Bangkok Counterpoint was inspired by Steve Reich’s New York Counterpoint in terms of the thinking process. I have tried to experiment with the completely different elements of music by combining them together. The clarinet is a perfect choice for this idea. Two elements are Thai traditional music in many dimensions melody, texture, harmonic language, and rhythms as well as the 20th-century music I used. The composition has three consecutive parts.

Firstly, Andante reflected “Bangkok” through my music, harmonized together by all voices of the instruments being parts of melody and harmony.

Secondly, Lento: presented the melodic treatments in various registers of clarinet’s tone colors even in the very low and very high registers. All of them can deliver musical sounds to the audience. Thai melodic languages are implied along with atonal textures leading to the next part.

Thirdly, Presto the uptempo, and Thai rhythmics were used to make the exciting and festive scenes. The counterparts are significant and influenced throughout this part. The rhythmic texture and festive melody make this part more varied and exciting. Juxtaposition is the essence of this part Mostly, the serial music technique is applied not clearly used but the ratio of Thai and Western elements creates an ambiguous atmosphere which are creating a new language in my music. The orchestration for the clarinet ensemble was an exciting point for me cause it seems easy but in real situations, everything is in the same tone and colors. The way to making statements in each passage challenged me as a composer.

Lastly, the essence of Bangkok Counterpoint is an aesthetic of sound which are created by two different elements of two world of music. Kitti Kuremanee

**World premiere 2013 at the World Clarinet Congress in Assisi, Italy. 2014, at the woodwind competition at Yong Siew Toh Conservatory of Music in Singapore. And in 2018 by Kasetsart Clarinet Choir at Yamaha concert hall in Thailand.