PERFORMANCE TECHNIQUES OF SAW-U FOR KRAW NAI SOLO AND KHON PERFORMANCE IN KHAB PIPEK EPISODE BY SURIYA CHIDTHOUM

Abstract

The study is focused on the basis of the Saw-u performance of the Kraw Nai solo and in the Khon performance: Khab Pipek Episode. It employs qualitative methods to investigate Suriya Chidthoum’s Saw-u performance of the Kraw Nai solo and his solo performance accompanying the Khab Pipek Scene of the Ramayana performed in the Khon dance. The performance of the Kraw Nai solo originated in the early Rattanakosin Era with the pipat instruments. Later, the Kraw Nai solo was composed for Thai string instruments. The Saw-u performance of the Kraw Nai solo by Suriya Chidthoum was influenced by Luang Phiro Siang So. Who taught Worayot Suksaichon and Thira Phumani. The solo was composed with in the five Thai major pentacentric mode’s, namely Do Re Mi X Sol La, Sol La Ti x Re Mi X, Fa Sol La X Do Re X, and Re Mi Fa X La Ti X. 14 musical techniques were used, such as Phrom-op (opening phrase), Khatab-seung (striking sound), Phrom-jak (rolling technique), ext. Suriya Chidthoum’s performance of the Kraw Nai solo during the Khon dance depicting the Khab Pipek Scene of the Ramayana was structured the same way as the performance of Thira Phumani. Suriya Chidthoum use the musical techniques of mourning, extending notes, played it without an accompaniment of percussion, and performed only one Lukyon. However, during the Khab Pipek scene when Phiphek encountered Rama’s soldiers, the solo was played with a series of short notes and dense texture. The performance of the Kraw Nai solo for the scene ended when the monkey covers his face with his hands and 12 musical techniques were used, such as Khatab-seung (striking sound), Phrom-op (opening phrase), Kan-chak-suek (swaying bow), etc.