“Nakhon Chum” for String Quartet

Abstract

"Nakhon Chum" for String Quartet is a creative research project that creates traditional folk songs through western music theory in the process of arrangement and harmonization. This approach reimages folk melodies while maintaining their intrinsic character. Integrating compositional techniques aims to preserve and revitalize these cultural treasures, ensuring their relevance and continuity in modern musical contexts. These three objectives of this creative research are: 1) to compose music based on the melody of Nakhon Chum's folk song, 2) to examine the technique and concepts behind this creation, and 3) to preserve and inherit Nakhon Chum folk songs for use in contemporary musical idioms. The primary concepts are derived from two traditional Nakhon Chum folk songs: Rabum Klong Chang and Sai Nam Mae Ping, which serve as the main melodies for the two different movements. These melodies are integrated with compositional techniques based on western music theory, specifically tonal harmony, and this composition is composed for a string quartet which has two movements. The total duration of the two movements is approximately 8.05 minutes.

The process of composing this composition with the following seven steps: 1) conducting research and study to select two traditional folk songs from Nakhon Chum as the foundation for the creative composition. 2) defining the musical characteristics of the composition, which consists of a two-section structure. The two sections differ in tempo: Andante and Adagio. 3) creating a main theme and motives derived from the folk songs. These elements are developed based on the appropriateness of each section to ensure thematic coherence and interrelation. 4) composing and arranging the elements of each section to achieve consistency and unity. The melodies are developed from the main theme and motives to create an integrated musical piece. 5) composing the instrumental parts by considering the main theme, motives, harmonic lines, and the suitability of the instruments for each passage. 6) revising the composition based on feedback from three experts with professional expertise in critiquing musical works. The piece, titled “Nakhon Chum”, is composed for a string quartet. 7) recording the composition for dissemination to the public through various formats, including distribution to government and private organizations, as well as online platforms such as Youtube.

In conclusion, this composition consists of two distinct movements, titled Amusement and Raming, with an approximate duration of 8.05 minutes. The conceptual framework for the creative process of composing “Nakhon Chum” for String Quartet is based on the following five steps: 1) Selection of melodies from Nakhon Chum folk songs. Rabum Khlong Chang was selected as the primary thematic material for the first movement, while Sai Nam Mae Ping served as the foundational musical idea for the second movement. 2) Structuring the composition's overall framework. The first movement was composed in fantasia, characterized by freedom in form and inspiration, and it was modulated from C major to E major in the section B and changed the time signature in the middle section from 2/4 to 3/4 before going back to 2/4 in the last section. for the second movement, it was in the binary form, AB form, and modulated from B minor in section A to A major in section B, with vibrant rhythms and melodic lines. 3) Developing the main melodies. Since the folk melodies are characterized by simple melodic movements, the melodic line from both movements are developed using compositional techniques that enhance the simplicity of the folk melodies, such as augmentation and ornamentation, allowing the melodies to stand independently. 4) Establishing chord progression. Nakhon Chum for string quartet is composed with reference to western tonal music theory principles. The composer employs diatonic chords to align appropriately with the main melodies of the piece. To enhance the harmonic texture and create greater musical interest, chromatic chords are incorporated to complement the melodic and harmonic lines. Five types of chromatic chords are utilized in the composition: (1) Secondary Dominant, (2) Secondary Leading-tone, (3) Augmented Sixth, (4) Neapolitan, and (5) Chromatic Mediant. These chromatic chords are applied strategically to enrich the harmonic framework while maintaining coherence with the overall musical structure. 5) Orchestration and harmonization of the piece. The composition is structured to ensure that each instrument performs the main melody and harmonic lines in a balanced and cohesive manner. Selected compositional techniques, including imitation, stretto, melodic sequence, ostinato, and fragmentation, are applied strategically to enhance the harmonic texture and musical interest to expand the expressive and technical dimensions of the composition.

Eventually, this composition, lasting approximately 8.05 minutes, is divided into two distinct sections. It is written for a string quartet comprising two violins, one viola, and one cello. The piece integrates melodies from the traditional folk songs of Nakhon Chum with Western music theory techniques, creating a modernized interpretation of folk music. Each section is uniquely crafted with its own musical concept and character, offering listeners a rich and diverse musical experience. This work aims to preserve and promote traditional folk music through a contemporary composition. It has been shared with organizations both within and beyond Kamphaeng Phet province and made accessible through online platforms such as Youtube.