A MELODIC PATTERNS ANALYSIS OF SAW U IN THE CHAKHAE HANG YAO SAM CHAN SONG : SUKHOTHAI COLLEGE OF DRAMATIC ARTS’ PERFORMANCE PRACTICE

Abstract

This research analyzed the melodic patterns of the Saw U performance of the Chakhae Hang Yao Sam Chan song, as practiced by the Sukhothai College of Dramatic Arts. The study employed a qualitative research methodology, utilizing the Nine - Step Aesthetic Ladder Theory and the Practice - Refinement Theory for data analysis. The research findings indicated that the melodic patterns of the song aligned with the quality standards of Thai traditional music, serving as a benchmark for Saw U instruction and skill development. This was due to its classification as a Luk Thao genre song, employing the Prob Kai rhythmic pattern, and consisting of three sections, each with two rhythmic patterns. All seven notes were utilized within the G major scale. The observed samnuan korn included Klon Tai Luat, Klon Pasom Thang Khong, Klon Tai Mai, and Klon Sap Nok, with Klon Tai Luat being the most frequently performed. The study identified three key skill developments from practicing these patterns: first, Precise finger - pressing skills (Klon Tai Luat, Klon Tai Mai, Klon Pasom Thang Khong) ; secondiy, quality sound production Klon Sap Nok, emphasizing smooth bowing and consistent string pressure, and lastly, accurate melody recall due to the song’s consistent core melodic structure across sections, augmented by diverse Saw U pattems for aesthetic appeal. Thus, practicing Saw U with these melodic patterns significantly enhances performance quality, yielding a robust and high - quality tone. This research underscores the importance of Chakhae Hang Yao Sam Chan as a foundational song for Sew U training.