Rangsit Music Journal

Doctoral Music Composition “From Coals to Golds” Dramatic Myth of Lanna for Piano Quintet

Thaphad Sungwijit, Weerachat Premananda — Thu, 24 Jul 2025 00:00:00 +0700

Doctoral Music Composition From Coals to Golds was created with the objective of composing a program music inspired by the Lanna folktale Maeng Si Hu Ha Ta (The Four-Eared, Five-Eyed Monster) and performing to the public. Despite the diverse beliefs recorded in different versions of this folktale across various regions, the core narrative remains consistent. Therefore, the composer conducted an in-depth study to identify common elements suitable for incorporation into the composition.

The composer selected the version of Maeng Si Hu Ha Ta from Wat Phra That Doi Khao Khwai Kaew in Chiang Rai as the primary narrative framework due to its engaging storyline and presence of multiple events that could be effectively linked to compositional concepts and techniques. The story follows an impoverished orphan who drags his father’s head up a mountain, where it becomes stuck at the entrance of a cave—an event that leads him to discover a large bear-like creature with four ears and five eyes. This mystical being consumes burning coals and excretes gold. The orphan buries the gold daily until King Bandumati declares that any man who can construct a golden waterway from his home to the palace of the king’s daughter will be granted her hand in marriage. The orphan successfully completes the golden waterway. Later, upon learning about the Four-Eared, Five-Eyed Creature, King Bandumati orders it to be brought to the palace. However, as it is led through the city, a crowd gathers, startling the creature and causing it to flee into the mountains. The king chases it into a cave, where a sudden rockslide traps him inside. Although he is eventually rescued, the creature is never seen again.

In addition, the composer explored various compositional approaches, concepts, and techniques, including contemporary musical styles, to develop the composition. These include modal and scale-based concepts, melodic extraction techniques, tritone and clustered harmonies, principal melody transformations, polyphonic writing, sonata-rondo form structures, the use of pedal tones and gradual dynamic markings, as well as extended string techniques. These elements were integrated into the composition to align with the narrative structure and the established scope of the work. The composition From Coals to Golds consists of Five Movements:

The Father’s Final Words: Depicts the orphan fulfilling his dying father’s wish by dragging his father’s head up a mountain, where it becomes lodged at the entrance of a cave, leading to the discovery of the Four-Eared, Five-Eyed Monster. The composition employs whole-tone scales, transposition, and polyphonic texture writing to evoke sorrow and loss. The use of pedal tones and crescendo symbolizes the dragging of the father’s head up the mountain.

The Four-Eared, Five-Eyed Monster: Inspired by the monster’s description as a large bear-like beast with four ears and five eyes, this movement also reflects its paradoxical nature—though fearsome in appearance, it is gentle and harmless. The composition incorporates the numbers four and five through tritone intervals and the Lydian mode. Clusters represent the monster’s defining characteristic of consuming burning coals, while pizzicato string techniques capture its unique personality.

The Burned Charcoals and Golden Poops: Depicts the monster consuming burning coals and excreting gold. The composition uses clusters from the previous movement to construct melodies through motif development techniques. The sound of flying embers is represented by handclaps and syncopated rhythms, while the Phrygian dominant mode is used to depict the shimmering quality of the golden poops.

The Golden Gutter: Illustrates the construction of a golden canal connecting the orphan’s home to the palace of King Bandumati’s daughter. The Phrygian dominant mode from the previous movement is reintroduced and adapted, while the primary melody transformation technique serves as the main compositional approach.

The Lord Bandumati: Portrays the grandeur of Bandumati’s kingdom, imagined as a land of peace and simplicity, ruled by a dignified and authoritative king. It also includes the dramatic chase scene in which the king pursues the Four-Eared, Five-Eyed Monster. The sonata-rondo form is used, a structure commonly found in the final movement of Western classical compositions.

Each of the five movements lasts approximately 5–6 minutes, with a total performance duration of around 30 minutes. The composition features diverse structural approaches, integrating contemporary compositional techniques to evoke emotions, atmosphere, character personalities, and key events from the Maeng Si Hu Ha Ta folktale. Some sections contain complex rhythmic patterns, particularly in the second movement’s The Burned Charcoals and Golden Poops sections, requiring musicians with advanced technical proficiency for precise ensemble performance. The composition From Coals to Golds was publicly performed on March 18, 2025, at the Performing Arts Building, Chiang Rai Rajabhat University.

Doctoral Creative Research on Innovation Vocal Method by Puntwitt

Puntwitt Asawadejmetakul, Weerachat Premananda, Duangjai Thewtong — Thu, 24 Jul 2025 00:00:00 +0700

The Doctoral Creative Research on Innovation Vocal Method by Puntwitt represents a transformative effort in redefining the paradigms of vocal training and performance. This research is both conceptual and practical, aiming to introduce new perspectives in singing while addressing unexplored challenges in vocalization. By emphasizing the individuality of vocalists and their distinct physical attributes, the Method significantly reduces practice time while achieving remarkable improvements in vocal performance. Moreover, it expands traditional frameworks of physical and concept conditioning in singing, empowering singers to overcome both conceptual and physical limitations, thus unlocking their full potential. The research's primary objectives are to create a personalized, systematic approach to singing that can serve as a universal guideline for training and teaching vocal techniques. Furthermore, it seeks to advance knowledge in 4 critical aspects of vocal production: respiratory mechanics, vocal fold functionality, tongue placement, and resonance control. These components are meticulously grounded in principles derived from vocal studies, scientific theories, and anatomical insights, offering a comprehensive foundation for its innovative approach. The research findings are presented through a lecture recital format, encompassing a lecture, solo vocal performances, choral singing, and staged excerpts from musicals and operas.

The Method was studied and developed through extensive analysis of foundational vocal techniques, observations of master singers, and an in-depth study of the biomechanics of sound production. This included an exploration of principles such as sound generation, air pressure dynamics, and basic fluid mechanics. These insights were synthesized into a coherent framework, which was subsequently tested through experimental practice sessions with both the researcher and students at the Princess Galyani Vadhana Institute of Music. Participants included students majoring in vocal performance as well as those majoring in other instruments, ensuring the methodology's adaptability across diverse musical disciplines. Before synthesizing into the researcher’s unique vocal methodology, the Method emphasized providing detailed explanations of interconnected mechanisms of organs and muscles involved in vocalization. Each section is presented through step-by-step explanation of interconnected functions of muscles and organs involved in singing. Each process is broken down into detailed segments, providing a logical and systematic approach to sound production while uncovering the intricate processes underlying the stages of vocal generation.

The Method is a comprehensive approach to vocal training, meticulously structured around 4 core systems designed to enhance vocal efficiency, control, and resonance. These 4 systems work synergistically to refine the singer’s technique, allowing for sustainable vocal production and optimal sound quality: 1) the Reciprocal Breathing System: This technique refines breath control by synchronizing respiratory processes with the demands of vocal performance, ensuring efficiency and sustainability. 2) the Vocal Fold Functionality System: this system focuses on precise mechanics of vocal fold closure which is essential for creating a stable and resonant vocal tone. 3) the Tongue Placement System: by strategically positioning the tongue, this technique facilitates the creation of an air dam within the oral and pharyngeal cavities, optimizing airflow and enhancing vocal resonance. 4) the Resonance Collecting and Gathering System: this system explores methods for harnessing and amplifying natural vocal resonance, resulting in a fuller, more dynamic sound. The research also highlights the innovative nature of methodology, which challenges traditional paradigms of vocal training. By diverging from conventional approaches, the Method offers a more personalized and effective pathway for singers to achieve ultimate excellence. This Method was presented through a lecture recital, including solo vocal performances, choral works, and selections from musicals and operas, on January 16, 2025, at Sangita Vadhana Hall, Princess Galyani Vadhana Institute of Music. The presentation not only showcases the methodology’s practical applications but also provides an interactive platform for engaging with its theoretical foundations. The results demonstrate its potential to address the needs of singers across all genres, genders, and age groups. Furthermore, it provides a comprehensive framework for mastering vocal control, enabling performers to refine their technique in every dimension of artistry.

In conclusion, the Method stands as a significant contribution to the field of vocal studies. Its holistic approach, combining theoretical rigor with practical application, offers a versatile and effective tool for singers and educators alike. By addressing both the conceptual and physical aspects of vocalization, it opens new avenues for artistic expression and technical mastery, ensuring its relevance and impact in the broader singing community. It is hoped that this research will generate a significant and lasting impact, with its flexibility enabling adaptation to a wide range of singers and repertoires. Moreover, it holds the potential to reshape the landscape of vocal education on a broader scale. Through the integration of interdisciplinary knowledge, this research aims to advance the field of vocal studies by introducing new perspectives. It is envisioned that this work will inspire a culture of continuous development in vocal performance and pedagogy in the future.

Nirat Khlong Si: A Composition for Jazz Ensembles

Yothin Chantarakka, Jetnipith Sungwijit — Thu, 24 Jul 2025 00:00:00 +0700

Nirat Khlong Si (/níʔrâːt khloːŋ sìː/): A Composition for Jazz Ensembles is a piece of program music with the objective of creating a work that integrates the Khlong Si Suphap (/khloːŋ sìː suʔphâːp/) (a traditional Thai poetic form) with jazz music. Additionally, it aims to be performed for the public. The anticipated benefits, aligned with these objectives, include the creation of a composition that integrates the Khlong Si Suphap with jazz music, its public performance, and the potential for this work to serve as a foundation for further compositions or adaptations for different ensembles. Moreover, it may contribute to the international promotion of Thai culture.

The conceptual framework of Nirat Khlong Si: A Composition for Jazz Ensembles is grounded in the idea that this work will serve as a piece of program music for jazz ensembles, developed through the fusion of Thai poetry, known as ‘Khlong Si Suphap,’ with jazz music. It aims to create a compelling narrative that bridges two cultures with distinct contexts, origins, and traditions, while fostering a profound and harmonious connection. This fusion strives to unite these two distinct art forms into a cohesive, innovative musical expression. To achieve this, the composition will include a reciter who will read the ‘Khlong Si Suphap’ poetry composed by the author, following the prescribed metrical pattern and reciting it with a melodious tone to emphasize the clarity of the fusion. Building upon this conceptual framework, the composition is designed with 3 movements, each reflecting a different approach to blending Khlong Si Suphap poetry. To complement this concept, the main melody is crafted to evoke the melodic style of Khlong Si Suphap recitation. Thus, the composition is titled Nirat Khlong Si, symbolizing a journey from the homeland of jazz music to an encounter with Khlong Si Suphap poetry. (‘Nirat’ means a narrative that describes separation or departure from one's home to another place.) Therefore, this work represents an attempt to blend the structured and precise compositional framework of Thai poetry, specifically ‘Khlong Si Suphap’ with the flexible and improvisational nature of jazz, a genre characterized by its unique spontaneity and integration of diverse musical styles throughout its evolution. It explores new territories in music and culture, seeking to achieve a balance between the two traditions. In doing so, it embodies a process of integrating the knowledge systems of these two cultures into a new, innovative musical composition.

Based on the preceding details, the research for creation process must focus on three key aspects to achieve its objectives: 1) Concepts and examples of compositions that integrate cultural elements with music, 2) Khlong Si Suphap as a source material for musical composition, and 3) Jazz composition techniques, theories, and principles. These aspects provide the framework for literature review, theoretical study, and related research. Once this framework is established, further research is conducted using key resources, such as books, research papers, theses, journals, articles, among others, as well as multimedia sources such as CDs and video materials, which are systematically synthesized and applied to the composition methodology to fulfill the creative goals of this work.

For the composition methodology, after gathering the necessary information according to the established framework, the process can be summarized from the preparation phase of the composition through to the final conclusion into 11 main steps. The first step involves defining the conceptual framework of the story for the 3 movements of the composition: Movement 1 marks the beginning of the journey for jazz music, represented by a character who becomes interested in Khlong Si Suphap poetry and begins studying its recitation in their own understanding; Movement 2, the jazz character encounters Khlong Si Suphap poetry, portrayed as a new character entering the scene; Movement 3, the jazz character becomes immersed and joyful in the poetry, while the Khlong Si Suphap poetry character embraces jazz music, symbolizing a collaborative creation of art. After establishing the concepts for each movement, the next step is to develop a fusion of Khlong Si Suphap poetry that aligns with the storyline, for example, determining the melodic approach based on the recitation style, composing 5 poems in the Khlong Si Suphap form, aligning the melody with the rules of Samphat (Rhyme) of Khlong Si Suphap. Following this, the next phase involves preparing the musical composition concept and techniques to be used. Then, the creation of the 3 movements begins, followed by rehearsals and public performances to present the composition. Finally, the conclusion.

Nirat Khlong Si: A Composition for Jazz Ensembles resulted in a work consisting of three movements that incorporate elements related to Khlong Si Suphap and follow the narrative concept in the manner of program music. Each movement employs various compositional ideas and techniques, such as the use of Næo Thamnong Ek—a main melody derived from the structure of Khlong Si Suphap, the alignment of time signatures with the rhythmic phrasing of traditional Thai prosody specific to Khlong Si Suphap, and the collaboration with an expert in reciting Khlong Si Suphap in traditional Thai prosody alongside the music. On the technical side, the composition includes specific techniques, such as Voicing Techniques and Approach Techniques.

“Multiphonic Virtuoso” for Alto Saxophone A Creative Research in Music Composition

Wisuwat Pruksavanich — Thu, 24 Jul 2025 00:00:00 +0700

This creative research explores the application of contemporary saxophone techniques, with a particular focus on Multiphonic, in the composition Multiphonic Virtuoso for Alto Saxophone. Contemporary techniques encompass sounds and methods distinct from traditional playing styles and are increasingly prominent in modern music. Since the invention of the saxophone in 1842, compositions for the instrument have evolved rapidly, with composers incorporating innovative techniques to expand its expressive range. These advancements have led to the creation of unique sounds and textures, broadening the scope of saxophone music and its place in various musical genres. The significance of these techniques is particularly evident in the works presented at the 18^th Thailand International Composition Festival, which highlight their potential in redefining saxophone repertoire. This study investigates the potential and challenges of Multiphonic while examining their integration into the progressive rock genre. The composition itself demands a high level of technical skill from performers, who must navigate intricate rhythms, challenging fingerings, and the distinctive tonal qualities of multiphonic.

The research process is structured into three main stages. First, a theoretical exploration of Multiphonic was conducted using textbooks and compositions as primary sources. This stage aimed to provide a solid foundation in understanding the mechanics and applications of Multiphonic. Second, experimentation and refinement of fingerings specific to the alto saxophone were undertaken. This phase was crucial in adapting the technique for practical use on the instrument. Finally, the third stage focused on the composition and performance of Multiphonic Virtuoso, synthesizing theoretical knowledge and practical experimentation into a cohesive artistic output. Key references in the study include Les Sons Multiples Aux Saxophones by Daniel Kientzy and Hello! Mr. Sax by Jean-Marie Londeix. These seminal works provide detailed fingering charts and comprehensive insights into the execution of Multiphonic, serving as invaluable resources for this research. Additionally, the study analyzed compositions by contemporary composers such as Christian Lauba, François Rossé, and Barry Cockcroft, who have innovatively incorporated Multiphonic into their works. These analyses highlighted the creative potential of the technique and its diverse applications in modern saxophone repertoire. Through rigorous experimentation, the researcher developed specialized fingerings tailored to the alto saxophone. These fingerings address critical performance challenges, including pitch accuracy, tonal stability, and ergonomic finger placement, ensuring that the technique is both effective and practical for performers.

The composition Multiphonic Virtuoso for Alto Saxophone represents the culmination of this research. Initially composed for tenor saxophone in 2023, the piece was subsequently adapted for alto saxophone in 2024. This adaptation was prompted by practical considerations and feedback from musicians, who highlighted the alto saxophone’s suitability for the composition's technical demands. The transition from tenor to alto saxophone required significant adjustments, as the two instruments differ in fingering systems and tonal characteristics. This process involved further experimentation to refine the fingerings and adapt the technical aspects of the composition to the new instrument. In Multiphonic Virtuoso, Multiphonic serve as the central element, shaping the piece’s sonic identity. The composition integrates Multiphonic with other instruments, including electric guitar, electric bass, synthesizer, and drum kit, creating a dynamic fusion of contemporary saxophone techniques and progressive rock. This blending of elements expands the expressive possibilities of the saxophone while introducing new dimensions to the genre. Key compositional techniques employed in the piece include substituting traditional melodies with Multiphonic to create unconventional tonal palettes, using complex rhythmic structures to enhance timbral depth, and thoroughly testing fingerings to ensure the piece's playability.

The result is a composition that not only showcases the technical and expressive potential of Multiphonic but also pushes the boundaries of saxophone music within a progressive rock context. The research findings underscore the transformative potential of Multiphonic in saxophone performance and composition. By incorporating these techniques, saxophonists can achieve a broader range of tonal and textural possibilities, enriching the instrument's repertoire. Moreover, the study demonstrates how Multiphonic can bridge the gap between contemporary classical music and other genres, such as progressive rock, fostering a dialogue between diverse musical traditions. Despite the challenges associated with mastering Multiphonic—including precise embouchure control, optimal airflow management, and adapting to unconventional fingerings—the research provides valuable insights and solutions to these issues. For instance, the specialized fingerings developed during the study offer practical strategies for overcoming technical hurdles, enabling performers to execute Multiphonic with understanding and accuracy.

In conclusion, this research has produced a distinctive composition that exemplifies the creative and technical possibilities of contemporary saxophone techniques. Multiphonic Virtuoso not only highlights the potential of Multiphonic as a central element in saxophone music but also offers a new perspective on their application in a progressive rock setting. The study’s findings contribute to the broader discourse on contemporary saxophone performance, providing a framework for further exploration of advanced techniques. By addressing the challenges of Multiphonic and presenting innovative solutions, this research paves the way for future developments in saxophone music and its integration into diverse musical genres.

Exercise for Double Bass Utilizing Larry Grenadier's Concepts of Odd Meter

Suphawut Phimnon — Thu, 24 Jul 2025 00:00:00 +0700

The objective of this research is to create a double bass skill exercise based on an analysis of Larry Grenadier's conceptual arrangement of odd meter in his performances on Solar, Summertime, and It Might as Well Be Spring. The researcher has examined and formulated practice approaches based on this distinctive notion, categorizing them into four primary topics: 1) Analysis of rhythmic attributes in irregular meter, 2) Identification and selection of notes for harmonic structure, 3) Formulation of themes, and 4) Design of a practice framework for double bass performance emphasizing the handling of irregular meter.

This research encompasses: 1) Analyzing double bass performances to synthesis diverse notions that exemplify the distinctiveness in handling irregular meter, encompassing elements of melodic structure, harmony, scales, and additional factors. 2) The researcher emphasizes the examination of controlling irregular meter to formulate effective strategies. 3) In this research, the investigator utilizes Bert Ligon's concept of Motivic development as an analytical framework, in conjunction with Alistair Campbell Peel's techniques for altering rhythmic subdivisions in the clave format, the application of dotted rhythms within the specifics of rhythmic subdivisions, and theories from other scholars to elucidate.

The investigator sought information from pertinent research sources during the study. The research framework, methodology, and scope of the study were: 1) To delineate and categorize into the following principal points: The researcher formulated selection criteria emphasizing unique traits and conceptual frameworks within the compositions that may be utilized for skill development activities. 2) Data Verification: The double bass performance notes for the composition “Solar” were obtained from transcriptions by Michael Lucke, particularly for the works “Summertime” and “It Might as Well Be Spring.” The researcher personally transcribed the music, examining and comparing it with recorded performances that were first evaluated by specialists. 3) Data Analysis: The researcher examined the notes validated by experts in Western music theory and jazz theory to elucidate critical issues, including the organization of irregular meter, the establishment of clave in intricate time signatures, the motivic development, melodic progression, and the selection of notes pertinent to chordal harmony, encompassing tension notes and chord extensions. The investigation sought to discover unique traits present in various performances, resulting in the formulation of skill development activities. The researcher utilized the examined notes to develop preliminary skill exercises, elucidating the principles and substance of the exercises aimed at enhancing proficiency in odd meter rhythm. The exercises were developed to encompass notes from E2 to C5 on the double bass, commencing with basics in simple, compound, and complicated time, while incorporating the development of odd meter rhythms.

The analysis of performance themes in “Solar,” “Summertime,” and “It Might as Well be Spring” demonstrated that Larry Grenadier displayed intricate patterns in odd meter rhythms during both accompaniment and solo improvisation. The examination emphasized the utilization of tension notes and chord expansions. The results prompted the creation of skill exercises that were classified into three primary domains: 1) Rhythmic Attributes of Accompaniment Notes: Grenadier employed stratified rhythms using a pulse grouping metric displacement idea, leading to inconsistencies with the real-time signatures. For example, rhythmic grouping is used to create pulses of 5/2, 6/2, 6/4, and 9/8, which overlay the 4/4 meter. Additionally, there is a grouping of the clave in a 5/4 meter, where the main pulse is composed of 3+2, and the clave is divided into a pattern of 3 pulses. 2) Rhythmic Characteristics of Improvised Solo Notes: The notion of metric displacement was employed to generate melodies while regulating harmonic structure. This includes the use of triplet and dotted quarter notes, which can be seen as layering a 9/8 meter over a 4/4 meter. The study observed the execution of arpeggios, triads (major and minor), reduced scales, and harmonic minor scales. 3) Motivic Development in Irregular Meter: The research determined that employing motive presentation techniques such as repetition, diminution, augmentation, sequencing, adding notes, and omitting notes effectively sustained harmonic interest. The application of arpeggios and scales in motivic development Significantly heightened note tension and chord expansions in the improvised tunes.

The research conclusion and discussion: The examination of Larry Grenadier's double bass performance in “Solar,” “Summertime,” and “It Might as Well Be Spring” The researcher designed 10 skill exercises based on an analysis of Larry Grenadier's double bass performance. The results include the creation of a set of 10 skill exercises, emphasizing elements of accompaniment, solo improvisation, and Motivic development within irregular meter. Each exercise was thematically interconnected, progressing from easier to more complicated levels. The participants must have a basic understanding of rhythm and jazz music theory at or above Grade 8 of the woodwind curriculum from Trinity College London. This framework aims to clarify the elements of irregular meter and includes the structural development of ii7-V7-Imaj7 chord progressions and modulations to different keys, with rhythmic sequences and the movement of notes within motive clusters. Each practice encompasses a thorough array of 12 keys, covering the pitch range from E2 to C5, hence promoting the advancement of proficiency in double bass performance.

Development of Activity Sets to Promote Learning and Well-Being Among the Elderly in U-Thong District Suphan Buri Province, Through the Use of Creative Music Innovation

Supatra Vilailuck — Thu, 24 Jul 2025 00:00:00 +0700

This research aimed to develop activity sets and examine its effectiveness designed to promote learning and well-being among the elderly in U-Thong District, Suphan Buri Province, through the use of creative music innovation.

The study employed a mixed-method research approach, combining qualitative and experimental methods. Ten key informants contributed to the development of the creative music innovation, comprising three senior artists with specialized knowledge and seven representatives of traditional folk music genres: Reua song, Ten Kam song, Pisatharn song, Ra Bum Ban Rai songs, Isaeo song, Puang Malai song and Choi song, with one representative for each genre. A total of 29 individuals, including the U-Thong district chief, assistant public health officers, and representatives responsible for senior citizen activities from 22 sub-district health-promoting hospitals, participated in the development of the activity sets. The experimental phase involved 25 elderly adults in the pilot study and 125 elderly adults from five subdistricts (25 participants per sub-district) for the broader implementation.

The research findings are as follows:

(1) The development of activity set to promote learning and well-being among the elderly in U-Thong District through creative music innovation revealed that the creative music innovation, derived from the unique folk music identity of Suphan Buri Province, focused on the Sroi Suphan song. The composition consisted of four parts: the Sroi melody, the invocation melody, the village dance melody, and the garland melody. The musical composition was based on pentatonic scales and employed folk dance rhythms. Movements accompanying the music were adapted from seven exercises in the E75 Senior Fitness Program by the Department of Health, including hand clenching with foot stamping, cross-step movements, upper and lower arm movements with square steps, and other dynamic gestures. The evaluation of the creative music innovation indicated the highest level of appropriateness overall. The activity sets comprised four sub-activities: 1) learning about Suphan Buri’s folk music, 2) singing the Sroi Suphan song, 3) performing movements to the Sroi Suphan song, and 4) promoting learning and well-being among the elderly through creative music innovation. The activity sets were rated highly appropriate overall (M = 4.64).

(2) The effect of activity sets to promote learning and well-being among the elderly in U-Thong District through creative music innovation yielded the following results: (2.1) The effect of activity set to promote learning and well-being among the elderly in U-Thong District through creative music innovation in the pilot study revealed that: 1) The elderly’s learning achievement improved significantly after using the activity sets with a statistically significant difference at the .05 level. 2) Physical well-being results showed that 60% of older adults had higher systolic blood pressure, 56% had higher diastolic blood pressure, and 68% had higher pulse rates after using the activity sets. However, the pulse rates remained within the normal range. In terms of mental well-being, 32% of older adults reported increased happiness, and 56% experienced reduced depression levels. And 3) Overall satisfaction of the elderly towards the activity sets was rated at the highest level (M = 4.85). (2.2) The effect of activity set to promote learning and well-being among the elderly in U-Thong District through creative music innovation in the broader implementation revealed that: 1) The elderly’s learning achievement improved significantly after using the activity sets with a statistically significant difference at the .05 level. 2) Regarding physical well-being results, it revealed that the average systolic and diastolic blood pressures before using the activity sets were 128.31 mmHg and 76.43 mmHg, respectively, with an average pulse rate of 76.86 beats per minute. After using the activity sets, it found that the averages increased to 138.58 mmHg for systolic pressure, 81.05 mmHg for diastolic pressure, and 84.20 beats per minute for pulse rate. Furthermore, when comparing blood pressure with pulse rate before and after using the activity set, it revealed that 77.6% of older adults had higher systolic blood pressure, 68.8% had higher diastolic blood pressure, and 80% had higher pulse rates after using the activity sets. In the aspect of mental well-being, it found that it improved with an average happiness score increase from 4.13 to 4.71 and a decrease in the average depression score from 4.86 to 4.20. Comparisons showed that 32% of the elderly experienced increased happiness, and 24% reported reduced depression. And 3) Overall satisfaction of the elderly towards the activity sets with the activity sets was rated at the highest level (M = 4.62).

A Comprehensive Practice Guide for Debussy’s Sonata for Cello and Piano

Andreia Claudette G. Buga-ay, Wiboon Trakulhun — Thu, 24 Jul 2025 00:00:00 +0700

Claude Debussy was one of the most prominent and influential figures in classical music towards the end of the Romantic period and the early Twentieth century. Generally known for his compositions for piano and orchestra, his chamber music works have often been overlooked. Composed in 1915, Debussy’s Sonata for Cello and Piano marked Debussy’s return to composition after a period of inactivity. The Sonata for Cello and Piano reflects compositional techniques from the 17^th and 18^th centuries while showcasing his refined and innovative techniques over the span of his career. The Sonata for Cello and Piano departs from traditional forms of the Classical and Romantic periods, incorporating Impressionistic elements such as fluid tonalities, ambiguous harmonies, and unpredictable rhythms, which challenge performers to experiment with their technical and interpretative skills. Comprised of three movements—Prologue, Sérénade, and Finale—the Sonata for Cello and Piano demonstrates Debussy’s ingenuity and expressive depth.

This research examines the technical challenges in Sonata for Cello and Piano and offers methods to address them, while incorporating the researcher’s interpretative insights. It focuses on bowings, fingerings, special effects, dynamics, expression, tempo, and ensemble, supported by a detailed practice guide. A Comprehensive Practice Guide for Debussy’s Sonata for Cello and Piano is based on artistic research. Music performance’s structured daily routines make it well-suited to practice-based methods, allowing for systematic recording and analysis of techniques and interpretative approaches. The initiation of the research was first established with the selection of the piece. The researcher will then review a variety of literature including relevant books, articles from peer-reviewed journals, theses and dissertations collected from ProQuest, audio recordings, and videos of masterclasses in order to build a strong foundation for studying Debussy’s Sonata for Cello and Piano. Data collected in the preliminary phase do not hold conclusive results.

Therefore, substantial findings will be derived from the process of artistic research drawn from the researchers own experience during the preparation for the performance of the sonata. The researcher will be actively involved in the creative process of experimenting with techniques and interpretation during practice. Simultaneously, the researcher will reflect on the results of the creative process and document them in detail. Being that artistic research is an iterative process, this will require the researcher to revisit and refine their own work. By embracing this approach, not only will this foster continuous improvement but also enable a more profound exploration of the artistic possibilities.

The practice guide is laid out mainly into two parts. The first part presents the researcher’s interpretation of the Sonata for Cello and Piano whereas the second part presents efficient solutions and methods of practice for addressing technical challenges inherent in the sonata. A recurring challenge in the Sonata for Cello and Piano is phrasing. Although Debussy’s original slurs are intended to shape the phrasing, they can create technical difficulties during performance. To overcome these challenges, the researcher presents modified bowings and fingerings that maintain Debussy’s artistic intentions. The Sonata for Cello and Piano highlights timbre and presents interpretative challenges. Pizzicato plays a significant role in the Sonata for Cello and Piano, featuring six types of pizzicati—pizzicato with staccato, pizzicato with tenuto, chord pizzicato, slurred pizzicato, pizzicato marked with arraché, and left-hand pizzicato. For each type of pizzicato, the researcher has designed specific methods of execution. Furthermore, the researcher has assigned specific techniques such as spiccato, sautillé, and ricochet to certain passages in order to effectively perform each passage. Both artificial and natural harmonics appear in the sonata, however, the researcher presents more than one way in which these can be played. The practice guide enhances the interpretative analysis by providing practical solutions to the technical challenges in the sonata. It underscores the importance of precise bowing techniques and systematic fingerings, particularly in passages featuring frequent string crossings, contrasting dynamics, rapid runs, and wide leaping intervals. This research offers a simple corrective string crossing exercise, methods to achieve seamless string crossing, points on how to use specific bow techniques for certain passages, and four practice methods for the left hand.

This research provides a comprehensive analysis of Debussy’s Sonata for Cello and Piano, offering performers practical guidelines to improve technical skills and interpretative understanding. By emphasizing the connection between technique and expression, it highlights that successful interpretation requires both technical mastery and emotional depth. The research combines scholarly insight with practical guidance, equipping cellists to approach the sonata meaningfully and bring their unique voice to the music. While focused on Debussy’s work, the methods presented serve as a flexible framework applicable to other musical genres and repertoires, encouraging musicians to adapt these methods across styles and periods.

Drop 2 Voicing for Guitar

Changton Kunjara — Thu, 24 Jul 2025 00:00:00 +0700

The Drop 2 voicing is a type of chord voicing that is widely used among jazz musicians, particularly guitarists from the bebop era such as Wes Montgomery Barney Kessel and Joe Pass. This is because of the Drop 2 voicing is well-suited to the guitar's range and is easy to play. In this article will systematically discuss the concept of the Drop 2 voicing for guitar, which includes the theory of creating Drop 2 voicings, adding color to the voicings by incorporating various tensions and the important topic of this article is how to apply Drop 2 voicings in different contexts. It will also provide specific examples from legend jazz guitarists.

The Drop 2 voicing involves relocating the second highest note of four-way close voicing down by one octave. There are 4 basic chords used in the Drop 2 voicing include Major seventh chords, Dominant seventh chords, Minor seventh chords, and Half-Diminished seventh chord. Each chord has 4 voicings: root position first inversion second inversion and third inversion. Each voicing on the guitar has a different chord shape, which can be categorized into three groups based on the guitar strings set: the top set (strings 1, 2, 3, 4) the middle set (strings 2, 3, 4, 5) and the bottom set (strings 3, 4, 5, 6). The top set and middle set are used most frequently because they are in practical rang for guitar, while the bottom set is rarely used due to its lower rang and less clarity. But this also depends on the situation and context of the performance. After understanding standard Drop 2 voicings, various embellishments will be added to the chords, considering the available tensions for each chord. The Major seventh chord has available tensions including tension 9 and #11. Minor seventh chord, the available tensions are tension 9 and 11. The Half-Diminished seventh chord has available tensions, which are tensions 9 and 11. Dominant seventh chord has available tensions include tension 9, b9, #9, #11, b13 and 13. To create color and complexity by adding tensions to the Drop 2 voicing, certain notes in the voicing must be omitted. Adding a tension 9 (9, b9, #9) to a Drop 2 voicing requires removing the root note (9 for 1) or adding tensions 11, 13 (11, #11, b13, 13) requires removing the 5th note. (11, 13 for 5). However, tensions 9 and 11, 13 can coexist within the same voicing. Adding various tensions not only makes the chords more colorful and versatile for different applications but also transforms the chords into enharmonic chords.

Adding the tension 9 to the chords CMaj7, C7, C-7, and C-7b5 results in the enharmonic chords E-7 E-7b5 EbMaj7 and Eb-Maj7. In the case of adding the tensions b9 and #9 to altered dominant chords, the enharmonic chords Eº7 and EºMaj7 are obtained. Adding the tension 11 to the chords C-7 and C-7b5 to get the enharmonic chords F7sus4 and F#Maj7b5. Adding the #11 tension to the CMaj7 and C7 chords giving the enharmonic chord F#-7b5(11) and F#7b5. Adding the 13 and b13 tensions to the C7 chord giving the F#7(#9,#11) and F#7(9,#11) enharmonic chords. In the case of altered dominant chords, it is common to use two tensions together as follows: C7(b9,#11) has a enharmonic chord as F#7, C7(b9,b13) has a enharmonic chord as Bb-7b5, C7(b9,13) has a enharmonic chord as BbºMaj7, C7(#9,#11) has a enharmonic chord as F#7(13) and C7(#9,b13). has a enharmonic chord as EMaj7b5.

In the application of Drop 2 voicings, particular emphasis is the top note of the voicing together with the available tensions of each chord. In this article will focus on demonstrating the use of the Drop 2 voicing in three different ways: using it to harmonize the melody on the guitar, where the top note must be the main melody; using it for improvisation in a block chord style, where the top note must be the melody used for improvisation; and using it for accompaniment, where the top note of the voicing can move freely but must provide a good voice leading, that supports the improviser. The approach to voice lead can take several forms, including common notes stepwise motion chromatic movement or the use of patterns. In all three cases, available tensions must be chosen according to the context of the song. The author provided example of harmonizing a melody by using the Drop 2 voicings on the tune "There Will Never Be Another You" performed by Joe Pass, a jazz guitarist from the bebop era. And also demonstrated the use of Drop 2 voicing to harmonize the song "Prelude to a Kiss" composed by Duke Ellington. Examples were given of using the Drop 2 voicing technique to create an improvisation in the style of block chords on the song "Gone with the Wind" performed by jazz guitarist Wes Montgomery. In the accompanying performance, the author provided an example of a blues in the key of F, demonstrating the use of the Drop 2 voicing technique for accompanying and employing various voice leading techniques, including common notes stepwise motion the use of patterns and chromatic movement.

Accompaniment Guide: Brahms’ Scherzo from FAE Sonata

Poom Prommachart, Tanaporn Rajatanavin — Thu, 24 Jul 2025 00:00:00 +0700

Due to the similar resemblance of their ranges, Johannes Brahms’ Scherzo from the FAE Sonata can be performed on both violin and viola. While the differences between the sounds of two string instruments may be hardly noticeable to the untrained ears, piano accompanists must remain adaptable to changes in timbre and other technical aspects when the viola assumes the solo role. This article demonstrates that the shift in instrumentation results in a significantly altered creative outcome, especially when appropriately supported by insightful perspectives on a comprehensive rendition of the piano collaborator.

According to music scholars, the viola produces a mellower timbre compared to the violin. Furthermore, the factors such as bow weight, fingerboard spacing, and fingering choices clearly influence how the accompanists would interpret the piece. The historical reviews, of Scherzo from the FAE Sonata, highlight criticisms of Brahms’ writing. The critic has noted that Brahms often placed excessive technical demand on the violin soloist and the instrument itself leading to abrasive effect. The use of viola as an alternative instrument solves this issue due to its resistance to heavy bowing and extreme dynamic contrasts. Moreover, the viola’s rich middle and lower registers enhance the darker tonality of the Scherzo in C minor, offering a more balanced interpretation. The methodology developed from this notion includes exploration of analyses found in key components such as structure, tonality, harmonic activity, motific development, time, and meter among others. The following paragraphs are listed outcomes of such finding.

Firstly, the viola line, positioned as an inner voice within the surrounded chordal accompaniment, is being compared to a female Alto voice. The pianist must emphasize this inner line by highlighting the chord tones that are closest to the Alto range making the passage more resonant and attractive. The violin alternative, when play the same opening, is to emphasize the top voice that is closer to the Soprano range instead.

Secondly, the issue of fingering can significantly influence how the pianists navigate and accommodates the passages filled with successive intervallic leaps. Since the distances between pitches are greater on the viola due to its longer fingerboard compared to the violin counterpart, players may take more time when shifting positions. In such cases, the pianist must apply acute listening skills to maintain alignment with the soloist, mostly in terms of timing that grants the soloist a form of freedom to express their desired musicality without the restraint of gritty rhythmic units.

Thirdly, specific piano techniques play some crucial roles in shaping the piece’s transitions and contrasting melodic models. Absorbed staccato helps smoothen the transitions to avoid any abrupt formal changes that would result in fragmentation of the sections. Applying subtle touches allows for refined control, preventing delicate lyrical passages—rich with harmonic subtleties—from progressing too quickly. These piano techniques encourage prudent pacing that preserves every moment of tranquility, ultimately enhancing the contrast and dramatic impact of the louder sections.

The final performance guideline focuses on timbral effects that align with the work’s structure—especially when the viola assumes the role of solo instrument. Performers are advised to refrain from employing exaggerated rubato or abrupt dynamic shift or subito in the retransition or immediately before the main theme’s return in the recapitulation. In this position, the retransition shall not serve as a formal cue but rather an effectuation of timbral changes, thereby enriches the audience’s auditory experience. Subsequently, in the closing five bars of the movement, the rhythmic continuity of tied notes is deliberately interrupted. The severed connection of the chord tones is an adaptation calibrated to the technical requirements of the viola optimizing the instrument’s resonance and coloristic potential at the conclusion.

Overall, the primary objective of this article is to emphasize that a well-informed interpretation must be grounded in a thorough understanding of historical and formal contexts—most importantly, a strong grasp of music theory and performance practice. The essential steps for achieving a successful performance, as outlined in this research, encourage musicians and readers to explore alternative interpretations of this work and others of a similar nature. These considerations are made on the notion that performers must remain mindful of their practical constraints that are inherent in unconventional instrumentation, but also explore their unbounded creative possibilities simultaneously. Such an analeptic and reflective approach contributes to development of pedagogical frameworks, offering a flexible process for learning and performing that can be readily applied to comparable works, while fostering critical thinking and listening skills essential for collaborative musicians.