Thang Long Ca Tru Club

Yesterday Hue, Esbjörn and I sat in my room, drinking tea and talking about music and musicians, about teaching traditional music and about the Thang Long Ca Tru Club. The more Esbjörn and I hear about the Club's work, the more fascinated and impressed we get. Yesterday we got to understand that Hue actually has a curriculum for the Club, even if it's not printed. The Club seems to work as a well organized school with explicit goals and plans for the students musical and technical progress that are methodically structured.
We think that this is something that more people should hear about. It could work as a great inspiration for traditional musicians and teachers all around the world to read about the Club and so we decided that the three of us should write an article about the Thang Long Ca Tru Club. This will also be very useful for Hue as she will participate in a conference in Australia in the end of April that will deal with the subject of teaching traditional music.

In the process of understanding how the Club works, Esbjörn and I will also learn to play some Ca tru. I will sing and Esbjörn will play Trong Chau. We started this morning. Hue and three of her students came over and I learnt the first two lines of Bac Phan and Esbjörn got to beat the drum.

Meeting with Dang Hoanh Loan

This thursday I had a meeting/lecture with mr. Dang Hoanh Loan. He told me about north Vietnamese funeral music and customs. He doesn´t speak any English so Hai Van was interpreting. When I was in Sweden I read an artile he had written about funeral music and that made me curious to learn more. His research had mainly been on the country side (Bac Ninh and Thai Binh) so it is possible that what he told me don´t apply for the musicians I some times see on the streets of Hanoi. One of the things that caught my attention in his article was that the ken player wasn´t allowed to practice the tunes, as hearing the music when there was no funeral was bad luck. Instead they had a do-re-mi system so that they could learn the tunes by singing. All the musicians in the band learned this sung melody but the stringplayers could also practice on their instruments. Of course they also have to play together sometimes, according to Loan there where two ways to do this without anybody hearing them, either the band went far out on the fields in the middle of the night, or they used a big jar where the ken player could stick down his head (and ken) while playing. According to Loan the last method looked very funny, (I can imagine). One interesting thing was that in this kind of music all the musicians follows the ken, as in Cheo everybody follows the singer. Loan spoke for almost two hours so I got loads of information that might be useful. Next week I´m going back to the musicology institute to see if i can listen to some more of this music and hopefully I can make some copies.

"do-re-mi"

The last week

The Tuong performance in Bac Ninh was very interesting. It was very long and we sat on a hard floor outside so when we came home we felt more dead than alive! But the performance was beautiful, face paint, flags, swords, strange shoes, everything you need for a good show! The day after Hai Van said that we could come to see a concert with a Japanese koto ensemble at the academy. It turned out to be twenty old japanese amateurs playing "piano-kotos" with pre-recorded backgrounds on floppy discs. We stayed for two tunes, after "do re mi" from the sound of music we decided that this was not the thing for us. On sunday I went to Bac Ninh to listen to Quan ho together with Hue and her friends, Pia stayed in Hanoi. It was a very long day, no vegetarian food, hard floors, beautiful singing and horrible camera men trying to get everything on tape and destroying for the audience and the singers. That's all for now!

First meeting with the teachers

Yesterdays visit at the Musicology department was a bit strange. Hai Van couldn't come so she sent mr Le Pho instead, Le Pho has many qualities but English is not one of them. Nobody seemed to know why we were there and when I tried to explain that I wanted to listen to funeral music and other styles of music that uses the Ken they took me to a computer and showed me their website. I've used it several times before so I was not really impressed, I got the feeling that they thought that we were total beginners on Vietnamese music and therefore would be happy just seeing the webpage. As far as I knew they should have been told what we wanted to do, but no. After several phonecalls to Hai Van and loads of misunderstandings I finaly managed to shedule a meeting with the author of an article about funeral music, mr. Dang Hoanh Loan. I hope that by talking to him, through Hai Van, I will be able to learn a bit more about the music he describes in his article.
This morning we went to the Nha Hat Cheo, the cheo theatre, to meet with our new teachers. As I suspected I was going to play with Nguyen Ngoc Khanh, he was my teacher during my first visit to Hanoi. It was very nice seeing him again and even though we don't speak the same language I hope it will work out. At first he said that it was better for me to play folksongs as I wouldn't be able to play Tuong with anybody in Sweden. When I explained that my interest was more from a researcher perspective than musician and that I also was interested in funeral music he looked very surprised. That a western could be interested in learning about funeral music made him very suprised but pleased as he himself played had played that music a lot. Khanh is apparently know by everybody as the best player of the Sona and he seems very aware of that. He made it clear (as far as i understood it) that he expected me to treat him as the best and that I must show respect for his old masters by bringing an offering to his house before we started with the lessons. It turned out that he had an altar for his four old tuong masters and that he should tell them that he had a new student so that they could help me to learn. Hai Van explained this to me. Khanh have had another western student on the Sona, he told me, an oboist in the new york philharmonic orchestra. It might have been a while ago as he had some troubles remembering her name but he hought it was Anna. We didn't play so much this first time but he changed the bell of my Sona so that it would intonate better. He explained a bit about vibrato and copied two tunes that I could start with. The tunes were both to be played when the king where walking about in a play. I also asked him to write down the names of the different parts of the instrument as this might be good to know. This afternoon we will go to Bac Ninh and watch a Tuong and a Cheo play. Hopefully this will give inspiration for next weeks lesson!

Cheo in short

Today we´re going to visit the musicology department, we´ll probably have to see the same phony performance of stone instruments and dan day-bass as the previous times. It´s a bit depressing but maybe this time they've realized that we are actually interested in Vietnamese music. The Cheo performance last friday was interesting, it was the same play as in september.The plot seemed to be: two brothers are tricked into opium and gambling, when their father finds out he dies, everybody is upset, the brothers and their "friend" (who tricked them) have to walk around on the streets being poor and hungry, their sister together with a relative(?) to their father goes into disguise and gets the brothers to repent, some papers that was stolen by the brothers and then taken from them are returned, everybody is happy. That's all for now.

Rytmik videos

Last semester I did a project where seven Swedes tried to understand Vietnamese music through rytmik. The project was part of my exam paper at Malmö Academy of Music. You can now watch the visual result on youtube.
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Or search for PiaPedagog on Youtube.com