doduri Jangdan is the most used Jangdan in Jeong-Ak (formal music), with a 6-beat tempo in normal speed. It has many variations that depend on the song.

Chee-Ta Jangdan

Chee-Ta Jangdan is used in marching music. It is a 12-beat tempo.

Ga-Gok (songs with singing/lyrics) Jangdan

In most Ga-Gok, the Jangdan mostly has a 16-beat tempo.

Extra Jangdan

Ga-sa Jangdan
Si-jo Jangdan

Min-Sok-Ak (traditional folk music) Jangdan

There are many categories in traditional folk music. Pansori Jangdan is played by a drum; the Jangdan of Ip-Chang is played by Sogo (mini drum). The Jangdan of all traditional instrumental music is played by Jang-gu.

Gutgeori (굿거리)

Gutgeori jang dan is the 12 beats jang dan most played in folk music with Semati jang dan. Gutgeori Ja Dan's basic rhythm is ‘(덩기덕 쿵 더러러러 쿵기덕 쿵 더러러러)’. It's played in various cases, like pansori, sanjo, muak, and dancing music. For example, gutgeori is played in folk music like Nuilliliya, Hangangsu-talyeoung, and Pungnyeon-ga. It's played in Gut in Seoul, Gyeonggi, Jeolla. In this case, it is usually made up with piri, haegum, and janggu in Seoul or Gyeonggi, and we add jing at Jeolla's Gut.

Dodeuri (도드리)

Dodeuri jangdan is played in various kinds of music, and it's changed its rhythm for purposes. Music by Dodley Jangdan gives us grave and strong feelings. Dodley of eight-eighteen times or six-four times is used in Yeongsan-Hoesang, and Dodley of six-two times used in pansori like Chunmyeongog or Jugjisa. Otherwise, we play Dodley Jangdan for court dance as Cheoyongmu, Pogulag and Samhyeon Dodley which is made up of Samhyeon-Yuggag.

Semachi (세마치)

‘Semachi’ means ‘finish at the third turn’, namely play three times. Its basic rhythm is (덩덩덕쿵덕). Semachi jangdan is a bit fast; three beats jangdan. We divided it one time into three beats so we could play the nine-eight-times jangdan. Music with Semachi Jangdan gives us cheerful and valiant feelings. Semati Jangdan is one of the Jngdan played in pansori and nongak. For example, it's played in Yangsando, Ginbanga-Talyeong, Jindo-Arirang, Bellflower-Talyeong.·

Eotmori (엇모리)

‘Eotmori’ means Jangdan which go forward in rotation. Its basic rhythm is (더엉궁 따악 구웅 궁 따악). Urmorie Jangdan is very fast–ten-eight times jangdan. Unusually, it is composed with a 3-beat and 2-beat rotation instead of the same rhythm's repetition. Urmorie Jangdan is played in pansori and sanjo. There are late Urmorie and frequent Urmorie Jangdan which have different speeds. Pansori is usually made up of late Urmorie and frequent Urmorie Jangdan. Sanjo is usually made up of late Urmorie Jangdan.

Jajinmori (자진모리)

‘Jajinmori’ means ‘Frequently’ Jangdan. Its basic rhythm is (덩 쿵 쿵덕쿵). Jajinmori Jangdan is fast eight-twelve times Jangdan which is played in pansori or sanjo. We can play its three beats together at one time, and in this case, one jangdan is the same as four times. Music with Jajinmori jangdan gives us active and enchanting feelings. Jajinmori jangdan is usually played in pansori, sanjo, nongak, and muga, especially in dramatic and urgent parts. We could see Jajinmorie jangdan in Chunhyang-ga, Simcheong-ga, Heungbu-ga, and Jeokbyeok-ga.

Jungmori (중모리)

This is one of the Jangdan in Korean traditional music. This Jangdan is composed of 12 tempos and is usually used in pansori sanjo and minyo, the Korean traditional folk songs. These tempos are averaged at 12 tempos, and 1 tempo is expressed as a quarter note, so the total tempo of the 12/4 beat. In Pansori, this jangdan is used in the descriptive or emotional parts. Famous usage of this jangdan is <Chunhyangga>'s SSukdaemuri and <Heungboga>'s Ganantaryeong.

Jungjungmori (중중모리)

Jungjungmorie is usually used in part because it is very fun and exciting, but sometimes it is used in part because it expresses struggling and wailing. The most famous part that uses Jungjungmorie is <Chunhyangga>’s gisanyeongsu.

Jinyangjo (진양조)

This jangdan is the slowest jangdan used in Pansori or Sanjo. 6 beats compose one gak, and four gaks compose 1 jangdan, so 1 jangdan is composed of 24 beats. At pushing sound, we use the first gak for hanging sound, the third gak for binding sound, and the last gak for unwinding sound. The number of gaks depends on the binding and unwinding of sounds. This jangdan is usually used in lyrical, leisurely, majestic, fluffy, or crying lyrical parts.

Hwimori (휘모리)

By its name, ‘Hwimorie(휘모리)’ we can notice that this jangdan is as fast as a whirlwind. At the first beat, we make ‘deong’, and at the late third beat, we hit strong with chae. This jangdan is written as 4/4 or 12/8 beats. This is the fastest jangdan used in Pansori or Sanjo and is usually used in a situation that is very busy. The most famous part that uses this jangdan is the end of <Choonhyangga>’s sinyunmadji.

Utjungmori (엇중모리)

This jangdan is used in Pansori and is composed of 6 beats, and the speed is average. It is used at the end of the part where the boss tells the story or at the end of the pansori. The most famous part that uses this jangdan is <Choonhyangga>’s By Hoedongsungchampan Younggam.