Тайский смычковый инструмент Сао Сам Сай: описание и техника игры.

The (ซอสามสาย, ; ; also spelled , , and occasionally simply ; ) is a traditional bowed string instrument of Thailand. It is in the family of Thai fiddles, which also includes the saw u and saw duang, but unlike the other two, it has three strings and a bow that is separate from the instrument. The is made up of three parts: the bout, the neck, and the bow. It has a three lobed coconut bowl for a body, covered on one end with animal skin, and a hardwood or ivory neck that is cleaned and polished with wood varnish. Its bow is constructed of horsetail and hardwood. Other elements include the pegs, nut, bridge, 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
The three silk strings on the produce the notes "so" on the higher pitched upper string (สายเอก, or สายบน), "re" on the middle string (สายใน, or สายกลาง) and "la" on the lower pitched bottom string (สายทุ้ม, or สายล่าง).

The is a bowed string instrument with three strings and is usually played in ensembles and string bands. Its similarity to other stringed instruments

Researchers have different theories about the origin of the The 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.

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. The first is to sit with legs to the side, where one leg on top of the other, stretching the player toe to the side while folding the knees (recommended for beginners). The other is Vajrasana, a kneeling hatha yoga and contemporary yoga posture, also known as 'Thunderbolt Pose' or 'Diamond Pose'.

Balance the iron needle on the bottom end of the on the ground. Hold the body of with the left arm, keeping it at the same level as the left thigh. Face the outside, and put the knob on the third string. Slightly turn the left palm to the front. Lean the neck of the against the space between the thumb and index finger. If holding the correctly, the pinky finger will not reach the string comfortably. 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 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 askew with the right arm. While performing, the bow needs to always parallel to the ground.

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.

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. To determine the sound of the lower string, use the index finger, middle finger, and ring finger. To press the upper string, stick the fingertip to the side of the upper string; this technique is called "chun sai". Any finger (except the thumb) can be used in "chun sai".

One of the uniqueness of Thai instruments is "melody conducting", in which every performer conducts together harmoniously. For , conducting can be divided into two types: conducting as a band and conducting with a lead singer. When conducting as a band, the performer is guided by the other band members and the flow of the music. Therefore, the performer needs to understand the melody, musical type, and performance style. The most important thing the performer needs to commit to memory is that harmony is at the heart of playing as a band. The performer needs to play in the "Chou Chou" rhythm (ทำนองจาวๆ) which imitates "Saratta" rhythm (ทํานองสารัตถะ) as closely as possible. The performer needs to be mindful not to overuse the uniqueness of the sound of the "sol" and "re" notes. When conducting with a lead singer, it is crucial that the performer can recognize or sing the lyrics. The main role of the player is to support the lead singer, primarily with the instrument and possibly with singing accompaniment. However, the player needs to be cautious not to distract or overshadow the lead singer.