3.1 Traditional Thai Music Ensembles: Piphat and Mahori

Traditional Thai music ensembles, Piphat and Mahori, are key to understanding Thailand's musical heritage. These groups feature unique instruments and play distinct roles in Thai culture, from religious ceremonies to entertainment.

Piphat is known for complex rhythms and percussion, while Mahori has a more lyrical style. Both use the thang system of scales and modes. These ensembles continue to evolve, adapting to modern contexts while preserving cultural traditions.

Instruments in Piphat and Mahori

Percussion Instruments in Piphat

Top images from around the web for Percussion Instruments in Piphat

• 

  IMG_0777 | Musical instruments of NE Thailand, Isaan area. | Ross Robinson | Flickr View original

  Is this image relevant?

• 

  Circular Percussion (Khong Wong Lek) | en.wikipedia.org/wiki… | Flickr View original

  Is this image relevant?

• 

  Traditional Thai musical instruments - Wikipedia View original

  Is this image relevant?

• 

  IMG_0777 | Musical instruments of NE Thailand, Isaan area. | Ross Robinson | Flickr View original

  Is this image relevant?

• 

  Circular Percussion (Khong Wong Lek) | en.wikipedia.org/wiki… | Flickr View original

  Is this image relevant?

1 of 3

Top images from around the web for Percussion Instruments in Piphat

• 

  IMG_0777 | Musical instruments of NE Thailand, Isaan area. | Ross Robinson | Flickr View original

  Is this image relevant?

• 

  Circular Percussion (Khong Wong Lek) | en.wikipedia.org/wiki… | Flickr View original

  Is this image relevant?

• 

  Traditional Thai musical instruments - Wikipedia View original

  Is this image relevant?

• 

  IMG_0777 | Musical instruments of NE Thailand, Isaan area. | Ross Robinson | Flickr View original

  Is this image relevant?

• 

  Circular Percussion (Khong Wong Lek) | en.wikipedia.org/wiki… | Flickr View original

  Is this image relevant?

1 of 3

• Ranat ek (xylophone) plays the main melody in the Piphat ensemble
• Ranat thum (low-pitched xylophone) provides a lower-pitched countermelody or harmonization
• Khong wong yai (large gong circle) serves as a rhythmic and harmonic foundation, playing cyclical patterns that outline the main notes of the composition
• Taphon (two-headed drum) plays complex patterns and establishes the rhythmic structure
• Ching (small cymbals) marks the basic pulse and maintains the rhythmic structure

Melodic and Percussion Instruments in Mahori

• Saw sam sai (three-stringed fiddle) plays the main melodies in a heterophonic texture, embellishing the melody differently
• Saw u (two-stringed fiddle) also plays the main melodies, contributing to the heterophonic texture
• Khim (hammered dulcimer) provides a percussive, melodic, and harmonic accompaniment
• Khlui (flute) contributes to the melodic texture with ornamentations and variations
• Additional instruments like the pi nai (oboe) and krap (wooden clappers) may be included depending on the specific musical context and tradition

Roles of Instruments in Ensembles

Melodic and Harmonic Roles

• Ranat ek in Piphat often plays the main melody, while ranat thum provides a lower-pitched countermelody or harmonization
• Khong wong yai in Piphat serves as a rhythmic and harmonic foundation, playing cyclical patterns that outline the main notes of the composition
• Saw sam sai and saw u in Mahori play the main melodies, often in a heterophonic texture where each instrument embellishes the melody differently
• Khim in Mahori provides a percussive, melodic, and harmonic accompaniment, while khlui contributes to the melodic texture with ornamentations and variations

Rhythmic Roles

• Taphon and ching in both Piphat and Mahori ensembles establish and maintain the rhythmic structure
• Taphon plays more complex patterns, while ching marks the basic pulse
• The intricate rhythmic interplay between percussion instruments in Piphat creates a dense, interlocking texture

Characteristics of Piphat vs Mahori

Piphat Musical Characteristics

• Complex rhythmic interplay with intricate patterns played on percussion instruments, creating a dense, interlocking texture
• Compositions often feature thamnong, a form of melodic development where the basic melody is repeated and varied with increasing complexity and ornamentation
• Based on a system of modes or scales called thang, which define the melodic and harmonic framework for the compositions

Mahori Musical Characteristics

• More fluid, lyrical melodic style with saw sam sai and saw u playing expressive, ornamented lines
• Compositions frequently incorporate vocal sections, with instruments providing accompaniment and instrumental interludes between sung passages
• Also based on the thang system of modes or scales, defining the melodic and harmonic framework
• Characterized by a more intimate and expressive form of music compared to Piphat

Cultural Significance of Thai Ensembles

Historical Importance

• Piphat ensembles have roots dating back to the Ayutthaya period (1351-1767) and earlier, serving as an important part of court music, religious ceremonies, and theatrical performances
• Mahori ensembles emerged during the Rattanakosin period (1782-present) as a more intimate and expressive form of music, often associated with courtly entertainment and dance-drama performances

Preservation and Transmission of Culture

• Both Piphat and Mahori have played significant roles in preserving and transmitting traditional Thai musical knowledge, aesthetics, and cultural values through generations of musicians and teachers
• The repertoire of these ensembles includes compositions that reflect important aspects of Thai history, literature, and mythology, serving as a musical embodiment of Thai cultural heritage

Contemporary Significance

• In contemporary Thailand, Piphat and Mahori ensembles continue to be an integral part of cultural events, festivals, and performances
• Modern musicians and composers adapt these traditional ensembles to new contexts and engage in creative explorations, ensuring their ongoing relevance and evolution