KHLUIPHIANG O’ S PERFORMANCE PRACTICE BASED ON KHRU THIAP KHONGLAITHONG’S STYLE

Abstract

This research aims to study the physicality and pitch system of Khlui-Phiang-O, the approach and practice of playing Khlui-Phiang-O based on Khru Thiap Khonglaithong’s style in  Phleng-Damnoen-Thamnong, and the method of producing Khlui-Phiang-O’s variation in Phleng-Damnoen-Thamnong. This research employs qualitative research method. The result shows that Khru Thiap Khonglaithong’s performance practice has been transmitted by oral tradition, starting with the appropriate sitting position for playing and the way to posit hands on the Khlui-Phiang-O (write hand, top and left hand, bottom). Khlui-Phiang-O has two pitch ranges: middle-pitch range (7 notes) and high-pitch range or Hap (5 notes), and the lowest note is Do and highest is Sol. The most convenient keys for playing Khlui-Phiang-O (based on Thai music scale) are Thang-Phiang-O Lang, Thang-Phiang-O Bon as well as Thang-Chawa. The crucial notes for producing Khlui-Phiang-O’s variation includes twelve notes. However, for Fa and Sol in high-pitch range (Hap), it  requires well-trained musician to play. The method to produce Khlui-Phiang-O’s variation in Phleng-Damnoen-Thamnong depends on 1) the basic melody of the piece, 2) the way to connect a sub-musical sentence within the variation to avoid the difficulty of playing some notes, and 3) the coherence of each sub-musical sentence developed to be Khlui-Phiang-O’s variation. In addition, the research also found that there are various techniques used for developing Khlui-Phiang-O’s variation (a case study of the piece, Lom-Phat Chai-Khao), including 1) Pao-Pra-Khong-Lom, 2) Pao-Pra-Khop-Lom, 3) Sabat-Lom-Diaokan, 4) Pao Pha-yang hang, 5) Ra-baiLom, 6) Pao-Khran, 7) Pao-Kep, 8) Pao-Khruan, 9) Pao Tot, 10) Phrom-Niw, 11) Ti Niw, 12) Siang Khuang, 13) Yak Yuang Chang Wa, and 14) Pao-Sabat. The quality of all techniques can be accomplished by keeping consistent blowing related to basic melody of the piece in order to invent particular Khlui-Phiang-O’s variation. Moreover, within the piece, Lom-Phat Chai-Khao, it was found that the most techniques used was Pao-Keb. Different directions of melody used in Lom-Phat Chai-Khao, include upward, downward, step over, switching high-low notes, altering the suitable accent for Khlui-Phiang-O, changing the rhythmic pattern of notes, and Kan-Pao-Phan which is largely found in Thang-Phiang-O.