Applying Modal Harmony to NORA RONG KHRU Ritual Song Framework and Creative Realization

Abstract

Manora Rong Khru is an important ritual of Southern Thai culture that integrates religious faith, local beliefs, and the performing arts. The ritual songs of Manora are traditionally monophonic, lacking harmonic accompaniment, with a simple yet symbolically powerful musical structure. However, for contemporary listeners who are accustomed to Western music, the absence of harmony may make it more difficult to emotionally engage with the songs.

This research therefore focuses on applying modal scale theory to create harmonic accompaniment for Manora Rong Khru ritual songs. Five key ritual pieces—Cherd, Kard Khru, Nora Tham Bot, Nat Rue-si, and Sadsadee—were selected for transcription, melodic analysis, and experimental harmonization. The goal was to preserve the sacredness and traditional identity of the songs while enhancing their accessibility and appeal to modern audiences.

The findings reveal that in Cherd, the melody is based on the D Aeolian mode, and the use of harmonies from the Eb Lydian Dominant mode alongside D Aeolian creates a richer and more emotionally complex atmosphere than other modes tested. This harmonization preserves the original melodic identity while adding depth. Moreover, the use of Eb7(#11) and DbMaj7(#11) chords establishes a logical connection between harmonies in both modal and functional terms. For Kard Khru, the Ab Mixolydian mode was found to align most closely with the Db Pentatonic scale, allowing the harmonization to blend smoothly without interfering with the primary melody. The use of sus4 chord also creates depth and provides a bright, open harmony that seamlessly enhances both the lyrical content and the melody