Vietnamese Pipa with Natural Wood Front and Mother of Pearl Inlaid Back

PRODUCT DESCRIPTION

Vietnamese Pipa

 - Weight: approximately 2.0 to 2.5kg

- Dimensions: height 97cm, width 30cm, thickness 9cm

 - Suitable for beginners and enthusiasts of this instrument

 - Made from Firmiana simplex wood for good resonance and durability

 - The back of the instrument features a beautifully intricate and familiar mother of pearl inlay

 - Strings: 4 Japanese nylon strings, providing a bright and melodic tone

 - Good sound quality and appearance for its price range, ideal for beginners

The Pipa is directly imported from the manufacturer, ensuring a lower price and a sturdy, well-balanced feel. It is made in a Vietnamese traditional musical instrument workshop, popular among music academy students for study and practice. The Pipa is durable over time and designed with high aesthetic value, following the traditional shape resembling a halved pear.

VIETNAMESE TRADITIONAL MUSICAL INSTRUMENT – PIPA

 Today, I introduce to you the "Vietnamese Pipa." The Pipa is a plucked string instrument known in the East, which has been localized over time in different regions or countries. It originated very early in China as the PiPa, in Japan as the Biwa, and in Korea as the Bipa.

The Pipa first appeared in Vietnamese history when Lê Tắc mentioned it in An Nam Chí Lược, referring to the small musical ensemble used outside the royal court during the Trần dynasty. The Vietnamese Pipa is an ancient form of the Chinese PiPa, originating from the Persian Barbat and introduced to China via the Silk Road.

The Pipa has existed since ancient Chinese times, with a history of over 2000 years. It was introduced to Vietnam very early, as evidenced by carvings of musicians on square stone blocks used as footings for pillars at Phật Tích Temple, Bắc Ninh, depicting the Pipa between two musicians playing the sheng and the vertical flute. During the Trần dynasty, the Pipa was only part of the small folk ensembles.

In the Lê dynasty, when Lương Đăng standardized court music based on the Ming model, the Pipa was included in the Đường Hạ Chi Nhạc ensemble. However, Lương Đăng's rules were not widely accepted, as notable scholars like Nguyễn Trãi, Lương Thế Vinh, Thân Nhân Trung, and Đỗ Nhuận criticized them. As a result, the Pipa, although part of the Đường Hạ Chi Nhạc ensemble, was not officially recognized.

During the Hồng Đức era (1470-1497), the three scholars created the Đồng Văn and Nhã Nhạc ensembles for court performances, including both the Pipa and the đàn Tranh. They renamed the Pipa to Tứ Huyền Cầm (four-stringed instrument) and the đàn Tranh to Thập Ngũ Huyền Cầm (15-stringed instrument) to avoid using Chinese names.

In the Quang Hưng era (1578), the Đồng Văn and Nhã Nhạc ensembles were only used for grand ceremonies like Tế Giao, Tế Miếu, and Đại Triều. In other events, these ensembles were replaced by folk ensembles. The Pipa fell out of use, while the đàn Tranh was incorporated into the Giáo Phường ensemble, which also included instruments like the đàn Đáy, Trống Yêu Cổ, and Quyển Thúy.

By the end of the Lê dynasty, the đàn Tranh was no longer in the royal court ensemble, replaced by the Pipa alongside the đàn Nguyệt, đàn Tam, đàn Nhị, two flutes, a Trống Bản, a Tam Âm La, and a Sênh Tiền.

After the victory of Kỷ Dậu, King Quang Trung sent a delegation to the Qing court, and the Chinese called the accompanying ensemble An Nam Quốc Nhạc. The Khâm Định Đại Thanh Hội Điển Sự Lệ recorded details about nine foreign music ensembles at the Qing court, known as Cửu Tấu.

When Nguyễn Ánh became Emperor Gia Long in 1802, he established the Vietnamese national music, Việt Nam Quốc Nhạc, replacing the Chinese term An Nam Quốc Nhạc.

The Nguyễn dynasty reformed court music, creating the Đại Nhạc ensemble, which mainly included wind and percussion instruments, and the Nhã Nhạc ensemble, also known as Ti Trúc Tế Nhạc, featuring silk-stringed and bamboo flute instruments. The Pipa was included in the court music ensemble, while the đàn Tranh became popular in folk music, forming the Ngũ Tuyệt ensemble of Huế chamber music (the predecessor of Ca Huế).

The Pipa is made from Firmiana simplex wood, with a body shaped like a halved pear. The soundboard is made of light, porous wood left unvarnished. The end of the body has a part called the bridge, where the strings are attached. The head of the instrument is curved and intricately carved, sometimes with a longevity symbol or a bat design. The head is fitted with four wooden pegs for tuning.

The total length of the Pipa is 94-100 cm. The neck has four ivory frets called Tứ Thiên Vương, and the soundboard has eight main bamboo or wooden frets for different pitches. In the past, the strings were made from silk or bovine gut, but today they are made from nylon or steel.

The Pipa has four strings tuned in intervals of a fourth: C - F - G - C1 or G - C1 - D1 - G1. The musician plucks the strings with a plectrum or plastic pick.

The Chinese consider the Pipa to be 36 inches long, with the numbers representing cosmological concepts: 3 for Heaven-Earth-Man, 5 for the Five Elements, and 4 strings for the four seasons.

The Pipa's sound is bright and lively, reflecting a cheerful and romantic character, with a timbre similar to the đàn Nguyệt but slightly harsher and drier, especially in the higher registers.

The Pipa's range is three octaves, from C to C3.

The right-hand technique involves plucking with the nails, creating various complex but lively techniques. The left-hand techniques include bending, sliding, hammering, pressing chords, and especially double stops.

Vietnamese Pipa features traditional Vietnamese folk design on the front.

The instrument is part of various Vietnamese musical ensembles, such as Hue court music, Buddhist ceremonial music, Cao Dai ceremonial music, Đờn Ca Tài Tử, Phường Bát Âm, cải lương, and general traditional folk orchestras.

Despite its foreign origins, the Pipa has been localized and has become a Vietnamese instrument, deeply expressing the musical style of the Vietnamese people. Today, very few people can play the Pipa in the traditional Vietnamese style.

Vietnamese Pipa with Natural Wood Front and Mother of Pearl Inlaid Back

PRODUCT DESCRIPTION

Vietnamese Pipa

 - Weight: approximately 2.0 to 2.5kg

- Dimensions: height 97cm, width 30cm, thickness 9cm

 - Suitable for beginners and enthusiasts of this instrument

 - Made from Firmiana simplex wood for good resonance and durability

 - The back of the instrument features a beautifully intricate and familiar mother of pearl inlay

 - Strings: 4 Japanese nylon strings, providing a bright and melodic tone

 - Good sound quality and appearance for its price range, ideal for beginners

The Pipa is directly imported from the manufacturer, ensuring a lower price and a sturdy, well-balanced feel. It is made in a Vietnamese traditional musical instrument workshop, popular among music academy students for study and practice. The Pipa is durable over time and designed with high aesthetic value, following the traditional shape resembling a halved pear.

VIETNAMESE TRADITIONAL MUSICAL INSTRUMENT – PIPA

 Today, I introduce to you the "Vietnamese Pipa." The Pipa is a plucked string instrument known in the East, which has been localized over time in different regions or countries. It originated very early in China as the PiPa, in Japan as the Biwa, and in Korea as the Bipa.

The Pipa first appeared in Vietnamese history when Lê Tắc mentioned it in An Nam Chí Lược, referring to the small musical ensemble used outside the royal court during the Trần dynasty. The Vietnamese Pipa is an ancient form of the Chinese PiPa, originating from the Persian Barbat and introduced to China via the Silk Road.

The Pipa has existed since ancient Chinese times, with a history of over 2000 years. It was introduced to Vietnam very early, as evidenced by carvings of musicians on square stone blocks used as footings for pillars at Phật Tích Temple, Bắc Ninh, depicting the Pipa between two musicians playing the sheng and the vertical flute. During the Trần dynasty, the Pipa was only part of the small folk ensembles.

In the Lê dynasty, when Lương Đăng standardized court music based on the Ming model, the Pipa was included in the Đường Hạ Chi Nhạc ensemble. However, Lương Đăng's rules were not widely accepted, as notable scholars like Nguyễn Trãi, Lương Thế Vinh, Thân Nhân Trung, and Đỗ Nhuận criticized them. As a result, the Pipa, although part of the Đường Hạ Chi Nhạc ensemble, was not officially recognized.

During the Hồng Đức era (1470-1497), the three scholars created the Đồng Văn and Nhã Nhạc ensembles for court performances, including both the Pipa and the đàn Tranh. They renamed the Pipa to Tứ Huyền Cầm (four-stringed instrument) and the đàn Tranh to Thập Ngũ Huyền Cầm (15-stringed instrument) to avoid using Chinese names.

In the Quang Hưng era (1578), the Đồng Văn and Nhã Nhạc ensembles were only used for grand ceremonies like Tế Giao, Tế Miếu, and Đại Triều. In other events, these ensembles were replaced by folk ensembles. The Pipa fell out of use, while the đàn Tranh was incorporated into the Giáo Phường ensemble, which also included instruments like the đàn Đáy, Trống Yêu Cổ, and Quyển Thúy.

By the end of the Lê dynasty, the đàn Tranh was no longer in the royal court ensemble, replaced by the Pipa alongside the đàn Nguyệt, đàn Tam, đàn Nhị, two flutes, a Trống Bản, a Tam Âm La, and a Sênh Tiền.

After the victory of Kỷ Dậu, King Quang Trung sent a delegation to the Qing court, and the Chinese called the accompanying ensemble An Nam Quốc Nhạc. The Khâm Định Đại Thanh Hội Điển Sự Lệ recorded details about nine foreign music ensembles at the Qing court, known as Cửu Tấu.

When Nguyễn Ánh became Emperor Gia Long in 1802, he established the Vietnamese national music, Việt Nam Quốc Nhạc, replacing the Chinese term An Nam Quốc Nhạc.

The Nguyễn dynasty reformed court music, creating the Đại Nhạc ensemble, which mainly included wind and percussion instruments, and the Nhã Nhạc ensemble, also known as Ti Trúc Tế Nhạc, featuring silk-stringed and bamboo flute instruments. The Pipa was included in the court music ensemble, while the đàn Tranh became popular in folk music, forming the Ngũ Tuyệt ensemble of Huế chamber music (the predecessor of Ca Huế).

The Pipa is made from Firmiana simplex wood, with a body shaped like a halved pear. The soundboard is made of light, porous wood left unvarnished. The end of the body has a part called the bridge, where the strings are attached. The head of the instrument is curved and intricately carved, sometimes with a longevity symbol or a bat design. The head is fitted with four wooden pegs for tuning.

The total length of the Pipa is 94-100 cm. The neck has four ivory frets called Tứ Thiên Vương, and the soundboard has eight main bamboo or wooden frets for different pitches. In the past, the strings were made from silk or bovine gut, but today they are made from nylon or steel.

The Pipa has four strings tuned in intervals of a fourth: C - F - G - C1 or G - C1 - D1 - G1. The musician plucks the strings with a plectrum or plastic pick.

The Chinese consider the Pipa to be 36 inches long, with the numbers representing cosmological concepts: 3 for Heaven-Earth-Man, 5 for the Five Elements, and 4 strings for the four seasons.

The Pipa's sound is bright and lively, reflecting a cheerful and romantic character, with a timbre similar to the đàn Nguyệt but slightly harsher and drier, especially in the higher registers.

The Pipa's range is three octaves, from C to C3.

The right-hand technique involves plucking with the nails, creating various complex but lively techniques. The left-hand techniques include bending, sliding, hammering, pressing chords, and especially double stops.

Vietnamese Pipa features traditional Vietnamese folk design on the front.

The instrument is part of various Vietnamese musical ensembles, such as Hue court music, Buddhist ceremonial music, Cao Dai ceremonial music, Đờn Ca Tài Tử, Phường Bát Âm, cải lương, and general traditional folk orchestras.

Despite its foreign origins, the Pipa has been localized and has become a Vietnamese instrument, deeply expressing the musical style of the Vietnamese people. Today, very few people can play the Pipa in the traditional Vietnamese style.