In music composition, tuning and scales are more than technical choices; they are the foundation upon which sound itself is structured. In many musical cultures, tuning shapes not only the notes and intervals but informs larger, deeply rooted structures. Western music typically adheres to the 12-tone equal temperament—a system of tuning that allows any musician, playing almost any instrument, to perform in harmony. This universal precision is remarkable, but it’s only one way to approach tuning. Thai music offers an entirely different perspective, where fluidity and variation are integral and tuning is free from rigid standardization – which as a composer is a breath of fresh air!

For more than a century, scholars have attempted to frame Thai music within a 7-tone equidistant tuning system (often referred to as “7-tet”), imagining it based on seven equally spaced notes within an octave. Yet, Thai musicians and practitioners largely reject this framework, finding it foreign to their own practice. To learn more about this very interesting controversy, I highly recommend reading this article byJohn Garzoli: The Myth of Equidistance in Thai Tuning. In Thai music, the idea of a precisely spaced scale doesn’t hold, and even the concept of a “perfect octave” differs. Thai musicians often tune their octave slightly larger than the typical 1:2 ratio used in Western systems. Empirical studies have consistently found no standard equidistance in Thai tunings, challenging the Western perspective and underscoring the limitations of attempting to explain non-Western traditions through Western lenses.

In Thailand, musicians and tuners work within a tradition that values intonational diversity. For example, in a piphat ensemble—comprised primarily of percussion and fixed-pitch instruments—tuners rely on broad principles and their own ear rather than a rigid system. The result is that each ensemble has a unique tuning, one that might not match other ensembles precisely. If two piphat ensembles tried to play together, their instruments wouldn’t align as neatly as Western instruments tuned to A440. Thai musicians see this variation not as a flaw but as a signature characteristic of their music, with tuning defining an ensemble’s unique identity. Each music school or house might have its own subtle variation in tuning, giving rise to distinct “sounds” that carry the history and identity of that institution.

This approach contrasts sharply with the Western emphasis on uniformity and precision. Musicians playing mahori ensembles (mixed ensembles of strings and percussion) will often align the tuning of non-fixed instruments with the fixed-pitch percussion instruments. However, when performing solo or in khrueang sai string ensembles, musicians have the freedom to adjust their tuning to suit the melody or emotion of the piece, unconstrained by the tuning limitations of fixed-pitch instruments.

Thai music demonstrates that tuning is not just a technical matter; it has cultural depth. Unlike Western music, which often explores alternative scales like the whole-tone scale or hexatonic scale to expand harmonic possibilities, Thai music treats tuning itself as a fluid, expressive form. Here, tuning becomes an intimate, culturally significant part of musical form and performance, shaping how the sound interacts with history, personal expression, and community identity.

Expanding Musical Structure Through Tuning

For Western composers and musicians, the Thai approach to tuning can be both liberating and challenging. We are taught to value uniformity and precise intonation, yet Thai music shows us that flexibility and personal interpretation can produce equally profound and moving experiences. Tuning and intonation, rather than rigid and unchanging, are seen as dynamic elements that can interact with the musician, the context, and the audience in complex ways.

This exploration into Thai tuning encourages composers to think of tuning variation not just as an embellishment, but as a tool that can deeply influence musical form and narrative. Here are some ways that composers might incorporate tuning variations into their own work, drawing inspiration from Thai music:

1. Shifting Tonal Centers: Consider allowing different sections of a composition to evolve with slight changes in tuning. Each “shift” could create a unique emotional atmosphere, guiding the listener through distinct musical landscapes.
2. Fluidity Between Themes: Tuning variations could represent the transition between sections or themes in a piece. As the melody or harmony gradually drifts from a central pitch or key, tension builds or releases, adding a dynamic element to the structure.
3. Multiple “Realities” in Harmony: A piece might use multiple tunings within an ensemble, creating harmonic textures that are fluid and constantly shifting. Different instruments could drift in and out of tune with one another, creating a structural framework around convergence and divergence.
4. Cultural Reflection: Just as Thai music reflects the diverse regional and personal expressions of its culture, tuning variations could be used to mirror cultural or narrative elements in a composition, telling a story that unfolds not through lyrics or themes but through sound and intonation.

By treating tuning as a fluid, expressive part of structure, composers can discover new ways to think about the progression of their work, the relationships between instruments, and how listeners perceive musical space and time. Thai music shows us that sound can be organized in ways that are far more nuanced and personal than a standardized tuning system allows.

In traditional Thai practice, tuning variation isn’t an isolated element; it is woven deeply into the structure, reflecting the interplay between performer, instrument, and audience. Each performance becomes unique, with tuning as an integral, living aspect of the music. This approach reminds us that music is a dynamic and culturally rich art form, with traditions that challenge Western conventions in deeply inspiring ways.

This article is inspired byJohn Garzoli’s article The Myth of Equidistance in Thai Tuning. If you are interested in diving deeper into this topic, I highly recommend reading this article! (https://iftawm.org/journal/oldsite/articles/2015b/Garzoli_AAWM_Vol_4_2.pdf )

I have also used some of these ideas in my book Formative Forces in Sound: An Exploration of Global Music Structures. In this book, I invite myself and composers to rethink foundational elements of sound, drawing inspiration from global music traditions that approach structure and form with creativity and flexibility.

As I was wrapping up this article I had a little thought to myself:

The influence of Buddhism in Thailand could have implications for the country’s approach to musical tuning. Buddhism emphasizes balance, mindfulness, and the acceptance of impermanence, ideas that might parallel Thai music’s fluid and adaptable tuning practices. Rather than striving for rigid uniformity, Thai music reflects an acceptance of diversity and uniqueness in each performance, allowing for variations that mirror the Buddhist focus on personal experience and inner harmony. In this way, Thai tuning could be seen as aligning with Buddhist principles that value the journey over perfection.

I’m not saying this is a true claim, but it’s interesting to think about!