PLAYING METHODS OF RANAT THUM FOR MAHORI ENSEMBLE, A CASE STUDY OF PLENG PAE SAMCHUN

Abstract

Mahori Ensemble was one of the oldest music ensembles from the past which belonged to Thai society. In the reign of King Rama 3^rd, Ranat Thum was created and formed in Mahori Ensemble, as in Pipat Ensemble, with a smaller size. In addition, Mahori Ensemble has a duty for a lullaby, which makes Ranat Thum in Mahori Ensemble play differently from Pipat Ensemble. The notable style of playing Ranat Thum in the Mahori Ensemble is not to be exciting; the melody of Ranat Thum should play along with the KwangWongYai melody, known as “Jaaw” (main melody). Nowadays, playing Mahori Ensembleis for the music competition; therefore, the competition’s regulation was used for the Mahori ensemble playing form. The study of Pleng Pae Samchun for Ranat Tum for Mahori Ensemble belongs to Kru Nattapong Sowat. The six technics were found, including TeeLuangNa (before time), TeeLaLung (laid-back), Sador (mordent), TeeBangMue (alternation), and Tee Kayok (accent). The playing methods of Ranat Thum in the Mahori Ensemble are still the same as the regular Ranat Thum.