The create melodic solo, Pap-Samchan on the Khong Wong-Yai

Abstract

          This article describes the creation of the melodic solo, Pap-Samchan, on the Khong Wong-Yai. The purpose of this project is to create a new melody by applying the research and creative (R & C) approach on traditional Thai music and describe the structure and characteristics of the melodic solo form. The results of this study are the following:

          The form of the melodic solo Pap-Samchan is divided into 2 sections:  Section 1: consists of 6 long bars, repeated 2 times. Section 2: divided into 2 parts: Part 1: 3 long bars; repeated 2 times, Part 2 : 4 long bars played as a round. Summary of the melodic solo form: Section 1 played 2 times as a unique melody. Section 2, the first part is played 2 times as a unique melody, and the second part is played once, with a melodic solo form written as a symbol [AÁ] [BB'C].

         The results of the analysis of the melodic solo are as follows. The creators of solo instrumentation on the Khong Wong Yai have adopted a form and advanced playing technique for a melodic solo form with the use of flickering methods called sabuth –zhiew, kro, kra-thob-ku, noob-nub, kaiy-moo, kwad, and accelerando: as well to control the tempo. However, the level of melodic solo playing is more relevant to the instructor and the drumming than the melodic solo.