Method of Practice and Composing Concept of Thang for the So duang in Phayasok sam chan By Kru Luang Phairo Siansaw (Un Durayachiwin)

Abstract

          This research article aims to produce the results of an analysis of the instrumental approaches and composition concepts of a solo piece in Phayasok for a Thai fiddle, the so-duang, composed by Luang Phairo Siangso (Un Durayachiwin). Based on a selective approach of the analytical research, the instrumental techniques and the idea of virtuosic style of solo composing based on the principal melody structure (thamnong lak) can be explained. Based on qualitative research, the results showed that 1) 16 types of embellishment e.g., sabat, krathop, phrom pit (vibrato), phrom poet (tril), phrom chak (short trill on notes), khuang (an enharmonic note), uaen (melismatic style), tawat niw (quick fingering technique), staccato, three-note bowed technique), hand-position shifting, khayi (double speed), kep (sixteenth-note melody), soft-and-hard accent, mild accent, and delaying; and 2) three composing concepts: maintaining the relevant main melody's characteristics, employing the instrument's generic melodic set, and developing an independent melodic variation through the melodic structure governed by the final note.