The Changgu is the fundamental instrument in Korean traditional classic music. The originally-named Puk was used to accompany vocal music such as P'ansori.
However, because of its flexible nature and its agility with complex rhythm, the Changgu is now classified as the basic instrument accompanist in any performances to cheer up the audience.

　　The Taegum is a transverse bamboo flute. A major solo wind instrument, it has been played in almost all types of music since the Shilla Dynasty(57B.C.-668A.C.).
This long flute with a large blowhole covered by a very thin reed membrance has great flexibility and is very difficult to play. It is different from either the Western flute, which has a small blowhole, or from the transverse flute of China and Japan.
As the largest of the transverse wind instruments, the Taegum puoduces a full, rich tone.

　　The Pak is a set of six wooden slabs shaped like a folding fan, loosely tied together at one end by a thong made of deerskin.
The loose ends are thicker than the bound ends. This instrument has been in use since the days of the Unified Shilla period.
Upon a signal from the conductor of the court orchestra, one clap of the Pak starts the music:three claps bring it to a close.
In the court dance, it is also employed to signal a change both in dance movement and the musical accompaniment.

　　In the farmers' festival music, the lead player(Sang-soe) of this small gong produces tones that are both loud and high in register while the sounds that emanate from the second small gong player are softer by comparison.
The mallet that is used to strike the large gong is made of wood and tipped with cloth or deerskin.
The mallet used for the small gong is thinner and longer in size, usually made of bamboo or other wood and lacks the cloth or deerskin wrapping, causing a shrill sound by comparison.

　　The Ching is struck with a mallet, the tip of which is wrapped in cloth or deerskin. It is held in the left hand by a gandle suspended by a cord running through two holes at the top and struck with the right hand.

　　In use since 371 A.D. the Komungo is an instrument with six strings of twisted silk that are stertched over a soundboard made of paulownia wood.
The backboard is constructed of hard chestnut wood. The second, third and fourth strings rest on sixteen graduated frets, the first of which also acts as a bridge, while the first, tifth and sixth strings are supported by movable bridges shaped like a crane's foot. The fine tuning of the strings is executed by round wooden pegs at the base of the instrument, just below the string holder. The first, fifth and sixth may additionally be tuned by shifting the movable bridges to the left or light.
The player sits cross-legged and supports the instrument with his right knee from below and left knee from behind. The body of the instrument streches away to the player's left.
The strings are struck in both a forward and backward motion with a small bamboo rod at the upper right end of instrument, the soundboard of the Komungo is noble and profound. Compared with that of the Kayagum, which is somewhat feminine in timbre, the tone of the komungo has been described as masculine in character.

　　A small drum with a handle, the Sogo is played with a small stick.
It is frequently used in the farmers' dancd and sometimes in the accompaniment of folk songs.
In farmer's music and dance, the Sogo is struck on the first beat of each rhythmic cycle, namely, the fundamental beat. Also, when a number of folk singers are grouped into lead singer and chorus, the leader strikes the Sogo on the fundamental beat, the chorus follows with the basic rhythmic pattern.