Sanjo music is a typical instrumental solo formation in folk music consisting of various Jangdan focused on several composition. Sanjo that has been passed down in various schools and forms, its music was completed by adding the diversity of the melody through ''Sigimsae''. Ph.D Lee, Hye-Gu told ''The melody has the expression through ornament notes and Sigimsae'' in 『Korean Music theory』. Like this, ''Sigimsae'' brings the diversity of representative techniques and playing techniques in Korean music melody. Yoseong, Jeonseong, Toiseong, Chooseong, Keokkewn are representative in kinds of ''Sigimsae''
It has been questioned whether school-specific characteristics are related to Sigimsae, thus the purpose of this study is to investigate the effect of the sign''s difference and use''s difference of Sigimsae on school-specific features by doing a comparative analysis on Woojo melodies of 4 kinds of typical Sanjo in Jeonnamje Gayageum Sanjo such as Choi Ok-sam style, Kang Tae-hong style, Kim Byeong-ho style and Kim Juk-pa style Gayageum Sanjo.
Jinyangjo''s Woojo was divided by deciding each number according to the movement and the melody was analyzed by one Jangdan of sextuple rhythm-based unit, melodic analysis of each unit was to examine the overall melodious progression on the basis of the origin and the midpoint and to separate ornament notes and Sigimsae. Choi OK-sam style, Kang Tae-hong style, Kim Byeong-ho style and Kim Juk-pa style, were divided into Jinwoojo and Byeonwoojo, chapter1,2,3 of Woojo, chapter 1,2,3,4 of Woojo, chapter 1,2 of Woojo respectively. Woojo melody consisted of Gyemyeonjo mode generally and the form of '' Chung a, Teonun note e, Keoknun note c`-b, Jongji note a'', the form of melodic progression started from all similar forms of the melody in the introduction melody, showed similar melodies and various their own melodies and Woojo was composed of all similar forms of Jongji melody.
To examine Sigimsae utilization shown in each Sanjo''s Woojo, 4 similar melodic forms in Sanjo were based, accordingly as a result of analyzing the melodies in the center of the major notes, a total of 9 similar melodic forms appeared. Although these melodies were similar forms, different Sigimsae use appeared. Though the major notes were progressed similarly,
the phenomenon of Sigimsae use showing different was organized and it was found what those reasons were. Chapter 2,3 of Woojo could be a expanded format of chapter 1 because of the melodies that looked similar in the melodies of chapter 1, looking at Siginsae location and use appeared as a whole, Nonghyeon was expressed as a total of 6 kinds of Nonghyeon.
In other words, it could be distinguished as '' mainly thick Nonghyeon on e note'', ''mainly thin Nonghyeon on notes'', ''Nonghyeon form pressing notes'', ''descending Nonghyeon as the melody is descending'', ''form of progressing in next notes after Nonghyeon'' and ''Jangarak expression''. Compared to three kinds of Sanjo displaying various Nonghyeon, Kang Tae-Hong style Gayageum Sanjo used two kinds of Nonghyeon and they could be seen to be the form of Jangarak expression.
''Jeonseong'' was expressed with four kinds of Sanjo similarly and it was generally used in a, e, b notes. ''Chooseong and Toiseong'' were utilized as a similar form. It was represented in three kinds of Sanjo except for Kim Juk-pa style Gayageum Sanjo and it was Apchooseong form.
Next, the sign form of ''Keoknun note'' appeared variously, that in Kang Tae-hong style Gayageum Sanjo''s Woojo didn''t appear specifically and it used Keoknun note on a, c note in general.
Melodic analysis focusing on the main notes and the composition notes was to find out the principle of melodic composition but not to investigate melodic characteristics and Sigimsae use clearly. Though this analysis, Gyemyeonjo type''s difference was examined in similar melodic forms, it was learned how Woojo change happened.
However, something were missing in that Sigimsae use appeared in the unique melodies of each Sanjo and general Sigimsae utilization of its Woojo and if there was any difference in the way to use Sigimsae of Woojo and Pyeongjo, Gyemyeongjo were not examined because of analyzing similar melodic forms by appointing them as standards. These researches are to leave in future.