PERFORMANCE METHODS OF PICHAWA FOR WEAPON PERFORMANCE REPERTOIRE BY KRU PEEP KONGLAITHONG (NATIONAL ARTIST)

Abstract

This qualitative research, titled Performance Methods of Pi Chawa for Weapon Performance Repertoire by Kru Peep Konglaithong (National Artist), explores the repertoire for weapon performances and the playing techniques of the Pi chawa in these songs. The study identifies six pieces in the weapon performance repertoire: Krabi Leela Song Chan, Yon Dab Song Chan, Mon Ram Dab Song Chan, Lom Song Chan, Long Song Song Chan used to pay homage to the late master, and Yon-Plaeng used for the "Ram Dern Plaeng" and entering combat in all performances. In term of techniques for playing Pi Chawa for weapon performance, the performer must adjust the tonal range to make the melody flow smoothly, both in terms of finger placement and breath control, while also ensuring that the melody enhances the emotion of vigor and excitement, such as by playing the sol note (sound called Ho). Additionally, special techniques are employed to enrich the melody, including tongue tapping with short blows, tongue cuts, double tongue taps, short blow tapping, vibrato, ornamentation, finger tapping, trilling, condensing the melody, and tone striking. The techniques for playing Pi Chawa in each song require one-on-one learning to acquire accurate knowledge, as the details of these techniques are intricate and complex.