AN IMPLEMENTED THE JAKHEY PLAYING TECHNIQUES IN THE CHIN KHIM YAI SONG FOR PIPA

Abstract

This paper analyzes the fingering techniques of Jakhey in the Thai traditional music "Chin Khim Yai" in depth, and adapts and applies them to the Chinese traditional instrument Pipa. It is found that the core techniques in Jakhey can be effectively replaced and transformed in Pipa performance.The study pointed out that Jakhey performance emphasizes rhythmic density and continuity of ornaments. Sabat is frequently used in "Chin Khim Yai", forming a unique "flowing tension". Although Pipa is a vertically held plucked instrument, its varied right-hand techniques and rich left-hand timbre processing allow these unique techniques of Jakhey to be reproduced. Therefore, in order to better show the style characteristics of this song, Pipa effectively retains the musical style of Jakhey while showing the timbre advantages of Pipa through the expansion of Lun (Tremolo), Banlun (Semi-Tremolo), and other techniques. Finally, this paper's in-depth analysis of the Thai music Chin Khim Yai not only verifies the feasibility of Jakhey's technique on Pipa, but also provides a specific practical path and skill template for the integration of Chinese and Thai traditional music, and expands the performance space of Chinese instruments in the context of Southeast Asian music.

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