∙ Examples

Full scores demonstrating ThaiMusicXML concepts in context.

Khaek Borathes

A three-instrument piece (ระนาดเอก, ฆ้องวงใหญ่) covering:

<header> with a <title>
<direction> setting <chan> and <bpm>
<repeat> wrapping a <section> to play it twice
<ensemble>, <part>, and <part-data> for multiple instruments sharing the same sections
<part>’s stack and row attributes joining ฆ้องวงใหญ่ R and L as the two rows of one instrument
Multi-line <section-ref> content kept in sync across parts
<note> pitches using Thai octave modifiers (nikhahit and pinthu)
<rest>
<group> subdividing a beat into three, with a <link> span joining a run to the other row’s notes

A two-row ฆ้องวงใหญ่ transcription of the หน้าพาทย์ piece สาธุการ, covering:

Four <section>s split at a source’s live-cued branch points, each transition carried as an <annotation> rather than an encoded repeat
<part>’s stack and row attributes joining ฆ้องวงใหญ่ R and L as the two rows of one instrument
A long score written entirely without Thai octave modifiers
<rest> with no <direction> set at all

A single-part ซออู้ score holding two short สองชั้น pieces, covering:

<direction> setting only <chan>, with no <bpm>
Two pieces in one file as two <section>s, each name staying internal to the file while the printed heading comes from a center-aligned <annotation> in <structure>
<br> opening space before each heading
<note> pitches using only the nikhahit octave modifier, with no pinthu
<bow> spans marking continuous bow strokes, including a single-note span and one crossing a measure boundary

A single-line score for the โหมโรง piece โหมโรงจอมสุรางค์, covering:

<repeat times="2"> wrapping a section, with <ending pass="2"> substituting just its last line
<parenthesis> spans with dim="true", marking bracketed passages from the source as cued rather than played
<group> subdividing a beat into two in one measure and into three in another
An empty <instrument-name> for a line the source does not attribute to any instrument