Repertoire

The most important repertoire for the Samulnori is 'Pinari,' Samdo Seolchanggo,' 'Samdo Nong'akkarak,' and 'P'ankut.' These are the 'golden pieces,' which have made Samulnori what it is today. However, Samulnori is far from being content with only these numbers. As in its past, they are constantly seeking new ways to express themselves through countless concerts of experimental compositions and crossovers with other types of music

Pinari Among the four major pieces for Samulnori, the 'Pinari' is most akin to a religious ritual, containing words of calling the spirits and asking for their blessing. This is why Pinari is the first piece to be performed in a concert. The spirit of invitation and blessing of the Pinari is expected to spread good luck to the rest of the audience. In the beginning of the concert, the performers enter from a back door, playing their instruments as they proceed to the stage.

This process is a re-creation of the traditional ritual called Mun-kut which had been performed at the front gate of a household. The Mun-kut for Samulnori begins as the Puk plays the signaling patterns, followed by a clamoring response from the rest of the instruments. Then the Sangshoi (leader of the band) calls out: " Open, open the gate, ye Generals of the five directions! As we humans enter this gate, all the fortunes in the world are tumbling in as well." Marching to the 'Tongdaekung' rhythm, the band then proceeds through the aisle, past the audience's seats, and climbs on stage. The performers will then pay tribute at the altar and begin playing the Pinari.

Samdo Seolchanggo KarakThe story of the Pinari accounts the genesis of the universe, followed by words of exorcism and blessing. 'Samdo Seolchanggo Karak' juxtaposes the essential rhythmic patterns of past janggu virtuosi from the three main provinces of Korea. It is arranged in a way congenial to modern taste and contains some of Kim Duk Soo's own rhythmic creations. In contrast to a traditional Seolchanggo piece, the piece arranged for Samulnori resembles the 'slow to fast' procession of a Sanjo. Also, while a traditional janggu piece is more an opportunity for the leading janggu player of the band to show off his original style of dance, the Samulnori version, performed in a seated position, puts more emphasis on the dynamics and the refinement of the overall musical sound.

Samdo Nong'ak Karak'Samdo Nong'ak Karak,' perhaps the most well known of all Samulnori pieces, is an arrangement of the representative rhythms from all around Korea, performed in a seated position. The three separate pieces called 'Yangnam Nong'ak,' 'Uddari P'ungmul,' and 'Honam Udo-kut' performed in the early years of Samulnori were later compiled into this single piece. While the Samdo Seolchanggo Karak captures the essence of the janggu, the Samdo Nong'ak Karak highlights the contrasting timbre and nature between the gongs and the drums, arranged in a way that embodies the principle of winding, bending, and blending exemplified in the works of nature themselves.

P'ankutIf Pinari is religious, and Samdo Seolchanggo Karak and Samdo Nongak Karak are musical, then one could consider P'ankut to be the most playful. During P'ankut, the performers engage every part of their bodies in arousing the feeling of synmyong (enthusiasm) among the spectators. With Sangmo hats on their heads and instruments in their hands (or on their bodies), the performers dance with their souls and bodies. Nothing more exemplifies the harmony among heaven, earth, and man. Many call P'ankut the quintessence of Samulnori.

Aside from the four pieces mentioned here, many other pieces have resulted from Samulnori's constant efforts to combine with other music and art genres. 'A Korean Orchestral piece for Samulnori,' 'Samulnori & the Piano,' 'Samulnori Concerto,' and 'Samulnori and Jazz' are some of the most well-known examples.