"...And the Thai musical scale is indeed different -- for the intervals between all notes are exactly the same. This means that almost all the notes are slightly different in pitch from those on the western scale. Only the interval between a note and its octave, eight notes higher up the scale, is the same as in the west. This is what gives Thai classical music its unfamiliar sound, its 'otherness' to western ears. (Danis Segaller, Traditional Thailand, Glimpses of a Nation's Culture)"
Thailand music theory is largely an opposite to that of Western music theory; while Western music follows the pattern 'tone, tone, semi tone, tone, tone, tone, semi tone' in it's major scale, Thailand music generally follows the pattern 'tone, tone, tone, skipped tone, tone, tone'. Many compositions make use of six or sometimes seven tones.
Thailand music theory is largely an opposite to that of Western music theory; while Western music follows the pattern 'tone, tone, semi tone, tone, tone, tone, semi tone' in it's major scale, Thailand music generally follows the pattern 'tone, tone, tone, skipped tone, tone, tone'. Many compositions make use of six or sometimes seven tones.
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).
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).