Clarinet Solo Techniques for Thai Traditional Music: A Case Study Of SM1, Worawut Khamchuanchuen

Abstract

The objective of this research includes 1) studying clarinet solo techniques for Thai traditional music and 2) the differences between clarinet solo techniques for Thai traditional and western music. The research tool for gathering the data of “Clarinet Solo Techniques for Thai Traditional Music: A Case Study of SM1, Worawut Khamchuanchuen” is an interview about clarinet solo for Thai traditional music. The type of an interview used in the study is informal in-depth interview for flexibility of the answers and the comfort of an interviewee. The data is analyzed from interview sound recording.

The result of the study expresses that the techniques for both types of music are similar but they have different terms to describe them. For Thai traditional music, there are seven familiar techniques including (1) “Sador” (2) “Rabai Lom” (3) “Sabad” (4) “Aeun” (5) “Prome Niew”
(6) “Khayee” and (7) “Hon Seang”. Additionally, there are two important concepts of clarinet solo for Thai traditional music. Firstly, imitation, the process by which a melody is repeated in simultaneously sounding melodic lines so as to preserve the prototype of music. It is similar to transcribing music. And lastly, learning music pieces. The musician should learn music pieces with an expert so that the melody can be transcribed correctly. However, clarinet solo for Thai traditional music is not widely recognized in Thai society due to individuals’ personal preference in music.