วิเคราะห์เดี่ยวจะเข้เพลงกราวในสามชั้นทางอาจารย์ศิวศิษฏ์ นิลสุวรรณ / เกียรติรัตน์ หุ่นสุวรรณ = A Musical analysis of Krawnai Sam Chan for Jakhay solo Mr. Siwasit Nilsuwan / Kerttirat Hunsuwan
To study the context related to the performance, the musical structure, how the melodies are played and special techniques in the Jakhay solo, based on the quality research methodology. The research has found that the Krawnai music is an important advanced musical solo. A musician who is going to play or to teach it to other people has to be a talented and experienced person. He must have been ordained as a Buddhist monk and obtained permission from his music master before he can play this musical piece. Krawnai is also performed to accompany monastic ceremonies as well as part of the Hom Rong Yen Overture, which is played in accompaniment of the performance of Demon characters. The melodies of the Krawnai are in the form of “passing over”. When played by the Pipat orchestra, the Krawnai will be in the form of triplet but in the string orchestra, it will be the doublet form. The triplet of the Krawnai was invented by Master Sawaeng Abhaiwongse. The major melodies used as the base of this particular solo came from Thonburi; Master Siwasit Nilsuwan was taught by Master Wichien Kerdphol, a senior music Master from Ban Mai Hangkrabane. The melodies consist of nine groups of the passing over sound groups. There are 6 special characteristics of the Jakhay solo, which are considered as the techniques in soloing. Firstly, the ring plectrum has to play the Na Tub melodies together with playing the main melodies of the song. Secondly, the melodies are played by quickly strumming the ring plectrum, together with the sound made by the strings in doublets per one musical note, alternating by striking the ring plectrum on the melody strings and accompaniment strings to create melodies. Thirdly, the technique is involved with “striking the strings hard and repeatedly”. Fourthly is simultaneous striking the two types of the strings—the separated melodic system accompanied by the reducing the melodies, considered as one set of the melodies. Then, repeat the melodies several times. Fifthly is the play the melodies in the style to produce an octave, which consists of low and high notes. After that the melodies are reduced. The sixth technique is the strumming and picking in the Ting Noy style, which is not used in playing the Jakhay musical instrument in general.
