Saw Sam Sai

The ''saw sam sai'' ( th, ซอสามสาย, , , also spelled ''saw samsai'', and occasionally called simply ''sam sai''; literally 'three-stringed fiddle') is a traditional bowed string instrument of Thailand. It is in the ''saw'' family of Thai fiddles, which also includes the ''saw u'' and ''saw duang'', but unlike the other two, has three strings, with a bow that is separate from the instrument.

The ''saw sam sai'' is made up of three parts: the neck, the bout and the bow. It has a three-lobed coconut bowl for a body, and a hardwood or ivory neck that has been cleaned and polished with wood varnish. The coconut bowl is covered on one end with animal skin, and it has three silk strings. Its bow is constructed of horsetail and hardwood. Other elements include the pegs, nut, bridge, gem, lasso, and strings. Typically, the player glues a jewel onto the skin before playing, to reduce the skin's resonance. The instrument is regarded as one of high stature and is often ornately decorated. It is believed to have been used since the Sukhothai period, and is related to a very similar Cambodian instrument called ''tro Khmer''.

The three strings on the ''saw sam sai'' produce the notes "so" on the upper (higher-pitched) string (''sai ek'', สายเอก or ''sai bon'', สายบน), "re" on the middle string (''sai nai'', สายใน or ''sai klang'', สายกลาง) and "la" on the lower-pitched bottom string (''sai thum'', สายทุ้ม or ''sai lang'', สายล่าง).

History

The saw sam sai is a bowed-string instrument with three strings and is usually played in Mahori and string bands. Its similarity to other stringed instruments suggests that it could have originated from the Arab world, Cambodia, Indonesia, or Thailand.

The saw sam sai is virtually identical to the salo, a Thai bowed-string instrument from the northern region. The features that these two instruments share are having a foot to support the instrument, having three strings, and having the same method of playing. The only aspect that is difference is that the saw sam sai is created with exquisite, unlike the salo.

After studying the origin of saw sam sai, the research found that middle-east countries are more advanced in their musical instrument culture. Other instruments that resemble the saw sam sai are the kamancheh from the west of Persia, the rebab from Egypt and Turkey, the rebab from Indonesia and Malaysia, the saw Khmer from Cambodia, the saw rung-kee from India, and the saw mon from Myanmar.

Researchers have different theories about the origin of the saw sam sai.

Thanit Yuupo (ธนิต อยู่โพธิ์) explained that it is similar to the Japanese shamisen and the Chinese san xian, both of which also feature three strings. Both the Chinese san xian and the Japanese shamisen are fretless stringed instruments. While the shamisen's body is square and flat, the san xian's body is smaller and covered in snakeskin. Furthermore, the saw sam sai is a bowed-string instrument.

Jenjira Benjapong (เจนจิรา เบญจพงศ์) stated her opinion that Persia (Iran) gave birth to the saw sam sai. Because it is more suitable with singing than other musical instruments of the same sort, Rebab in Indonesia and Malaysia commonly directs with the lead vocalist, much as saw sam sai in Thailand. Thai saw sam sai, Khmer saw, and Malay peninsula rebab are all influenced by Middle Eastern rebab, which is derived from Persia's kamancheh.

Pongsin Aroonrat (พงษ์ศิลป์ อรุณรัตน์) presumed that saw sam sai evolved from the Persian rebab, which is the root of numerous bowed string instruments, including the saw sam sai and violin. Rebab has an effect on musical instruments around the globe, and these instruments typically look the same as the original. Jawa, for example, has a rebab instrument that appears identical to the original. Cambodia has a similar instrument called tro that is similar to rebab.

David Morton supposed that saw sam sai's original look is thought to have originated in India's east. Following then, the saw sam sai culture spread over various trading routes. The nan-chou, a bowed string instrument with a sharp point on the body, kamancheh, and rebab were the most common bowed string instruments discovered there.

Udom Arunrut (อุดม อรุณรัตน์) said Thailand obtained saw sam sai from Persia and used it in numerous rituals in the same way as the Persians did. Both nations are tightly linked by language, culture, and art in that era. Even the music Thai people use at royal events comes from Persia.

Suksant Puangklad (สุขสันต์ พ่วงกลัด) explained that the Islamic cultural group has a musical instrument that resembles the Thai saw sam sai. For instance, masenqo of east and west Africa, goje of Niger
joze
of Iraq and Iran
Kamaicha
of India, guaychak of Afghanistan, rebab of Jawa's gamelan, rebab of Malaysia, saw Khmer of Cambodia, and salo of Lan Na of Thailand.

Saw Sam Sai is an instrument that has been played in Thai bands since Sukhothai. Because of the king, it is utilized in royal rituals. They mix it with Mahori after that. Thai people had a tiny orchestra instrument called a "saw," according to " Du Royaume de Siam." This demonstrates that saw sam sai was highly popular among Thai people throughout the "Ayutthaya" period, although its look was not as good as it is now. Until the " Rattanakosin" phase of King Rama II's reign. Because of King Rama II's passion for saw sam sai, he reimagined the new "saw sam sai" as exquisite, and it evolved into the saw sam sai that is used today.

Construction

Component of Fiddle

Bow (in Thai called "Kaun Chuck", คันชัก) is strung with 250-300 pieces of horsetail or string.

From top to bottom, the body (in Thai called "Kaun Saw", คันซอ) includes the:

#Pegs box (In Thai called “Tuaun Bond”, ทวนบน) is the top of the fiddle and it has a length of about 1 foot. The pegs box is shaped by a lathe and is cylindrical in shape. It has a hole at the bottom to connect to the neck of the fiddle and 3 holes on the side for the pegs.
#Pegs connect to pegs box alternating in a zigzag pattern. The head is spherical in shape and the stick has a length of about 6 inches.
#Upper Neck (In Thai called “Tuaun Graang”, ทวนกลาง) connects the pegs box to a lower neck. It has a cylindrical shape and is made from metal, with a diameter of about 1.125 inches and a length of about 9 inches.
#A nut is used for tying 3 strings at the upper neck because they need to be tied firmly for stable sound quality. Normally silk or the upper string is used for the nut.
#Lower Neck (In Thai called “Tuaun Laung”, ทวนล่าง) connects to the bout. It has a length of about 1 foot. It is turned into a spherical shape arranged in a row from small to large.
#Bout (In Thai called “Kalogue Saw”, กระโหลกซอ) is made from 3 coconut shells, together with wood and goatskin.
#Bridge is made of bamboo in a curved shape. With a height of about 2 cm, it is located on the front of the fiddle 3 cm from the top edge . Its use to support the 3 strings.
#Jewelry is used to decorate and improve the sound of the fiddle.
#Lasso is silk used for tying and holding 3 strings located at foot of the fiddle. Normally the middle string is used because it has the right size to tie the upper string and lower string.
#Strings are made of spiral silk. The upper string is the biggest string and the lower string is the smallest string.
#The foot of fiddle (In Thai called “Town Saw”, เท้าซอ) has the physical appearance of a headdress (Chada). It is the base of the fiddle.

Bout

The bout is the main component of a fiddle, responsible for the sound, so care must be taken to find the best material for construction. Normally a coconut shell that has 3 lobes is used. The coconut shell must be symmetric with a thickness of about 0.5 cm. The coconut shell is peeled and a hole drilled to drain the coconut water. It is scrubbed and dried at room temperature for 1-2 weeks. The dried shell is cut and scrubbed inside using an electric polishing machine and sandpaper. The front of the shell is covered with goatskin or cow leather that is about 0.15 mm thick. After soaking in water for 3-4 hours it is glued to the edge of the shell. The bout is then decorated to finish.

Pegs box, bottom neck, and foot of fiddle

The size of the pegs box, bottom neck, and foot of fiddle depend on the size of the bout of the fiddle. If the bout is large, then the pegs box, neck and foot of fiddle will be large. The pegs box, bottom neck, and foot of fiddle are normally made of hardwood or tusk, and are all shaped using a lathe. The pegs box is used for tuning and also for increasing the sound frequency. For the pegs box, 3 holes are drilled for the 3 pegs and 1 hole is drilled at the bottom. For the bottom neck, the upper part is shaped like a marble and the lower part like the shape of an elephant's mouth. For the foot of the fiddle, the hole in the upper part is shaped like an elephant's mouth and in the lower part the hole is shaped like a pagoda in Thailand. The left-hand side of the player has 2 pegs and the right side 1 peg. The pegs are also shaped with a lathe.

String

All three strings are made of silk, with four procedures used to make the each string: 1) spinning 2) silk tacking 3) gluing 4) silk stranding. After collecting the silk from the silkworm a spinning machine is used to collect silk into a thread spool. 20 cm of nylon is used to make a lasso. The lasso hook is brought to the stranding machine with 8 thread spools of silk used for the upper string, 14 spools for the middle string, and 20 spools of silk for the lower string. The silk is tacked to the stranding machine and stranded.

Tuning

The first thing that one does before tuning is stand the bridge. The bridge is set into the middle of the fiddle and away from the top of the bout around 1-2 inches. One can look at the bridge corresponding to the foot of the fiddle and head of the fiddle or not to check one's work. For tuning, the pegs are turned to the front of the fiddle to make the string tight. Normally during the tuning of the fiddle, the bridge is moved while the peg is kept stationary because it is harder than moving the bridge to make string tight or loose. Khim is used for the initial sound of the fiddle. The notes Sol, Re, and La are used for the upper string, middle string, and lower string respectively. Then it is checked it by bowing the fiddle. Finally, a jewel can be attached to the fiddle for upgraded sound quality.

Playing

Posture

The saw sam sai is played seated. There are two sitting postures for playing saw sam sai. Sit with legs to the side and Vajrasana (Diamond Pose). Sit with legs to the side is a sitting posture where one leg on top of the other, stretches the player toe to the side while folding the knees. Vajrasana, also known as Thunderbolt Pose or Diamond Pose, is a kneeling hatha yoga and contemporary yoga workout posture. In the early stage of playing saw sam sai, start with sit-with-legs-to-the-side posture first when playing.

Saw sam sai holding posture

Standing saw sam sai

Use the iron needle on the bottom end of the saw sam sai stick it to the ground. Hold the body of saw sam sai with the left arm, keeping it at the same level as the left thigh. Face the saw sam sai outside, put the knob on the third string.

Saw sam sai holding posture

Turn the palm of the left hand to the front a little bit. Lean the neck of the saw sam sai against between the thumb and index finger. If holding the saw sam sai correctly, the pinky finger will not reach the string comfortably.

Bow holding posture

Hold the bow with the right hand. Put the right hand around the area where the gap between the horsetail and the bow is about 4 centimeters. Put the ring finger in between the horsetail and the bow. Use index finger and middle finger to support the bow while the wrist is parallel with the right arm. The performer needs to be careful not to bend the right hand skew with the right arm. While performing the bow needs to always parallel to the ground.

Bow handling

Use the right arm and right hand to control the movement of the bow. Have the bow parallel to the ground and have the horsetail touch the string above the body around 3 centimeters. To increase the volume, use the ring finger to push the horsetail towards you. The most important thing is to balance the volume of the upper string and lower string.

Finger gesture

To determine the sound of the upper string and the middle string. The performer uses the index finger, middle finger, ring finger, and pinky finger. While determining the sound of the lower string, use the index finger, middle finger, and ring finger. To press the upper string using a finger to "Chun Sai" is needed. "Chun Sai" is using the fingertip to stick to the side of the upper string. The finger that is used in "Chun Sai" can be the index finger, middle finger, ring finger, and pinky finger.

Conducting

One of the uniqueness of Thai instruments is melody conducting which every performer has to conduct together harmoniously. For saw sam sai, music conducting can be divided into two types, conducting as a band and conducting with a lead singer.

Conducting as a band

The performer needs to understand the melody that their band is performing, needs to be knowledgeable of types of band performance kinds of music. The most important thing the performer needs to commit to his memory is that the heart of playing as a band is harmonious.

The performer needs to play in the "Chou Chou" rhythm (ทำนองจาวๆ) that imitates "Saratta" rhythm (ทํานองสารัตถะ) as close as possible. The performer needs to be mindful not to overuse the uniqueness of the sound of the "sol" and "re" notes. Bring the potential of the sound of three strings to the fullest and use fingers to control the pitch of the sound.

Conducting with a lead singer

The performer needs to recognize or be able to sing the lyrics of the performing song as knowing it will be crucial in conducting the music together with the lead singer. The main role of the player is to support the lead singer. Another role for the player is to support the lead singer in singing, but the player needs to be cautious not to distract the lead singer and be wary not to be more notable than the lead singer. The performer must harmoniously perform together with the lead singer.

References

External links

Sound sample

See also

*Traditional Thai musical instruments
*Music of Thailand

{{Authority control

Drumhead lutes
Thai musical instruments
Bowed instruments