The Identity of the Hand Patterns of the Khong Wong Yai Playing of Khru Somphob Khamprasert’s Tra Nimit in Second Variation

Abstract

The analysis aims to study the identity of the Khong Wong Yai playing’s hand patterns in the Pleng Na Phat called Tra Nimit in second variation of Khru Somphob Khamprasert. The article explores the identity of hand patterns of the Khong Wong Yai playing and the meaningful expression according to the objective and function of the song. The results are as follows. Firstly, the playing of the lower octave and a start with few-notes melody can convey the musical meanings of elegance and sacredness. Secondly, in terms of original technique of the Pleng Na Phat performance, Khru Somphob Khamprasert used the technique of melody and rhythm harmony: to begin the melodic sequence as the same time as the change of drum rhythm which is different from other versions; harmony between each melodic sequence and cymbal together with drum rhythms of Ta Phone and Klong Thad; finally, using the specific Khong Wong Yai playing’s hand patterns in order to mark the end of song. In conclusion, the Khru Somphob Khamprasert’s hand patterns in the Pleng Na Phat called Tra Nimit can be obviously marked the evolution of the distinctive techniques of Thai ritual music.