Saw Duang Variation in Ching-Mu-Long Chan Diew in 3 Scales

Abstract

This article has 2 objectives: 1) to study the significance of Mu-Long Chan Diew; and 2) to explore the general principles of Saw Duang variation in Ching-Mu-Long Chan Diew. The research was qualitative using information from documents related to Mu-Long song to conduct the analysis.  The research revealed that Mu-Long is unique and distinctive in its melody. It was associated with the Austronesian multicultural group, as indicated by the word “Mulong”.It is of Javanese accent dated back to the Ayutthaya period. The music was found to be arranged in Ching-Mu-Long and Mu-Long Song Chan (Mu-Long) and, Mu-Long Chan Diaw (Phleng Ching). Later in the Rattanakosin period, Mu-long was arranged into Phleng Tup and Phleng Ruengs, and was augmented and constructed into Phleng Thao versions.  Mu-Long Chan Diaw is composed of 3 sections in 18 phrases: major scale (Ti) and minor scale (Mi and La), and A-B-C musical form.  The forms of Ching-Mu-Long in the third tune includes different pentatonic scales: Phiang Au Lang Scale of G A B x D E x, Phiang Au Bon Scale of C D E x G A x, and Jave Scale of F G A x C D x, as the major scales to play the melodies, with the change of scale to the 4th interval. Traditionally, the melodic phrases in the 3 sections were all similar, only differently arranged in dynamic with shifts of various melodies. Every finger was to perform on all of the fiddle strings, and the bowing was in the regular motion of “In-Out-In-Out” for the positional accuracy of sound and stress when bowing while both strings are in motion. This allowed agility in fingering skill to develop.