Homrong Sakura: a Composition for the New Millennium

HOMRONG SAKURA: A COMPOSITION FOR THE NEW MILLENNIUM

Bussakorn Sumrongthong1

Introduction has already been arranged by Thai music composers in a Thai pop music version, there is yet to be a version arranged in the "Homrong Sakura" is a new composition Thai traditional style. A short description by Bussakorn Sumrongthong completed in of Thai composition methods will May 1999. This composition is an example be presented followed by a description of of a Thai traditional overture intending to Homrong Sakura. Finally, some express a warm rapport and collaboration suggestions about the trend of Thai music between the people of Thailand and Japan composition style in the New Millennium during the current financial crisis in Asia. will be made. This paper intends to The main theme is a melody chosen from display the Human content in the musical one of the better known pieces in Japan circles of Thailand during the 'Civil called "Sakura", an ancient traditional Society'. It reflects the freedom of Thai Japanese melody since 1888. The composer music composers to create their works of this piece is still anonymous. according to their preference without any anxiety about legal implications. Sakura, arranged in the Thai version, is . Creative compositions have never been full of colour and variety. The first two controlled by the Thai government. parts represent the activities between Thai and Japanese when greeting, discussing Contents and working together. The original melody in the centre of the composition represents happiness and joy while they are singing Thai Composing Method and dancing with each other. The final section describes how hard work and Thai music composing methods can be dedication are used to get the job done on expressed in three ways. time. A sweet final coda displays the fulfilment and achievement of their task 1 Augmentation with a relaxing expression. This study 2 Diminution aims to present an analysis of Homrong 3 Initiation Sakura as a new alternative way of Thai music composition. Even though "Sakura" !.Augmentation

I Ph.D., Lecturer, Music Department, This composing style takes account of the Faculty of Fine and Applied Arts, original piece as the main melody to be Chulalongkorn University, Bangkok, augmented. (see example 1) Thailand

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Ex. 1 : 1-1 - 21- 3 - 41 (original melody) Description of Homrong Sakura

Augmentation a: 1---11---21---31---41 Inspiration: (this melody is double the size of the original one above) After coming back from England, the writer heard about the financial crisis in Augmentation b: 112311323212123112341 Thailand, which had, by then, spread throughout the Asian region. She received There is an original melody, which the the impression that during the crisis, a composer can use as a main theme, then large amount of financial help was offered he or she will augment it to produce his or to the Thai people by the Japanese her own composition It can be seen that Government. The purpose of the two loans I, 2, 3, and 4 can be augmented with, or package, was to help in the further without adding more notes to decorate development of Thailand. She was so each main note (1,2,3,4),but it is necessary impressed by this collaborative offer to to augment the length to double the size of maintain Thailand's financial status in the original one. The composer can make Asia that she was inspired compose a variations on the main theme as she or he piece of music to express her pleasure at wants so long as the main melody I ,2,3,4 the welcome assistance from the Japanese appears as a falling succession of notes Government. (The core note will remain the original central structure of the main melody) Musical form:

2.Diminution In this composition, the writer has taken 'Sakura' an old popular Japanese This can be explained as the reverse of melody from I888, as the main melody. Ex.l. Three of the parts are Thai versions as shown in part 1,2 and 5. The original Ex:2: 100011000210003100041 theme has been put in the middle of the piece: part 3 and 4 (see chart below). Diminution: 1-1 - 2 1- 3 - 41 part I (Thai) Diminution is used to halve the length of the original Composition. part II (Thai) part III (Original with fiddle or percuss10n 3.1nitiation ensemble)2

This style of composition allows the composer to freely initiate his own 2 See western notion for embellishment melody within the Thai composmg of Sakura performed by percussion patterns. ensemble (*). The original Sakura can be performed by Thai fiddles (see Sakura in G minor).

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part IV (Original in modernized tempo) 4. 5. 6. 7. 1 2 3 4 5 6 7 8 9 1. 2 3 (Thai) part V (Thai) 'll'ilr\ r\1 V1 Llil l1 nYh 'l!'ilr\ r\1 V1 Llil lr n v-h 'l!'clfl r\1 A set of variations based on one theme (Western) which can be outlined as: Al-A2- A3- A4- AS-coda Note : Notations above are used only for descriptions on the listening outline of Rhythmic pattern Homrong Sakura

The rhythmic pattern is mostly controlled Listening Outline by small, thick cymbals called "ching". The sounds produced by this instrument Part 1 are 'ching' and 'chap'. The symbol used for the 'ching' is "o" , and "+" for the la 'chap'. The responsibility of the cymbal is 1----I---8J ---9186541---4I--56J8898I-565J analogous to the job of a conductor. The regular 'ching-chap' continues throughout Is the piece. The 'ching' stroke is equal to J----J---4J---4J---5J----J---4J---4J---5J the up-beat, while the 'chap' stroke falls on an important note. To accompany the (s=Sakura theme) ching, the rhythmic pattern of the drums, called na thap, acts as a time-keeping An augmentation is used in this part as instrument. In this composition, the na seen in la and ls. The first variation is thap named 'song mai' is applied. softly introduced by Ranaat Ek, a leading instrument of the ensemble, with the largo Ching movement in tremolo style. The musical introduction is intended to reflect the 1---- 1--- o 1---- 1--- + 1----1--- o 1---- 1--- + I atmosphere of greeting, between the Japanese people and the Thai people. It shows the warmth and humility shared by Nathap song mai the two nations.

1---1 1-2-3 1-2-3 1-2-3 1-4-41-545 1-4-41-5451 lb

(l=taring, 2=jo, 3=ja, 4=ting, 5=tum) J-444J5656J-444J5656J-666J89-8J-6-5J-4-2J 1--55J6541J--55J4568J-55J6541J-6-9J86-s Notation Performed by the whole ensemble the Notation is written in both Thai and tree-note motive appears three times in the western styles to provide a listening first line, followed by the two-note motive outline. The Thai style is given in the text, in the second line. The melody is balanced the latter can be viewed in the appendix. and symmetrical.

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lc budget in collaboration with Japan to further the needs of both countries. l-444J5656J-44415656l-666l89-8l-6-5l-4-2l l--65 j414li--85J4568J--651414ll9865l----l Part2

The first line is a repetition of the first line 2a of 1b, but the second line is changed. In particular, an unexpected pause is put at J-444J-444J-2-IJ-555J----JI245 J6545J----I the end of this phrase to make it very J888 8J-6-4J8--6J-5 s5J ----JI245J6542J----I different. This is because there is a repetition of the original theme in the 2b same lines. J-4-4J4.4-2J-4-4J4.4-5J----J8987J8765J----I ld J-8-8J8.8-6J-8-8J8.8-5J----J8765J42--I----I

1---4J4.454l---5l5.565l---8J8.898J---5J5.565J The opening section of the second part continues from the final coda of part one An identical melodic pattern is repeated 3 without a break. This creates an enormous times. The restriction of this phrase is to contrast of tempo. Tension and expectation make the whole ensemble perform the are generated from the very beginning. exact notes. Usually, this melodic pattern Two pairs of dialoging phrases appear in allows the performers to improvise their similar style -with two bars paused in each own lines, especially the leading line. The differences at the end of line two instrument. But the composer's intention with a longer gap intended to provide is to fix it to emphasize the unique reaction time for the leading instrument to melodic pattern which is hardly heard in introduce the next phrase (2c). previous Thai composing style. 2c le 1--42J424IJ--65J6598J--42J424IJ8685J----I 1--IIJIII2J--33J3334J--55J5556J5456J78-8J Jlead ...... follow ... .lead ...... follow . .... J

A single rhythmic motif short-short-short The leading instruments start at the first short-short-long is performed three times. dialogue analogous to an opening The repetition of the four-note motif is question. The following instruments a step higher accordingly. This is also perform different fragments to follow up unique because the whole ensemble must the identical leading melody. play together instead of the leading instruments which just tends to happen in 2d general composition. 1---4.J-4-5J ---6.J-6-5J ---8. J-8-9J --- As all of the instruments begin to play, the 8.J-8-5J melody expresses some of the efforts sweep>>> sweep>>> sweep>>> being made to develop, and use wisely, a sweep>>>

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The 'Sweeping' technique is applied four naturally, Thai tunes have a diatonic scale times by the whole percussion instruments. - seven full tones equidistant, as a result, the original Sakura melody which is 2e usually performed in a minor scale on Japanese instruments cannot be played on 1-- lll--221--331--441 --551--6615456178.-81 Thai melodic percussion instruments. In this case, Sakura is performed by the The two-note motif is performed, potential Japanese musicians (Thai artists) alternately with syncopation, by the trying to preserve the real mood and leading and the following instruments feeling of the original one. from downward to upward scales. The excitement is suddenly interrupted by an The atmosphere created in part 3 is that, unexpected final tremolo note. This is after a short discussion, it is decided that intended to be a bridge from the rapid the workers should take a break to relieve notes to the long sustained one in order to the build up of stress. A banquet has been resolve the tension before starting a largo arranged for them. It is.time to rest and be part. This part represents the dynamic entertain. The happy and relaxed mood relationship which we hold with Japan, that the workers now feel is introduced. and the fusion of different cultures and ideas. There is a discussion going on Part4 during office hours. 1----J---41--441--451--551--541--441--451

Part3 1--55l--54l--45l--561--65l--54l--45l--421

1----l---41---41---51----l---41 ---41---51 1--221--2 11 --16.1--6.11-- 121--211--16.1--6.5 .1 1----l---41---51---61---51 ---41---51 -4-21 1----1--- 8.1---6.1---8.1---9.1---8.1---6.1---5.J 1--5.5.1-- 5.41--451--561--651--541--451--421 1----l---41---51---61---51 ---41---51-4-21 1----1--- 8.1 ---6.1---8.1---9.1---8.1---6.1--5 ·I 1--22l--2li--16.1--6.II-- 12I--2ll-- 16.1--6.5 .1 1----1---41---41 ---51 ---- 1---41---41---51 1----1--- ll---21---51-4-21--- 11 ---ll---11 A sudden change of the rhythmic pattern from the touching and sad mood in part 3 The original Sak:ura melody is displayed leads to a staccato motif played loudly by in this part in order to show the main the ensemble, returning of course, to Thai theme of the composition. It comprises scale, The transposition can, in fact, be five melodic phrases. The two repetition made to fit the type of Thai musical pairs appear in lines 2-5. This main theme ensemble in any key, depending on the has . been intentionally adapted for limitations in the practicability of each performance on the fiddle instead of instrumental group according to the Thai Japanese musical instruments. The whole-tone scale as mentioned earlier. My objective is to maintain the minor scale objective in changing the rhythmic style which is used in a traditional Japanese based on the same theme is to make musical ensemble. The fact is that, this part vivace and try to involve the

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audience in the dancing atmosphere. attitude. It is hoped to be a guideline from the new composer in order to create 4a something different from the old composing style. 1----1---4144441444 51----1---414444144451 5c This phrase is a 'dynamic accent' which allows the performer to play more loudly 1---+--+ ---1----1----1---2.1 ---3-1---41---51 than the tones allow. (follow) 19> >>I>> >>1----1---8 * 1---91---81----61---51 4b (lead)

l----l---41 ---51---61---51---61---71---81 The tremolo technique is applied on Ranaat ek in 5c, not only to show the The speed of the rhythmic pattern is contrasting line of the melody between the increased before getting into the final leading instrument Ranaat ek and the phrase. This is intended to express the other melodic percussion instruments, but idea that the workers are now keen to get also to emphasise the unique note at ' *' back to work. while the other instruments are pausing. Having tried that, the special note '*' Part 5 becomes problematic because of its unusual beat against the pause of t~e other 5a instruments which is background .. It could mislead the whole ensemble who may 1---41---51---61---71---61---51 (follow) easily lose the down beat. 1--4-l--5-l--6-l--8-1--7-l--6-l--5-l (lead) 5d The final part is stated in a staccato style. The techniques of syncopation are used j4.45614.45614.45614.456l888816968l6968l6542l from the beginning. 165641524115.4.6.5 .11.6.2.1.l6564l5241j8685l- l 5b The sudden change of texture contributes 1---41 ---71 ---41 ---2.1---6.1 ---7-1--- 1.1---2.1 to the hectic mood. The movement (follow) becomes feverish. The persistence of this 1-4--l-5--l-6--1-7 --l--45167 --14 567189-91 melodic pattern gives the music a sense of (lead) urgency. Yet the melody is symmetrical. Questioning downward leaps are answered (the numbers in bold represent the leading by upward scales. melody) 5e Putting a small phrase of contrary motion in the second half of 5b ·shows the 1---4144451---4144451---818"88717776166651 intention to examine the musicians'

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The theme is dominated by the five-note distinction of this composition aside from motif. The rapid rhythmic pattern mentioning its theoretical aspects, is the increases the excitement and produces a description accompanying each part. The hectic atmosphere. Before ending the writer's suggestion to the composers of piece, the fluttering technique is performed the new millennium is literally to put their on Ranat ek as the highlight of this part objective and the meaning of each before moving to the fmal coda. In this, composttlon alongside their written the final section, we have the people of the notation. This will serve to help the next two nations working together and helping generation to understand the imagination each other in mutual trust. The aim is to of the piece without having to guess. finish the job in hand. The tempo Knowing and understanding the increases again slightly. This shows the composition in both theory and meaning increased efforts being made to finish the can make the performer feel sure of his work on time. performing responsibilities, and can maintain the essence of the piece. Sf It would make it easier for the school "feachet:,.--or lecturers in universities to 1---81---61---51---31----1---21----1--- 11 teach each composition in their classroom without feeling any uncertainty. At the Leading to a different emotional effect, moment, because of the lack of the final coda is expanded and made more description with pieces, instructors have to dramatic to end the piece with happiness guess and conduct the performances as and fulfilment. This can be said to the they think them should be. If every express that achievement is eventually composer were made aware that made possible by the cooperation of producing a description of each new piece Japanese and Thais. and writing it as a documentary makes the final analysis of form and performance so Conclusion much easier compared to the past then the results would be worth the effort. It is When "Homrong Sakura" is seen as a hoped that this composition will be used whole, it can be seen that this style of to guide the Thai composers of the new composition is rendered unique by its Millennium to alternative ways of composing characteristics. It can be expressing their thoughts and feelings, claimed that this piece is a new style of using music as the mediacy. It will make composition. It is different from other their work more meaningful to the "Music compositions because the operation of the Circle" in Thailand, and will help to lead instrumental section has been strictly the world towards a happier and more fixed by the composer. Some parts of the peaceful existence. basic- melody, as performed by other melodic percussion instruments have never Finally, the writer would like to express · been performed using the pact general her sincere thanks to master Montree pattern. It was a writer's intention to Tramote and master Prasit Thavorn, compose something different to represent national artists of Thailand, who the changing attitudes towards music. The introduced her to the knowledge of

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composition. For more detail, please contact the writer at:

E-mail: [email protected]

URL: http://pioneer. chula. a c. thi-s bussako

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