ARRANGEMENT OF ISAN FOLK MELODIES FOR SOLO SAXOPHONE

บทคัดย่อ

Background and Objectives: This qualitative research aimed to create innovative arrangements of Isan folk melodies for solo saxophone while preserving the traditional essence in contemporary performance settings. The study also sought to analyze harmonization techniques that integrate traditional and modern musical frameworks, ensuring both coexistence and complementarity.

Methods: Four prominent Isan folk melodies—Mae Hang Klom Look, Saxophone Lam Plearn, Maeng Tab Tao, and Sri Khotraboon—were selected based on their popularity, cultural significance, and adaptability. The arrangement incorporated both traditional Isan and Western instruments, using Western music theory to analyze harmonic, melodic, and rhythmic elements. Data collection involved structured interviews with music scholars and practitioners, participatory observations during rehearsals, and an extensive review of existing literature on Isan music and Western harmonization techniques. The research method followed three key processes: (1) Song Selection and Analysis, selecting and analyzing four iconic melodies and identifying structural and stylistic characteristics; (2) Arrangement and Harmonization, restructuring melodies for solo saxophone to maintain authenticity while adapting to contemporary performance; and (3) Validation and Refinement, obtaining expert evaluations to enhance quality and authenticity.

Results: 1) Mae Hang Klom Look was arranged in G minor, with the khaen and soprano saxophone as lead instruments. Western harmonic elements (D7, F, Bb) were integrated while maintaining its melancholic essence through ornamentation to enhance expressiveness and rhythmic modifications to remain traditional roots within contemporary. 2) Saxophone Lam Plearn incorporated jazz performance techniques such as improvisation and counterpoint while mixing traditional instruments with Western brass and woodwinds to demonstrate the adaptability of Molam in modern contexts. 3) Maeng Tab Tao employed quartal harmonies, syncopated rhythms, improvisation, and ornamentation with a combo band (guitar, piano, drums) creating a festive atmosphere. 4) Sri Khotraboon used pop-jazz harmonic principles, with the interaction between the phin and soprano saxophone blending traditional and contemporary elements using chords Fsus9 and Cm.

Conclusions: The results of the research indicate that these innovative arrangements can serve as a model for harmonizing traditional music with contemporary practices, making Isan folk music more accessible to wider audiences. Furthermore, this study highlights the role of creative academic music in fostering cultural appreciation and ensuring the sustainability of traditional art forms in a globalized world.