O lao 2nd Chan song solo composition method in Piphat Ensemble by Master Thiraphon Noinit

Abstract

The purposes of this research study a solo compositional approach in the solo song ‘O Lao 2^nd Chan’ composed for Piphat Mai Khaeng (hard mallet percussion ensemble) by Master Thiraphon Noinit. The research methodology is derived from textbooks, historical documents, and field data collection through participant observation at Wat Som Klaing Learning Center under the Royal Development Projects located in Bang Khu Wiang, Bang Kruai District, Nonthaburi Province and other locations. This research is a study of the compositional method of each instrument in solo style in the 2^nd Chan (medium tempo) section of the song ‘O Lao Tao’, Piphat Mai Khaeng ensemble performance of which can be viewed on YouTube the research found that was: The results of the research are as follows: Master Thiraphon Noinit gave each instrument the freedom to follow the melody by using the rhythmic principle of Sorng Mai drum rhythmic pattern or Nathap Sorng Mai in the musical form known as Phleng Thayoi blended with the pattern of the song ‘Lao Phaen’, which uses the same Lao Samniang (accent or melodic style) as ‘O Lao’. He combined the two into a unique solo style in 2^nd Chan and there's a transition melody as a bridge-bridge between the instruments, which corresponded to the structure of the Luk Tok (basic melody) of khong Wong Yai (large gong circle) that renders their important core notes on la, so, mi and re (A, G, E, and D) respectively. This has resulted in a very beautiful and unique melody in the Thang (way or idiom) of traditional Thai music.