A Study of the Slai Performance Teaching Model: A Case Study of the Labong Slai Melody in the Pedagogical Tradition of Kru Phoei Srisawat DOI:

Abstract

This research aims to 1) study the characteristics of the Labong Slai melody in the style of Kru Phoei Sisawat, and 2) study the teaching patterns for Slai-playing skills through the Labong Slai melody in the style of Kru Phoei Sisawat. The study focuses on five key areas: the history and background of the Slai, methods of playing the Slai, the Labong Slai melody in the style of Kru Phoei Sisawat, an analysis of the Labong Slai melody, and the teaching patterns of Kru Phoei Sisawat.

            This research employs a qualitative research methodology based on ethnomusicological procedures, collecting data through documentary research, field data collection, and supplementary questionnaires. The research process follows four main stages: 1) research preparation and preliminary planning, 2) data collection, 3) data verification and analysis, and 4) data presentation.

            The findings reveal that the Labong Slai melody, as practiced by Kru Phoei Sisawat, is
a foundational melody for beginning Slai students. It is uncomplicated in character yet graceful,
has no fixed rhythmic meter, and follows a conventional melodic structure. The melody
is characterized by slow, sustained passages alternating with more intricate, ornamented passages
in certain sections, and incorporates special performance techniques such as three-note flicks  
and special fingering to produce the "Toi Hi" sound. This melody serves as the introductory lesson that Kru Phoei Sisawat has established for those beginning their studies with him, and its melodic patterns can be appropriately applied to the performance of other pieces as well.