KHAWNG WONG YAI

The khawng wong-- "circle of gongs"--is a further development of the single gong, the pair of gongs and the row of gongs.The circular stand for the series of gongs is a framework made of a type of large, round rattan. It is placed on the floor and is 24 cm. (9.5") high. The large inner and outer pieces of rattan, between which the gongs are suspended, are from 20 cm. (8") apart on the end which contains the low-tone gongs, ranging gradually closer togetner until they are 17.5 cm. (7") apart on the end which contains the high-toned gongs. The framework is almost a complete circle or oval, inside of which the player sits. The small open section at the rear of the instrument varies from 20-30 cm. (8-12 cm") on different instruments. From left to right the instrument measure 125 cm. (50") across between the outside piece of rattan, and 82 cm. (33") across between the inside pieces of rattan. The measurement from front to back between the outside of the framework is 100 cm. (40"), and front to back between the inside of the framework is 66 cm. (26.5"). Each gong has like the khaw-ng khu- and khaw-ng ra-ng, two sets of holes in the sides--a pair at opposite sides, through which leather thongs are passed and attached to the framework, holding the gong in a suspended position. The gongs are placed with the surface and knob upward. The largest and lowest-toned gong is at the left back end and the 16 gongs are arranged in ascending order of pitch, the smallest and highest-toned gong being located at the back right end of the stand. The largest gong is 17 cm. (4.75") in diameter. The player sists inside the circular frame to play the instrument. The beaters or playing sticks consist of circles of thick, untanned hide into the center of which the wooden handle is inserted. A pair of beaters is used, one being held in each hand.

The khawng wong was probably originated before the rana-t because there are old wood carvings which picture piphat (percussion) ensembles which contain the khawng wong but do not show the ranat. In the olden times, such as in the Ayuthaya- period, there was probably only one size of khaw-ng wong used in the piphat ensemble. Later, when another smaller-sized khaw-ng wong was devised, this older and larger model was called the khawng wong yai --"large circle of gongs."

KHAWNG WONG LEK

It appears that the khaw-ng wong lek was devised during the reign of King Rama III (1824-2854) by skilled musicians. They decided to make an instrument like the khaw-ng wong, exact in every detail, except smaller. This smaller instrument measures 111 cm. (44.5") between the outsides of the frame from side to side and 75 cm. (30") between the insides of teh frame. The outside measurement from front to back is 95 cm. (38"), and the inside, 60 cm. (24"). The height from the floor is 20 cm. (8"). There are 18 gongs, the largest of which measures 13 cm. (5.25") in diameter, and smallest, 9.5 cm. (3.75").

This instrument is also used in the piphat ensemble together with the larger model. The new, smaller model was named khawng wong lek--"small circle of gongs"--to distinguish it from the older, larger model. The beaters are the same as those for the larger instrument; occasionally a little smaller.

Smaller models of both these instruments were devised to be used in the maho-ri- (string and percussion) ensemble, in which the strings predominate. The smaller volume of tone of these reduced models is considered to blend better with the volume of tone produced by the strings.

THON or THAP

There are still problems connected with the name "Tho-n," because some people use this name for the ta pho-n drum and, conversely, call the tho-n drum "ta pho-n" or "thap." But the ta pho-n (No. 21) has two heads, while the tho-n or thap has only one. The round drum-head is stretched tight by thongs or cords attached to it. These cords are anchored to the top of the neck, or to the tail of the drum which extends in teh opposite direction from the head and is open at the end. Drums which have this shape are found throughout the Middle East and southern Asia and are often referred to as the "inverted vase" type of drum. Since the name thap is sometimes used for this drum, the two names are often combined, and it is known as tho-n thap to distinguish it from the tho-n ta pho-n, a name by which many people still refer to it.

The tho-n thap has problably been used in musical ensembles for a long time. It is mentioned in the got mon thia-n ba-n, the regulations of the court, in the section which says, "to accompany" the phlay-ng rer-a' --a "boat sone'--use pi-, khlui, saw- --stringed instruments, ja khay-, grajap pi-, tho-n thap and make loud noised--or, use pi-, khlui thap tho-n, khaw-ng glaw-ng.

At the present time there are two distinct types of tho-n known as tho-n cha-tri- and tho-n maho-ri-.

A. THON CHATRI

The body of the tho-n cha-tri- is made of wood. Several varieties of wood may be used, such as teak, the wood. of the jack fruit tree or another fruit tree. The single head is 20 cm. (8") in diameter and is stretched and anchored down over the large end of the drum with thongs which are tied closely together over the bulging head support and fastened at the neck of the drum. The length of the drum is 36 cm. (14").

The head is struck in playing by one hand, usually the right. The left hand supports the tail, or vase-like part, of the drum which is open. The hand may close this opening or open it, causing a damped sound or a reverberating sound, whichever is desired.

This drum is used in the pi- pha-t cha- tri- ensemble. Originally only one drum was used, but later another was added, each being played by a different drummer. The ensemble accompanies the lakhaw-n no-ra- and the nang ta lung or Shadow Plays. This pair of drums is also used to play the rhythm in the regular pi- pha-t (percussion) ensemble, the khrer-a-ng sai- (string) ensemble and maho-ri- (mixed string and percussion) ensemble when they accompany songs using the kha-may-n or Cambodian language or talung, the language of the shadow plays.

B. Thon Mahori

This drum resembles the preceding drum in shape, but the body is made of baked clay or earth--i, e., it is a pottery or ceramic body. The bowl-shaped support over which the head is stretched is larger than the tho-n cha-tri, being 22 cm. (8.75") in diameter. It is fastened down with split and polished rattan or strands of braided silk. For this head various skins are used: calf, goat or, often, snakeskin--usually of the python or boa-constrictor or the elephant's trunk snake. The drum is played with one hand, the other controlling the tone by opening or closing the open end of the vase-like body, similarly to the tho-n cha-tri. Because this instrument is used in those ensembles containing strings--khrer-a-ng sai- and maho-ri--it is known as the tho-n maho-ri-. Only one drum is used, but it is played in combination with the ram mana-.

The length of the instrument is 38 cm. (15:). The body of the tho-n maho-ri- is beautifully made and decorated. Sometimes intricate designs are impressed into teh ceramic and delicately painted. Often in teh old days the ceramic body was made in China where fine porcelain and ceramic work has been done for centuries. The designs were sent by the Thai and made by the Chinese according to specifications. The Chinese do not have this drum themselves. Other tho-n maho-ri- drums are decorated with inlaid mother-of-pearl designs, or bits of colored glass and mirror; others have designs in applied gold-leaf, silver ofr laquer. All exhibit a high degree of craftsmanship.

Both types of tho-n drums are used in one kind of Thai folk music ensemble. Only percussive rhythm instruments are used : grap--one to three pairs, ching and tho-n--from one to five drums of both kinds, depending upon how many are available. They are played to accompany singing and to set the rhythm for the dance called ram tho-n which was widespread and popular during World War II. During that time the government requested the Department of Fine Arts to improve the words to the songs, the gestures, postures and the instrumental accomapniment. The name was also changed to ram wong --literally, "Circle dance." Many pre-eminent artists were involved in this work of revising the old style and popularizing the new until it was used in places having dancing, alternating with the ten ram, the ball room style of dancing. The ram wone type of dance is also known and danced in various other countries.

The drum having one head is called tho-n by the Thai. Strangely enough, the Indian drum called tho-n or tho-l or tho-la is just the opposite. If the Thai drum did not come from India, its origin cannot be accounted for. Perhaps both drums, though of different shape, gave similar sounds when played, and this sound was used as the name. The Indian tho-n or tho-la is shaped somewhat like a section of bamboo, i.e., cylindrical, 50 cm. (20") in length and 30 cm. (12") in diameter. It is made from a single block of wood which is hollowed out in the center. A mixture of cooked rice and ashes is applied to the head to give a mellow, more mellifluous sound. it is played with wood beater or with the hands. The drum is used in religious ceremonies.

As for the word, thap, it sounds very much like the first syllable of the Indian word, "tabla." This is the name of a set of two Indian drums which each have one head. When they are played, they are set with the head upward. One drum has a short, round body, rather like a monk's bowl--ba-t. It is set on and supported by a circle of padded cloth when it is played. The other drum is taller and shaped somewhat like the ta pho-n or like two flower pots with their rims placed together. Though used together as a pair, the drums are played by one player. The "tabla" may be used instead of the ma ere thang if desired.

Glawng Kahek

The glaw-ng khae-k has a long, cylindrical body, which is made of hardwood, 58 cm. (23") in length. The two heads are of unequal size, the larger being 20 cm. (8") in diameter, called narui-- literally, "lose head," and the smaller, 18 cm. (7") in diameter, called na- ta-n --"outer head." The two heads are made of calfskin or goatskin. Originally the two heads were tied down with cane or rattan which was split in half and tied widely apart, but today, owing to the difficulty in obtaining good rattan and cane, leather thongs are usually used. The drums are used in pairs and are of different pitches. The higher-toned drum is referred to as tua phu. --"male," and the lower-toned drum, as tua mia- --"female." They are played with the palms and fingers of the hand, and bothe drumheads are used. There is one player for each drum. A complex rhythmic line is created by the intermingling and alternating of the sounds of the two drums.

This drum is sometimes referred to by the name, glaw-ng cha wa- or "Javanese drum," because it is thought that the drum originally came from java. In the javanese percussion ensembles (gamelan) there are two kinds of drums, one of which is similar to this one. The other is similar in shape to the ta pho-n maw-n, though smaller. The glaw-ng khae-k, has probably been used since olden times. In the got mai- sak dina. --the old laws which concerned the system of degree of dignity or rank, appears the title: mer-n ra- cha-ra-t, which was given to teh chief player of the glaw-ng ckae-k, and he was entitled to 200 rai of land, and his subordinates, called chao-glow-ng lay-o-, were entitled to 50 rai. In those days this instrument was probably used in royal processions when the king was carried on an elephant or on the river on the royal barge. Later it was added to the Thai pi- pha-t (percussion) ensemble when it accompanied the theatrical presentations of the Thai version of the Javanese epic, Inao, In the latter part of the a ya tha ya- period, for example, it accompanied the kriss dance which the actor playing Inao performed. Today, for certain compositions, it is sometimes used as one of the rhythm instruments in the percussion ensemble instead of the ta pho-n and instead of the tho-n and ram mana- combination in the string ensemble. It is also used with the pi- cha wa- to accompany performances of classical fencing or boxing.

Sawng Na

This name means literally, "two faces," i.e., "two drumheads." The saw-ng na- drum is much like the preceding drum, but longer. The larger head, which is from 21-24 cm. (8.5-9.5") in diameter, is played by the left hand. The smaller head, played with the right hand, is 20-22 cm. (8-8.75") in diameter. The drum is from 55-58 cm. (22-23") in length. The mixture of cooked rice and ashes is used to tune the head to the same pitch as the large head of the ta pho-n.

The drum is used singly to play the rhythm in place of the ta pho-n in the pi- pha-t ensemble which accompanies the say- pha- or chanted epic, or sometimes to accompany ordinary singing. It is said that this drum began to be used during the reign of King Rama II (1809-1824) at the same time that the pi- pha-t ensemble began to used to accompany the say- psh- performances. At that time the name saw-ng na- was established.