Music Theory
Thai musicians generally use two kinds of notation; tablature and pitch notation. Pitch Notation makes use of the schemes number and solfege , while tablature uses numbers alone. These notations can be used in group pieces and often individual instruments.
These notations and the theory system are all important and involved in the different categories that music is commonly written for in Thailand.
Naa Phaat
Naa Phaat is played mostly in performances representing higher, sacred beings with supernatural powers. This particular melody dates back to the Ayutthian period, in which they were primarily created for and performed in Khon (masked dance-drama) and in the honouring of teachers. Naa Phaat is also considered similar to the melodies of leitmotifs of Wagner's operas: it is therefore constantly associated with specific actions and characters within a script, but only those of which are portrayed with high or divine status.
Sepha Mahori
Sepha Mahori is likely the most common song category for the majority of melodies; is is taught in Thai public schools and to those who are being introduced to the field of Thailand music. Traditionally, the Sepha Mahori melodies are played in concert-like areas, and in special occasions a vocalist is included in the piece.
Naang Hong
The Naang Hong includes Naa Phaat pieces and is typically performed in phleang la-khorn (unmasked dance-drama) & phleang kret; phleang kret is often used for many sorts of entertainment types, not just drama specifically.
Phleang
Instrument solos.
Phleang Ryang
Defined sets of four sequenced song types (ie Naa Phaat/ Seph Mahori melodies).
Thai musicians generally use two kinds of notation; tablature and pitch notation. Pitch Notation makes use of the schemes number and solfege , while tablature uses numbers alone. These notations can be used in group pieces and often individual instruments.
These notations and the theory system are all important and involved in the different categories that music is commonly written for in Thailand.
Naa Phaat
Naa Phaat is played mostly in performances representing higher, sacred beings with supernatural powers. This particular melody dates back to the Ayutthian period, in which they were primarily created for and performed in Khon (masked dance-drama) and in the honouring of teachers. Naa Phaat is also considered similar to the melodies of leitmotifs of Wagner's operas: it is therefore constantly associated with specific actions and characters within a script, but only those of which are portrayed with high or divine status.
Sepha Mahori
Sepha Mahori is likely the most common song category for the majority of melodies; is is taught in Thai public schools and to those who are being introduced to the field of Thailand music. Traditionally, the Sepha Mahori melodies are played in concert-like areas, and in special occasions a vocalist is included in the piece.
Naang Hong
The Naang Hong includes Naa Phaat pieces and is typically performed in phleang la-khorn (unmasked dance-drama) & phleang kret; phleang kret is often used for many sorts of entertainment types, not just drama specifically.
Phleang
Instrument solos.
Phleang Ryang
Defined sets of four sequenced song types (ie Naa Phaat/ Seph Mahori melodies).