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A piphat (Thai: ปี่ พาทย ์, pronounced [pìːpʰâːt]) is a kind of ensemble in the classical
music of Thailand, which features wind and percussion instruments. It is considered the primary
form of ensemble for the interpretation of the most sacred and "high-class" compositions of the
Thai classical repertoire, including the Buddhist invocation entitled sathukan (Thai: สาธุการ) as
well as the suites called phleng rueang. It is also used to accompany traditional Thai theatrical
and dance forms including khon (Thai: โขน) (masked dance-drama), lakhon (classical dance),
and shadow puppet theater.
Contents
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Types of piphat[edit]
The smallest piphat, called piphat khrueang ha, is composed of six instruments: pi
nai (oboe); ranat ek (xylofhone; khong wong yai (gong circle); taphon or other Thai drums; glong
thad, a set of two large barrel drums beaten with sticks; and ching (small cymbals). Often other
small percussion instruments such as krap or chap are used.
A slightly larger piphat ensemble is called piphat khrueang khu, and consists of eight musical
instruments. The other two instruments are the ranat thum (xylophone), which produces a deeper
sound than the ranat ek, and khong wong lek, a gong circle that is higher in pitch than the khong
wong yai.
The largest form of piphat ensemble is the piphat khrueang yai, which consists of ten musical
instruments. Another ones are ranat ek lek and ranat thum lek; these are almost the same as
their ancestors, the ranat ek and ranat thum, but they have keys made from metal instead of
wood.
Piphat khrueang ha[edit]
Wong piphat khrueang ha (Thai: วงปี่ พาทย ์เครืองห
่ ้า, Thai pronunciation: [woŋ pìːpʰâːt kʰrɯ̂əŋ hâː]) is an
ensemble consisting of:
1. 1 ranat ek
2. 1 taphon
3. 1 ranat thum
4. 1 ranat thum lek
5. 1 khong wong yai
6. 1 ching
7. 1 taphon - "tympani" made by using two taphons arranged together.
8. 1 saw u
9. 1 khlui u - bass flute
10. 1 khlui phiang aw - medium
11. 1 wong khong chai - a set of 7 khong chai with different size hung on wooden bar.
Piphat mon[edit]
The piphat mon is believed to derive from the Mon people, an ancient Mon-Khmer-speaking
people of mainland Southeast Asia, and uses special instruments such as an upright gong circle
called khong mon. Wong piphat mon (Thai: วงปี่ พาทย ์มอญ, Thai pronunciation: [woŋ pìːpʰâːt mɔːn]) has
three sizes:
Piphat mon khrueang ha[edit]
Wong piphat mon khrueang ha (Thai: วงปี่ พาทย ์มอญเครืองห
่ ้า, Thai pronunciation: [woŋ pìːpʰâːt mɔːn
kʰrɯ̂əŋ hâː]) consists of:
1. 1 ranat ek
2. 1 pi mon - bass oboe with horn-shaped end.
3. 1 khong mon wong yai - a set of bass gongs set in vertical frame (unlike khong wong yai,
which gongs are set in horizontal semicircular frame).
4. 1 poengmang khok (เปิ งมางคอก) or khok poeng (คอกเปิ ง) - Mon drums set in cage-shaped
frame.
5. ching, chap and khong mong
Piphat mon khrueang khu[edit]
Wong piphat mon khrueang khu (Thai: วงปี่ พาทย ์มอญเครืองคู
่ ่, Thai pronunciation: [woŋ pìːpʰâːt mɔːn
kʰrɯ̂əŋ kʰûː]) is arranged by adding ranat thum and khong mon wong lek to the piphat mon
khrueang ha.
Piphat mon khrueang yai[edit]
Wong piphat mon khrueang yai (Thai: วงปี่ พาทย ์มอญเครืองใหญ่
่ , Thai pronunciation: [woŋ pìːpʰâːt mɔːn
kʰrɯ̂əŋ jàj]) is arranged by adding ranat ek lek and ranat thum lek to the piphat mon khrueang
khu.
The piphat mon ensemble is usually used in funerals, as it generally plays slow pieces. However,
it can also be used for other events.
The piphat ensemble can be mixed with the khrueang sai ensemble to create a new ensemble
called khrueang sai prasom piphat (เครือ
่ งสายประสมปี่ พาทย์ or เครือ
่ งสายผสมปี่ พาทย์).
Similar ensembles[edit]
The Cambodian equivalent of the piphat is called pinpeat.
See also[edit]
Khruang sai
Mahori
Music of Thailand
Korphai
References[edit]
Piphat ensemble (Thai)
Piphat nang hong (Thai)
Piphat deuk dam ban (Thai)
Further information about piphat ensemble (Thai)
External links[edit]
Listening[edit]
Categories:
Gong and chime music
Thai music
Classical and art music traditions
http://en.wikipedia.org/wiki/Piphat
Thailand Instruments
There are many different varieties of Instruments from Thailand. They have 3
families of instruments, the wind, percussion, and string instruments. There are 2
main types of string instruments, plucked and bowed. The Percussion family is
separated into 3 main groups, the drums, keyboards, and gongs or cymbals. Also,
many Thai instruments are very similar, just in different sizes to produce higher or
lower pitches.
The Ranat Ek
The Ranat Ek has a similar look to xylophones. The keys from the ranad ek do not touch the base of
the instrument, but rather hang over it, similar to a suspension bridge. The keys are wooden, and are
different sizes in order to make different sounds.
Ranat Ek Lek
The Ranat Ek Lek is similar to the Ranat Ek, but is made with metal keys, instead of wooden ones.
The Flat metal keys are placed over a wooden resonater.
The Ranak Thum Lek was created to have a lower tone then the Ranat Ek Lek. The only major
difference is that all of the keys are larger, giving it a lower tone.
GrajaBpI
The Grajabpi is a stringed instrument, similar to a lute. The strings are plucked, and it is used in Thai
Classical Music. It is made of jackfruit or teak wood, and has four strings. The Grajabpi is believed to
be one of the oldest Thai instruments.
Saw Duang
The Saw Duang is a string instrument that is played with a bow. The box of the saw duang is made
from either bamboo or hardwood, and the skin on the end of the sound chamber is often made from
snake skin. The strings are often made from silk.
Saw u
The Saw U is similar to the Saw Duang, but larger and produces a lower pitch. It has 2 strings, and
can produce 8 notes. The soundbox of the Saw U is made from a coconut shell with the open side
covered with cowskin. The silk strings of the Saw U are played with a bow.
Taphon
The Taphon is a percussion instrument that is often found in a percussion ensemble called a piphat.
The Taphon has two heads, and is shaped like a barrel. It is played with your hands, not with mallets.
Many taphons have designs woven into the middle of the barrel.
Thon-Rammana
The Thon-Rammana are hand drums that are played in a pair. The Rammana is a frame drum that
gives a higher pitch, while the Thon is a goblet drum that gives a lower pitch.
The khong wong lek is a unique instrument. It is comprised of 18 small gongs that are in a circle. It is
similar to the khong wong yai, but has a higher pitch.
Khlui
The Khlui is mostly made from bamboo, but is made from hardwood, and sometimes even plastic
too. The seven lower holes on the Khlui are where the fingers sit, covering and uncovering them in
order to change the note that comes out.
PI Nai
The pi nai has 6 holes, through which it can make varying sounds, and 22 pitches. The pi nai is a form
of oboe, and is classified under the Thai wind instrument catergory. The reed of the pi nai is made of
Bai tan, a form of palm leaf.
JakHe
Approximately 20cm high, and 140cm long, the Jakhe has two strings made from silk, and two
strings made from brass. In order to play this instrument, your left hand goes on the frets, to change
the pitching, while your right hand strikes the strings with a ivory plectrum tied to your index finger.
hailandmusicproject.weebly.com/thailand-instruments.html
Ching (also spelled chhing) are finger cymbals played in Cambodian and Thai theater and
dance ensembles.[1]
Contents
[hide]
Musical context[edit]
The Cambodian ensemble—which has traditionally accompanied court dance, masked plays,
and shadow plays and ceremonies—is composed of vocalists and instruments: gong chimes,
reed instruments,metallophones, xylophones, drums, and ching. A Thai ensemble consists of
stringed fiddles, flutes, zither, xylophones, gong circles, drums, and ching. Melody in both Thai
and Khmer musics is regulated by cyclic patterns realized on the drums and ching.[3]
Historical significance[edit]
Evidence of the ching has been found in Angkor, the great temple-city of Khmer civilization,
where classical art flourished between the ninth to the fifth centuries. Scenes carved in the walls
of the temple depict celestial dancers with their musical instruments, including small cymbals
(ching).[2]
See also[edit]
Music of Cambodia
Music of Thailand
References[edit]
1. Jump up^ Sam, Sam-Ang (1994). "Cambodian Music and Dance in North America". In
Ebihara, Carol A.; Lodgerwood, Judy. Cambodian Culture since 1974: Homeland and Exile.
Cornell University Press. Retrieved 16 September 2013.
2. ^ Jump up to:a b c Sam, Sam-Ang. ""The Khmer People of Cambodia"". In Miller, Terry E.;
Williams, Sean. The Garland Handbook of Southeast Asian Music. Retrieved 14 September
2013.
3. Jump up^ Tran, Quang Hai. "Pin Peat". Grove Music Online. Oxford Music Online. Retrieved
14 September 2013.
External links[edit]
http://en.wikipedia.org/wiki/Ching_(instrument)
Related instruments
The khong wong yai (Thai: ฆ้องวงใหญ่, pronounced [kʰɔ́ːŋ woŋ jàj]) is a circle with gongs used in the
music of Thailand. It has 16 tuned bossed gongs in a rattan frame and is played with two
beaters.The player sits in the middle of the circle. It is used in the piphat ensemble to provide the
skeletal melody the other instruments of the elaborate ensemble. The gongs are individually
tuned with beeswax under the gongs. the khong wong yai can either be played with soft beaters
or hard beaters
References[edit]
http://en.wikipedia.org/wiki/Khong_wong_yai
The Khong Wong Yai is commonly used as a percussion instrument in bands; however, it is not
the only one of this style. Similar instruments include the Khwang Wong Lek (essentially a
smaller version of the Khong Wong Yai, often played together in an ensemble called a Piphat)
and the Khawng Mawn (15-gonged, half-circle version of the Khong Wong Yai).
1. Timpani tympani 2 long thik
Timpani
A timpanist at work
Percussion instrument
Hornbostel–Sachs 211.11-922
classification (Struck membranophone with
Playing range
Ranges of individual
sizes[1]
Related instruments
Kus
Naqareh
Naker
Timpani, or kettledrums, are musical instruments in the percussion family. A type of drum, they
consist of a skin called a head stretched over a large bowl traditionally made of copper. They are
played by striking the head with a specialized drum stick called a timpani stick or timpani mallet.
Timpani evolved from military drums to become a staple of the classical orchestra by the last
third of the 18th century. Today, they are used in many types of musical
ensembles includingconcert, marching, and even some rock bands.
Timpani is an Italian plural, the singular of which is timpano. However, in informal English speech
a single instrument is rarely called a timpano: several are more typically referred to collectively
as kettledrums, timpani, temple drums, or simply timps. They are also often incorrectly
termed timpanis. A musician who plays the timpani is a timpanist.
Contents
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Tympanum est pellis vel corium ligno ex una parte extentum. Est enim pars media symphoniae
in similitudinem cribri. Tympanum autem dictum quod medium est. Unde, et margaritum medium
tympanum dicitur, et ipsum ut symphonia ad virgulam percutitur.
The tympanum is [an instrument made of] skin or hide stretched over a hollow wooden vessel
which extends out. It is said by the symphonias to resemble a sieve, but has also been likened to
half a pearl. It is struck with a wand [stick], beating time for the symphonia.
The reference comparing the tympanum to half a pearl is borrowed from Pliny the Elder.[5]
Construction[edit]
They are usually put together by hand in the southern region of France, and at one time were
tightened together by horses tugging from each side of the drum by the bolts. The Industrial
Revolution obsoleted that previous construction style, and paved the way for more modern
building methods.
Basic timpani[edit]
The basic timpani drum consists of a drumhead stretched across the opening of a bowl typically
made of copper[6] or, in less expensive models, fiberglass and sometimes aluminum. In
the Sachs–Hornbostel classification, the timpani are thus considered membranophones. The
drumhead is affixed to a hoop (also called a fleshhoop),[4] which in turn is held onto the bowl by
a counterhoop,[4] which is then held by means of a number of tuning screws called tension
rods placed regularly around the circumference. The head's tension can be adjusted by
loosening or tightening the rods. Most timpani have six to eight tension rods.[6]
The shape of the bowl contributes to the quality of the drum. For example, hemispheric bowls
produce brighter tones while parabolic bowls produce darker tones.[7] Another factor that affects
the timbre of the drum is the quality of the bowl's surface. Copper bowls may have a smooth,
machined surface or a rough surface with many small dents hammered into it.
Timpani come in a variety of sizes from about 84 centimeters (33 inches) in diameter down
to piccoli timpani of 30 centimeters (12 inches) or less.[4] A 33-inch drum can produce the C
below the bass clef, and specialty piccoli timpani can play up into the treble clef. In Darius
Milhaud's 1923 ballet score La création du monde, the timpanist must play the F sharp at the
bottom of the treble clef.
Machine timpani[edit]
Changing the pitch of a timpani by turning each tension rod individually is a laborious process. In
the late 19th century, mechanical systems to change the tension of the entire head at once were
developed. Any timpani equipped with such a system may be considered machine timpani,
although this term commonly refers to drums that use a single handle connected to a spider-type
tuning mechanism.[6]
Pedal timpani[edit]
By far, the most common type of timpani used today is the pedal timpani, which allows the
tension of the head to be adjusted using a pedal mechanism. Typically, the pedal is connected to
the tension screws via an assembly of either cast metal or metal rods called the spider.
A pedal on a Drentimpano – the clutch (seen here on the left) must be disengaged to change the pitch of the
drum.
The inside, bottom of a Yamaha pedal timpani, showing the mechanical tension-adjusting system
The ratchet clutch system uses a ratchet and pawl to hold the pedal in place. The timpanist
must first disengage the clutch before using the pedal to tune the drum. When the desired
pitch is achieved, the timpanist must then reengage the clutch. Because the ratchet engages
in only a fixed set of positions, the timpanist must fine tune the drum by means of a fine
tuning handle.
In the balanced action system, a spring or hydraulic cylinder is used to balance the tension
on the timpani head so that the pedal will stay in position and the head will stay at pitch. The
pedal on a balanced action drum is sometimes called a floating pedal since there is no clutch
holding it in place.
The friction clutch or post and clutch system uses a clutch that moves along a post.
Disengaging the clutch frees it from the post, allowing the pedal to move without restraint.
Professional level drums use either the ratchet or friction system and have copper bowls. These
drums can have one of two styles of pedals. TheDresden pedal is attached to the drum at the
side nearest the player, and is operated by ankle motion. A Berlin-style pedal is attached by
means of a long arm to the opposite side of the drum, and the timpanist must use his entire leg to
adjust the pitch. In addition to a pedal, high-end instruments have a hand-operated fine tuner,
which allows the timpanist to make minute pitch adjustments. The pedal is on either the left or
right side of the drum depending on where it is set up.
Most school bands and orchestras below a university level use less expensive, more durable
timpani with either copper, fiberglass, or aluminum bowls. The mechanical parts of these
instruments are almost completely contained within the frame and bowl of the drum. They may
use any of the pedal mechanisms, though the balanced action system is by far the most
common, followed by the friction clutch system. Many professionals also use these drums for
outdoor performances due to their durability and lighter weight. The pedal is in the center of the
drum itself.
Chain timpani[edit]
On chain timpani, a chain links the tension rods so a master handle can be used to turn them all at once.
On chain timpani, the tension rods are connected by a roller chain much like the one found on
a bicycle, though some manufacturers have used other materials, including steel cable. In these
systems, all the tension screws can then be tightened or loosened by one handle. Though far
less common than pedal timpani, chain and cable drums still have practical uses. Occasionally, a
player is forced to place a drum behind other items so that he cannot reach it with his foot.
Professional players may also use exceptionally large or small chain and cable drums for special
low or high notes.
Other tuning mechanisms[edit]
A rare tuning mechanism allows the pitch of the head to be changed by rotating the drum itself. A
similar system is used on rototoms. Jenco, a company better known for mallet percussion, made
timpani tuned in this fashion.
In the early 20th century, Hans Schnellar, the timpanist of the Vienna Philharmonic, developed a
tuning mechanism in which the bowl is moved via a handle that connects to the base, and the
head remains stationary. These drums are referred to as Viennese timpani (Wiener Pauken)
or Schnellar timpani.[8] Adams Musical Instruments developed a pedal-operated version of this
tuning mechanism in the early 21st century.
Timpani heads[edit]
Like most drumheads, timpani heads can be made from two materials:
animal skin (typically calfskin or goatskin)[4] and plastic (typically PET film). Plastic heads are
durable, weather resistant, and relatively inexpensive. Thus, they are more commonly used than
natural skin heads. However, many professional players prefer skin heads because they produce
a warmer quality timbre. Timpani heads are sized based on the size of the head, not the size of
the timpani bowl. For example, a 23" drum may require a 25" head. This 2" size difference has
been standardized by most timpani manufactures since 1978.[9]
Timpanists use a variety of timpani sticks since each stick produces a different timbre.
Timpani are typically struck with a special type of drum stick fittingly called a timpani
stick or timpani mallet. Timpani sticks are used in pairs. They have two components: a shaft and
a head. The shaft is typically made from hardwood or bamboo but may also be made
from aluminum or carbon fiber. The head of the stick can be constructed from a number of
different materials, though felt wrapped around a wood core is the most common. Other core
materials include compressed felt, cork, and leather, and other wrap materials include chamois.
Unwrapped sticks with heads of wood, felt, flannel, and leather are also common.[4] Wood sticks
are used as a special effect—specifically requested by composers as early as the Romantic
era—and in authentic performances of Baroque music.
Although not usually stated in the score, timpanists will change sticks—the same piece—to suit
the nature of the music. However, the choice of stick during a performance is entirely subjective
and depends on the timpanist's own preference and occasionally the wishes of the conductor.
Thus, most timpanists own a great number of mallets.[4] The weight of the stick, the size and
latent surface area of the head, the materials used for the shaft, core, and wrap, and the method
used to wrap the head all contribute to the timbre the stick produces.[10]
In the early 20th century and before, sticks were often made with whalebone shafts, wood cores,
and sponge wraps. Composers of that era often specified sponge-headed sticks. Modern
timpanists execute such passages with standard felt mallets.
Popular grips[edit]
The two most common grips in playing the timpani are the German and French grips. In the
German grip, the palm of the hand should be parallel to the drum head and the thumb should be
on the side of the stick. In the French grip, the palm of the hand should be close to perpendicular
with drum head and the thumb should be on top of the stick. In both of these styles, as with most
percussion grips, the fulcrum consists of the contact between the thumb and middle finger. The
index finger is used as a guide and to help lift the stick off of the drum.[11] The American grip is a
hybrid of these two grips. Another known grip is known as the Amsterdam Grip, made famous by
the Royal Concertgebouw Orchestra, which is similar to the Hinger grip, except the stick is
cradled on the lower knuckle of the index finger.
A set of timpani[edit]
A standard set of timpani (sometimes called a console) consists of four drums: roughly 32 inches
(81 cm), 29 inches (74 cm), 26 inches (66 cm), and 23 inches (58 cm) in diameter.[12] The range
of this set is roughly the D below the bass clef to the top-line bass clef A. A great majority of the
orchestral repertoire can be played using these four drums. However, contemporary composers
have written for extended ranges. Igor Stravinsky specifically writes for a piccolo timpano in The
Rite of Spring, tuned to the B below middle C. A piccolo drum is typically 20 inches (51 cm) in
diameter and can reach pitches up to middle C.
Beyond this extended set of five instruments, any added drums are nonstandard. (Luigi
Nono's Al gran sole carico d'amore requires as many as eleven drums, with actual melodies
played on them in octaves by two players.) Many professional orchestras and timpanists own
more than just one set of timpani, allowing them to execute music that cannot be more accurately
performed using a standard set of four or five drums and music that requires more than one set
of timpani.
Many schools and ensembles unable to afford purchase of this equipment regularly rely on a set
of two or three timpani, sometimes referred to as "the orchestral three".[4] It consists of 29-inch
(74 cm), 26-inch (66 cm), and 23-inch (58 cm) drums. Its range extends down only to the F below
the bass clef.
The drums are set up in an arc around the performer. Traditionally, North American, British,
and French timpanists set their drums up with the lowest drum on the left and the highest on the
right (commonly called theAmerican system), while German, Austrian, and Greek players set
them up in the reverse order, as to resemble a drum set or upright bass.
(the German system).[4] This distinction is not strict, as many North American players use the
German setup and vice-versa.
Timpanists[edit]
Ranat ek
From Wikipedia, the free encyclopedia
Ranat ek
Related instruments
The ranat ek (Thai: ระนาดเอก, pronounced [ranâːt ʔèːk], "alto xylophone") is a Thai musical
instrument in the percussion family that consists of 21 wooden bars suspended by cords over a
boat-shaped trough resonator and struck by two mallets. It is used as a leading instrument in
the piphat ensemble. Ranat ek bars are typically made from rosewood (Dalbergia
oliveri; Thai: ไม้ชิงชัน; mai ching chan) and they are two types of ranat ek mallets. The hard
mallets create the sharp and bright sound, normally used for faster playing. The soft mallets
create the mellow and softer tone, used for slower songs. In the Thai xylophone family, there
are several similar instrument with bars made from different types of material, such as metal
(ranat ek lek, ranat thum lek) and glass (ranat kaeo). There is another similar Thai xylophone that
has a different kind of wooden bar, called “ranat thum”. Its appearance is similar to the ranat ek,
but it is lower and wider. It is usually played in accompaniment of a ranat ek. Also, ranat ek is
very similar to the Cambodian xylophone called “roneat ek” .[1]
Contents
[hide]
1 History
2 Structure
3 References
4 External links
5 See also
History[edit]
Ranat ek was originally an instrument called Krap. A pair of krap was used to keep the rhythm in
ensembles. Later, krap were put into a series. However the tones when the bars were struck
were out of tune. Then it was decided to make a series of krap on two tracks to support it. After
the instrument makers gained some experience and knowledge, the krap were made in a series
of sizes with a track to hold them together making the tone clearer. To make them into a series, a
heavy sting was threaded through holes made near the ends of the krap. The krap were placed
near each other on this cord and the entire “keyboard” was hung on a supporting stand. Later on,
the keyboard was improved using krap and beeswax with lead shavings attached underneath
each krap to improve the tone. This whole instrument was called “ranat” and the krap which
make up the keyboard are called “luk ranat”. The whole series of krap or the keyboard is called
“pern”. At first the keys of ranat were made of two kinds of bamboo, Dendrocalamus Nees
(Dendrocalamus Nees; Thai: ไผ่ตง; phai tong), and Indian Timber Bamboo (Bambusa tulda; Thai:
ไผ่บง; phai bong). Later on, different types of hardwood were used, such as rosewood (Dalbergia
oliveri; Thai: ไม้ชิงชัน; mai ching chan), Lakoochaand (Artocarpus lacucha; Thai: ไม้มะหาด; mai
mahat) or Siamese Rosewood (Dalbergia cochinchinensis; Thai: ไม้พะยูง; mai pa yung). Normally
Indian timber bamboo is preferred because of its tone. The support of the keyboard is shaped
like a Thai riverboat, curving at each end.[2]
The first Thai instrument ensembles only used one ranat, and this had fewer keys than
the ranat nowadays. More and more keys were added until the ranat became too large for one
stand to hold. So a second ranatwith lower toned keys was created. This was called ranat thum,
with the original ranat with the higher-toned keys being called ranat ek.[3]
Structure[edit]
The modern ranat ek model has 21 keys. The lowest-toned key is 38 cm long, 5 cm wide and 1.5
cm thick. The keys decrease in size and become thicker as the tones go higher. The highest-
toned key is 30 cm long.[4]
References[edit]
1. Jump up^ "thai musical". Retrieved 1 October 2013.
2. Jump up^ "ranad". Retrieved 1 October 2013.
3. Jump up^ "ranat ek". Retrieved 1 October 2013.
4. Jump up^ "ระนาทเอก". Retrieved 1 October 2013.
External links[edit]
ranat ek page
See also[edit]
Klong song na
From Wikipedia, the free encyclopedia
Klong song na (Thai: กลองสองหน้า, pronounced [klɔːŋ sɔ̌ːŋ nâː] or [klɔːŋ sɔ̌ŋ nâː]) is a Thai barrel
drum. Song na means "two faces," and the drum has two heads that are played with the hands. It
is used primarily in the piphat ensemble.
External links[edit]
na Klong song na page
http://en.wikipedia.org/wiki/Glong_songna
Klong khaek
From Wikipedia, the free encyclopedia
Klong khaek
A pair of klong khaek
Klong khaek (Thai: กลองแขก, pronounced [klɔːŋ kʰɛ̀ːk]) is a type of double-headed barrel drum used
in Thai music.
The instrument's name comes from klong (meaning "drum") and khaek (meaning "Indian" or
"Malay"). There are two types of klong khaek: klong khaek tua phu (which is considered to be
male) (Thai: กลองแขกตัวผู)้ and klong khaek tua mia (female) (Thai: กลองแขกตัวเมีย). They are
always played in a pair, usually by two players, although if two players are not available a single
player may play both drums. The two drums fit their beats together in hocket, or interlocking
form.
Both drumheads are played with the hands, like the klong songna. The klong khaek tua phu has
a higher pitch and the klong khaek tua mia has a lower pitch.
Klong song na
From Wikipedia, the free encyclopedia
Klong song na (Thai: กลองสองหน้า, pronounced [klɔːŋ sɔ̌ːŋ nâː] or [klɔːŋ sɔ̌ŋ nâː]) is a Thai barrel
drum. Song na means "two faces," and the drum has two heads that are played with the hands. It
is used primarily in the piphat ensemble.
External links[edit]
na Klong song na page
See also[edit]
Traditional Thai musical instruments
Klong khaek
Klong thad
[hide]
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Jakhe
Grajabpi
Sueng
Plucked
Phin
Phin pia
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Khim
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Categories:
Thai musical instruments
Hand drums
http://en.wikipedia.org/wiki/Glong_songna
Related instruments
The khong wong lek (Thai: ฆ้องวงเล็ก, pronounced [kʰɔ́ːŋ woŋ lék]) is a gong circle used in Thai
classical music. It has 18 tuned bossed gongs, and is smaller and higher in pitch than the khong
wong yai. Both instruments are played in the same manner, the khong wong lek plays a faster
and more ornate variation on the principal melody, with less use of two-note chords. Each gong
is tuned with beeswax under it.
External links[edit]
Khong wong lek page
http://en.wikipedia.org/wiki/Khong_wong_lek
Ranat thum
From Wikipedia, the free encyclopedia
Ranat thum
Related instruments
The ranat thum (Thai: ระนาดทุ ้ม, pronounced [ranâːt tʰúm]) is a low pitched xylophone used in the
music of Thailand. It has 18 wooden keys, which are stretched over a boat-shaped trough
resonator. Its shape looks like a ranat ek, but it is lower and wider. It is usually played in
accompaniment of a ranat ek.
ranat thum bars are typically made from bamboo, although instruments with rosewood (Dalbergia
oliveri; Thai: ไม้ชิงชัน; mai ching chan) bars can also be found.
It is similar to a Cambodian xylophone called roneat thung.
External links[edit]
ranat thum page
STANDARD VIEW
FULL VIEW
1
OF 2
See more
History Ensemble Piphat
Ooi Yin HongOoi Jia ShenJenny Wong Syie HuaLam Siew Zhi (F2B)The history of the
Sepha tradition traces a long line of development from a simple melody used to tellstories to
a sophisticated instrumental musical style. In its original folk form, the sepha was only a
singlemelody sung by one singer who would accompany himself or herself with two pairs of
wood blocks whilerecounting a famous tale. It is said that in the earliest times many famous
stories were told using this sephachanting style, but gradually one story came to be favoured
above the rest: Khun Chang, Khun Pan. It isnoteworthy that of all the great myths in Thai
literature this story of Khun Chang, Khun Pan is unique in thatit provides a virtual
encyclopaedia of knowledge concerning the beliefs and customs of the peasants inancient
Thai society. Most other stories deal with the lives of the nobility or of the gods. It can
be seen thenthat the earliest form of sepha was a narrative art enjoyed by and performed for
the common man.Around the beginning of the present Rattanakosin Period about 200 years
ago, the sepha chanting stylechanged in ways that were to be extremely significant for the
evolution of Thai music in general. We findevidence that the Piphat ensemble began to
be used to play an overture as an introduction to the sephachant. It will be remembered that
the Piphat is an ensemble consisting of percussion ("phat") and oboes("pi") and was
associated from earliest times with sacred ceremonies and the theatre. So it was that
theoverture used to introduce the sepha was at first just another form of the theatre overture,
the mainfunction of which had always been to invite the gods to come down from heaven and
preside over theperformance and indeed enter the bodies of the performers. It is important to
notice that these overtureswere not listened to for their own inherent musical value but were
thought of more as vehicles necessary inrecreating the divine atmosphere considered essential
to the ancient concept of holy theatre.The importance of the sepha overture lies in the
metamorphosis of its form bringing about a radically newconception of the very definition of
music and its role in society: the idea of music as a form of entertainment rather than a calling
up of the primordial forces which are the wellspring of all creation.Gradually the old Na Phat
or Sacred Songs from the theatre tradition were replaced with songs whichprovided an
opportunity for the musicians in the orchestra to demonstrate their skills. Both the
musiciansand those listening became interested in instrumental music for its own sake.
During the reign of King Ramathe Third (1824-1851), a set order of four famous standard
pieces was chosen as a showcase for this newemphasis on instrumental virtuosity.Famous
melodies were not limited simply to the sepha overture. Indeed a second important innovation
inThai music has to do with the inclusion of these well known melodies within the sepha
chant itself. The formdeveloped in such a way that the sepha chant could be divided up into
sections which would alternate withlyric passages using various songs from the standard
repertoire. The action of the story was described withthe sepha chant. As with the "canzon da
sonar" in the early baroque instrumental music of the West adistinctive instrumental version
or "chanson to be played" came to be developed, so in the sepha style of themiddle 19th
Century instrumental versions of those songs used as interludes between the chanting
passagesbecame popular. Unlike the older style in which the instrumentalists would play
along with the singer, in thenew style the singer first presented the vocal version of the
melody accompanied only by drum and ching,then the Piphat ensemble would present the
same melody again in a characteristic instrumental version.The heightened interest in
instrumental music also brought about experimentation with the combination of instruments
in the ensemble. The orchestra was expanded to include the Renat Thum (alto xylophone)
toform a pair with the Renat Ek (soprano xylophone) and the Khong Wong Lek (Small Gong
Circle) to form apair with the Khong Wong Yai (Large Gong Circle). The large timpani and
Tapone of the ancient Piphat werereplaced with the softer Glawng Song Na (two sided drum)
which was introduced to help achieve a betterbalance between the singer and the ensemble.
The sepha musical tradition began to take on a new political meaning as this type of art form
becamepopular in the numerous courts of the mid-19th Century. By the reign of King Rama
the Fourth (1851-1868)most courts were supporting at least one if not more highly trained
orchestras. This movement away fromits folk origins caused sepha music to become ever
more elaborate in accordance with the taste of the noblepatrons who owned the orchestras.
One consequence of this "social up-grading" of the sepha style was thatthe nobility began
sponsoring competitions among their orchestras to see which court had the finestorchestra.
Thus it was that much original composition took place in a desire to outdo rival court
orchestras.The compositions took three main forms.The first form had to do with the
sepha overture. In addition to the four set pieces mentioned above, itbecame fashionable to
start the overture with an original composition. This custom of allowing one free formpiece
before proceeding to the four set pieces provided a tremendous stimulus for compositional
thought.
Pama Wat
(track 1) is an example of such a freely composed work. It was composed by Kru Peng
mostprobably during the reign of King Rama the Fifth (1868-1910). Today the four set pieces
of the sephaoverture are no longer played but the opening original overtures have remained
popular and are often heardbeginning concerts and performances of various kinds.
Pama Wat
is divided into three basic sectionsperformed continuously and each section is repeated twice.
There is a short virtuoso fixed introduction calledthe
Pralong Sepha
after which the Pi Ny playing alone begins the actual overture.Another popular form in 19th
Century Siam was composition in "third level." This technique extended thebasic melodies
which were interspersed between the sepha chant into melodies of twice the original
lengthwhile always maintaining the integrity of certain structural notes. The melodic note
occurring on every fourthbeat was considered to be a structural note in the basic so-called
second level version. In the extended thirdlevel version so much beloved of Thai composers
of this era the structural note would occur every eightbeats and the melodic path taken
between each structural note would constitute the newly composed thirdlevel version. The
great master of third level works is Phra Pradit Pairoh, the most important Siamesecomposer
of the 19th Century .The work presented here,
Tayoi Nawk
Tayoi
used to accompany characters who are wandering. Thework is clearly divided into four
sections. Each section is heard in its vocal form and then the instrumentalversion which is
always repeated. But the form of the work is far subtler than it might seem on first
hearing.Actually sections three and four are really asymmetrical variations on sections one
and two.The ensemble used in the performance of
Tayoi Nawk
. The Renat Thum Hlek or alto metallophone has been substituted for the SmallGong Circle.
This unusual instrumentation is based on the model of Luang Pradit Pairoh, the great
earlyTwentieth Century Composer, heard in an early recording he made of
Tayoi Nawk
some sixty years ago.The third form of composition conceived for court competitions was for
virtuoso solo performance. Not onlydid an orchestra as a whole have to prove itself but each
individual member would be pitted against hiscounterpart in the rival ensemble. Strangely
enough the pieces considered appropriate for such solos werequite limited so that today there
are myriad solo versions of a few standard basic melodies. Of the two solosheard here the
Renat Thum solo version of
Kaek Mon
(track 3) represents the regular length of most solosof this type. The Renat Ek solo version of
Grao Ny
(track 2) represents the pinnacle of the solo repertoire. Itis only rarely heard since it requires
such stamina to perform. As is to be expected in the sepha traditionboth
Kaek Mon
and
Grao Ny
http://www.scribd.com/doc/50680396/History-Ensemble-Piphat
Sejarah Ensemble Piphat Ooi Yin HongOoi Jia ShenJenny Wong Syie HuaLam Siew
Zhi (F2B) Sejarah tradisi Sepha yang menjejaki garis panjang pembangunan
daripada melodi ringkas yang digunakan untuk tellstories gaya muzik instrumental
yang canggih. Dalam bentuk orang asalnya, sepha ini hanya singlemelody
dinyanyikan oleh salah seorang penyanyi yang akan menemani dirinya dengan dua
pasang blok kayu whilerecounting sebuah kisah yang terkenal. Dikatakan bahawa
pada masa-masa awal banyak cerita terkenal diberitahu menggunakan gaya
sephachanting ini, tetapi secara beransur-ansur satu cerita datang yang disukai di
atas yang lain: Khun Chang, Khun Pan. Ia isnoteworthy bahawa semua mitos-mitos
besar dalam kesusasteraan Thai cerita ini Khun Chang, Khun Pan adalah unik thatit
menyediakan ensiklopedia maya pengetahuan mengenai kepercayaan dan adat
resam masyarakat petani Thai inancient. Kebanyakan cerita-cerita lain berurusan
dengan kehidupan golongan bangsawan atau tuhan-tuhan. Ia boleh dilihat thenthat
bentuk terawal sepha telah seni naratif yang dinikmati oleh dan dilaksanakan untuk
bersama man.Around permulaan Tempoh Rattanakosin hadir kira-kira 200 tahun
yang lalu, sepha yang melaungkan stylechanged dengan cara yang telah menjadi
sangat penting bagi evolusi muzik Thai secara umum. Kami findevidence yang
ensemble Piphat mula digunakan untuk bermain pembukaan satu sebagai
pengenalan kepada sephachant itu. Ia akan diingat bahawa Piphat adalah ensemble
yang terdiri daripada perkusi ("phat") dan oboes ("pi") dan dikaitkan dari zaman
paling awal dengan upacara suci dan teater. Oleh itu, yang theoverture digunakan
untuk memperkenalkan sepha yang pada mulanya hanya satu lagi bentuk
pembukaan teater, mainfunction yang mana sentiasa menjemput tuhan-tuhan untuk
turun dari langit dan mempengerusikan theperformance dan sememangnya
memasukkan mayat penghibur. Adalah penting untuk melihat bahawa ini tidak
overtureswere mendengar untuk nilai mereka sendiri yang wujud muzik tetapi
dianggap lebih sebagai kenderaan perlu inrecreating suasana ilahi dianggap penting
kepada konsep purba suci theatre.The kepentingan pembukaan sepha terletak pada
penjelmaan bentuk yang membawa radikal newconception definisi sangat muzik dan
peranannya dalam masyarakat: idea muzik sebagai satu bentuk hiburan dan
bukannya panggilan daripada kuasa-kuasa purba yang merupakan mata air semua
creation.Gradually Na Phat lama atau lagu Suci dari tradisi teater digantikan dengan
lagu-lagu whichprovided peluang kepada pemuzik dalam orkestra untuk
menunjukkan kemahiran mereka. Kedua-dua mereka yang musiciansand
mendengar tertarik dengan muzik instrumental semata-mata. Semasa pemerintahan
Raja Ramathe Ketiga (1824-1851), suatu perintah set empat keping standard yang
terkenal telah dipilih sebagai contoh bagi newemphasis ini pada melodi
virtuosity.Famous instrumental tidak terhad semata-mata untuk pembukaan sepha
itu. Sesungguhnya kedua inovasi penting inThai muzik mempunyai kaitan dengan
kemasukan ini melodi terkenal dalam memuji-muji sepha itu sendiri. Yang
formdeveloped dalam apa-apa cara yang memuji-muji sepha itu boleh dibahagikan
kepada bahagian-bahagian yang akan ganti petikan withlyric menggunakan pelbagai
lagu dari himpunan standard. Tindakan cerita digambarkan dengan pukul sepha
memuji-muji. Seperti dengan yang "canzon da sonar" dalam muzik instrumental
barok awal Barat adistinctive versi instrumental atau "nyanyian untuk dimainkan"
datang untuk dibangunkan, jadi dalam gaya sepha di themiddle abad ke-19 versi
instrumental lagu-lagu yang digunakan sebagai selingan antara passagesbecame
yang melaungkan popular. Tidak seperti gaya yang lebih tua di mana
instrumentalists akan bermain bersama-sama dengan penyanyi, dalam gaya thenew
penyanyi pertama dibentangkan versi vokal melodi diiringi hanya oleh drum dan
ching, kemudian ensemble Piphat akan membentangkan melodi yang sama sekali
lagi dalam versi instrumental ciri kepentingan .The memuncak dalam muzik
instrumental juga membawa uji kaji dengan kombinasi instrumen dalam ensembel.
Orkestra ini telah diperluaskan untuk meliputi Renat Thum (alto gambang) toform
sepasang dengan Renat Ek (soprano gambang) dan Khong Wong Lek (Kecil Gong
Circle) untuk membentuk apair dengan Khong Wong Yai (Gong Circle besar).
Timpani yang besar dan Tapone daripada Piphat purba werereplaced dengan
lembut Glawng Lirik Na (dua gendang berat sebelah) yang diperkenalkan untuk
membantu mencapai betterbalance antara penyanyi dan ensembel. Tradisi muzik
sepha mula mengambil pada makna politik baru jenis ini bentuk seni becamepopular
dalam banyak mahkamah pertengahan kurun ke-19. Oleh pemerintahan Raja Rama
Keempat (1851-1868) yang paling mahkamah telah menyokong sekurang-
kurangnya satu orkestra jika tidak lebih terlatih. Pergerakan ini jauh fromits asal-usul
kaum yang disebabkan muzik sepha untuk menjadi yang lebih terperinci mengikut
rasa yang noblepatrons yang memiliki orkestra. Satu akibat daripada ini "sosial up-
grading" gaya sepha itu bangsawan thatthe mula menaja pertandingan orkestra di
kalangan mereka untuk melihat yang mahkamah mempunyai finestorchestra itu.
Oleh itu, ia adalah bahawa banyak komposisi asal berlaku pada keinginan untuk
mengalahkan saingan mahkamah komposisi orchestras.The mengambil masa tiga
bentuk pertama forms.The utama mempunyai kaitan dengan pembukaan sepha itu.
Selain empat keping set tersebut di atas, itbecame bergaya untuk memulakan
pembukaan dengan komposisi asal. Adat ini membenarkan satu formpiece percuma
sebelum meneruskan kepada empat keping set disediakan rangsangan yang besar
untuk berfikir kerencaman. Pama Wat (lagu 1) adalah contoh daripada karya itu
dengan bebas terdiri. Ia terdiri oleh Kru Peng mostprobably semasa pemerintahan
Raja Rama Kelima (1868-1910). Hari ini empat keping set sephaoverture yang tidak
lagi dimainkan tetapi rundingan asal membuka kekal popular dan sering
heardbeginning konsert dan persembahan pelbagai jenis. Pama Wat dibahagikan
kepada tiga sectionsperformed asas secara berterusan dan setiap bahagian diulang
dua kali. Terdapat pendek pemain alat musik calledthe pengenalan tetap Pralong
Sepha selepas itu Pi Ny bermain sahaja bermula bentuk sebenar overture.Another
popular pada abad ke-19 Siam adalah komposisi dalam "tahap ketiga." Teknik ini
dilanjutkan melodi asas bag yang berselang antara memuji-muji sepha ke dalam
melodi daripada dua kali lengthwhile asal sentiasa mengekalkan integriti nota
struktur tertentu. Nota melodi yang berlaku pada setiap fourthbeat dianggap nota
struktur yang dipanggil versi tahap kedua asas. Dalam dilanjutkan versi thirdlevel
begitu banyak kekasih komposer Thai era ini nota struktur akan berlaku setiap
eightbeats dan jalan yang diambil di antara melodi setiap nota struktur akan menjadi
yang baru terdiri versi thirdlevel. Nakhoda yang besar kerja-kerja peringkat ketiga
adalah Phra Pradit Pairoh, yang Siamesecomposer paling penting dalam abad ke-19
kerja .The yang dibentangkan di sini, Tayoi Nawk (trek 4) dianggap sebagai salah
satu karya hisgreatest. Ia menunjukkan bentuk klasik karya sepha tahap ketiga. Ia
adalah satu elaborateextension lagu dari teater yang dipanggil Tayoi digunakan
untuk mengiringi aksara yang mengembara. Thework jelas dibahagikan kepada
empat bahagian. Setiap bahagian didengar dalam bentuk vokal dan kemudian
instrumentalversion yang sentiasa berulang. Tetapi bentuk kerja yang jauh halus
daripada ia mungkin kelihatan pada bahagian hearing.Actually pertama tiga dan
empat variasi benar-benar tidak simetri pada bahagian satu dan dua orang ahli
ensemble digunakan dalam pelaksanaan Tayoi Nawk bukan perkumpulan standard
dan dengan itu kita merujuk kepadanya sebagai Yang Piphat Double Khas . Yang
Renat Thum Hlek atau alto metallophone telah digantikan dengan SmallGong Circle.
Ini peralatan yang luar biasa adalah berdasarkan kepada model Luang Pradit
Pairoh, hebat Komposer earlyTwentieth abad ke-, didengar dalam rakaman awal dia
diperbuat daripada Tayoi Nawk beberapa enam puluh tahun ago.The bentuk ketiga
komposisi diilhamkan untuk pertandingan mahkamah adalah untuk prestasi solo
pemain alat musik. Tidak onlydid orkestra secara keseluruhan perlu membuktikan
sendiri tetapi setiap ahli akan berbintik-Tompok terhadap hiscounterpart dalam
ensembel saingan. Yang peliknya keping dianggap sesuai untuk solos seperti
werequite terhad sehingga hari ini bahawa terdapat versi solo pelbagai beberapa
melodi asas standard. Daripada solosheard dua di sini versi solo Renat Thum
daripada Kaek Mon (trek 3) mewakili panjang tetap paling solosof jenis ini. Yang
Renat Ek versi solo Cicayur Ny (lagu 2) mewakili kemuncak himpunan solo. Itis
jarang mendengar kerana ia memerlukan stamina seperti untuk melaksanakan.
Seperti yang diharapkan dalam traditionboth sepha yang Kaek Mon dan Cicayur Ny
versi tahap ketiga lebih tua kerja-kerja peringkat kedu a.
Piphat pengenalan
khong Mong Piphat mon khrueang khu [sunting] Wong piphat mon khrueang khu
่ ง คู,่ sebutan Thai: [Menang pìːpʰâːt mɔːn kʰrɯəŋ ku])
(Thai: วง ปี่ พาทย์ มอญ เครือ
disusun dengan menambah Thum ranat dan Khong mon wong lek kepada piphat
mon khrueang ha. Piphat mon khrueang yai [sunting] Wong piphat mon khrueang yai
(Thai: วง ปี่ พาทย์A piphat (Thai: ปี่ พาทย์, disebut [pìːpʰâːt]) adalah sejenis ensemble
muzik klasik Thailand, yang mempunyai instrumen angin dan perkusi. Ia dianggap
bentuk utama ensemble untuk tafsiran yang paling suci dan "kelas tinggi" komposisi
repertoir klasik Thailand, termasuk yang sathukan doa Buddha berhak (Thai: สาธุ
การ) dan juga suite dipanggil phleng rueang. Ia juga digunakan untuk mengiringi Thai
tradisional teater dan tarian termasuk Khon (Thai: โขน) (tarian bertopeng-drama),
lakhon (tarian klasik), dan teater wayang kulit. kandungan [hide]
• 2 Jenis-jenis piphat
• 3 berkumpulan serupa
• 4 Lihat juga
• 5 Rujukan
• 6 Pautan luar
o 6.1 Mendengar Hard-tukul vs lembut tukul [sunting] Bentuk yang paling biasa
piphat dipanggil piphat mai khaeng (ปี่ พาทย์ ไม้แข็ง). Ensemble ini menggunakan oboe
yang dikenali sebagai pi (selepas yang ensemble piphat itu dinamakan), dalam
kombinasi dengan xylophones, bulatan gong dan instrumen otherpercussion,
dengan xylophones dan bulatan gong menggunakan mallets keras, mewujudkan
bunyi yang sangat terang, kuat. Pelbagai senyap pipat ensemble, yang dipanggil
piphat mai nuam (ปี่ พาทย์ ไม้นวม), menggunakan menegak flutecalled khlui phiang o
di tempat pi, dan mallets lembut digunakan dalam tempat mallets keras. Oleh kerana
nuam piphat mai menghasilkan bunyi lembut yang agak lembut, gendang Thad
glawng besar tidak digunakan. Juga, ensemble itu boleh termasuk melihat u, untuk
meningkatkan bunyi lembut. Jenis-jenis piphat [sunting] Yang piphat terkecil, yang
dipanggil piphat khrueang ha, terdiri daripada enam instrumen: pi nai (oboe); ranat
ek (xylofhone; khong wong yai (gong bulatan); taphon atau gendang Thai lain; glong
Thad, satu set dua tong tong besar dipukul dengan kayu;. dan ching (simbal kecil)
Sering lain instrumen perkusi kecil seperti krap atau bab digunakan. A piphat
ensemble lebih besar dipanggil piphat khrueang khu, dan terdiri daripada lapan alat
muzik. Dua instrumen adalah Thum ranat (gambang), yang menghasilkan bunyi
yang lebih mendalam daripada ek ranat, dan khong wong lek, bulatan gong yang
lebih tinggi di padang daripada yai khong wong. Bentuk terbesar piphat ensemble
adalah khrueang yai piphat, yang terdiri daripada sepuluh alat muzik. Satu lagi
adalah orang-orang ek lek ranat dan ranat Thum lek; ini adalah hampir sama dengan
nenek moyang mereka, ek ranat dan Thum ranat, tetapi mereka mempunyai kunci
yang diperbuat daripada logam dan bukan kayu. Piphat khrueang ha [sunting] Wong
piphat khrueang ha (Thai: วง ปี่ พาทย์ เครือ ่ ง ห้า, sebutan Thai: [Menang pìːpʰâːt kʰrɯəŋ
ha]) adalah satu ensemble yang terdiri daripada: 1. 1 pi nai - bass oboe 2. 1 taphon -
penjaga masa menengah 3. 1 ching - penjaga masa utama 4 1 khong wong yai -
bass gong gantung di trek separuh bulat 5. 2 thik panjang - tympani Thai 6 1 ranat
ek - gambang tiga kali ganda Piphat khrueang khu [sunting] Wong piphat khrueang
่ ง คู,่ sebutan Thai: [Menang pìːpʰâːt kʰrɯəŋ ku])
khu (Thai: วง ปี่ พาทย์ เครือ
dibangunkan dari piphat khrueang ha, dengan menyusun instrumen dalam pasang
tiga kali ganda-bass. Ia terdiri daripada: 1. 1 pi nai - bass oboe 2. 1 nok pi - oboe tiga
kali ganda 3. 1 taphon - penjaga masa menengah 4 1 glong songna atau 2 glong
khaek 5. 2 glong Thad - tympani Thai 6 1 ching - penjaga masa utama 7 bab 1 8 1
khong wong yai - bass gong digantung di trek separuh bulat 9. 1 khong wong lek -
versi tiga kali ganda gong digantung di trek separuh bulat 10. 1 khong Mong 11. 1
ranat ek - gambang tiga kali ganda 12. 1 ranat Thum - bass gambang Piphat
khrueang yai [sunting] Wong piphat khrueang yai (Thai: วง ปี่ พาทย์ เครือ่ ง ใหญ่, sebutan
Thai: [Menang pìːpʰâːt kʰrɯəŋ jàj]) disusun dengan menambah ranat ek lek
(ระนาดเอก เหล็ก; metallophone tiga kali ganda) dan Thum ranat lek (ระนาดทุม ้ เหล็ก;
bass metallophone) kepada wong piphat khrueang khu. Piphat nang hong [sunting]
Wong piphat nang hong (Thai: วง ปี่ พาทย์ นางหงส์, sebutan Thai: [Menang pìːpʰâːt Nan
hǒŋ]) adalah sebuah ensemble digunakan dalam pengebumian. Ia disusun dengan
menggantikan nai pi dan pi nok dengan Chawa pi. Yang hongcomes nama nang dari
nama muzik utamanya Larangan empangan duek Piphat [sunting] Wong piphat
larangan empangan duek (Thai: วง ปี่ พาทย์ ดึกดาบรรพ์, sebutan Thai: [Menang pìːpʰâːt
dɯk.dam.ban], harfiah "ensemble purba") telah dicadangkan oleh Putera Naris untuk
menggunakan dalam opera Thai. Ia terdiri daripada: 1. 1 ranat ek 2. 1 taphon 3. 1
ranat Thum 4 1 ranat Thum lek 5. 1 khong wong yai 6 1 ching 7 1 taphon - "tympani"
yang dibuat dengan menggunakan dua taphons disusun bersama-sama. 8 1 melihat
u 9. 1 khlui u - bass seruling 10. 1 khlui phiang aw - sederhana 11. 1 wong khong
chai - satu set 7 khong chai dengan saiz yang berbeza digantung di bar kayu. Piphat
mon [sunting] Yang mon piphat dipercayai berasal dari orang-orang Mon, sebuah
Mon-Khmer kuno berbahasa penduduk tanah besar Asia Tenggara dan
menggunakan instrumen khas seperti bulatan gong tegak dipanggil Khong ISN
Wong piphat mon (Thai: วง ปี่ พาทย์ มอญ, sebutan Thai: [Menang pìːpʰâːt mɔːn])
mempunyai tiga saiz: Piphat mon khrueang ha [sunting] Wong piphat mon khrueang
่ ง ห้า, sebutan Thai: [Menang pìːpʰâːt mɔːn kʰrɯəŋ ha])
ha (Thai: วง ปี่ พาทย์ มอญ เครือ
terdiri daripada: 1. 1 ranat ek 2. 1 pi mon - bass oboe dengan hujung tanduk
berbentuk. 3. 1 khong wong yai mon - satu set gong bass ditetapkan dalam bingkai
menegak (tidak seperti khong wong yai, yang gong ditetapkan dalam bingkai
separuh bulat melintang). 4 1 poengmang Khok (เปิ งมาง คอก) atau Khok poeng (คอก
เปิ ง) - gendang Mon ditetapkan dalam rangka sangkar berbentuk. 5. ching, bab dan
มอญ เครือ ่ ง ใหญ่, sebutan Thai: [Menang pìːpʰâːt mɔːn kʰrɯəŋ jàj]) disusun dengan
menambah lek ranat ek dan ranat Thum lek untuk piphat yang ISN khrueang khu.
The ensemble piphat mon biasanya digunakan dalam upacara pengkebumian,
kerana ia secara umumnya memainkan keping perlahan. Walau bagaimanapun, ia
juga boleh digunakan untuk acara-acara lain. The ensemble piphat boleh dicampur
dengan khrueang sai ensemble untuk mewujudkan ensemble baru yang dipanggil
khrueang sai prasom piphat (เครือ ่ งสาย ประสม ปี่ พาทย์ atau ปี่ พาทย์ เครือ
่ งสาย ผสม).