Ranaat Eek technique Rue-La-Deu, The case study of Prasit Thavorn

Abstract

This article aims to study Klon and Ranaat Eek technique of Rua-La-Deu in Na-pad-Wi-ku, case study of Prasit Thavorn. The researcher specifically studied from the audio recording of the Ranaat Eek performance by Natthaphong Sowatra in the Wi-ku Ceremony in 1988. In addition, by transcription only Rua-La-Deu performed after Sathukran-klong. Used for informal interviews with 5 experts related to Prasit Thaworn during 2018-2020. Klon and Ranaat Eek techniques for playing alto from the group of seniors-friends and pupils of Prasit Thaworn, amount 5 persons, study during the year 2018-2020.

          Get the research results as follows. Rue-La-Deu has a 6-stroke structure, each of the after phase opened as independent rhythms, with the melodic instrumental music played, B-E-A-G-A-G respectively. As a result, resulting in the melody being able to fabricate additional ways, especially the gamelan, from the analysis of found Klon and the technique of Ranaat Eek playing consisting. Klon Ranaat Eak (The idiom of melodic line) of Rua-La-Deu after Sathukran-klong, which can categorized as follows. Klon-sab, and Klon-pha-som (Klon-sab and Klon-tai-lod) the technique of Ranaat Eek playing is Rua-Khun (Thrill-Slide to high pitch), Rua-Siang-diew, Rua-pen-Thamnong (Thrill to be melody), Sabud-Khum (triple up notes), Sabud-Long, Sabud- pha-Som, and Sa-do-Khuu-Sii, and the group of Kye 2 styles which are crush, Kye-non-wan, and Kye-Ku 8.  Klon-sab the most played melodic in Rua-Siang-diew.