"Pasakalia," a concerto of the Gayageum Sanjo in the Gangtae Hongryu Period, combines the melody and rhythm of Sanjo, Korea's representative instrumental music, with Pasakalia, a variation of the Baroque period.

Originally, Pasacalia is a form in which a diastolic variation is carried out in the high notes by repeating the same three-beat, eight-syllable low-pitched theme, in which the theme of low-pitched Gayageum and Mars (Cm, AbM7, FM7, and Gm7) were added in reverse to prepare for the existing rheumatic Gayageum melody.

Jinyang Jojangdan's three-beat six-word structure and eight-word Parsakalia-style musical instruments are sometimes played by Jungmori rhythm, forming a musical instrument in different joints and sometimes matching each other.

The first Seoju section presents a low-pitched theme and harmony, and the emergence of Gayageum melody and the contending structure of the musical composition, but as the song progresses, the Gayageum melody, and the low-pitched theme and harmony are integrated into one perfect harmony.

Kim Yun-deok-ryu Gayageum Sanjo, which is characterized by its simple texture, deep Nong-hyun, and many offbeat rhythms, consists of Jinyang, Jungmori, Jungjungmori, Jajinmori, Hwimori and Danmori.

It is a stage where Lee Young-hee plays the Sanjo of her teacher, Kim Yoon-deok, with her signature simple and clear performance.

Gayageum player Jeong Jeong-yoon graduated from the Department of Korean Music at Busan National University's College of Arts and is currently active in Ulsan.

The musical instrument, commonly known as the instrument used to play music, has been used in traditional music since the Three Kingdoms Period, and about 60 types of musical instruments have been introduced, including unique instruments from Korea, and foreign instruments imported from China, the West, and other regions. As Korea was adjacent to the northern continent, Chinese and Western music was already introduced during the Three Kingdoms Period. Especially after Silla unified the three kingdoms, Tang Dynasty music was imported.

By the Goryeo Dynasty, Song Dynasty folk music and aak were imported, and by the time of King Yejong's reign, Ahak was introduced, and it still came in large quantities. These instruments were classified according to the main ingredients needed to make musical instruments in "Jeungbo Munheongo," and in particular, the musical instruments used for the unique traditional music, as well as the instruments used for Ahak and Dangak.

By the Japanese invasion, national sovereignty was lost and court musicians became free men. Of course, unlike the heads of government-affiliated musical instruments who made Jeongak-centered instruments, Sanjo-centered instruments were being produced in the private sector. This Sanjo instrument can be said to be for individual performance, making it more cheerful and easier to transport than a group-oriented Jeongak instrument. During the Japanese Colonial Period, Kim Myeong-chil was named in Jeonju, and Kim Boong-gi (Kim Hak-gi) was named in Jeongeup.

After Korea's liberation from Japan's colonial rule, Kim Myeong-chil's technique was followed by his son Kim Gwang-ju, who became the No. 42 instrument master in 1971. He moved to Seoul to teach Choi Tae-gwi, Go Heung-gon, and Lee Young-soo before passing away in April 1984. Originally, Yi Yeongsu was designated as a cultural asset of Jeollabuk-do with the functions of Kim Bungi in Jeongeup, but he also received the functions of Kim Gwang-ju.

The musical instrument director originally thought he would make all instruments, but now he is divided into a drum, a jango, a gong, a gong, a jing, a salted fish, a flute, a Gayageum, a geomungo, and a haegeum.

Gayageum Byeongchang refers to singing while riding Gayageum.

The song is sung by adding Gayageum accompaniment while picking a passage from either Danga or Pansori. In Pansori, it is also called Seokhwaje. There is a theory that Kim Changjo, the master of the Gaya GeumSanjo, began to be called in the late Joseon Dynasty.

Jinyang, Jungmori, Jungjungmori, and Jajinmori are used in Jangdan. The same melody of the Gayageum and the song changes to match the principle of the Gayageum, fills the space of the song with the Gayageum melody, and sometimes adds to the excitement by adding the Gayageum ganju.

Some of the representative songs include Gokcho, Honam, Cheongseoknyeong Pass, Jukjangmanghye, Saranga among Chunhyangga, Jebinojeonggi among Heungbo, and Gogo riverside among Sugungga.

Gayageum Byeongchang is a valuable cultural asset that seeks pure musical beauty among traditional music.

Sanjo refers to the playing of an instrument solo to the accompaniment of janggo (hourglass-shaped drum), moving from slow to fast rhythm, in four to six movements. Gayageum Sanjo is Korean instrumental folk music played solo with Gayageum (twelve-stringed zither). Gayageum Byeongchang refers to the singing and playing of Gayageum at the same time. All Sanjo start with slow rhythm and gradually changes to faster rhythm, making listeners feel tense and increasingly delighted. Gayamgeum Sanjo is made up of four to six rhythms: jinyangjo (slow), jungmori (moderate), jungjungmori (moderately fast), jajinmori (fast), and hwimori (fastest). Compared to other instrument-based Sanjo, Gayageum Sanjo masters could form diverse schools thanks to the unique characteristics of Gayageum. A singer engaging in Gayageum Byeongchang sings a part of danga or pansori to the accompaniment of his/her own Gayageum playing. Gayageum Byeongchang used to be sung by Gayageum Sanjo masters, but the current tendency is for the separation between players of Sanjo and Byeongchang. A song sung as Byeongchang creates its own atmosphere due to the unique melody of Gayageum. The following are well-known parts of Gayageum Byeongchang: Jebinojeonggi (Route of the Swallow's Trip) of Pansori Heungboga (Song of Heungbo), Sarangga (Song of Love) of Chunhyangga (Song of Chunhyang), Gogocheonbyeon (Brightness of the Sunshine in the Sky) of Sugungga (Song of the Rabbit and the Turtle), and “Sim Cheong’s Father on His Way to Hwangseong” of Simcheongga (Song of Sim Cheong).