Counterpoint Techniques in Mahori Ensemble

Abstract

The objectives of this research were to present the counterpoint technique in Mahori Ensemble and the counterpoint in Thang Phuen music such as Tab Nang Nak Song Chan (Moderato) and Thang Krau music e.g. Lao Damnoen Sai that leads to the harmony of the Mahori Ensemble. This research was conducted by the qualitative methodology with the participatory observation including the document research and the interview of the experts. The findings of the counterpoint technique in Mahori Ensemble were 1) the style of Chakhe must be harmonized with orchestral Gong Mahori 2) Ranad Ek Mahori must be concorded with Saw Duang style and harmonized with orchestral Gong Mahori style. 3) Ranad Thum Mahori style must be concorded with Saw-U and harmonized with Gong Mahori style. 4) The melody of Kluy Phiang-Or and Saw Sam Say must be harmonized with Gong Mahori. 5) The melody of all instruments must be smoothly harmonized, and 6) the movement of the music must be controlled according to the Gong Mahori melody. Moreover, the findings of the counterpoint in Thang Phuen music were 1) Nang Nak song applied with the sound of the lower Phiang-Or scale and Phad Cha song, Leela Krathum, Kraw Ram Mon, and Praphat Phetra applied with the sound of the upper Phiang-Or scale. 2) Adjust the style of Gong Mahori at the first half rhythm in the Phad Cha song is Stand still (Do) melodic for the harmony of the transition of the song.
Thang Krau song and Lao Damnoen Sai were found that decorated the melody for the harmony of orchestral Gong Mahori in some phrase of the melody according to the context notwithstanding the loss of music characteristics. In addition, the melodic motives of the orchestra performance for aesthetic aspect can be adjusted according to the experience and preference of the performers.