The Comparative Techniques of Erhu and Saw Isan in Solo Song

Abstract

This research focuses on the comparative techniques of Erhu and Saw Isan in solo songs. The research objectives were: 1) to analyze the techniques of Erhu and Saw Isan in solo songs; and 2) to compare the techniques of Erhu and Saw Isan in solo songs. Using qualitative research methods such as interviews and observations by two key informants, the study results are as follows:

1. Huang Sun's "Sai Ma" and Oun Tomngam's "Hong Tong Ka Nong Lam" demonstrate the distinct styles of Erhu and Saw Isan. Huang Sun's Erhu performance in "Sai Ma,such as Pizzicato, continuous overtones, Tipping, and Liandun Gong, combines various techniques to create a lively piece with influences from Inner Mongolian folk themes. "Hong Tong Ka Nong Lam" by Oun Tomngam is a vibrant Isan folk song with a variety of technical demonstrations, including Tipping, Prom Nuew, and Sliding Technique on traditional Isan instruments. Both compositions effectively transmit cultural values and emotions while staying prominent in their own musical traditions.

2. In comparing the technique of Erhu in "Sai Ma" with Saw Isan in "Hong Tong Ka Nong Lam," "Sai Ma" is dynamic and symmetrical, expressing Mongolian culture with organized variations utilizing techniques such as smooth string transitions, quick bowing, and trembling bowing for an active atmosphere. On the other hand, "Hong Tong Ka Nong Lam" draws inspiration from Thai farming life, featuring a curving structure, a cheery melody, and clear rhythms to effectively communicate a range of emotions. "Sai Ma" is passionate and rigid in form, while "Hong Tong Ka Nong Lam" is gentler and more flexible. Each has its own distinct charm worth enjoying.

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