Trong De (Support Drum) – Trong Chau (Praise Drum): A Traditional Vietnamese Instrument of Cheo and Ca Tru

Hello everyone,

Today, I would like to introduce another traditional Vietnamese percussion instrument of the Kinh people: the Trong De (Support Drum), also known as the Trong Chau (Praise Drum).

The Trong De / Trong Chau is a percussion instrument belonging to the membranophone family, meaning that its sound is produced by the vibration of a stretched membrane. This instrument has existed in Vietnam for a very long time.

In Cheo (Vietnamese Traditional Theatre), it is called the Trong De (Support Drum).

In Ca Tru (Vietnamese Chamber Singing), it is known as the Trong Chau (Praise Drum).

As its name suggests, the Trong De serves as a musical "foundation" or "support." In Cheo, it provides rhythmic support and musical punctuation for performers while they sing and act on stage.

In Ca Tru, the Trong Chau has an especially distinctive role. Its sound not only marks the musical flow but can also express appreciation and praise from the listener toward the singer and instrumentalist.

For anyone interested in Vietnamese traditional musical instruments, Vietnamese traditional music, Southeast Asian culture, and traditional Vietnamese craftsmanship, the Trong De is a small but remarkably meaningful instrument with a fascinating cultural history.

The Trong De (Support Drum) in Vietnamese Musical Life

In traditional Vietnamese life, whenever music was needed, there was almost always a drum.

During village festivals, summer gatherings, tax-collection periods, or dike-building seasons, the solemn or commanding sound of the Trong Cai (Large Drum) could make the entire village resound.

During ceremonial processions, the Trong Ca Rung (Ceremonial Procession Drum) created a grand and dignified atmosphere.

For funerals, the subdued sounds of instruments such as the Trong Com (Rice Drum) and Trong Ban (Funeral Drum) could be heard.

When a signal or command was required, there was the Trong Khau (Signal Drum).

And in Cheo (Vietnamese Traditional Theatre), Tuong (Vietnamese Classical Theatre), and ritual ceremonies, several types of drums could be used together, including the Trong Cai (Large Drum), the Trong De (Support Drum), and the Trong Com (Rice Drum).

In the Hat A Dao (A Dao Singing Tradition), however, there was one particular drum: the Trong Chau (Praise Drum), compactly built at approximately 15 centimeters high with a drumhead about 15 centimeters in diameter. Because of its diminutive, highly portable size, it can be cradled or controlled with absolute physical precision.

Although, in the hands of the drummer, the sound of the drum could sometimes be solemn, sometimes playful, sometimes muted, and sometimes resonant, it always served a clear musical purpose: marking the musical flow and helping listeners clearly perceive the end of a section or vocal phrase.

The Musical Function of the Trong Chau (Praise Drum)

To understand the function of the Trong Chau, one can compare it to a structural column in a traditional Vietnamese wooden house.

If we understand the purpose of a wooden house's columns, why they need to be strong and substantial, and where they need to be positioned, then it becomes easier to understand why the drum must produce a strong and resonant tone and why it must be struck at particular moments.

We can listen to this Vietnamese vocal tradition through the eyes of an architect and imagine the musical structure as a traditional wooden house.

The Phach (Wooden Rhythmic Clappers) are like the beams and supporting framework, while the Tieng Chat (Praise Stroke) together with the drum function like the columns and roof supports.

Readers familiar with Western music may recognize that the drum serves a function somewhat comparable to the bass register (basses) in Western music.

The difference is that here, the drum is like a large and heavy stone forming the foundation.

In Western music, high and low tones are combined within a chord (accord), arranged and harmonized like bricks, stone, mortar, and sand forming a masonry wall.

Western music is like a brick house; Eastern music is like a wooden house.

The Trong Chau (Praise Drum) in the Introductory Musical Passage

Once we know how long a beam needs to be, building a solid supporting column becomes easier.

For this reason, in the introductory musical passage, the focus can be placed on the Dieu Phach (Phach Rhythmic Patterns).

The work of shaping the column so that it is round and straight, positioning it so that the structure remains open and balanced—in other words, refining the drum strokes so that they are elegant and precise, and deciding exactly how and where to place them—is the responsibility of the drummer.

The art of placing the drum strokes beautifully and precisely is therefore an important part of the drummer's role.

The Trong Chau (Praise Drum) Player – Both Musician and Listener

The person playing the drum is not merely a musician.

The drummer is also a listener.

Besides fulfilling the role of a percussionist, the drummer must know how to listen.

This means that beyond simply playing the required drum strokes, the drummer must have creativity and musical judgment to select and arrange the drum strokes together with the Tieng Chat (Praise Strokes).

The drummer must know:

• Which song should receive more drum punctuation.
• Which song should be accompanied more sparsely.
• Which passages require a serious and restrained approach.
• Which passages allow for greater freedom, playfulness, or ornamentation.
• Which words, vocal phrases, and instrumental passages deserve praise and emphasis.

Anyone who has been a musician understands how important the sympathy and understanding of a listener can be to a musical performance.

For this reason, there may be no more complete, subtle, and detailed way to demonstrate that a listener truly understands the music than to give that listener a musical instrument and assign them a musical responsibility.

This is not an easy or superficial role.

It is not simply the act of clapping one's hands to show appreciation.

The drummer must have:

• A good ear – to recognize and praise the beauty of instrumental and vocal sounds.
• Intelligence and musical understanding – to choose the appropriate Kho Trong (Drum Pattern) and mark the phrasing.
• Patience and craftsmanship – to refine every drum stroke.
• Musical instinct – to feel the musical character and rhythm.
• Creative ability – to arrange the song and organize the drum patterns.

Only then can the role be fully performed.

And naturally, once one has the opportunity to hold the drum, there is also great pleasure in doing so.

At the end of this introductory musical passage, the final Phach (Wooden Rhythmic Clapper) stroke is played...

The Dao Nuong (Female Ca Tru Singer) then begins to sing:

“Dan ai mot tieng duong tranh? Chung thuoi ngoc-o chung nao nung! Chieu ai oan!…”

Two Styles of Playing the Trong Chau (Praise Drum)

There are two principal approaches to playing the Trong Chau (Praise Drum).

The first is a serious and restrained style, using relatively few strokes and leaving space between them.

This style is difficult to perform well and is highly appreciated by knowledgeable listeners.

The second is a more playful and densely ornamented style known as Chau Suc Tac (Suctac Praise Drumming) or Chau Cai Luong (Cai Luong Praise Drumming).

This style uses many more drum strokes.

It makes it easier for the Dao Nuong to sing, but it is not favored by everyone.

If the drum becomes too dense and overly active, there is no longer enough space for the listener to appreciate the vocal line.

However, when used in moderation and combined with a cheerful song containing elements of satire, humor, or playful commentary, this style can be appropriate.

Sitting Positions and Physical Technique

There are also two traditional ways of sitting while playing the Trong Chau.

In one approach, the drummer uses one hand to gently cup or cover the drumhead while wielding the striking stick, offering exquisite control over resonance and damping.

This position has gradually become less common because the posture can feel somewhat constrained.

The other approach does not cover the drumhead and gives the performer a more composed and dignified appearance.

These details demonstrate that the art of playing the Trong Chau is not simply about producing sounds. It also involves posture, physical technique, musical awareness, listening, and performance style.

Tieng Chat (Praise Stroke) and Traditional Kho Trong (Drum Patterns)

In addition to the sound of the drum, there is also the Tieng Chat (Praise Stroke).

The Tieng Chat is used to praise the singer or instrumentalist, mark the poetic phrase, and interact with the drum to create different Kho Trong (Drum Patterns).

By varying the drum strokes and Tieng Chat strokes, performers can create patterns ranging from one to five strokes.

There are more than twenty traditional Kho Trong (Drum Patterns), of which more than ten are commonly used and have their own established names, including:

• Song Chau (Song Chau Drum Pattern)
• Lien Chau (Lien Chau Drum Pattern)
• Xuyen Tam (Xuyen Tam Drum Pattern)
• Chinh Dieu (Chinh Dieu Drum Pattern)
• and many others.

Behind what may initially sound like simple drum strokes lies a sophisticated rhythmic system requiring knowledge, technical skill, musical sensitivity, and experience.

Trong De (Support Drum) in Cheo, Ca Tru, and Other Vietnamese Traditional Arts

The Trong De (Support Drum) has existed in Vietnam for a very long time.

It is regarded as an important high-pitched percussion instrument.

It is indispensable in Ca Tru (Vietnamese Chamber Singing) and Cheo (Vietnamese Traditional Theatre).

The instrument is also used in several other Vietnamese traditional musical forms, including Chau Van (Vietnamese Ritual Singing), although it is less common there.

In Cheo, the name Trong De reflects its musical role: it provides support, a foundation, and rhythmic punctuation for the performers.

In Ca Tru, the Trong Chau (Praise Drum) has a particularly distinctive role.

The drummer is not merely a percussionist but an informed listener who understands the music and uses drum and Tieng Chat strokes to express appreciation, praise, and musical punctuation.

What Is a Traditional Trong De (Support Drum) Made Of?

Although the Trong De is a relatively small instrument, making one requires considerable craftsmanship.

A traditional Trong De is made primarily from a solid block of mature jackfruit wood, which forms the drum shell, and natural buffalo hide, which forms the drumheads.

Most importantly, this instrument is shaped, assembled, and tuned through the skillful hands and musical ears of Vietnamese artisans.

The drum is not simply assembled from separate pieces.

The traditional drum shell can be made from one solid block of jackfruit wood, carefully hollowed and shaped by the craftsman.

This construction is known as Tang Lien (One-Piece Solid Drum Shell).

Main Materials

• Go Mit (Jackfruit Wood): The drum shell is made from mature jackfruit wood, preferably from one solid block. The wood must be strong and stable and free from cracks, decay, or termite damage. Using one solid block of jackfruit wood gives the instrument its characteristic strength and traditional construction.
• Da Trau (Buffalo Hide): The drumheads are traditionally made from buffalo hide, specifically hide from the armpit area of the buffalo. This part of the hide is relatively thin while possessing excellent toughness, durability, and elasticity.
• Dinh Tre (Bamboo Nails): The hide is traditionally secured using Dinh Tre (Bamboo Nails) or small specialized metal nails, connecting the instrument closely with Vietnamese rural life.

Detailed Traditional Manufacturing Process of the Trong De

1. Selecting and Preparing the Go Mit (Jackfruit Wood): The craftsman selects a mature, solid piece of jackfruit wood, cutting it into a section suitable for the height of the drum, approximately 18 centimeters.
2. Khoet Tang Trong (Hollowing the Drum Shell): Using traditional hand tools combined with specialized machinery, the center of the wood block is hollowed out. The outer body is shaped to be slightly fuller in the middle and more compact toward the openings (Tang Lien).
3. Xu Ly Da Trau (Preparing the Buffalo Hide): Fresh buffalo hide from the armpit area is cleaned, stripped of excess fat, soaked, and dried to reach the precise flexibility needed for stretching.
4. Bung Mat Trong (Mounting the Drumhead): The softened hide is cut and pulled firmly and evenly in all directions across the wooden shell, extending approximately 2.5–3 centimeters down the outside.
5. Dong Dinh (Securing the Drumhead): Dinh Tre (Bamboo Nails) or metal nails are driven through the edge of the hide and into the jackfruit wood to stabilize the tension.
6. Can Chinh va Dinh Am (Adjusting Tension and Tuning): Striking the drum with a Roi Chầu (in Ca Tru) or drum beater while listening carefully, the artisan tunes the head until it produces a high-pitched, lively, bright, slightly sharp, crisp, resonant, and compact sound matched to the performer's voice.

The Sound and Traditional Playing Techniques of the Trong De

The sound of the Trong De is high-pitched, lively, bright, slightly sharp, and compact. Performers create diverse timbres by striking different areas:

• Center of the Drumhead: Produces a resonant and crisp sound.
• Striking with Beater Held in Contact: Yields a dry and muted tone.
• Edge of the Drumhead: Produces a sharp sound resembling the Phach (Wooden Rhythmic Clappers).

Characteristic Techniques

• Ngon Ve (Alternating Roll Technique): Performed by alternating both hands and striking very rapidly and continuously on both sides of the wooden shell and across the drumhead to add dynamic energy.
• Ngon Noc (Five-Stroke Technique): Played in rapid groups of five strokes on the wooden shell, where the final stroke matches the combined duration of the preceding four.

Bring Authentic Vietnamese Sound Heritage Into Your Collection

The Trong De (Support Drum) and Trong Chau (Praise Drum) represent a breathtaking combination of natural materials, traditional woodworking, and refined musical artistry. Behind every single drum lies the dedication of master Vietnamese artisans who hand-select the timber, cure the buffalo hide, and tune every instrument to perfection.

At Vietcraft.art, each traditional Vietnamese instrument is presented not merely as a handmade object, but as a living cultural heritage piece. Whether you are a musician, world music collector, educator, or cultural enthusiast looking to enrich your space with authentic craftsmanship, every drum can be custom-prepared or selected directly from our artisan workshops.

Explore the collection of handmade Trong De drums and traditional Vietnamese musical instruments at Vietcraft.art today to discover the living story behind Vietnamese craftsmanship.

"While the Trống đế provides the powerful heartbeat of traditional Vietnamese ensembles, a true folk performance is a harmonious tapestry of sounds. To experience the full acoustic landscape of Vietnam, we invite you to explore our curated collection of traditional musical instruments—featuring the soulful strings of the Đàn bầu (monochord), Đàn tranh (zither), and Đàn tứ, the enchanting melodies of H'Mông bamboo flutes and Đàn môi (jaw harps), alongside rhythmic percussion like Thanh la (metal gongs), Tiu & Cảnh, wooden Mõ (temple blocks), and soaring kite flutes. All are meticulously crafted by master artisans and available directly in our store."