Music Composition for Saw Duang solo on Hokbot songchan

Abstract

Abstract

         This academic article, "Music Composition for Saw Duang solo on Hokbot songchan, aims to present scholarly issues related to the arrangement of a Saw Duang (Thai bowed string instrument) solo composition. The primary objective was to create a new solo piece for the 70th Student Arts and Crafts Competition. The composer (Thitikhit Chaiwongsa) arranged the melody using the principal melody of Hokbot Songchan (Six Verses, Two-Layered Tempo) as published by the Office of the Basic Education Commission.

         The composition process considered three essential factors: 1) The Instrument (the appropriate vocal range and melodic phrases for the Saw Duang), 2) The Song (the fundamental data and form of Hokbot Songchan), and 3) The Transferee (the performer's ability to execute basic and advanced solo techniques). The newly composed solo strictly adheres to the tradition of string instrument solos in Thai music, which is divided into two sections: "Thiao Oat" (slow and ornate section) and "Thiao Phan" (faster and busier section). The arrangement incorporated concepts from the Saw Sam Sai (Three-string fiddle) solo version of the same song by Luang Phairau Sian Sor (Oun Dulyachiwin) and Phraya Phumisevin (Jit Jittasevi), as well as variations from the Pi Nai (Thai oboe). The final piece employs various Saw Duang techniques such as Phrom Poet (open bowing), Phrom Pit (closed bowing), Phrom Chak (separated bowing), vocalizing effects (Uean Siang), vibrato (Sabut), and various bowing styles, demonstrating technical mastery and musical aesthetics.