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Ranat Thum - a Thai melodic percussion instrument
Dr. Bussakorn Sumrongthong-webmaster
Click here to listen to Thai percussion ensemble !
Ranat Thum - a Thai melodic percussion instrument
KRAW
The graw, one of the oldest Thai instruments, is usually made from a section of bamboo which is cut in such a way that a node or joint of the bamboo is retained at each end of the section. A small slit is made in the side of the section running the length of the cylindrical column between the nodes. The graw is played by hitting the section of bamboo with a small beater which is made of another piece of bamboo or a piece of hard wood. The instrument is held in one hand, the beater in the other, and is played by beating or tapping the beater against the instrument. This is the way it was originally done for signalling or telling the time.
GRONG
The gro-ng is another percussion instrument which is made of bamboo. It may also be called graw yao-"long graw"-because it is made from a long piece of bamboo, one to two meters(40-80") in length, or as long as desired. A longslit may be made the whole length of the piece of bamboo, or it it may be omitted at the nodes and made only along the sections themselves. Or, both sides may be slit. or only alternatingsections. In order for the sound to carry as much as possible when it is played, it is placed horizontally a few inches above the ground or floor, resting on two wooden supports, one at either end, and one in the middle of its length warrants. The beaters are made from pieces of bamboo 30-40 cm.(12-16") in length and 2-3 cm.(3/4-1")wide, which are carefully whittled, trimmed and smoothed so that they may be held easily and comfortably in the hands. Other woods may be used for the beaters, such as a hardwood which is shaped to the proper size. One person may play the gro-ng using one stick, or he may use two hands, holding one beater in each hand.
One kind of grap is made from a section of bamboo cut in half. The two pieces, which are smoothed and polished so that they will not chafe nor leave splinters in the hand, are flat along the cut side and as thick as the thickness of the bamboo which is used- usually 1.5 cm.(3/5"). In width they are from3-4 cm. (1-1.5"), and in length, 40 cm.(16"). They are made in pairs- hence the name grap khu or "pair of grap" they are played by striking the two flat sides together which gives a sound like "grap grap" from which the instrument derived its name. The grap were also made of hardwood in the same shape as the bamboo type and played in the same way. How the grap khu was used in the ensembles in the olden times is not known. As far as its use in the later times is concerned, its function was to beat the rhythm in certain dances and for singing. It was also used for signalling by being beaten in a continuous fashion.
The Ranat Ek is a kind of percussion instrument which evolved from the grap. Originally, a pair of grap were used to keep the rhythm. Later, several grap were made and put in a series, but the tones, when the bars were struck, were coarse and out of tune. Then it was decided to lay them on two tracks or supports. After musiciana and instrument makers gained more knowledge and experience, further improvements were made. The grap were constructed in a series of sizes, and a support was devised to hold them in such a way as to allow the tone to sound freely. To accomplish this, a heavy string was threaded throughh holes made near the ends of the grap. The grao were then placed close together on this cord, and the entire"keyboard" was hung on a supporting stand. The keys were struck with two long, slender beaters which had knobs at the ends. One beater was held in each hand. The instrument could now be used to play melodies. Later, improvements were made in the shape of the grap or wooden keys, and a mixture of beeswax with lead shaving was applied to the under side of each key causing the tone to be more"in tune" and thus more beautiful. This instrument was called "Ranat". The grap which from the keyboard are called "lu-k ranat". The full series of grap or "keys" which are strung on the cord forming a continuous flat surface is called "per-n" The support or stand which holds the keyboard is made in a shape similar to a Thai river boat, curving upward at each end. This boat-shaped stand is called ra-ng ranat. The two pieces which close each end are called kho-n, literally"mark," and the same word as that for the masked drama. This bost-shaped body reats on a squat, pyramid-shaped base, the bottom of which is 22.5cm.(9") square and whose hight is 8 cm.(4"). This boat often has carved designs on it. In the first Thai musical ensembles only one ranat was used, and it had fewer keys than the present model. More and more keys were gradually added until the number became too large for one stand to hold conveniently. So another renat was devised to hold the lower toned keys. This new model was called ranat thum-"low ranat"- and the original instrument which retained the higher-toned keys was called ranat ek-"first or principle ranat."
The present model ranat ek has 21 keys. The lowest-toned key is 38 cm. (15") long, 5 cm.(2") wide and 1.5cm.(1/2") thick. The keys decrease in size and become thicker as the tones become higher. The highest-toned key is 30 cm.(11.75") long. The keys are hung on a cord which passes through holes at each of the nodes of the keys-7.9cm.(2.75-3.50") in from the end of each key. This "keyboard" is suspended over the boat-shaped body from metal hooks on the end pieces-two on each end. The distance between the two end pieces is 120 cm.(47.5"). This type of instrument is found in Java, the maw-n or Peguan region of southern Burma and Thailand, and in Burma proper where it is known as the "pattalar" or "bastran."
As for the origin of the instrument, it may have been an original idea of the Thai, or the Thai may have borrowed it from a neighbouring country, where it may have been an originally derived, or it may have been borrowed by these neighbouring countries from their neighbouring countries farther away. There is still no reliable evidence on which to base an opinion. But the word "Ranat" is a Thai word whose sound has been expanded or enlarged from the word "ra-t", similar to the words "ria-t" in to "rania-t", "rao-" into "ranao" and "ra-p"into"rana-p". There still remain in musical terminology some phrases which retain the original short word, such as "pi- pha-t ra-t tapho-n", showing that in the olden times this word had not yet been changed by expanding it. According ot the method illustrated above, if it had been changed, the phrase would be "pi-pha-t rana-t tapho-n". The word "ra-t"means "to spread out or expand in an orderly series," and clearly is applicable to the process of arranging the wooden grap or key of "rana-t" in order according to their size and sound in much the same way that logs of wood on which to drive or walk are set down in low or muddy places, such as in the corduroy road. Thr word "rana-t" is also used as the name of the wood pieces which support the hole of a boat as well as for the name of the musical instrument.Linguistic experts have not as yet reached an agreement as to which was the original use of the word.
The ranat thum was originated during the reign of King Rama III (1824-1854), being modelled after the rana-t ay-k. The keys are made of similar kinds of wood, but they are longer and wider. The body has a different shape from that of the rana-t ay-k. It is shaped like a long woden box with the two long top edges slightly curved. The two kho-n or end pieces extend upward past the top of the curved rims, sometimes curving outward slightly at the top. Between them the keybords is suspended on its cord which is hung on the metal hooks on the end pieces. The length of the instrument is 126 cm. (49.5" ). The width of the open top of the box-shaped body is 29 cm. (8"). There are short legs at each corner to which castors are sometimes attached to facilitate moving the instrument around. The instrument has 17 or 18 keys, that of the lowest tone measuring 42 cm. (16.5") by 6 cm. (2.25"). The knobs on the ends of the playing sticks used on the rana-t thum are larger and heavier than those on the playing sticks used on the rana-t ay-k, and only the soft sticks are used on the rana-t thum. When the two metal-keyed rana-t had been devised, this instrument was sometimes referred to as the rana-t thum mai--"wooden" rana-t thum.
The khaw-ng wong-- "circle of gongs"--is a further development of the single gong (No. 10), the pair of gongs (No. 12) and the row of gongs (No. 14). 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 khaw-ng wong was probably originated before the rana-t because there are old wood carvings which picture pi- pha-t (percussion) ensembles which contain the khaw-ng wong but do not show the rana-t. In the olden times, such as in the a yu tha ya- period, there was probably only one size of khaw-ng wong used in the pi- pha-t ensemble. Later, when another smaller-sized khaw-ng wong was devised, this older and larger model was called the khaw-ng wong yai --"large circle of gongs."
KHAW-NG 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 pi- pha-t ensemble together with the larger model. The new, smaller model was named khaw-ng 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-.
THON CHATRI
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.
THON MAHO-RI
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.
GLAWNG MARIGAN
It is thought that the name of this instrument is a corruption or contraction of the full name : glaw-ng amay-ri-gan --"American drum," which means that the Americans wer problably the first people to introduce this instrument into Thailand. Some people claim that the contraction ma ri gan is found in the Thai version (which uses the maho-ri- ensemble for accompaniment) of the Javanese story, "Inao," This thai version was composed by King Rama I (1782-1809). At the end of the composition, "phlay-ng ta-m gwa-ng" --"Following the deer," at the beginning of the section comparable to a "coda" are the words : lu-k mot ma ri gan. It is doubtful what the real meaning of this is. It seems highly unlikely that a drum could be introduced from the United States during the reign of King Rama I (1782-1809) because at that time the colonies had just won their independence and were involved with the unification of thier newly freed country. The colonies generally had little artistic life, due to the strong early Puritan influence, and the arts were in no better condition directly aftern independence was won than they were at any previous time. By the time of the reign of King Rama I (1824-2854), the arts in the United States had begun to show some sings of life, and American doctors and missionaries had begun to come to Thailand. it would not be unbelievable that they could have brought some musical instruments with them. As for the word ma ri gan in the maho-ri- lyrics, it probably means something else entirely (the meaning having been lost), or it may have been added to the original at a leter date.
Be that as it may, the drum know in Thai as glaw-ng ma ri gan is simply the Western bass drum. It is used in Thailand in the lakhaw-n or stage performancec of the story, "phra a phai mani-", in the part where the character, ut sa ray-n and his sister, na-ng la way-ng wanla-, lead the army into battle. In the latter part of the reign of King Rama V (reigned 1868-1910), the ligay- or yi-gay- theatricals began to use this drum also, after which it became sidespread in Thailand.
Credits: Text by Yupho & Morton
