THE IMPROVISATION OF THAI XYLOPHONE OR RANAAT EEK                                                                                                     Next Articles

By Dr. Bussakorn Sumrongthong¹

Introduction

Xylophones are found throughout southeast Asia, notably in Thailand, Cambodia, Indonesia, the Mon of Peguan region of southern Burma (Myanmar) and elsewhere in Burma. Thais believe (for example Yupho 1960: 12-14) that the ranaat (ÃйҴ) (a xylophone) evolved from the graps (¡ÃѺ), two small pieces of wood used to keep in a series but the notes were made and placed in a series but the notes were coarse and out of tune. They were then laid on two tracks or supports. Further improvements were made and the graps were constructed in different sizes and supported to allow the notes to resonate freely. To accomplish this, a heavy string was threaded through holes made near the ends of the graps. The graps were then placed close together and hung on a supporting stand. Two long, slender beaters with knobs at the end were used. The instrument could now be employed to play melodies. Further improvements were made to the shape of the grap, and a mixture of beeswax with lead shavings was applied to the underside of each one, permitting fine tuning and improving the tone. This original instrument was called a ranaat and the constituent graps were named luuk ranaat (ÅÙ¡ÃйҴ). The full series of luuk ranaat were strung on the cord, forming a continuous flat surface which was called the phuun (¼×¹). The luuk ranaat were made at first of two varieties of bamboo called phai bong (ä¼èº§) and phai tong (ä¼èµ§). Later, varieties of hard wood. such as maichingchan (äÁéªÔ§ªÑ¹), mai mahaat (äÁéÁËÒ´) and mai phayung (äÁé¾Âا), were used but phai bong was always preferred because of its beautiful tone. The supporting resonator case had a shape similar to that of a Thai river boat, curving upwards at each end. This boat-shaped case was called the raang ranaat (ÃÒ§ÃйҴ). The two pieces which close each and were called the khoon (⢹), literally referring to the headpiece or prow of a boat. This boat-shaped body rested on a squat, pyramid-shaped base, the bottom of which was 22.5 cm (9”) square with a height of 8 cm (4”). 

This base often had carved designs on it. In the first Thai musical ensembles only one ranaat was used, with fewer wooden bars than the modern model. Later on, another ranaat was devised to produce lower register. (The performing style was radically different from the first ranaat) This new model was called the ranaat thum (ÃйҴ·ØéÁ) (low-pitched ranaat) and the original instrument which retained the higher notes was called the ranaat eek (ÃйҴàÍ¡) – first or principal ranaat (Figure 1 below). 

The traditional ranaat eek has 21 bars. The range is shown below (Figure 2). The final note in bracketts is increasingly found on modern instruments. The lowest in pitch is 38 cm (15”) logn, 5 cm (2”) wide and 1.5 (1/2”) thick. The bars decrease in size but become thicker as the pitch rises, All are hung on a cord which passes through holes at the nodes: 7.9 cm (2.75-3.5”)from the ends. The whole ‘keyboard,’ spanning about 120 cm (47.5”), is suspended over the boat-shaped body from two metal hooks inserted of the patterns in this thesis show the full range of the modern instrument. The majority, however, are conceived for the traditional 21-bar version. The player needs to know how to adapt the patterns which would naturally go beyond the range (at either and) of this instrument. Basically there are two options: transposition up or down one (or two) octaves; reducing the octave gap between the mallets. 

It is worth noting that the range as shown in Figure 2 is a modern concept. The traditional range has the lowest note a fourth lower than its neighbour I.e. to play the lowest octave, the right mallet has tjo skip a fourth. 

The ranaat eek player is a leader of the pii phaat (»Õè¾Ò·Âì) player – percussion ensemble, taking responsibility of performing the introduction to pieces and indication changes of tempo. The main playing style is a regular sequence of notes in octaves, known as kep. (Example 1). 

Improvisation – kaan praaee tamnOOng (¡ÒÃá»Ã·Ó¹Í§) in Thai music refers to the transformation of the basic melody according to the thaang (·Ò§) performing way of each instrument. Improvisation in Thai music needs to be learnt and practised and is totally involved with the process of memorisation. This clearly conflicts with some Western concepts of the term: for examples, Michael Kennedy (1994: 428) writes : Improvisation (or extemporization) is performed according to the inventive whim of the moment, i.e. without a written or printed score, and not from memory. 

As the jazzman improvised freely on the agreed harmonic basis of a tune, he not only produced cross rhythms with the other players, but also dissonant clashes. 

Kennedy’s definition of improvisation, which rules out memorisation, dose not adequately define the meaning in Thai music in which the memory plays an essential part in the process. Although there are some kinds of harmonic basis in Thai music, Willson’s mention of dissonant clashes is also inapplicable to Thai improvisation.

Improvisation cannot proceed without reference to memory both abstract and kinetic (muscular). It may or may not refer to sketches or manuscripts. From improvisation to improvisation the process of revision, polishing, and cultivation may take place without writing. 

The differences between Thai and Western improvisation have been discussed by Ketukaenchan (1986 : 133) as follows:

…in Thai music, ‘improvisation’ is far less extensive and free than in some other types of music in which improvisation is generally recognized as having a major role to play. The Thai musician has to observe very strict rules, thus his ‘freedom’ is limited. At the same time this presents a special challenge to his imagination and skill. 

                  The most important difference between Thai improvisation and western improvisation is that Thai improvisation is carefully controlled and regulated under the guidance of the director of the ensemble (the music master). Some pieces of music are arranged so that improvisation may not be carried out at all and each musician must memorise and play the exact music as arranged. This is the case in some types of composition such as the ‘phleeng thaang kroo’ (à¾Å§·Ò§¡ÃÍ)—tremolo style, ‘phleeng luuk 100 luuk khat’ (à¾Å§ÅÙ¡ÅéÍÅÙ¡¢Ñ´) –dialogue passages and the ‘pheeng naaphaat’ (à¾Å§Ë¹éÒ¾Ò·Âì) –group of sacred music. In other cases, the thaang ranaat eek (·Ò§ÃйҴàÍ¡) may be improvised freely in accordance with the performer’s skill but then the master in charge of the ensemble must always keep the unity of music. If the improvisation attempted by each musician begins to disrupt this unity, he or she will dictate the improvisational mode as a solution. 

Before any attempt is made in improvisation, the student must first memorise many patterns. Nest, the student will be taught the method of choosing the appropriate way to arrange the thaang patterns to fit each phrase of the piece. Improvisation on the ranaat eek can be learnt step by step as discussed below.

In Example 5, the bracketed section remains very close to the basic melody, while the beginning and the end attempt a more adventurous response.

  Ex. 2 Basic melody 

  Ex.3 Tii sap on the thaang ranaat eek to fit Ex.2 

   Ex.4 Basic melody 

 Ex.5

The same basic melody at different pitches, showing the adjustments necessary to keep within the range of the ranaat eek.

The transposed version of the thaang ranaat eek in Example 12 is unavailable because the notes indicated by * cannot be played on the instrument. A possible variant to take account of this problem would be:

These two options can therefore be used to avoid the problem of repetition. It is important to note that the placing of each phrase depends on the characteristics and poetic styles (kloon) of adjacent phrases.

There are other interesting methods of Thai improvisation which are not discussed in this article. Those interested can get more information via

e-mail: sbussako@chula.ac.th
URL:http://pioneer.netserv.chula.ac.th/~sbussako