The Study of The Identity of Ranadthum's Variation in Tham Kwan Suite

Abstract

     This study on the identity of "Ranad thum" melodic variation in the "Tam Kwan" suite for full ensemble aims to investigate the relationship between the melodic variation of the Ranad thum and the Khong wong yai in terms of melodic cadences and tonal scales, as well as to identify the unique characteristics of the ranad thum variation in this particular musical suite. The researcher studied the musical composition "Tham Khwan" which has been transcribed into Western notation and published by the Fine Arts Department of Thailand. The study also in-volved examining Thai music theory, Thai music standards, and the assessment criteria set by the Office of the Higher Education Standards, Office of the Permanent Secretary for University Affairs. These resources were used to analyze the identity of the melodic variation in the ranad thum. In addition, experts in ranad thum performance and music analysis were consulted to verify the accuracy of the analysis and provide further suggestions for the research report. The findings reveal that the "Tam Kwan" suite consists of 16 pieces, each divided into two sec-tions. The ranad thum melodies align with the tonal scales of the khong wong yai in every phrase, and the ca-dences generally correspond, except in the pieces Sang Lek and Dok Mai Ruang, where the cadences in the first phrase do not match those of the khong wong yai. This intentional divergence serves as a musical setup, with matching cadences occurring at the end of the phrase. Distinctive characteristics of the ranad thum variation in the "Tam Kwan" suite include anticipatory strokes (playing slightly ahead of the beat), syncopation, alternating strokes between the left and right hands—both in complementary and opposing patterns—"suction" strokes, and striking techniques using either one or both hands simultaneously. Additionally, there are rhythmic patterns in-volving three notes per measure, as well as continuous right-hand-emphasized strokes in various segments. Typ-ically, the initial phrases of each section imitate the first phrase of the previous cycle, while the ending phrases of both forward and return sections are often played identically. Based on the repeated melodic patterns in the khong wong yai parts across the suite, sixteen primary melodic forms were identified. These reveal a diverse array of Ranad thum variations, which can be adapted for use in other compositions with similar Khong wong yai melodic structures by adjusting the tonal scale and rhythmic arrangements accordingly.