PEENAI METHODS FOR SINGING ACCOMPANIMENT: A CASE STUDY OF PLENG KAMEN PEE KAEW NOI BY KRU PEEP KONGLAITHONG (NATIONAL ARTIST)

Abstract

This academic article examines the specific character of Peenai methods for singing accompaniment, using the case study of "Pleng Kamen Pee Kaew Noi" by Kru Peep Konglaithong, a National Artist. The article highlights this technique among other singing accompaniments that utilize string instruments, such as the Saw Samsai and Saw U, as well as wind instruments, including the Klui, Peenai, Pee Mon, and Pee Chawa. The Peenai method of singing accompaniments has only been used for a nine-time-performed theatre piece called Pra Apaimanee. Pleng Kamen Pee Kaew Noi is one of those performances. The song is on the third variation with a Probkai rhythmic pattern, originally arranged from "Pleng Kamen Pee Kaew Sam Chun" in the Piang-Or-Lang pentacentric scale (Fa Sol La x Do Re X). This piece is considered one of the most challenging to perform on the Peenai instrument, requiring serious practice from the musician. Three important techniques commonly used in this piece have been identified: Kuang Siang (which involves using different fingerings for the same tone), Sabad (a triplet), and Krun Lom (a vibrating blow with a single fingering). These techniques enhance the smoothness of the melody and clarify the sung melody. They are valuable subjects for study and should be emphasized in the future of Thai traditional education.