Nanyin finds new voices

The music 'chef'

Cai Kaidong, the founder and producer of Tiam Drop, was initially baffled by Nanyin's intricate musicality. A seasoned musician with experience performing with bands, arranging music, and producing albums for well-known groups, he realized he couldn't recall a single melody after listening to a Nanyin piece nearly 10 times.

This revelation made him question why so many people, even professionals like himself, found Nanyin so difficult to grasp.

"It's not that Nanyin isn't good," he explained. "It's just that our ears are so accustomed to the 'cooking style' of modern music."

He was referring to Nanyin's melody-centered texture, which differs from the harmonic progressions and strong rhythmic structures familiar to modern pop listeners.

"Nanyin is like raw meat from ancient times — pure and uncooked — while modern listeners are used to processed meat," he explained, using a culinary analogy. "What we need to do is provide 'chopsticks' in the form of arrangements to serve it to the audience."

However, Cai is determined not to turn Nanyin into something it's not. So, he has adopted the principle of "no changes, only arrangements" for Tiam Drop. The lyrics, melody, playing techniques, and tonality remain unchanged, but two subtle elements are introduced. First, bass harmony using the daruan, a long-lost Chinese plucked instrument. Second, a rhythmic framework with the cajon, whose neutral tone ensures that no foreign musical style is imposed.

"The daruan is a native instrument, yet not a single song featuring it has survived. This works in our favor, as it won't alter the core or style of Nanyin," Cai explained.

"The cajon is like plain boiled water. I don't want it to stand out; it shouldn't have any 'flavor'. I only use it to offer a subtle 'hint' at key moments — such as the start of a new section or a shift in emotion," he added.

These arrangements give Nanyin a clear structure — beginning, development, climax, and ending — making it more accessible to younger audiences.

At the Hong Kong Arts Festival, Tiam Drop even led an interactive session, teaching over 400 people to sing along. The experience was so moving that Cai removed his in-ear monitor and stood on stage, stunned.

On March 30, Tiam Drop hosted "Echoes of a Millennium: Nanyin" sharing session at the Legislative Council of Hong Kong, where Legislative Council member Kenneth Fok Kai-kong tried the instruments and later praised the group on social media: "This unwavering commitment and passion for culture truly deserve our full support."

Cai remains grounded in his mission.

"Every generation has its own role to play, and what it does will be remembered," he said.

"Our generation just needs to approach traditional Chinese music with sincerity, responsibility, and respect."