The Evolution of “Sarathee”

Abstract

1. Sarathee Song Chan has its origin since the Ayudhaya Eraas when it was used to play accompanying with Pleng-Char called “Pleng-Rueng-Saratee” with 3 sections. Later it was played accompanying Khon and Lakorn. The original Sarathee Song Chan was popular until the end of King Rama III, Phra Pradit Paireo (Mee Duriyangkoon) extended the song into Sam Chan and sending through Sepa. It was very popular at that time until the age of Sarathee Tao, then it was developed as Chan Dio in order to sing and get. It was played since nowadays. However, it was about King Rama VI reign, there were specialists who played Dio (solo) Sarathee of Pee Nai, Ranad-Eak, Ranad-Tum, Khong Wong-yai, Khong Wong-lek, etc.2. Sarathee Sam Chan of Dio (solo) Ranad-Eak is the kind of Nathap Probkai (drum rhythmic pattern) with Sam Chan and 3 sections which verse of Dio Sarathee Sam Chan of Ranad-Eak by Kru Natthapong Sowatara as follows:    Section I: Including the playing of squeezing the whole round through gleaning beat, flipping, unbolting, pressing, squeezing some parts, and widen beating.    Section II: Including the playing of gleaning beat through changing verse, trembling beat with pressing, and gleaning beating.    Section III: Including the playing of gleaning beat through thrilling verse, swinging beat as pairs, trembling beat and gleaning beat at the final part as ending.3. The researcher collects context of Thai classical music “Sarathee” such as Sarathee Song Chan, Pleng-char-Rueng-Sarathee, Sarathee Thao, Sarathee Mon, and Dio (solo) Sarathee Sam Chan of Ranad-Eak