The Study of Ja-Khe Solo on Lao Khaen of Khru Suthan Buatang

Abstract

This research article aims to examine the melodic structure and playing strategies employed in the Chakhe solo rendition of Lao Kan song by Khru Suthan Buatang. This composition amalgamates elements from both Thai music and Isaan folk music. Results found that for this solo rendition, Khru Suthan Buatang employs a diverse range of techniques particularly emphasizing harmonious plucking of multiple strings, reminiscent of the Isaan Phin.

The melodic structure is segmented into three parts. The first part, serving as the introduction, derives its melody from the Isaan Phin solo in the Pu Pa Lan song. It places emphasis on strumming multiple strings in harmony, utilizing the same sound group as the original Lao Pan song. The second part, titled Nuea Lao Pan Ork Soom Lao Pan, incorporates elements from Khru Sawang Aphaiwong’s Lao Pan song. Khru Suthan Buatang composes a new Soom Lao Pan melody, building upon the original Soom Lao Pan. The third part delves into Isaan folk songs, where Khru Suthan Buatang integrates the Isaan melody of Nok Sai Bin Kaam Toong, rearranging it and appending the Soom Lao Pan melody, concluding with the melody of a Chirp Chirp song which is popular in Southern Isaan. This solo is composed for listening rather than dancing. The technique of plucking the two and three strings of the Chakhe connects to the thinking system and traditional wisdom inherent in Isaan music. The Pu Pa Lan pattern, featured in the introduction, contributes to the complexity and challenge of the song, showcasing advanced skills in traditional Isaan musical instruments. The Klong Ramwong (drums), designated as the accompaniment, introduces a novel element that enhances the clarity of Isaan music for the listeners.