The Implications of Descending Transposition in Performing the Phleng Ching Suite Composition, Ching Phra Chan

Abstract

           Oral tradition is one of the pivotal factors which create aesthetic diversity in performing Thai classical music, resulting also in some traditions. One such tradition is descending transposition found in performing Ching Phra Chan (CPC). It is, therefore, the objective of this article to try to answer why dropping a pitch becomes the traditional way of performing CPC. The research methodology is the harmony of musical scale. The findings are as follows: dropping a pitch in CPC comes from considering the scale harmony of the final sound in each part. The descending transposition in Yi Kin Yai, part one of CPC, makes the final sounds the same as those of part two. Besides, this also shows the conformity to the change of rhythm in other Pleng Rueang.