A Study of Luangpairosaingsaw (Aun Durayashewin) Solo Sawdung on Phyasok

Abstract

The purpose of this study looks at inheriting local wisdom of Luangpairosaingsaw (Aun Durayashewin) solo Sawduang and analyzes various attributes of Thai classical music “Phayasok”. After studying data collected from studies sourced from researchers, academic documents and interviews, the results reveal “Phayasok” is divided in to 3 steps.

1. Accepting students as a music disciple through school or mentoring.


2. Inheriting music wisdom.


3. Training and perfecting musical techniques.

The teachings in step 1 are provided by teachers at the college of dramatic arts, graduates from the college, Thammasat club (Thaprachan) and self studies at home. The second step refers to learning techniques such as flicking the bow and three-stringed fiddle rotation. Luangpairosaingsaw (Aun Durayashewin) is the mentor who created a method for disciples to follow.

The study of Luangpairosaingsaw (Aun Durayashewin) solo Sawduang on Phayasok also shows that the main chords used in the main tune are G, C and D, with the G chord being the most common. The study of candence (Luk Tok) reveals that the 6 principal pitches used in main tune are do, re, fa, sol, la, ti with the most common pitch being re. The study of poems identify that in sweet part used techniques to inventive all tune that made special, beautiful melodies and identity poems. In complete part used different idiom such as Klon Tai Load, Klon Muan Ta Keb, Klon Roi Soh, Klon Phan, Klon Pasom, Klon Sab Nok, Klon Tai Mai and Klon Yon Ta Keb.

The study also reveals that solo techniques used by Sawduang on Phayasok are vibrato, spiccato bowing, sautille bowing, legato bowing, ricochet bowing, martele bowing and changing finger position. In conclusion, according to my research I find the teachings of Luangpairosaingsaw (Aun Durayashewin) solo Sawduang on Phayasok evident in music theory, helps to conserve and publish thai music.