Karawek Lek Sam Chan in the ranat thum (Thai Alto Xylophone): the Creation of the Instrumental Realisation and the Solo Version

Abstract

     The creation of the instrumental realisation and solo composition for the ranat thum (Thai alto xylophone) in the piece Karawek Lek, Sam Chan (third level), had the following objectives: (1) to create a stylistic idiom for the melodic variation of the ranat thum in Karawek Lek, third level; and (2) to compose a solo passage for the ranat thum in Karawek Lek, third level.

     The creative outcomes reveal that (1) Karawek Lek Sam Chan is a composition that employs the “na thap prob kai” rhythmic pattern. It is structured in two sections, each consisting of four rhythmic cycles (na thap). Each section contains a repeated melodic motif (luuk thao) that occurs twice with identical pitch content. The melody primarily uses the pitches C (do), D (re), E (mi), G (sol), and A (la); F (fa) and B (ti) appear occasionally, so the piece covers all seven diatonic tones. The repetition of similar melodic material within each section is a defining characteristic of the piece. In the process of creating a melodic variation for the ranat thum, the adapted version was designed to support practice of variation techniques and to serve as a guide for ensemble performance. The melodic adaptation was crafted to align closely with the original composition’s structure, with emphasis on selecting tones based on the “falling tones” (luuk tok) of the primary melody. Tone grouping was determined by analysing the melodic contour and directional movement of the original melodic phrases (samnuan klon). This approach ensures the variation remains musically and structurally coherent with the original. 2) The solo ranat thum version of Karawek Lek Sam Chan employs a diverse range of samnuan klon (melodic phrases). These phrases are intricately linked to hand coordination and are crafted to suit the performance techniques of the instrument. The melodic phrases incorporate various musical devices and embellishments to create expressive melodic lines with distinct stylistic nuances that blend harmoniously. As a result, the solo version exhibits a balance between simplicity and complexity in both melody and rhythm, featuring moments of tension and resolution. These phrases are well suited to the character and expressive style of the original composition.