Bentuk Lagu Zapin Tradisi (Sayang Cik Esah) Di Desa Meskom Kecamatan Bengkalis Kabupaten Bengkalis Provinsi Riau

This study aims to determine the form of the traditional zapin song, Sayang Cik Esah. The theory used in researching the form of the song is the theory of M. Suharto (1984: 38), namely 1) Theme and contrast, the most common form of song or the one we encounter the most is the A-A-B-A form. Part A is a melodic unit which is the theme of the song. While part of B is a melodic unit which is often referred to as contrast, which is a melodic pattern that is contrary to the theme, even though it has harmony and continuity. 2) The form of the repetition unit of a song, 3) The sentence of the song, and 4) The end of the song. Furthermore, it is also supported by the theory of Karl Edmund Prier SJ (2004: 5), namely the form of a song based on the number of sentences in the song, the number of sentences can be distinguished: (1) The form of a song is one part: with only one sentence. (2) Two-part form of the song: with two different sentences. (3) Three-part form of the song: with three different sentences. The method in this study uses descriptive analysis method with a qualitative approach. The results of the research on the Zapin song, Sayang Cik Esah's tradition, are usually played in scales of 2 # or (D = do), with a 4/4 mark, and using a medium fast tempo (Moderato) which is one minute, the Zapin Song of Sayang Cik Esah's tradition is a form of one part song with one sentence and there are two phrases, namely one question phrase (antecedent) and answer phrase (consequential). The traditional zapin song, Sayang Cik Esah, has the same length (symmetry)