THE ANALYSIS OF KHLUI PHIANG OA SOLO ‘LOM PAT CHAI KHAO SAMCHAN’ OF KHRU THIAP KHONGLAITHONG FROM THE RABBIT BRAND, GRAMOPHONE RECORD

Abstract

The study of a Khlui Phiang Oa solo in the gramophone records aims to analyze the melodic structure on the Lom Pat Chai Khao Samchan solo song and to analyze the special performing techniques of Khru Thiap Khonglaithong’s rearrangement. The material source of the study was the gramophone records product of the Rabbit Record Brand no.T705/TNC9052. This study employed qualitative data analysis and collected data through library research, observation and interviews with related persons in Thailand. The major findings indicated that the Lom Pat Chai Khao Samchan was defined as ‘Phleng Thang Phuen’ genre which consists of two parts (i.e., A and B). Each part consisted of four Prop Kai cyclic repeated rounds of the rhythmic drum pattern in the third degree (Sam Chan) tempo calculation. The solo piece was particularly systematised in the style of ‘Ot and Phan’ structures. Although, the first part was designed in the form of ‘Ot-Phan-Phan’ (A₁, A₂/ B₂), whilst the second part was merely Phan form. In addition, as the special performing techniques, the outstanding style of Khru Thiap Khonglaithong’s rearrangement used three techniques namely (1) the rhythmic displacement, (2) the ending sound of phrase adjournment and (3) the complicated variation melody creation. The three techniques included using four physical skills are; blowing method, fingering method, tongue method, and integral method.  The four methods can be elaborately divided into twelve detailed-techniques which are Tot Lom, Khran, Prakhop Lom, Ti nio, Sabat, Tot Lin, Prip, Hoi, Huan, Kratop, and Proi Siang.