MUSIC REVIEWER

Instruments from other countries

Jakhe
Influence from India

Klong thap and Khim

Influence from Persia

Klong jin
Influence from China

Klong jin
Influence from Indonesia

Thailand’s Piphat

MAPEH 8: Lesson 2_Music

Thai Piphat

The monarchy has played a significant role in the preservation and development of classical

Thai music. Kings have contributed to the different configurations in the different Thai music
ensembles.

Three (3) main ensembles in classical Thai Music

Piphat

Khryang Sai

Mahori

main ensembles in classical Thai Music

PIPHAT

Derived from two words: Pi, which is the double-reed instrument in the ensemble and Phat
means “to play music”. It is mainly composed of striking instruments, wind instruments, and
time-marking instruments. It is usually performed in royal ceremonies, public festivities, and
accompaniment for Khon (mask dance drama), Nang Yai (grand shadow puppet spectacle),
Lakhon (dance drama) Hun Krabok (bamboo puppet theater), and Li-ke (folkdance drama). It is
also performed during death rituals.
Types of Piphat

Piphat Mai Khaeng

Is the prototype from which all other types are based on. It was formerly called Phin Phat but
was renamed by Prince Naritsara Nuwattiwong to its presently popular name. Mai Khaeng
means “hard wooden stick,” referring to the unpadded sticks used to play the Ranat Ek (Thai
xylophone). The ensemble performs in royal and in commoners rites such as house-warming,
ordination ceremony, and religious festivals. It is also performed during dramatic
performances and in music concerts.

Piphat Sepha

The Piphat Sepha adds the Luk Poeng or the Song Na (two-face drum) to the Piphat Khrueang
Ha (the five instruments ensemble). The drum serves as the time maker and drives the
rhythmic pattern while the ensemble accompanies the Sepha singing in the Lakhon Sepha
performance, or in music concerts. It was introduced during the reign of King Rama

Piphat Mai Nuam

In this ensemble, the Khlui Phiang O (Medium size fipple flute) and the Khlui Lib (Small size
fipple flute) are replace by Pi Nai (soprano oboe) and Pi Nok (sopranino Oboe). Padded mallets
are also used to play the Ranat Ek. This ensemble accompanies the Khon and Lakhon
Performances. It was introduced by chao Phraya Thewetwongwiwat during the reign of King
Rama V.

Piphat Duek Dam Ban

Named after the hall where the new hybrid of Lakhon Nai and Western opera is performed.
Piphat Duek Dam Ban is the acommpaniment for this new form invented by Chao Phraya
Thewetwongwiwat during the reign of King Rama V.

Piphat Nang Hong

Is a combinations of Phiphat and Bua Loi ensembles. It features the Pi Chawa and two Klong
Malayu from Bua Loi ensemble, and Piphat instruments except Pi nai and Taphon. The name
comes from the performance custom prescribing Phleng Rueang Nang Hong (uses the
Rhythmic pattern Nam Hong) during woeful occassions.

Piphat Mon

Performed at festivals and ceremonies of The Mon Thai people including Li-ke Performance.
Striking Instruments

Ranat ek

Ranat ThuLek

Khong Wong Lek

Ching

Melodic Instruments

Pi Nai & Pi Nok

Khlui Phiang

Time-marker Instruments

Taphon

Klong That & Klong Khaek

Musical Analysis

Piphat music uses a scale of equidistant seven notes within an octave.

Pitches are not the standard, however, as each instruments is tuned to match a specific
ensemble.

Depending on the kind of ensemble, it features soft and loud playing as well as changes in
tempo. It is important to note that phrases usually end with an accent and that passages may
immediately change from fast playing to slow playing or rests.