Viskamol Music

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Capture the emotional journey of chasing your dreams. This piece portrays the resilience and determination required to overcome life's challenges. It unfolds in four sections: Hesitation grapples with the doubt of whether to let go of one's aspirations. A solemn melody suspended in harmony evokes this uncertainty, setting the stage for the journey ahead. Joyous Days bursts with optimism and hope, full of dreams. But life is never without its struggles: in Obstacles, fierce music depicts the battles we face, and the pain of shattered hopes. Just when despair seems overwhelming, The Voice enters with a soothing, gentle melody that whispers encouragement: "When bad days come, you may feel like giving in, giving up. But hang in there! Take a deep breath and keep going." This piece is a heartfelt reminder to all: no matter how difficult the journey, never give in, and never give up.

Never Give In, Never Give Up

Concert Band Score & Parts

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Groove It! is composed for four separated parts, which in this edition is two euphoniums and two tubas. Those parts are also possible to be doubled by any number of players: from four people up to over hundreds of people. This composition explores various musical grooves, for instance, funk, rock and Thai style energetic dance, that definitely would encourage the audience to dance along! Moreover, the performers are also asked to both play their instrument and do the body percussion, that is, while they are playing their instrument, they will stomp their feet, tap on their knee and tap on their instrument! Feel free to move along and join in the force to dance together in Groove It!
Groove It! was commissioned by Thailand International Tuba Euphonium Conference 2023

Groove It!

Tuba/Euphonium Quartet

In early 2025, I was contacted by Kaisorn Julatip from the Black Orange Wind Symphony (an alumni ensemble of the Ratwinit Bangkaeo Wind Symphony) who commissioned me to compose a new concert march for their performance. Their theme was centered around “deities (Thai: Thep).” He asked for a march that would be lively, melodious, and filled with an innocent, mischievous spirit. From that idea came Luk Thep March. 

The term “Luk Thep” (literally “angel child”) refers to a type of Thai sacred doll that gained popularity around 2015. The doll, resembling a young child, was believed to bring luck and protection, and owners often carried it wherever they went. To me, belief and Thainess are inseparable. It deeply intertwined aspects of our culture. Through Luk Thep March, I wanted to portray a world of supernatural imagination: mystical spell-casting, the laughter of playful spirits, gentle lullabies, and even… the frantic scene of running away from ghosts! 

Viskamol Chaiwanichsiri

Luk Thep March

Khaen-dle for Seven Flutes fuses the essence of two cultural elements: Khaen, the bamboo free-reed mouth organ in the Northeast Thailand and Laos region, and the symbolic illumination of candles in Thai tradition. This composition translates the distinctive qualities of the Khaen into the melodic and harmonic realm through the sounds of seven flutes. Composed from the Thai melodic mode (lai), the piece weaves a tapestry of alternating sections, each with its own emotive resonance.

As night falls, the musical scene unfolds, illuminated by the soft glow of candles. Against this backdrop, the flute soloist emerges, their melody echoing through the night. Transitioning into a lively dance section, the flute ensemble splits into two groups, mirroring the rhythmic interplay of two Khaen instruments.

In the midst of the music, a moment of reflection emerges, with the flute soloist accompanied by an echo from the ensemble, adding layers of depth to the harmonic landscape. As the journey reaches its climax, the music returns to the spirited dance, culminating in a triumphant crescendo of sonorous Khaen-like flute tones.

Khaen-dle

Flute Septet

In 2019, I was commissioned by Pawit Jindakitprasert (Tommy) to compose a piece for a mixed ensemble of percussion, piano, clarinet and cello to be used in the Princess Galyani Vadhana International Ensemble Competition 2019. During that time, two composers that I often listen to were Stravinsky and Bernstein, both sharing some aspect of similarity in their music: interesting rhythm and using folk elements in their music (Stravinsky inspired from Russian tune and Bernstein using Jazz in his music). For Stravinsky, he used "stratification"the alternating between different musical ideas juxtaposed in timein many of his works, i.e., Petrushka, The Rite of Spring, etc.
As I was inspired by how Bernstein used Jazz in his music, I tried to incorporate various music stylistic ideas for example, Jazz, Polyharmony, Techno, Lyrical Melody, in ensemble mecanique and alternated them using the similar idea of stratification. The title of mecanique means mechanical, machine, mechanism, therefore the sounds I imagined in this piece are factory's mechanic sounds.
In late 2020, ensemble mecanique was commissioned by Integrated Percussion Ensemble (Mahidol University Percussion Studio) led by Dr.Wannapha Yannawut to be transcribed fully into percussion ensemble.

ensemble mecanique

Percussion Ensemble

Khaen is a bamboo free-reed mouth organ from Northeast Thailand and Laos, deeply rooted in the region's musical heritage. This composition brings the Khaen's distinctive timbre drone-like textures and rhythmic ostinatos into the wind ensemble setting, blending Southeast Asian traditions with Western instrumentation. Structured in multiple contrasting sections, the piece highlights the essential characteristics of the Khaen: resonant open chords that evoke its rich harmonics, lively ostinato figures inspired by traditional accompaniment patterns, energetic dance-like passages, and a lyrical, nostalgic slow section. Each segment explores a different facet of the instrument's expressive range through different musical textures by the ensemble. Building towards its climax, the piece culminates in an explosive, high-energy dance, driving forward with rhythmic intensity! [2024 Recipient of the Atlantic Coast Conference Band Directors Association James E. Croft Grant for Young and Emerging Wind Band Composers] (Awarded in memory of Robert M. Carnochan)

Khaen

Aacha March (Galloping March) is a joyful concert march in which the composer imitates the characteristic of a horse galloping, thus the title of the piece "Aacha'' which means horse in Thai. The composer composes original vivid melodies to be accompanied by the harmony inspired by Jazz through seventh and extension chords, and the usage of the tritone substitution.
Within the piece, there is a partial quotation from the tune of "Asawa Leela", composed by master of Thai classical music, Montri Tramote (19001995). This tune is based on the Thai traditional melodies that are associated with horse movement. In Aacha March, the composer uses "Asawa Leela" through its original form, melodic development and transformation into the countermelody to be blended with the original melodies within the composition.
Furthermore, Aacha March calls for Thai traditional percussion instruments* such as Ching and Krap to be performed alongside with western percussion instruments to depict the scene and atmosphere of horses galloping throughout the piece.
*If the ensemble does not have those instruments, please use substitute instruments as follows: Finger Cymbals for Ching and Castanets for Krap.

Aacha March

Overture for Winds ("syncopa!") is the overture for wind ensemble composed for beginning ensemble. The simple melody is being exchanged between different musical instruments in which they have different roles of being the melody and harmony. The piece is separated into three sections: fast  slow  fast, each having different musical characteristics. The piece ends with the melody from the slow section and ending in a majestic manner!
"Syncopa" comes from the syncopation rhythmic syllable of Kodaly's Method. This syncopated rhythm is in different places in the piece. Music teachers can use this piece to apply to their lesson in introducing the students to syncopation.

Overture for Winds (syncopa!)""

Blast It! (more) is a captivating celebration of the wind ensemble’s versatility, showcasing every instrument across a spectrum of musical styles. From the bold, energetic fanfare that opens the piece to the dynamic interplay of jazz-inspired sections.

 The music seamlessly transitions into a playful passage inspired by Thai folk dance. Suddenly, a jazz section bursts forth, driven by vibrant drumming and dazzling ensemble melodies. Each instrument family steps into the spotlight, highlighting their unique colors and virtuosic capabilities.

Amidst the excitement, a slower interlude provides a moment of reflection. This section features rich chorales layered with polychords and dissonances, adding depth and emotional contrast to the work. The music then builds toward an electrifying climax, erupting once again into a jazz-infused passage before joyfully returning to the Thai folk-dance themes for a conclusion.

Blast It! (more) is an expansion of the original Blast It! (2024), further developing its musical material in new directions.

Blast It! (more) (Grade 4.5 Wind Ensemble)

Blast It! is a captivating celebration of the wind ensemble's versatility, showcasing every instrument across a spectrum of musical styles. From the bold, energetic fanfare that opens the piece to the dynamic interplay of jazz-inspired sections.

 The music seamlessly transitions into a playful passage inspired by Thai folk dance. Suddenly, a jazz section bursts forth, driven by vibrant drumming and dazzling ensemble melodies. Each instrument family steps into the spotlight, highlighting their unique colors and virtuosic capabilities.

Amidst the excitement, a slower interlude provides a moment of reflection. This section features rich chorales layered with polychords and dissonances, adding depth and emotional contrast to the work. The music then builds toward an electrifying climax, erupting once again into a jazz-infused passage before joyfully returning to the Thai folk-dance themes for a conclusion.

Blast It! (Grade 3)

Khaen-dle for Trumpet Ensemble fuses the essence of two cultural elements: Khaen, the bamboo free-reed mouth organ in the Northeast Thailand and Laos region, and the symbolic illumination of candles in Thai tradition. This composition translates the distinctive qualities of the Khaen into the melodic and harmonic realm through the sounds of seven trumpets. Composed from the Thai melodic mode (lai), the piece weaves a tapestry of alternating sections, each with its own emotive resonance.
As night falls, the musical scene unfolds, illuminated by the soft glow of candles. Against this backdrop, the trumpet soloist emerges, their melody echoing through the night. Transitioning into a lively dance section, the trumpet ensemble splits into two groups, mirroring the rhythmic interplay of two Khaen instruments.
In the midst of the music, a moment of reflection emerges, with the trumpet soloist accompanied by an echo from the ensemble, adding layers of depth to the harmonic landscape. As the journey reaches its climax, the music returns to the spirited dance, culminating in a triumphant crescendo of sonorous Khaen-like trumpet tones.
Khaen-dle was commissioned by Mahidol University Trumpet Studio and performed in International Trumpet Guild Conference 2023, United States.

Trumpet Septet

Sensei March is a concert march composed using a style of various cultures such as Thailand Northern East Music (Esan), Thai joyful dance music, Japanese scale, and also the Japanese concert march (which is influenced by European marches). The composer dedicated this piece to Mr. Apivut Minalai, the band director of Suranaree Girls Wind Symphony from Suranari Wittaya School, Nakhon Ratchasima, Thailand, and quoted different musical materials that related to both the band director and the school, for example, Nakhon Ratchasima March, Auld Lang Syne, Theme from Thai Dance Music, or even fanfare that many of Thai famous comedians use!

World premiere by Suranaree Girls Wind Symphony (from Suranaree Wittaya School in Nakorn Ratchasima, Thailand) in 22nd International Festival of Wind Orchestra Prague 2020 (Gold Medal With Honour) on 15 February 2020, Prague, Czech Republic.

Sensei () is an honorific term in Japanese that is translated as "person born before another" or "one who comes before". In general usage, it is used after a person's name and means "teacher" and also used as a title to refer to or address other professionals or persons of authority, such as clergy, accountants, lawyers, physicians and politicians or to show respect to someone who has achieved a certain level of mastery in an art form or some other skill, e.g., accomplished novelists, musicians, artists and martial artists.

Sensei March (Grade 4)

Three Towers Shrine Overture for wind orchestra is the depiction of the life, energy and beauty of Lopburi Province, the historical province in the central region of Thailand. The central figure of this composition is based on the both provincial landmark and symbol, Phra Prang Sam Yot (English: Three Towers Shrine, Thai: ) which is the shrine built in the 13th century. This overture has also featured musical quotation from Thai folk-tune that is associated to the province which are Ra-bum Lopburi (English: Lopburi Dance, Thai: Thai folk-dance melody originated from this province) and Ling Kub Sua (English: Monkey and Tiger, Thai: Monkeys are easily to be found around this shrine (This tune is more commonly known as Kang Kao Kin Kluay (English: Bat eats Banana, Thai: ))
The form of the overture consists of the introductionfastslowfast. The introduction starts with the Three Towers Shrine's motif (represented by the three-notes-motif which would appear throughout the piece), creating the spacious and the antiquity of the shrine. The audience will hear the glimpse of the Ra-bum Lopburi that will gradually lead into the fanfare based on this tune.
The fast section consists of three melodies: the upbeat energetic melody, Thai style melody and Thai folk-tune Ling Kub Sua. The end of the fast section features the folk-tune written in a style that would depict the image of the festive event and party before leading into the slow section, the nocturne to the beautiful night.
The transition from the slow section to the fast section is the brief development from the melody presented in the piece. They are presented through various compositional techniques, for instance, Fugal writing and thematic transformation. The end of the piece is the recapitulation from the former fast section that leads into the grand closing of the piece with the magnificent feeling.
Three Towers Shrine Overture is commissioned by Apiwat Suriyos and TRU Symphonic Band (Lopburi, Thailand)

Three Towers Overture

Sensei March is a concert march composed using a style of various cultures such as Thailand Northern East Music (Esan), Thai joyful dance music, Japanese scale, and also the Japanese concert march (which influenced by European marches). The composer dedicated this piece to Mr. Apivut Minalai, the band director of Suranaree Girls Wind Symphony from Suranari Wittaya School, Nakhon Ratchasima, Thailand, and quoted different musical materials that related to both the band director and the school, for example, Nakhon Ratchasima March, Auld Lang Syne, Theme from Thai Dance Music, or even fanfare that many of Thai famous comedians use!
World premiere by Suranaree Girls Wind Symphony (from Suranaree Wittaya School in Nakorn Ratchasima, Thailand) in 22nd International Festival of Wind Orchestra Prague 2020 (Gold Medal With Honour) on 15 February 2020, Prague, Czech Republic.
Sensei () is an honorific term in Japanese that is translated as "person born before another" or "one who comes before". In general usage, it is used after a person's name and means "teacher" and also used as a title to refer to or address other professionals or persons of authority, such as clergy, accountants, lawyers, physicians and politicians or to show respect to someone who has achieved a certain level of mastery in an art form or some other skill, e.g., accomplished novelists, musicians, artists and martial artists.

Sensei March (Grade 3)

Flexible Instrumentation Score & Parts

Shadow, the dark area occurs because of the object obstructing the light source. Shadow for saxophone ensemble aims to depict the environment of an atmosphere obstructed by some sort of object. In the beginning, the piece is more vague and floating like the mysterious light source. As the piece progresses, the composition becomes more clear and direct, as if there were an object(s) obstructing such a light source and making the object(s) become more visible.

Shadow was selected to be performed by the Salaya Saxophone Ensemble in Strasbourg, France as a part of the 2015 World Saxophone Congress.

Shadow

Saxophone Ensemble

Composed in 2018, Scherzo for Saxophone Quartet depict the two dance-like characteristics, the jumping lively music and the folk-like groovy rhythm of Thailand's North Eastern (Esan) music. Those two different stylistic intertwines between one another starting from the jumping melody into the folk music of Esan.
Scherzo is commissioned by Siam Saxophone Quartet, performed at 18th World Saxophone Congress in Croatia.

Scherzo

Saxaphone Quartet Quartet

Fantasia on Thai Folk Song was composed based on three of Thai folk songs: Kamen Saiyoke (), Lao Duang Duean () and Kaek Borathet (). Each melody was presented both in their original form and the development of itself through various means of compositional technique.
Fantasia on Thai Folk Song started with Kamen Saiyoke as an introduction with the light texture then to the march style of the same melody. In the middle of the piece is Lao Duang Duean with more choral and lyrical characteristics. The final melody is Kaek Borathet, playing in fast tempo with various meter changes and different styles. The piece ends with the recap of the same melody as an introduction with the grandioso feeling followed by the fast gesture ending in the very energetic way!

Fantasia on Thai Folk Tune

Clarinet Quintet

Incidental music is the music that is composed to accompany the scene during a stage performance. In Incidental Music (2018) for two pianos, eight hands, the soundscape depicted the spine-tingling horror theme.

Commissioned by the Piano Department of the Young Artist Music Program, College of Music, Mahidol University, this piece evokes different sounds from the piano. It challenges pianists to evoke unconventional sounds from the piano: wood and paper on the strings, improvisational passages on keys, and cluster tones add a mysterious touch. It all begins with consonant chords, slowly submerging to the eerie, and a brief quotation to Dies irae sends shivers down the spine.

Incidental Music

Piano Quartet-2 Pianos, 8 Hands

Composed in 2018, Scherzo depict the two dance-like characteristics, the jumping lively music and the folk-like groovy rhythm of Thailand's North Eastern (Esan) music. Those two different stylistic intertwines between one another starting from the jumping melody into the folk music of Esan.
Scherzo is commissioned by Siam Saxophone Quartet, performed at 18th World Saxophone Congress in Croatia.

Instrumentation
 Soprano Saxophone 1
 Soprano Saxophone 2 (opt.)
 Alto Saxophone 1
 Alto Saxophone 2 (opt.)
 Tenor Saxophone 1
 Tenor Saxophone 2 (opt.)
 Baritone Saxophone 1
 Baritone Saxophone 2 (opt.)

Saxophone Quartet-SATB Octet

Global Sections - CORE [DO NOT TOUCH]*

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