Khongwong Yai Solo Technique for Phleng Kheak Mon Sam Chan A Case of Subin Junkaew

Abstract

The objective of this research was to study the structure of song, and techniques as appeared in the performance of by Master Subin Junkaew. This qualitative research and analyzed by Thai musical methods. The results showed that the Khongwong Yai Solo for Phleng Khaek Mon Sam Chan was regarded an advanced songs of Thai Traditional music performance. Luang Pradit Phairoh (Sorn Silapabanleng) was arranged for solo gong circle performance according to Master Subin Chankaew's capabilities. The piece consists of six sections, with the first two sections featuring only the first three beats, as the last three beats are identical throughout all three sections. The structural outline is as follows: A(ab) A'(a’b’) B(c) B’(c’b’’) C(db’’’) C’(d’b’’’’)

  Techniques to perform Khongwong Yai Solo for Phleng Khaek Mon Sam Chan by Master Subin Junkaew were found in 12 forms namely 1) Luk Sabad down striking; 2) 2-sound Luk Sadoh striking; 3) 1-sound Luk Sadoh striking; 4) Luk Kwaad striking from high pitch down to different pitches; 5) Luk Kwaad striking from low pitch up to different pitches; 6) Luk Kwaad striking from high pitch down to different pitches in connected melodies; 7) Luk Cheiw skip striking; 8) Luk Cheiw striking in connected melodies; 9) Alternated striking of melodic movement and Luk Kayee; 10) Luk Thang pairs striking; 11) Mon melodies striking; and 12) Khaek melodies striking.