THE PRINCIPLES OF LUK THAO MELODIES

Abstract

The six principles of Luk thao melodies are: 1) Melody: This can be divided into two types - true Luk thao and modified Luk thao melodies; 2) Mode and control notes: The first, second, third, fifth and sixth notes are the preferred control notes. There are two performance techniques - one involves the use of fixed notes which are predetermined for correlation with the melody while the other allows the use of free notes that are not correlated with the melody; 3) Melodic length: Luk thao melody must be at least half the length of Nathap rhythm or full length of the Nathap Propkai or Nathap Song Mai rhythms; 4) Position: Luk thao melody is usually played during the first half of Nathap rhythm, being placed at the opening section of a part; 5) Function: The four functions of Luk thao melody are completion of a Nathap rhythm, connecting the melodies, signifying an impending change, providing an opening and closing of a song; and 6) Singing: Lyric placement in a Luk thao melody differs from that in a song without a Luk thao melody. Luk thao melody may or may not be accompanied by singing, depending on the types of its control notes.