The Creation of the Solo Khong Wong Yai Song “Phleng Diao Khu Wiwek Weha-Salika Chomduean Samchan”

Abstract

          This research aims to study the context and creatively compose Wiwek Weha and Salika Chomduean Samchan for a duet of solo songs (Phleng Diao Khu) on the Khong Wong Yai, as well as to transcribe the music into notation and digital media formats. The study employs qualitative and creative research methodologies, including documentary research, expert interviews, the solo Khong Wong Yai composition, notation and digital media recording, analysis of the musical composition, and public dissemination (via online media).

          The research findings reveal that Wiwek Weha and Salika Chomduean Samchan are paired compositions in a single movement with 4 beats in Nathap Propkai. The composers are unknown. However, Salika Chomduean is hypothesized to have been composed around the early Rattanakosin period as a deliberate companion to the pre-existing Wiwek Weha to rhyme the titles. Both songs are composed in two musical scales: Thang Nok (รมฟXลทX) and Thang Nai (ลทดxมฟx), and sudden musical scale shifts occur in certain passages.

          The solo composition demonstrates systematic coherence and correlation with the concept and the theory employed in composing
“a duet of solo songs” that closely follows the prescribed scales and principal melodies and exhibits an initial round of performance played in Thang Wan and the repeated round in Thang Keb. The performance emphasizes precise striking techniques, tonal clarity, and dexterous coordination of both hands. Wiwek Weha focuses on right-hand techniques, while Salika Chomduean emphasizes left-hand skills.

          The characteristics of this solo composition include occasional pauses in the melody while maintaining the underlying rhythmic patterns and the use of striking gongs up and down in rapid alternation-a technique rarely found in other Khong Wong Yai solo repertoires.