genie penanngy, TRADITIONAL MUSICAL INSTRUMENTS OF CAMBODIA agnundisansiigé couse dies mipercia United Nations Educational, Scientific and Cultural Organization Second Edition 2003EogSyyusamhar ad tajs. ini eign. Ham Bu val rqjam Yannnaandeag SAG pry: BRRBnyres rij Ga, snggnyjsingwussning sonnitgnsiesy ti pding: aupsmunueignmtn tis asta. afingiguastasutapdieanyngl connitgpitean tS pnfing: ontiytnvygronquandiigamtes amy ano, vofia rogn enpgrengygeyngl IsannntendanGete rainy: snyudingetstgntgenhes dugg exteinge rang ssenypudienen ye Gig avis Age cys so[suRa[yUMatntnes 167 Bion, te gH 99 Gig, we wa Be snp GHA epraneg gudtmuigusdimvantyonhes nee fignaies imaeqgidingionhen inigy Iqnansqgannsuniiny singe mautieegnenstytigmaca re mrp nfitig Semgnepstiny shinning xingmeepangygjes 1 inpiig upsnnny 9886, loom smengialpenchame angen Khmer text and photos by Yun Khean, Keo Dorivan,Y Lina and Mao Lenna, Royal University of Fine Arts, Phnom Penh ‘Supervised by Bill Lobban, Visiting Professor, Royal University of Fine Arts, Phnom Penh Khmer Text: Edited by Hun Sarin, Former Dean of Faculty of Music, Royal University of Fine Arts, Phnom Penh, English Text : Edited by Naomi Sharp & Catherine Geach, Music Teacher Royal University of Fine Arts, Phnom Penh Photos of section cover by Shinobu Yamaguchi UNESCO New cover by Suon Bun Rith & Nang Ravuth UNESCO. Coordinated by Teruo Jinnai, Men Prachvuthy, ‘Suon Bun Rith, Khun Khuon and Keiko Miura, UNESCO Additional fund for translation by CMPP ‘Second edition printed by Buddhist Institute Printing ‘The authors are responsible for the choice and presentation ofthe facts contained in this work and for the opinions expressed therein, which are not necessarily those of UNESCO and do not commit the Organization. © UNESCO 1994, 2003 Printed in the Kingdom of CambodiauNKMS BAe) Ag msn geen wgeooyed dose peiny guesgsi note ihorMNAAE MTA gugimauTeD gUMEwENUAGsniAyT 1Ajeanyiar upygunifinsticgsd’ auninfingynannyriummemniyad Agssdiuniygym fgrgpsignguintenpdgu 1 TamopnUIGS MAB pny: geancamasy seep uals ignnk ngnGuutgnimgynficannatenteg aS ppting: — temmaindwommosyrs uifingnia Sronitanonadiy dinduggiinBaasinwyyp qosmigeearymes + aniuig: tagqudinnnthatiengumninnigiyedma tevpigutyed 8s Fppdiny:mawnfiggnenAdings Suagiggmadany stay So sisgéouss sEefinnmamdjmandiaysiagenmanns 1 wigdmns: cimagsiuypasd waunifignumysmé sina gn’ing- AMYoUfEMUMMgwALAYMSUNAYMINTTapANY —-Butyyusisestnpsneh CUNESCO) {yEiTEMthamsyAABEh + MaMEpYLiySs Bitspnmoy: wignannanona hopin sine gnfing-ymijonje Firs onage samaniondieapminysanryyysinem Bsr [nusinuuni Saanonnginpiizwmsrstinnsyps amngziAl “geneed aifgneanger 1 24 esupd qunude singed Biippd AyULpHigns vieuMpings dimranagy Hahannsinadizamepayy ImanausgtniVRnstenniangy + nemBji.igs OW tenn —gilooom gs Lae SryFOREWORD After three decades of civil war, the knowledge of Cambodian people about traditional Khmer musical instruments and their heritage is limited. On behalf of the Ministry of Culture and Fine Arts, | am proud of the students of the Faculty of Music of the Royal University of Fine Arts who have published this book entitled "Traditional Khmer Musical Instruments", which it is an important contribution to the development and preservation of Khmer culture. It is a very important document for the cultural edification of our younger generation as well as for strengthening Khmer national identity. Once again, on behaff of the Ministry of Culture and Fine Arts, | would like to convey my thanks and best wishes to the researchers and to the UNESCO Representative in Cambodia and his colleagues for the successful contribution of this publication entitled “Traditional Khmer Musical Instruments", which is both a wonderful and an important publication Phnom Penh, 12 September 2003 HRH Princess NORODOM Buppha Devi Minister of Culture and Fine Arts Cambodiapest HPhyopfisisiygasig: immhPrhiginisiwmasywss ppyrsunychnsd nS Svaunmfiyns ieumsuinqisigumyiim “aunminBunannyey 1 soneiutgn aunininiynanigrgimsrsimuns-mrynitiinsygunsiinsyungis — Gigmmsayrach Drang smsijfosrstgjes 4 Susi Finnesangréiee mame ycinsiriainysiie “aunmingiynanngey tao thsdGenud nmad pad sntiuBnd ni pina wsinansssis pean eo PAS mnntgntingGAS ping: spmumBnsuniwnnangney we safe mifiguism isuurigniinging 1 mumeqyvingopmiguyiodss tmaufinnnoogiys ianme MigwarRYTUMAYMIEpANIPEsINgh mMImAYyNtnGousunguUiagnAtimiad inigahavagintidiammgninshi Baugnhh wWiwesmisimneisigasgniasia teh TSA ONAN EYE SoPPEYNYNPHimsuaMeERAHoMAME msiiaquiguginiins ines: igne pM vguginis end phisinasumarsiqumnmenyiindes ejsGarayfinel “aunini aynanngh nsegan-ciin Sapniyndthays 1 gsc }sigemmmeqydingrasda MwDnandyNNiAnA Buxgehi igwmnemmdanryahdiysd SanBigrs drannashigngw — ismBné phat ppadywuadaymnmanegygamagesreasang ings iysGmiige1 aymiopanygiimsmedamgantindis Badgnunineaniyed ajiwigdemsgng? migueritin gnu 1 ayMITMNMAsAgoUpFuEMAga AEE ARS Ay: gummed siniystautigs Befismpgnagsrstigstesrmes + cnqgigs nymaysanagssifiey margamngungmamenyinotssnivinsnnmderdiasy sayfiurisas chanigimeny yw gusmaMuniamenyiauAYMEANyEgMADARUANEBENE AED Banin Bifingitiny:saySeomnynanias 4 tonn tHite da AnFlaMaHYMINp AN EtSINyMFOREWORD Music is at the centre of Cambodian culture and accompanies every period in one's life. Cambodia has a great variety of music and of musical instruments, as presented in this publication. Throughout time, knowledge has been transmitted from generation to generation orally but there is little documentation on Cambodian music and instruments, Iam glad to hereby present the second edition of Traditional Musical Instruments of Cambodia. It is the result of many years of work of a research team from the Royal University of Fine Arts under the guidance of Mr Yun Khean, Vice Dean at the Faculty of Music. The first edition of this book was published nearly ten years ago, in 1994 with the support of UNESCO. The first edition proved to be very popular both in Cambodia and abroad and was quickly sold out. Driven by their passion for Cambodian instruments of music, Mr Yun Khean and his team have continued their research in the different provinces of Cambodia. Their research yielded much additional information on the various instruments and their particularities and closed some gaps that were found during the research for the first edition. Today's edition integrates this new research material and provides a far more accurate picture of Cambodian musical tradition. | am confident that this new edition will become a reference for both Cambodians and foreigners who are interested in Cambodian music and culture. Today's publication is part of a broader effort by UNESCO to support the revitalisation of Cambodia’s culture. UNESCO aims to assist in the process of safeguarding Cambodian culture that has suffered a lot due to the sustained period of conflict. In order to support the development of Cambodia's intangible heritage and carry it forward to future generations, UNESCO has been working in close cooperation with the Ministry of Culture and Fine Arts and Cambodian artists. The UNESCO Office in Phnom Penh is proud to have been associated in the publication of this second edition. This book is one among a number of publications that UNESCO has helped to produce in order to further strengthen, revitalise and promote Cambodia's rich and diverse performing arts tradition. Etienne Clément UNESCO Representative in Cambodia$6255 8S7 2 teafiimifas conn sanngi Anuininarss Amaniedguyesismmnnayadnn [ani pidunsorwed HUANG EUTg oN Bris 1 Feljninnnaduans Bawnkes esr frehes inhanengendiqyninsgunuignendifguniafiefynan wget iGughquinvdaianh wingmevsgmndinita Bhushinasionaystgy Gen eigyfimigonss Fpnsinnstianww~MuNAndannyN shins pesnythgrsi meansignadat: gunanwauninh seauninf finandsgj CGamme) —fiannningya CIntervalley FinedsityfA CFrequence) Aeynaanytiynan wise grqmamanyy inungupuprenyusgsidusins unipfiqummnisdmedverqaynannycingiym: + sia malatinth pthtsnythmaris Fyinsignaigiiteotayhiyywddansagurusitn geunumagnannniges Fivepditiugynfynmnghs Sstniuyepesignywsge memimatpg] gyn ynannych cymgye unset | foiar quneidiagnyntiqngnhiissumendagyng tannnnayciunts ying: fimadussquyumEnyummimsgoyunsegy Byjen¥gsoeniGqynins inomedanasdiguaniitidegynggnannyi 1 wBiagaeurnac auniainiynannych nsugnagiiamed fijigusi gaiyfiumiacnedngonpimsingessgeduam: Foumissigie Amsnssapprshdes tpmetisspimAiqnniphiwsinvapvigarygjss ypetmajn auriningsiins thauniaingynamiindvsannsitio [pusdnsiiusmwons {qunn Wentingiosinsmgmarsign + ringnijenich anossingnentsiquaniaigars: Fahnsnvsnn Suman chia iiugnivisgnmagginnimitendinnin Sagnimne MSY OFinIaMAAAIANANANTY [Eni BebRUMnasingns iBmmsuchinssaiqumiminp Nip? Weijnesismiinsiis peidiwpanipigyagunannsm + tonrwd tajstwriend svi. tannin? dita tnnng diam 8 neg tga HenpNMYywurign wg As isannniig nig Ssi8 pci: dient pignningn HenPREFACE This book about the Traditional Musical Instruments of Cambodia was written by some ethnomusicology professor of the Faculty of Music, Royal University of Fine Arts in Phnom Penh, as part of their music research. It is primarily targeted for Cambodian readers to facilitate their understanding of the names, shapes, gamme, intervalle and frequence of the traditional musical instruments of Cambodia. Many Cambodians do not seem to recognize their great national cultural heritage; some even have difficulty in distinguishing native Cambodian instruments from those, which are not indigenous. We came to a decision, therefore, to write this brief introductory book as a guide for peo- ple who wish to understand more about the musical heritage of Cambodia. Only some of the many musical instruments have been covered. This is due to the inac- cessibility to the remoter areas of Cambodia and the disappearance of several instru- ments altogether. We apologize for any inaccuracies in the text and welcome any comments or advise which readers may have, to improve the contents of this book. The English text does not necessarily correspond to the word-to-word description in the original Khmer text. Mr. Yun Khean (Yun Theara) Mr. Keo Dorivan Mr. ¥ Lina Miss. Mao Lenna Professors (Faculty of Music) Bachelors of Ethnomusicology Royal University of Fine Arts Kingdom of Cambodiasageormans fignantgr agro: Chapter {pian jerngs wipes nvacie sme siiugs dont: Chapter tt wigeowstge gts 2 om ea aes 2 z g @ oe HG wen CONTENTS auniningiiey String Instruments Tro Sau Thom ‘Tro Sau Toch Tro Ou ‘Tro Ouchamheang ‘Tro Che Tro Khmer Kee Diev CChapei Dang veng Krapeu,Takhe Khim Toch Khim Thom Kong Ring aunininpfiegsi Wind Instruments Sralai Toch and Srali Thom Kbloy Pey Au Snaeng Sleuk Khiang Sang Ploy Ken ‘AgnKuoch 9 36 a 49 3 7 a ao B 80 90 98 103 7 128 133 136 18 140 143 146gn m: Chapt isan images sania RaIagG REIE nade aru ni ia wie fins ricy neh wun sgn nai ieehn ie aw gn sium qguns agri Again Agiesiam gin quinu gn @: Chapter 1V aries mnsangiiganoy aurunitnsd Percussion Instruments Roneat Ek Roneat Thong Roneat Dek Kong Vong Tach Kong Vong Thom. .....2.0.0+0+ 00+ Kong Mong Kong Chmol Kong Gni Ching Pann Krapeah Kanchae Kanchram, Khmouh Lao Kandeung Tradaok Kap Chop SkorThom Sampho Skor Yea kor Day ‘Skor Thon Ronmonea. ‘kor Sang Na Skor Vike ‘kor Chayam aural Other Instrument Ek Khlaeng 1st 157 161 65, im 14 176 178 180 182 184 187 189 193 195 200 206 206 209 242 245 248 254 287 265 267ssa 8g 2, 9 HEROSETPAN BiRgnancyes sitpjurnjursimuystnganyrgyuorginuniign WieiayeAyRE wigupesia midandiGadia ipnehthpinsdingsayios 1 Goyseynh sensi affine ipynan Fees wnumithagmes Tiannsinniqswmaginmizarsinyyyg Ssuamannansay minisindon Bejanunnnhahswenynl faquns Gersnncgiavcgemdndedie 1 isimupmenasn fngusinAuNEmaunMingynnnig: vynegimindtes auninh Be fingonaniysonnisitomsnmidgzedand pind Fitijoanmel fine FaiyayAS iapto fimevsrge HAE imuverqy fusiy ymrymey Adgnrpaje AnufuryeopAc ifisws4 mhostgniniand~mustAayNAN (AAyN_H wyfuyNN AnARigf (Gamme) finn sh1gf8 (Fréquence.Hz) Aonneisg]y YRndigfs (ntervalle) Haimafaywioiaiajayys Saniiqins Biudan goramammgnunpAgms yneinnansidies + weediahenian Agagidendine mayani pidensieiisias 4 auniniiguynantas omsisingusaninsnss Gigaunmisinss pyimad and ESHINGTAY BudgntiRANeH MheANT - pNBE steed esiguyyeses Baymvdanans - —-fifGins Gala Amandiafs GuAinaisdajy umgunanlinge tpmemesaigs - ins GeButinufuin yrojurigiy BanujupsAmAgunmniigy tp 8 (BAAN - SgnigfuMstissamad nGersesnnGusig4 (Melodie) sfpne SHAFT ToOMAMNIpMTUIATISTOMseApHnAN NEN) Sunsrnduywige wndipgye inusinmddig}idigany mndeg}ciygymortin tharorpenmesigniay tgyss idasmaa’ing "usiquYNAIndmsuan siiagjfaighign gorse grime qi injjes (Wnnigfaguynantgntiins IpjUrnfUsahmAdigiunUsEeN)Msignanys agumiai : ritannantanoy yan AMiMimasgonsnueng pugs Anew Aivch hrshafnguier guAmdgiuguis tin wnainenitajii (Gamme Pantatonique) iniiannantaniny ynEniamizapimesgongens AighMUBy yan Ahesiiew th Aradgpaguies dofiagjanguegepion [tine ent BH bng:qt (Gamme DiatoniqueyBuinsiipeygABNAgegiinnsiinsacM (@ b ...) tis dips frudiajnguigiiapSugnaginh muwGanddinmapiniphigsoug magnaians isigwaas iarunfignmafinh Hewentionan yginay yg! 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Holand Gig auninl quynantgidaneiniiadrgyy many cnepivergaynanig: wig yyiteyyaie Yn mapnofmeischundtgs tne Gamvens (# b...) 1 weheugnn:fisypMidguninin[s UpUppiat ¢ [painted as sungumMi Pianoy [wAUsYNANgiians 4 mumifinnodiunrtia umsismesasunan mswnfediigfangynanign ri IfurnjudahmndaiunPugeprenyugwdagfao Sumumipi pHiundsamywrann ANANTy F wy ieumsannaysmdchimtoon SnGmrhaiiinargfased Grannis ajo tary oF gs sann[g sds LIS tann yg reff He sana Geta nny anys wy ip} ns sannyy vEE vfs tenn yy os Gwenn ys go nny tiie na manny B Barnnnyg int ys conn_YwigemsaBgnyitios Suonnpgywigarstinsynsdgisiidey tiBanin iGsanmsdyiach aiafuguynnnignismaiseyjaun wnsivsniigpadjom isudrhigfimemenmniayg: gdysuisimeauninl mutiny ymeAusiiche Anns ynnnigniis Sayihmdiniyaijgiars desiin@nsynanignedisimpaannsiayy ntervalle) Frkgjayw teistafayMnmeites wihuedrgfasannipissmsmryeomT ieiquipraiusgapomnngtgs nd poondigg: Ban inrgnnntgsoqu Bitsinarpingig [NsKIRGHIginEAApINAMS MAAS [pargABcisug 4 tasitfieschenhnoeys thay conan thygciahh Sachegan:fiswiuitadtgpngynanpemmignds tennis Suni piinegaansimitc 4 14mnomioego isighmns siumangdtonsitgjs D-s874Hz uniGenadtajmomanmadmndngnr isifiougyyg ‘Gureagurignsmaumdsama “D” stijayniiegtiionnrundcitgpunynantgs Figusidtantiudunpnesiniifonmsdiasy D=293.7Hz isi D=587.4qainmnaMmtigne 1 Somsuny “KD” FeimeitmnAnsmigpnguigiinngpy iwasmamannedgja 1,1,1,1,1,1,1 ins comesmuonw fywralyesrien 4 Slo Fcninandtgfia endtgjis (Gamme Pantatonique) tas inatonnadigi 1, 14, 1, 1%, 1. ton grniitisemumapigdiundhigarsiga sang 1 Sm Funfisuelndigjs (Gamme Diatonique) Warenshiannndrgfs 1,1,%4,1,1.1,% ton Hyungigeis 1m 1 8u3c Ficnfimolonitsfingens (Gamme Cromatique) idosmnafiannndtgyy %, %,%, 4, %, 15Ay Yas Yas Yas Yo Yn Yo ton Tigemrchygesim 4 sGnisenpmtissionn yrindtafsi (intervalle)Glo Sum enaireuniqen wmawmnss tiene metinnngsiis finnngss1 sreinpyjurmjfuriniajinss weiSunianfiig Finsms itangummmnedinsgjuamsds gure Go SuGe miami toeiyemetiann chigquitn Shytngjninsiannedtapuenmanhe dighaedigis wuainswiansiansn MAGoujmstvetanndms aAGedmuivusiannolangeny 4 gpingimsigamnsmsognh mugnah siriaajo Yinwnadgyy sign (Retgi-KD) Agi sunicapiugupssan REVFB[PisU=-D> issfaedighupuNanigmengih : siigiUKG OAD Hamudgfa GuaE ge siigjakchamnuahgpacuys agi KAciip giImMAUgsugG MigfMKE BKB (gs GI EBs Buys sigjakrfathoriom Gigheend reg isechAraedafinguynanigiivtoiy 1 Rejinacuchansamnannywun : “Mimsgned gayomeige Gexqnedja ueperom Gfinueiy tarhog fanguigr” 1 watiwch ArudtgjunGufepsen oyu-oboorws cin murtigan iwnSholngeny = OOOTS (1/Octave =1200cents :12= 100Cents) HigAraAITafs ffBigr tifinchiws onyH- otootus funBuclins-onlo.claderitess (1/Octave = 200 Cents : 7 an Gveypisaooowsigjom yoRUAgugspprennaoo = 171.42857Cents) Bien ins AYE HiRes FinthsayMANISHoNS.clacticttstAioM ( %, ton =100Cents, Iton=200 Cents, Ithean Khmer = 171.42857 Cents) 4 fiuhigfuguynnnig: gomsyjuniownimsucnieagnadnh Aradafy gute: Ba fiuehigjnquogyprsniersmies Aamgpsionndeunaunimigy ynunitg: Avery igi Aypsthanigignand mufintunfungneniugiys Gsideniay ctaneoinkSongah Unis sunstiqisudiiinsns Annsswig;naH saethougan-FressTURApMAN yronigntiny diginisangunmiguogepren enpoaverpaynanigs viniginadigpy idauninhiqaynanier unyuhveiguynnntgr Qieiniansvarpuigisiam: memhvergy iponieoyps tysenq typein Fpuagesancns sndraigepsrigiagiio mys Tigo Tgcrns Thun wemanigiivesonwisgnigigetars ypngingunihiquynanter Aenspyive 161g vpeppronmelas mafia Gamme mHUgspsIan GigawiinnFnneuucge fa shigjud qysfiimadajaunan inigaunmignan shenwsbyrmemed yriyou aunmhige pnan QpSaidgpMULssproysis BupsAgrmms anu: guninits (iin IMPNVIAApErsigjangens guniah mappings Gprocyenazangeds ¢ eaqnennigiaysrfiog Bubongequginhsigrinmdgy auriniimnpgiie yinene wpyirdrafengeqs Buguninl riporginAypfin yrofudypimsnraiajnge vfeptestars Pighumapaynan fue iquynanndmavs aunmiigaynan oygyantiameniinen enecugan:cyrestens shite} innkg Saxgqnndjint prgjes 4 sifimuedrafarquynanign Suhimedigfngaugupyrans grameige eigieyit fidnswnanpiguegepion capyH unsmUIUSIAAYNONgimaizayss 2 -tfineiuencesn tBriagar yapstaneges (Clé de Sol) Hm UM (Clé de Fa) tH gr (cledun... yignigfatinenmm #b..0 unnmuTenpaynantgimsiaiyts 2 urpginaniias pimedaciandm iyaonigymsqged yemtiouam gomurin Satan anIAaIAGAM wtheorfign ypsiang Qepimonpis agsomusin aAeancné wanes nan FAjmsnnheoypBapacacnk inmyguimigndusurgn Saugpigngpeiundmayien siete 4 Ganniawdc Siyqumutentiaiwswynanssmsndmusiguynanig: than antanpgnandhinn Gigs UABSNGUMANIAUGU ISNT UNndmeaverTD ynnnigimaiar Fnsindeiganguugepsuywsgs iunpyimioimegeodsyns tej wnsANAcMAMusiAMUNANtY! 4 sku Stayseanpsgs cue Portée) Bistounsznyy pH (Solfege) SimGnemi w/oewse, ce, yar C cnstinunsiungnsigw wintwe intGinndrgfiagsion Cle Suftinenmppuping (#b ... ) sjGsr fire dirgensrGnndngis ygsian Siinguqnsnanins Gspgis Saepan:fnswudhsadapguynantes weyfayyn HTP Pitadymw yyRpPAverquadmsingnadharmafaAaynanig: Asim shigfgungeysion ssiquingimis: tducjuggnaninwnGnadayy ypstantir (cies) 7UMIsMIAANIUrEjUMBAUNIMAchUgUs Bong > O-AGnngy CHIANG Clé de Sol) FosBHAIISHAGHSWAMUAMATSAA Gamme) HPUpe pian whwsemeini pages 1 b-iGnangi 2 (Clé de 2) itisugifinnich samngphaseitgjsig: iawnsiionn (intervalle) Faitgfugunsinigiayematinsiyemnomangi maigeiafs Uitnses(b...)4 DIMISHAYIEA (Note Do Ré Mi Fa Sol La Si) UMAGA ugMtseyrnprayys yorigs igjnitonimenig gunn sugetpian ieumspndenuntHlyjaimevarquynantes GIyMs 1 YP efeehes sMIMUNT[PiimanvitswMNENtTAUMANUIgMsMIAigsss 1 Grete immed Figunnyndensmeinnienngs cystneyos Clé de Sob mugugn BEng: kwGeyisy miucGagqnefionpasdurgnesrmmantes Ganvfiynangs fa uiinimuisms pugs) Sgumanuigngsoy figmnsnting Sinmnnantgney fq wy ogee isiguitguverunisnn wd tajs tins “annayspani pain Fyagndgeonangumipnanig:” Rubiguusnim 151 gam gods mune “A_nister aun Bi wH Aan ANy” ondiqnipign cfingn ans mintii§n ypstangintir (Clé de & , Clé de Sol) anne FeduqAgniiegnes Fimnges MIGHANA (Intervalle) TAIATAAPEIAUINANIg! ShfaAhigiAVEGEpISA 4 sadn (piusiqaynanig: mutgn 2 cfmeigjutanny verges ssliqnanicayyrnigs dig iWanitonnanvaynanignsl pAmerinan AdgxsaUEE LIEN) USIHUGINH: MEANT taaini purtjao Tigh HigdsislApaniyysmigns gomaryjunienay 1 héewms*pasignians cunsminiganyge yupiZanprquuguprewunns Aimnvarquynnnigin: tipnstivinsinkapidomen moevtiviwrilyprorciumsege Honviacs nysiipreniy wiemsdwuuniuinuninig aymansiniwss iyss idermsouny sinhigniypnuUnsusYys 1 18immdanaeiensi : -sHagsigignes Bulan fadgpngaynanigndiamengontgningy ahtengy un Gigmsynanpneen sal 1 -SisuiMoNANIUsIANYNAN (Mélodie) NUmaus FAmivinisigin Bacdinn confinstyys saginaemancné’ neiaenAgysindiyentes + Fitoniiunemsagmasos Feodiunswenmamsusnims Susie Br Meigpsnms giPiewsngudampiunesign qinsigndP”ismp Wejngia Sangin Iswciny:iyjes iomeGurnduahinis gemapannywunmsiman “iyodsd tfuanew” 4 syuniqan wis refs tui ws niIDENTIFYING CHARACTERISTICS OF TRADITIONAL KHMER MUSIC In comparison with other Khmer Arts, the field of music presents problems, because it is more abstract. The Art of stone carving is supported by historic heirlooms. Fine artists find evidence in cave paintings and ancient writings inscribed on stone slabs, on which to base descriptions of the social awareness, ideals and emotions of their ancestors of early times. Many temples have carvings showing the performance of traditional Khmer musical instruments, and there are many old manuscripts which tell of the traditions and customs of weddings and other ceremonies, describing the names of pieces of music used, the function of the music, the poetry, songs and way of sitting to perform etc. On the other hand, there is no documentation or record in stone inscriptions concerning the musical notation, scales, pitch frequencies and intervals for traditional Khmer music. This poses a serious problem for this generation of researchers. Some traditional Khmer musical instruments, whose image is shown in many stone carv- ings, have been lost, together with their song lyrics and melodies because: - Constant wars have led to the loss of many documents. - Musicians do not understand the scales and pitch frequencies of traditional Khmer musical instruments since there is no theory of Khmer music, - Musicians do not understand tuning methods or relative pitches as there is no theory of Khmer music. - There are many song lyrics whose melodies are unknown because there is no written music. For the reasons above, some music teachers and performers have misunderstood, lost confidence in themselves and their forebears, and dared to suggest that the scholars of former times who composed thousands of pieces of music wrote flawed Khmer music, incorrect here and there, out of tune, uncouth. They compare our traditional Khmer music scale with scales of Western music without scientific method... For example: If music teachers and performers have been influenced by Chinese music they will judge that the Khmer scale is the same as the Chinese scale having five tones (pentatonic scale) or if a musician has been influenced by Western music, they will judge that the Khmer scale is the same as the Western scale having five tones and two semitones (dia- tonic scale) with music divided into bars and having sharps and flats, but if not, the Khmer musical scale is judged not to fit an international standard, having not yet been clearly researched, This occurs because of the belief that everything foreign is good or right, whereas everything Khmer is deficient or wrong. Those who hold this mistaken phi- losophy are digging their own graves. Does our traditional Khmer music have standard instruments, a standard scale, standard intervals from one note to the next, standard tuning and equivalent pitch, standard per- formance practice and standard techniques of composition? The traditional Khmer musical scale has a scientific basis and a special characteristic, 20different from other scales, which gives traditional Khmer music our national music a spe- cial quality. In order to dispel any misunderstanding over this matter, we would like to take a large number of traditional Khmer instruments and discuss their properties. Even though traditional Khmer music does not yet have an instrument for tuning to giv- ing a standard pitch (diapason) the pitch, intervals and tuning methods of traditional music since ancient times have been set according to instruments, ensembles and regions, The instruments of the Aareak and ancient wedding orchestras are tuned to the Pei Au which gives two notes: the fundamental Ko whose fingering is XXX|XXX|X and fundamental Aek fingered with two open holes: XXX|XXO|O (Fourth higher). However, according to our research in 1995, there are dif- ferences between Pei Au for example: Name of music teacher | Instrument | First note = fundamental Ko | Fourth note = fundamental Ack Mr Yeum Sang Pei Au 392.0 Hz, 522.6 Hz ‘Mr Noo Noon Pei Au 329.6 Hz 444.5 Hz Equivalent Western pitch 329.6 Hz - 392.0 Hz 444.5 Hz - 522.6 Hz Rae wee) ~A_- ~C In early times, the Pinpeat orchestra tuned to the sixth note of the Roneat Ek (counting from the smallest note on the right) making this it's fundamental pitch. This is the note F# = 370,00 Hz by Western tuning, given in "Musique Khmere - URBA" printed in 1969 as Khmer G, (Researched by Mr Om Meangkul). However, as we Khmer tend to place too much value on Western music, we brought the special characteristics of our own musical pitch, including the Pinpeat, Mahaori, and wedding orchestras into line with that of Western music, leaving only some instruments of the Pinpeat orchestra in Siem Reap Province in their original state. In Phnom Penh, a different case arose, where the instru- ments of the Pinpeat and Mahaori orchestras which used to be tuned as described above, were instead tuned to the second note of the Roneat Ek at the pitch of a Western D = 587.4 Hz. (The second note, or fundamental note Khmer D was originally 550.00 Hz, between the Western C## = 554 Hz and D = 587 Hz). This rise in pitch almost pre- vented singers from being able to sing, right up to the present day. As for other orches- tras, they are tuned in steps to the first note, second note, third note, fourth note... of the Roneat Ek in the same way. Even though a small number of music teachers, perform- ers and instrument makers in Phnom Penh persevered in changing the fundamental Khmer tuning to be the same as Western D = 587.4 Hz, they could not alter the intervals between notes because the particular characteristic of traditional Khmer music fits nei- ther the five tone scale (pentatonic scale) nor the Western five tone and two semitone scale (diatonic scale) nor the scale of 12 equal semitones (chromatic scale). There are No semitones (called half thean in the language of traditional Khmer music) or sharps and flats (# b...) but traditional Khmer instruments which have seven evenly spaced notes in the scale can perform traditional Khmer music at different pitches, on all seven notes or strings (changing the ‘key’) without needing (# b...). This special feature means that 24Western instruments (playing only the white keys of the piano) cannot perform tradition- al Khmer music. As traditional musicians, we have taken the scales of traditional Khmer music and, one by one, compared them with the scales of Western music. Our research, and that of Mr Om Meangkul has shown, through cassette recordings of famous musicians of the older generation (some of whom have already died) such as Mr Yaa Long, Mr Meng Hun, Mr Khiev Hun, Mr Bueng Peuang, Mr Aek Son, Mr Preuang Proon, Mr Mau Pheuang, Mr Yun Pum, Mr Sokh Doch, Mr Yuem Sang, Mr Chum Kung and Mr Kaev Snguen that since the earliest times, our traditional Khmer music has a scale of seven equally spaced notes. Whether the fundamental note (tonic) is high or low, according to the instrument, orches- tral group or region, is not a matter of great concem to Khmer traditional musicians. The important point is that equal intervals are maintained between notes, and this equally spaced scale is deeply rooted in the hearts of Khmer people of every level of society as well as in every Khmer traditional musician. It is still undisputedly used throughout the whole country in the city and in the countryside. This is the colouring, the national iden- tity and spirit, and the special characteristic of the sound of our traditional Khmer music and we must recognise this reality. TABLE OF PITCHES of «fw | «| mo] «[ © D A D Jane ; of] é Al ; 22In this table we have taken D = 587.4 Hz as the fundamental Aek note, according to the current practise among traditional musicians in Phnom Penh today, hence we draw a line at "D" in order to show the intervals of Khmer music. Here we have shown only the pitch- es in the octave D = 293.7 Hz and D = 587.4 Hz._In the first row, we see the notes given from "KD" denoting the pitches of the Khmer traditional musical scale whose intervals are equally spaced from one to the next: 1, 1, 1, 1, 1, 1, 1 Thean (one Thean is smaller than one tone). In the second row, the pitches of the five note scale (pentatonic scale) are given, whose intervals are 1, 11/2, 1, 11/2, 1 tones (other orders possible depending on which note you start on). These intervals are unequal. In the third row, the seven note diatonic scale is shown, whose intervals are 1, 1, 1/2, 1, 1, 1,-1/2, tones. These intervals are unequal. Finally, in the fourth row, the 12 note chromatic scale made up of equal semitones is shown: 1/2, 1/2, 1/2, 1/2, 1/2, 1/2, 112, 1/2, 1/2, 1/2, 1/2, 1/2, tones. If we look at the intervals, or steps in the scales of rows two and three, we can see the variation between larger and smaller intervals. A staircase designed in such a way would be very difficult to walk up and down. Regarding the scales shown in rows one and four on the other hand, despite one having larger and one smaller intervals, they are both made up of equal intervals. One divides the scale into seven Thean, and the other into 12 semitones. Furthermore, we can see clearly that if we tune the Khmer D (KD) to the same pitch as the Western D, then in the Khmer scale KG is a little sharp of Western G and KC is a little sharp of Western C, KAis a little flat of Western A while KE, and KB are a more than little flat of Western E and B. The KF is sharper than a Western F natural but flatter than F sharp. This represents the Khmer scale as it was in early times. In order to remember these tuning characteristics, a rhyme has been written: "C, G and F are sharp, D is clearly dead in tune, E is flat, and so is B, Ais slightly off the mark, F sharp isn't just the same, this is the sound of the Khmer scale". This means that in the Western scale, one Damlong (octave) = 1200 cents (according to the English system) which divides into 12 semitones = 100 cents (One octave = 1200 cents: 12 = 100 cents) but for the Khmer scale measured in cents where one Damiong = 1200 cents, divided into 7 equal Thean = 171.42857 cents (One octave = 1200 cents: 7 = 171.42857 cents). Therefore a Western semitone is 100 cents, a Western tone is 200 cents, and a Khmer Thean is 171.42857 cents. (1/2 tone = 100 cents, 1 tone = 200 cents, 1 Thean = 171.42857 cents). The explanation above shows clearly that the traditional Khmer musical scale and the Western scale are not the same at all. The people of Cambodia have heard the equal intervals of the Khmer scale in their music from early times without finding the sound dif- ficult to listen to, in fact quite the opposite, enjoying their beauty. This is a special quali- ty of our traditional Khmer music. If, however, we perform traditional Khmer music on Western instruments, or alter the tuning of the Khmer scale and then perform before and Khmer audience, the Khmer music is fundamentally changed into something different, changing its colouring, its character, its very essence and national identity, and sounding ‘off-key' or jarring, like a foreigner who only knows a little of the Khmer language and speais strangely. Furthermore, traditional Khmer instruments can play Western music, but only if they create a new scale, different from the traditional Khmer scale, and modi- fy the instruments to be able to play the Wester scale. Performance would then be 23possible. For example, the Tro player would have to shift their fingers to make semi- tones, and the frets of the Takhe would likewise have to be moved closer together for semitones (five tones would require the frets to be spaced out, but the two semitones would require the frets to be moved closer together). Promor (a mixture of wax and lead) would have to be added or removed from the notes of the Roneat in order to create semi- tones and other instruments would similarly have to be tuned to the Western scale. However, since the traditional Khmer musical sound, scale, instruments and thousands of ancient pieces of music created by our ancestors are of good quality, we reserve the right not to modify them at all If the traditional Khmer musical scale and the Western scale are so different, then we ask: - Can we take Western musical notation in its entirety and use it to notate Khmer pieces of music? - Can we take the treble clef (G clef), the bass clef (F clef), the C clef or the accidentals (#, b...) and use them to notate Khmer music? These problems deserve joint consideration and deliberations towards the creation of a kind of musical notation for traditional Khmer music, with clefs and key signatures appro- priate to the essence, meaning, character and national identity of traditional music with- out losing the colouring and soul created and passed down to us by our forebears over thousands of years. We believe that even though our forebears of ancient times did not write down their music in any kind of notation, we cannot use Western music notation in its entirety to notate it either. We can only request permission to take some aspects of that notation which are appropriate and necessary in order to notate Khmer music. This means that we merely borrow the five line staff, the note names, tlie time signatures 2/2, 2/4, 4/4 or the letter C (which represent divisions of time) but not the clefs or accidentals and key signatures #, b... because these do not fit with the characteristics of traditional Khmer music. In order that students, researchers and performers of later generations may understand the dif- ferences between Khmer and Western musical scales as used in this book, we would like to describe our uses of two clefs: 1. Treble clef (G clef). Every aspect of Western musical notation is retained without alteration. 2. The letter Kh clef. This represents the Khmer scale which is made up of equal intervals between thean without accidentals (#, b...) We do, however, borrow the note names (Do; Ré; Mi; Fa; Sol; La; Si), the five line staff, and a number of other essential symbols directly from Western musical notation in order to notate traditional Khmer music, but only read the letter names of the treble clef. In addition, the translation of for- eign languages into Khmer technical musical language is not exactly appropriate to the needs of Khmer music (the meanings are not exact). We therefore request the use of Khmer technical terms instead, some used for generations, some which we have creat- ed for music from the dictionary. This practice has already been requested by ourselves and Mr. Om Meangkul in 1994 in Mr Yun Khean's thesis: Studies into the Performance Practices of Traditional Khmer Wedding Music and in Miss Mau Lenaa's thesis (1996) Khmer Tro: Studies of the Instrument, the Theory of Performance, and New Teaching 24practices submitted for degrees in ethnomusicology. The use of the treble ('G') and Kh clefs above shows the difference between the intervals of the traditional Khmer musical scale and the Wester musical scale. If a performance of Khmer music is made according to the Kh clef, (equally spaced scale), then the music will keep its Khmer colouring, but if the performance is made according to the treble clef (and the Western scale), then the music will sound similar, but having a ‘strange accent’ and not keeping its Khmer colouring as explained above. There is nothing too unusual in the request to borrow elements of Western musical nota- tion and use it to represent traditional Khmer music, because as everyone knows, in early times, our country was influenced by Indian culture and civilisation and accepted and adapted their ways until they gradually became the Khmer culture and civilisation which we know today. Our aims are as follows: ~ To enable Khmer students to understand that the traditional Khmer musical scale has a scientific methodology dating back to the earliest times, but it remained undocumented. - To publish thousands of traditional Khmer melodies so that they are not lost, but at the same time to keep for posterity their Khmer colouring, national identity and national soul We desire to do that which we have the means and the ability to put together or recreate for the benefit of Cambodia, so that we save, support and expand the field of performing arts which is the living breath of our nation, as the slogan says: If culture topples, the nation falls apart” Thank you Yun Khean known as Yun Theara 25gerenire Bios String InstrumentsRIENS [otang chaunmnitputey gnymyptnedcharsiangs teuppenisiginaps Isiguiiguur qutiiniminswugyg Saquhargaenied + FutonBurnaniinayad yan eniGchanciindtsins «pati inymmen imwoninitel wid pega wimage yindgnd unpidiichinaygras igimBsandGagiAUAIN Ns ysinNG MesuissnsnnmngssyonIsigus Gig Isinnig: mscGadndpie dou.s ummesindpptin oleo v.81 karstGatiadpige sugsyrniigl ns piincoow. » isinngudnnsuyd com Hagan [unre IO 4 [oIssiNgiNAUAT: gM odou.y SuyMTA{ApPIIN odou.w IGrtiiauge {nme unite! insuynge yondisinamaignesguamshByslyn 1 namneseah inige Bumnnugeigg guppiis Néou.s 1 tneoneurisnguns sotincngn viey HiguounGihigaan 4 Gmdys mrunhwiygnand ingnodprne y ining 1 lgnbafinrinongys siqgrum uguygiss sntwonignanma: pays wndgedtey + cing Afiyndj wige Fayqndind ndpstey sak wnasinineswand 1 fimemfinnhgjuisianiias Renfiigings 1 wnaunmnfisinisl page dQuUUNT angfutequnpafinnpyidigiutgse suninisg;atgmnmnn = KA DAN A Hinemsynuniajiigon - Kp GignimmnpgisssipAguiegums yitiquenied ininniigjanpyiigd igings yigus mwounedgfaigmnygians tolpyfurajuBunhgfy ImaACANTANsMUAU Ig3m igGengs cangfaswEryaig, ise noAigeranh Ising 1 yfiingjn ssiguidiqums [siang mmene Immshayfe : o-Fiiiajuignn saishajuigjon “Inmu fonnems gdimsiquidnguuturi Runiiginiaitar Gnawjuigygi> 1 miianujurasineGQynging mswgmadin unpgnns fy gf veiqueinmedionpsmMitgnd Aiimemeivumnd 4 wGnigiaigy ieisitgjuiguninmufnnnems smheuugintgyangeyems 29Gninjuigng amiinnyjinss merGQusrqumidiam: msmainnunna nfi9 gays thin cigjutgynd Afiinemutuungentys uganngs 1 pamaErgutUT auninitgiandisensgigestvurund gagniigitsiangs y {9 1 Hhauninhyustinnsnirgfassgamucdigfa aABacdrgiyisiangs 1 rinmahapapsindign muniin ages (sina Clé de Sol) enpNAfiinyftse! Musique Khmere -URBA ttanygiogad dirGam eoo2 2 gun (= ———— ——_____— — ign _ SSS SSS] Hnncdrapajstancign meniin ages (qaran aysu Cle de Sol HuNAnafaysMA [wt ginjnisideraegzumanniguugeponEsaMr MY HigaEtUTTD iggani tay Ramehgpaistandig: murfin © Cie de ©) finiahafatinnedy uyaUIUT fear 30Tinneigpsisiandign murgn ages (qaisN Ajo Cle de Sol IRornsstapEyUNA [pi Unfrigiaiadgpstonm~sUgy SN goede dqEMD igjan iggn Rnnchgiaisindig: mein © Cede ©) FmAgfainnn daigump igor LNAgfATsIANGIS! MUTEN ages (HATAN AYHU Clé de Sol) fReuENARA;ATUNA [iT UInigisarsanigpsanmquugapan gene cHigumiinient> a 2 oe 2 ignn fF Soo S Se ign SSS inmahgjapsinsigs murgn © (Ck de ) Anaafutann Minamfintent> 222 31TRO SAU THOM The Tro Sau Thom is a bowed stringed instrument. It is larger than the Tro Sau Toch which Khmer people play in the Mahaori orchestra and in the modern Wedding orches- tra. ; In the beginning, bamboo or turtle shell was used to make the body of the Tro (sound box), in the same way as the Tro Sau Thom. Later, however, black wood, krannoong wood, neang nuen wood or ivory was used, according to the preference of the musician There is not yet a standard size for the Tro Sau Thom in Cambodia, but the bodies of some are 90mm across, and 120mm long. The neck of the Tro is made of krannoong wood, neang nuen wood or black wood, is 800mm long, and is inlaid with decorative bone or ivory designs at the peg end. There are two tuning pegs; one 190mm in length and the other 180mm, made of neang nuen wood, krannoong wood or black wood and inlaid with bone or ivory at centre of the ends and at the tip. The Tro bow is made of heart wood, shaped like an archer’s bow 750mm long. The bow is haired with horse hair, sugar palm leaf fibre, or synthetic fibre. The body of the Tro has a snake skin or pangolin skin head, and the strings are made of twisted silk, however metal strings are substituted today (such as motorcycle brake cable). A bridge, made of bamboo, heart wood, bone or ivory, supports the two strings so that they clear the edge of the body of the Tro. The Tro Sau Thom is tuned differently than the Tro Sau Toch. If the Tro Sau Thom is being played in the Mahaori orchestra, the upper string (aek) is tuned to the pitch of the fifth note of the Roneat Ek = KA, whereas the lower string (Ko) is tuned a fifth lower = KD. If, however, the Tro is being played in the Wedding orchestra, or the Aayaye orches- tra, it is tuned to the third, third and a half, or fourth note, counting from right to left. In dition, in the Wedding orchestra, there are two possible tunings for the Tro Sau Thom: 1. Tune the upper (aek) and lower (ko) strings a fifth apart, as for the Mahaori and Aayaye orchestras. (Straight tuning). This method allows the musician to ornament the melody, play the notes of pieces in different registers more quickly than even tuning. This method makes fast music sound more beautiful. 2. Tune the upper (aek) and lower (ko) strings a fourth apart by tuning the upper string (aek) down a tone. (Even tuning). This method adds more to the contrapuntal complexity of wedding music than straight tuning, giving the music a haunting, wistful quality. In Mahaori music, the Tro Sau Thom has a different quality to it than the Tro Sau Toch or Tro Ou. It is an instrument whose sound is softer and gentler. Pitch spacing for the Khmer Tro Sau Thom according to the 'G' or treble clef, as given on page 63 of "Musique Khmere - URBA" printed in 1969. 32oa oo228 Ur sting ge ag Lower string Equivalent Western pitches for the Khmer Tro Sau Thom according to the 'G' or treble clef below. (Mahaori orchestra). Upper string A 5 Lower sting (SSS ——— a) an rs Pitch spacing for the Khmer Tro Sau Thom according to the Kh clef, equal spacing (Mahaori_ orchestra). Upper string ee eee 33Equivalent Western pitches for the Khmer Tro Sau Thom according to the ‘G' or treble clef below. (Wedding orchestra). 2 =) == Upper string Lower string Pitch spacing for the Khmer Tro Sau Thom according to the Kh clef, equal spacing. (Wedding orchestra). Lower string SS Equivalent Wester pitches for the Khmer Tro Sau Thom according to the 'G’ or treble clef below. (Wedding orchestra - strings tuned evenly). of be 2 o_o! 2 o. Upper string SS ee Lower string Pitch spacing for the Khmer Tro Sau Thom according to the Kh clef, equal spacing. (Wedding orchestra - strings tuned evenly), Upper string at, Loersting SS Ssguniniyncess Tro Sau Thom misivegunmd ass Performance of Tro Sau Thom 35jasenge [stingufihauninfippaigg qnytwsysine qethapsiné ieupmnesigsdnn IphsigniigussTt 4 domain (prangorsrlpArsigaiqummsouRyS Bupatiigianiaites Fimatnugiigg@ygrhurhapaidyprusiguisruri 41 Frotoumundndysy yananaiin umiimandiind paddy gs {standiar impmesuninwninirel mip stniimage gondandi snpigjinien Undigias isimvsantinnwsgivcinns 4 giangs wsdvissnsanmngsaprans ishgjuts jigisiangegs messeindptin dou.s viamwtnipiiy coe uy 4 Ruyg 18 Ath ip mageyrningineppiiy daows isinwguen MeuEE cue BH fi [PRUTOApANSrAHO vsiseNgiNYAA yMNsAMMpLTOGtE.S BayH igjipiivone v.u iGAtiniimags tnga ginitel msuadie ygndisinanertgn gush y YR wan SYMON HtiNgesomnnageeAy UIAMED TIE cO.E hunwitonswtus wii Ylgntigns umgnigmnn + dedts manchestayn oadyneayingnngin 1 FeGiitinatnypiggM uguygrasinesnigytantncy CHMayp endgniig 1 clanGaitiynf wigs Ga yqndiindystessintinenesenti inusuang + 2 Fignipgiand + iwnaunimfisingasi page Gtnsmiinaigfarsiange Haquewni sinajuigunpyfinnyyisngsigse wridsajuiginnnn = KD neigjy nm Ipfinemarpmuritajutgian = KG 41 Hiiindisingsmsdviganadndisrandinenes iginfansesn (grestei praquddigumes ysitquinitimeter Spndisinehgpavginpyi iat igtings Yintgpestgmndssliarqumeias 4 Pampas gunmitsiengurss inimviaginocterimeinirgpagn indsruagerymUgerunRs ANE sigsiqums Baddiquenitits 4Hnneagupsrangetar muri ages (‘EMANATE Cle de Sol) Ln pUNTINY{itT Musique Khmere-URBA ttaqygiddé dial Bf imp- ~~ --- \o Ip lle 22 fayun igqn nmciigparsiangeign muriin ages (qsiAN ay Clé de Sol) itmmanhafypyuNA (uitnn ympnisifurmada;atanniquuge pen goapmE cimaETUTID . ee peo» _ 9% = ign 6S Se ANAeigpApsMN|Gig; MUN © (Ciéde O) rATSfHHoney HpHETUTID ieyan ign HNnsngpapanguign mutyn ages (HAIN AY Cle de Sol) Tdwnenitafepunt ine yIMfnigisofmegiaionmgsugepnen geaamy HiqMD 37ieqan taps innshajaysiangeig: mengn 9 (cede) fhsahrafaranméd cHgUMD igjnn o SS = Anmehgfyeungeig; muifjn ages (ysIAN aj Clé de Sol) inouensddrgjapsunr itn yryniaifarmedrgpamanniguogepnans geome cHiqumiinign ieqn Honshapapsiangeign mergn © (cléde ©) fnushafarionendg cMingumiintesa> eon 22228 qu fa SSS SSS SS] ieyn eo a 2 SSS SSS |] 38TRO SAU TOCH The Tro Sau Toch is a bowed stringed instrument. It is smaller than the Tro Sau Thom which Khmer people play in the Mahaori orchestra. The Tro Sau Toch is sometimes used in the modern Wedding orchestra and in also in the Aayaye orchestra, by simply tuning the strings down from the pitches used in the Mahaori orchestra. In the beginning, bamboo or turtle shell was used to make the body of the Tro (sound box), in the same way as the Tro Sau Thom. Later, however, black wood, krannoong wood, neang nuen wood or ivory was used, according to the preference of the musician There is not yet a standard size for the Tro Sau Toch in Cambodia, but the bodies of some are 80mm across, and 115mm long. The neck of the Tro is made of krannoong wood, neang nuen wood or black wood, is 760mm long, and is inlaid with decorative bone or ivory designs at the peg end. There are two tuning pegs; one 185mm in length and the other 178mm, made of neang nuen wood, krannoong wood or black wood and inlaid with bone or ivory at centre of the ends and at the tip. The Tro bow is made of heart wood, shaped like an archer's bow 750mm long. The bow is haired with horse hair, sugar palm leaf fibre, or synthetic fibre, The body of the Tro has a snake skin or pangolin skin head, and the strings are made of twisted silk, however metal strings are substituted today (such as motorcycle brake cable). A bridge, made of bamboo, heart wood, bone or ivory, supports the two strings so that they clear the edge of the body of the Tro. The Tro Sau Toch is tuned differently than the Tro Sau Thom. If the Tro Sau Toch is being played in the Mahaori orchestra, the upper string (aek) is tuned to the pitch of the sec- ond note of the Roneat Ek = KD, whereas the lower string (Ko) is tuned a fifth lower = KG. Even though the Tro Sau Toch has a smaller body than the Tro Sau Thom, it can still be performed in the modern Wedding orchestra or in the Aayaye orchestra by tuning down to the third, or third and a half notes, or by matching the tuning if the Tro Sau Thom in the Wedding orchestra, In Mahaori music, the Tro Sau Toch player uses low positions, (producing low register sounds), not the high positions of K'bac music in the Wedding orchestra and Aayaye orchestra. 39Pitch spacing for the Khmer Tro Sau Toch according to the 'G' or treble clef, as given on page 62 of "Musique Khmere - URBA" printed in 1969. BY img aie 2 Upper string = H Lower string Equivalent Western pitches for the Khmer Tro Sau Toch according to the 'G' or treble clef below. (Mahaori orchestra). A 2 0% Upper string ee Lower string Pitch spacing for the Khmer Tro Sau Toch according to the Kh clef, equal spacing. (Mahaori orchestra). 2 a2 Upper string Lower string Equivalent Western pitches for the Khmer Tro Sau Toch according to the 'G' or treble clef below. (Wedding orchestra). 40Upper string Lower string ~~ Pitch spacing for the Khmer Tro Sau Toch according to the Kh clef, equal spacing. (Wedding orchestra). Upper string Lower string Equivalent Western pitches for the Khmer Tro Sau Toch according to the 'G' or treble clef below. (Wedding orchestra - strings tuned evenly). Upper string Lower string Pitch spacing for the Khmer Tro Sau Toch according to the Kh clef, equal spacing. (Wedding orchestra - strings tuned evenly). Upper string Lower string 11 ea 2 oa 2 a68 [siimgunnfigasprnsidmpiester wrislusiquingusut Rusiqy Mighinmviinth mMofitiwmignumgs 1 wguygissqunmipe® ipimangnneda nisi piinuidiqoerunitig Santinaenicdaniars aurmitesnspatangping Atpmgnngag mmrumhestynnsd yuseniga [ergot indies Bays cpssinGtanmewrionan + snyqeufiapgnAgann ino medtiégennadd min m/e unG 1 anpsiatinise gormnii iH sags uindigl mappiis goo uu eninitnans é Buemnmemansysas sneppeynfr yupinooru.vinywgiApiinodtE.S Gata miisinunidindintey 1 [gi instgsfnritinstinnytnticggenn ylesantnma 4 faye imefsiaque teyiruriteye laygaruritgy com 4 ciamans imuGa yn yin miisiénametgystayn sind (sigghufr 1 ishymupyngintnpinmpiivomes.s mates ni 8: sine ytgpBghes Hindstig(sdufirnernimaaas manu yAVingEia 1 wemngtD sumniGAtid namagetagpituciou.s wmsigunnigaiennnn ngwomnus iggy aud 4 inchfiguanninigmsisiguiggsdiats 1 ysinningnys imppiendtapued y iinfiun jrdnigunntnesnachidn Bujgersfemitggints 4 isundiaaiea marian imgumaznrs pRitymetgn mhonipnwidiaudiaysscteyssinty 4 isighingomunt — sAinigyonnyyiSuchgpaigianungs nufingiiteignia ulm Wines tmufiniajaigan + wighkngarpasigis teviinug: yugunyyisime Higandiofinhes Aygempannn sdigputtean untayn ementansy Ranshgpaisiign meign ages (marnngm cle de Sol) enpputtitegjitei Musique Khmere -URBA tieqygioedé SvGoe 42rinneajureiign mengn ages (gatan apn Clé de Sol) teuinaahafapsunA qyium YnfnisiBarimdazndanmguogsrprans goer MaiguETUTID Ae 2 2 2 ign WN, gn SS = SSS | — = omehafapsiigs mein © (clede O) Aranhaperonen Higueruri o 2 2 I ee | ieyn | PS Ronedapaismigr mungn ages (gran ayy Clé de Sol) TewenashafyyunT piv UIMisiaaimedajetanm AUT yppIoN Boe ME MequMD 43igjan La, ee Rnnehafaigizig: murgn © (Cléde ©) fninnafarinnmag cHiqUMD z ee SSS | ae 44TRO OU The Tro Ou is an instrument which Khmer people have played in the Mahaori orchestra and Aapeapipea orchestra ever since the Lungvek period. Today, the Tro Ou is played in the modern Mahaori orchestra and in the Aayaye orchestra. This instrument has a sound box made of coconut shell covered with snake skin, or with a very thin layer of a light wood such as rolues wood, or spung wood. These are the pre- ferred kinds of wood. A larger than average size coconut shell is chosen which has the shape of an elephant's head, and it is cut to about three quarters of it's size. The neck of the Tro is made of heart wood, such as krannoong wood, neang nuen wood or black wood, and is 900mm long. The top end is thicker and the end which joins the body is more slender. There are two wooden tuning pegs; one 205mm in length and the other 195mm. The Tro Ou has two strings of different weight made of twisted silk or metal. The lower string is called ko and the upper string, aek. A curved bridge, made of bamboo or wood, sits in the centre of the skin supporting the two strings. 135mm below the tuning pegs, there is a cotton or nylon neck string (k) which pulls the two Tro strings into the neck in order to facilitate finger movement on the strings. There is a bow whose back, made of heart wood, is shaped like an archer's bow and is 850mm long. The bow is haired with sugar palm fibre, horse hair, or synthetic fibre. The bow rests between the two strings of the Tro and is rubbed with resin before playing to make the bow hair grip. The performer's right hand holds the bow and the left hand holds the neck of the Tro beneath the neck string, using alll four fingers of the left hand to stop the two strings. In the Mahaori orchestra, the upper string (aek) is tuned to the pitch of the sixth note of the Roneat Ek counting from right to left. The lower string (Ko) is tuned a fifth lower than the upper string (aek). In other orchestras, even if the strings afe tuned up or down, an inter- val of a fifth must still be maintained between the upper (aek) and lower (ko) strings. Pitch spacing for the Khmer Tro Ou according to the 'G! or treble clef, as given on page 64 of "Musique Khmere - URBA" printed in 1969 45Upper string Lower string A SSS SS Equivalent Western pitches for the Khmer Tro Ou according to the 'G' or treble clef below. (Mahaori orchestra). Upper string Lower string Pitch spacing for the Khmer Tro Ou according to the Kh clef, equal spacing. (Mahaori orchestra). Upper string Lower string SSS a SY IS Equivalent Western pitches for the Khmer Tro Ou according to the ‘G' or treble clef below. (Wedding orchestra). 46Upper string Avo ee Lower string _=. = Pitch spacing for the Khmer Ou according to the Kh clef, equal spacing. (Wedding orchestra). 22 2 Upper string : 5 SS] Lower string 47gonadal Tro Ou misigegenten ay Performance of Tro Ou 48waqeugze feqinnimaunmitgs ga yeopnsitwpihesig: wrisiphtsiquidiay Tansmanh Bunsiquitignansdisn mafigiedmounigs 1 ugyygies imBeidwwn QUNINA[SHEINfMtseta PANNA ENA 1 auniniiasingrpatiggnGad pgnngag mawno/m meshougeivge [rnes gor sna Bay ystems + sapsiAtiwdge eon iappeys sng yrniigl weppiis deo o.8 aunimenséimavse Baeu~mesans UNS HnapAT yMpTINodls. venyone japiinodts.6 sahil tniisiennit sindintgs [sHenstetinGtinrinymigm yignoninmy 4s iesitinesEsiagne igpitunitey ni feynuruTifggany cininsninme sBatignlj ysoii cninsiénamasaye ingn sindigiggiatr + isipmun uadintipinepiinocoy.s mstey n iAtsinmas gigjig: rinduuleygeitinenernjmisigias — neryoupumayfipwiggetay 4 famnye camAGtin naimagekagptindvow.s — waiguanigaficngna remus ylejiiigre namAtemncindg misisigelgysdahh wysineingAts Impgt cindiipucd y HinksunpaBeiguan tnmnemigin sByjggeitefareghiteysaiy + inuiiavizgimaeamn — Tmsuméearspiputgyn = hun pNvieisudings quiggosintr neiquiiginansmant wit mleyonnpyiuegpuiginmande nutiqgite ishguid Thymapinsiquitinnsmanh — manhefahuchwginsiguiderutiyesms duninitendndaninuiciinigo nigpnrinems tpmutishefutgponesisyoym + Gigisiquisigmqnadiin wfinLsyayfineegmhnsiqarhngnsmantyuns Fins MikudigiaisqoymAusquenuM? Suainphanndigfatigin tishafuteneme iets 4 49AnnehapysHéryatgr mungin ages (qarannyy Cle de Sol) tooneshrafapyunA {hine yinfnisifarmdagaionnaUgepion sma CMigaanamANAD A ars tea 2 faon SSS SSS SSS] ign = eS innshgfappAerpuigimuriine (cle de Oy fatmhrgfaanmndg MupnnsmaNtigo> oa 2 22 fan 5 = ee Se =) Annapupsysruyaigrmurijne (cié de @yFaitgfaianendg *eguinadiiinigiy ign SES =f 50TRO OU CHAMHIENG The Tro Ou Chamhieng is a bowed stringed instrument which Khmer people have played in the Baasak theatre orchestra and Yike theatre orchestra ever since 1930. Today, this instrument never performs in any other group. This instrument has a sound box made of coconut shell cut to two thirds its size and cov- ered with a very thin layer of a light wood such as rolues wood, or spung wood. These are the preferred kinds of wood. The neck of the Tro is made of heart wood, such as krannoong wood, neang nuen wood or black wood, and is 850mm long. The top end is thicker and slightly bent, and the end which joins the body is more slender. There are two wooden tuning pegs; one 195mm in length and the other 185mm. The Tro Ou has two strings of different weight made of twisted silk or metal. The lower string is called ko and the upper string, aek. A curved bridge, made of bamboo or wood, sits in the cen- tre of the skin supporting the two strings. 110mm below the tuning pegs, there is a cot- ton or nylon neck string (k) which pulls the two Tro strings into the neck in order to facil- itate finger movement on the strings. There is a bow whose back, made of heart wood, is shaped like an archer's bow and is 850mm long. The bow is haired with sugar palm fibre, horse hair, or synthetic fibre. The bow rests between the two strings of the Tro and is rubbed with resin before playing to make the bow hair grip. The performer's right hand holds the bow and the left hand holds the neck of the Tro beneath the neck string, using all four fingers of the left hand to stop the two strings. In the Baasak theatre orchestra, the upper string (aek) is tuned to the pitch of the fifth note of the Roneat Ek counting from right to left because music for Baasak theatre is pitched one thean higher than music for the Mahaori orchestra. This is known as first note tuning. The lower string (Ko) is tuned a fifth lower than the upper string (aek) like the ordinary Tro Ou. In the Yike theatre orchestra however, the Tro Ou Chamhieng is tuned one thean flatter than in the Baasak theatre orchestra, that is equal to the pitch of the ordinary Tro Ou in the Mahaori orches- tra, An interval of a fifth is still maintained between the upper (aek) and lower (ko) strings. 51Equivalent Western pitches for the Tro Qu Chamhieng according to the 'G' or treble clef below. (Baasak theatre orchestra). MN 2 _ Ag o_o fe “92 Upper sting 4 eS | ——=— Lower string =. i = Pitch spacing for the Tro Ou Chamhieng according to the Kh clef, equal spacing, (Baasak theatre orchestra, first note tuning). Upper string Lower string Equivalent Western pitches for the Tro Ou Chamhieng according to the 'G' or treble clef below. (Yike theatre orchestra, second note tuning). eo 2 2 Upper string 5 = love SS oon 52{ass {pin maguninitp ates qnywpping qehsgunimisoiwend tapmesiga inapphisigatigirnsmannfigh oémo npnesiugygs 1 snuominfiiel wdipngy idimage yonigndl enpndnGmdndys coonncips yondyrisimesaniiagatgiuningin 1 duis ABsmamnammanmngsinprens ishi@jwits Hisisiags mssdudnd iia oeu.uyriou.s uraMetndptin ood ue 4 Saisie Tid igs maga ysaiiginaypitH Moow.w wsinugads mneuyd curpe >HA YH PRumUTpASryH fgisngiANA YOeuIAMNpINoNeEY BE qurginpiinood uu Atindioags (neq ginal mavydsn yard wsinaneign HuguBuisiBypyn 1 mamngun*itiige samnnayotag vmepiiy cloow.w inannitngentnss asttnmnmne yleptisn unbinigyen windiseeotthestegy nod lngandgoiney «ingress 1 fepGifinriamyinimgoem vgiygrasineoniay TANNA NYE ergy 4 we: yal wns wage uygndinindygigisiats nw Gniiinesuand 4 Simemiinairgjyfstarseininasnaymunnssy eH Mqnamantinigo> Gighuens yesewsH (Octave) 4 Lnseighuigsisigs mutgn eases (GstMNAGH Clé de Sol) Bnppudficayjéiel Musique Khmere -URBA ttasqygioéaé Si1330 53Hnmehgpapsisign mengin ages (qatAN YK Clé de Sol) HorNEAefAEUNA pT UNrisiBarrcdrapsonmAAUyE Ian so yMY frEANAMANK feyr Hnnshajapssigr mutiin © (Ciéde ©) firanhafuronny c HigsrANEMANt oe oo 2 feyon igyn rw 54TRO CHHE The Tro Chhe is a bowed stringed instrument. It is the smallest of all the Tro and Khmer people have played it in the Baasak theatre orchestra from 1930 right up until the pres- ent. Black wood, krannoong wood, neang nuen wood or ivory is used to make the body of the Tro according to the preference of the musician. There is not yet a standard size for the Tro Chhe in Cambodia, but the bodies of some are 65-70mm across, and 105mm long. The neck of the Tro is made of krannoong wood, neang nuen wood or black wood, is 700mm long, and is inlaid with decorative bone or ivory designs at the peg end. There are two tuning pegs; one 175mm in length and the other 165mm, made of neang nuen wood, krannoong wood or black wood and inlaid with bone or ivory at centre of the ends and at the tip. The Tro bow is made of heart wood and is shaped like an archer's bow 700mm long. It is haired with horse hair, sugar palm leaf fibre, or synthetic fibre. The body of the Tro has a snake skin or pangolin skin head, and the strings are made of twist- ed silk, however metal strings are substituted today (such as motorcycle brake cable). A bridge, made of bamboo, heart wood, bone or ivory, supports the two strings so that they clear the edge of the body of the Tro. The Tro Chhe is tuned to the same notes as the Tro Ou (Baasak orchestra, first note pitch) but sounds one octave higher. Pitch spacing for the Khmer Tro Chhe according to the 'G' or treble clef, as given on page 60 of "Musique Khmere - URBA" printed in 1969. Upper string Lower string 55Equivalent Western pitches for the Khmer Tro Chhe according to the 'G' or treble clef below. (Baasak theatre orchestra). Dos a #272. = Upper string & = Lower string Pitch spacing for the Khmer Tro Chhe according to the Kh clef, equal spacing. (Baasak theatre orchestra). Upper string Lower string 56¢ gates gigi Fmauninigwguémmeguninfing§n teapmesnynpAqHiangy aniny yiuqanendifinvicagumn 4 auninitas inisindfapmhis spmomywBimniundpshes mefiegran amiduntitites hehaunmitgamsnnndes Suchomniigisisusiajudandpsionh TAINAN YN 4 sGaunwiduigunmiwgie: Ganamimnmnhgishsigjuns msgunmigsiin a8 grt erqouguuguisimenuaiyw dignmsnnmngungisiitinyjuying 1 auminitgie: manmondhGatingnngg masmanammnpinagsypg iedeens TMI pHSd, cone GupinocH.S menhestygnond fyynondpeene tagger Hp aGATiAgayo: sntgl sags inuinsysiiades.s ensppynd yusowns its oon.e iPAtiigugeuvies wiwBunsoyognd ysaomhqnsrysoning shay msig hth Atiepurincy ming ugYgiNONignanMAERegH 1 BmnINS [Winnie erGAtind TotgpamiAticnins vstongunns yrosiesteyigs 1 suf iGinnfinyfisiemnppligy Gasinaquigysisinyiaiies —oiwgat yay wn Ga UAH tinigeinenunviynasinewand 1 isivingeinyninpedamadsinys YUryMijsyNsiRAnounwAgisiy Sadmimignan 1 teysindrunigtes {eisnthursisags atm Peas 4 timemfincitgfyisignas — Tandmanqan-chfinjnegnaiondgsaunmaing Ugupiannsigiuns tpnerinisignnentinsisigjsie gamnifagehin gegi goras isigipiinamimniuidigpagimerniar Giginanmneptaaiifnneedig|a (ntervalte) Figo iaitasSlo FigySiorsiieySm Frdiginyungindrafargeondey 4 SHMUIAFiHTMusiqucKhmere TAPP UEN EN! Piannntaneieng SHE pain: Smaqygay oeoe sides mafinnseigjapgtgnomel : 67a — igqust so Rnnrhajargign mutiin ages (qatAN AYU Clé de Sol) IdmnscitazApUNA ine ympnisisumndigfaionmguLge pen sox oe teyan — aston fis A tay | | igqust s7 wv S Hnnaiajiisign mutiin © Cléde ©) fnigfaranny e_2_ 2.2 faynn ieyuai 58TRO KHMER The Tro Khmer is a bowed stringed instrument numbered among those which Khmer people play in the Aareak orchestra, or Aapeapipea orchestra (wedding orchestra). This instrument has been connected to the daily life of Khmer people for a very long time. It plays a significant role and is closely related to Khmer traditions. There is not yet a standard size for the Tro Khmer; some are slightly longer, some are shorter, some slightly larger, and some smaller according to local variation, but there is general agreement about how the instrument is put together. The Tro Khmer has a body made of half a coconut shell in the shape of an elephants head with a length of 16.5om and width of 14cm. It is covered with snake of pangolin skin. The neck of the Tro is made of heart wood such as black wood, neang nuen wood or krannoong wood and is 83cm long. There are three tuning pegs, each one 11cm in length, made of heart wood like the neck, and inlaid with decorative ivory or bone designs. There are three strings made of twisted silk, however metal strings are substi- tuted today. The bow back is 77cm long and is made of wood, while the hair is of sugar palm leaf fibre, horse hair or synthetic fibre, The bowing method is above the strings, not between the strings as for the Tro Sau or Tro Ou. A bridge, made of bamboo, wood, bone or ivory, rests on the skin near the rim of the instrument. A finger-sized lump of wax or promor (a mixture of wax and lead) is stuck on the skin next to the bridge in order to make the sound vibrate and avoid a harsh tone. The three strings are tied to the neck by a neck string beneath the tuning pegs. Unlike Western instruments, there is not yet any clear set of rules for tuning the Tro Khmer. This is because the Tro Khmer is tuned to the Pei Au. Some Pei are sharper than others, and some are flatter, so the pitch of the Tro Khmer varies accordingly. There is, however, consensus regarding pitch spacing (Intervalle) between the first and second, and second and third strings which are equally spaced. According to the Research group of the Royal University of Fine Arts, the tuning of the Tro Khmer as given on page 58 of "Musique Khmere " printed in 1969 is as follows: A ib \l¢ 59Middle string Lower string $ Equivalent Western pitches for the Khmer Tro Khmer according to the 'G' or treble clef below. =o = soe Ne 2 2 foo. 2 2 Upper string ES aS Middle string = —— == = ae Lower string | ——— SS SS ==} Pitch spacing for the Khmer Tro Khmer according to the Kh clef, equal spacing. a 2g eo 2 2.2 = Upper string = = = Middle string Lower string 60gunindjaigs Tro Khmer musdigegummd alas Performance of Tro Khmer 61Fegoerjes iaynyi vigqy Fngunimingynaiguwprnsiiomasuriaings yom in Sandie pnerts Sassen fqijimakweigyn 1 FmaunininGunanygwpine iwadhdiaitidun tunngcunntggaj> maimfnames ymagnleymesnnm Bumnsigzaun yieansinyes ftin wgfightingl yn 1 ineepyTUMSnighnponiumypn sanitsisaeernyn Rapyn 1 ituntepinms ylestineistiniegnsaymireisaaypninighignsucdun Tn 4 mstyw UIUMM[iiHO.Gos BH UNWINsDIN O.ovE PATMgE idesmaucpenn ufc pif aia + sinaRHamAcyoRpEntninn 1 AunTyNMss Ssmamuinynite nyedunrunrig mausi®aptivo.loows sminsigqnyiarion Maqnsytigwbansain wnsninsunsidesah 1 wind guymawen sunupmige tsiguaaturgh mguen own yapsciunninn BApgpnssigisiche eon “quo ghd 4 isinomnguomnpinpnecuMieisigicminaneEND Eaptis igpants ovo 9/m o7é YsmenaLsiose ispiinigy wiwenchurcidugeirgys sGirigerss Gemoinsnigpquade 1 smrpipnvidisuciaysnindgsignsifin siunmunnignumiisifyrginns + tepej? meintgyyns Gigauninftes ineinegyg, yitincrapMgioEMATIA meTpAdowdayy terhgan:frseuedguminl ignifitgtingennda iguenomeiphsiqaingammny ssiquiingammnnn dig Sammrnfdizagmgsqunmniniestiatas 1 HusramBguniniiayNanigiingnwngngin gunmniitgpejiensienéamed thitn Gigueygisimuncnatenstde mhoynissiqyimaris Arpmehchaunini Fonujs Sansnhgiaie gigsindiamdenynigmegio Sagwtempmigmaivd iuRiyOYIT tisigmeurgeen 1 62apmshafatgnejiign murgn ages (qarinagny Clé de Sol) BMTBFitAyfiI Musique Khmere -URBA tieqygiogdé dhraelo corde en laiton Hpmehgfatgnayt muriin ages (HAAN AY Clé de So!) iHrenAKitAyA [UNF eine yryniaidarmimafedonmgusgspnan gone cmenpE_Nang, layeytn feyans feyegtn iejand 63KSE DIEV The Kse Diey, or ‘one string’ is a traditional Khmer instrument which originates before or at the time of Preah Thaong and Neang Neak, which are two ancient pieces of tradition- al music. Kse Diev means one string. The instrument is made of a ripe dried gourd skin (Kse Diev gourd) cut in half or cut leaving two thirds of the of the head, and a single copper string stretched from one end of the neck to the peg at the other. A hole is bored in the head of the gourd and tied to the neck close to the peg. Cotton or rubber is used to secure the copper string to the neck at the point where the head of the gourd is attached. The neck is 0.80m long and the peg 0.15m, and they are made from heart wood inlaid with deco- rations in ivory or bone. The end of the neck is carved into the shape of a naga's head The gourd is not covered with a head and the open side is 0.20m in radius. The string is plucked with a tubular copper or plastic pick which is slipped over the fourth finger of the right hand. In performance, the player holds the gourd against their chest, opening and closing it against the body or shaking it to make a resonant vibrato sound "tom tom" When plucking, the string is stopped with the middle of the first finger at points half, one third, one quarter, and sometimes one fifth of the way along the string, but released immediately in order that the string sounds. If this is not done, then the sound is lost. The four fingers of the left hand are used to stop the string near to the gourd as it is held against the chest. The Kse Diev has only one string, but is capable of producing an evocative sound and a total of twelve notes. This is a special feature of the Khmer Kse Diev, bequeathed to us by our ancestors, and played in the Aareak orchestra, and ancient wedding orchestra. It is sometimes also performed solo like the Chapei Dang Veng. The Kse Diev is the oldest of all the traditional Khmer musical instruments, but only a few remain today as it is difficult to learn and there are not many players, We should there- fore take interest in this instrument and prevent the loss of what our forebears created.Pitch spacing for the Khmer Kse Diev according to the 'G' or treble clef, as given on page 52 of "Musique Khmere - URBA" printed in 1969. = Copper string Equivalent Western pitches for the Khmer Kse Diev according to the 'G' or treble clef below. (by the authors) Silk string Copper string Silk string Copper string 65Sheets Kse diey Wiis is Performance of Kse diey 66n8coise aunintaiautivichguninigwnaiimsgunmiishiiguinany Suita Lidiniicgam 4 1ppifitssquninimiestinnsnganfimosyungiah “adidas” sindgatrjamnamey yRypainiquijninargys yyememagamundtansrja Fintigfasnie maenrigmpangas qumingurmgMyiogs Bacijunhepnas MAME supa: pwede pscrasign MatignanuyRsugygiss 4 MUMIPNI Pi wAMIONN MA SamemIpANIPiUNY_NET te soo isine inyjitel “sisiorguisignig:"rmenydpemungansuniin sigh ogos mshi anim : auniningestesywietussiniienwmamse Fypiniiniiiismniomtaons isitiwmnanigjuguaiine igjningéntauunes puis mAsmesynwtans + Agena Geahwyppwin wegehentvey kyrcy~mmD manag Pevmhoasayidge i pymhenningeyngey ignsatiaiosinyyp {wuduennpannt seni aap nogeey agbedsy” 4 aUTINimiustinaynNs WrySUITH MngsaEANINa senugstgenA BugusnsthnthiD + cmmenyningyptia o,cou sBuygnewysnsptiN oes SEayreayMEMsps O,mow ANINsAinn o,od:4 eamifeingnis purnjs sini inspiito,dou Apmmjsisiguptanswpiin o,cow 4 immegdnomhApAntyysns lefiyusiignadigpintine Hensintunsdigiinge teyonsiutifinssngzain 6 quit usididunsunpeiucyssdquotnpénaneetyminynetas teudinnsed isifidinaes gidholissnsitsigénammdndine igtigurgigunig|minienw emus gdmiisienhtisigw niguarpmegnnindifiamnedsayys 1 milf shighhites untimitpsurondigumnpAMte MM 1 tiiAondindndn siigiuitermadmeamys aanninil : sirgja imo "tney 4 67Gimemfiniigjrundmiaiahinamd py ye AiymenifidomppAgingums UIguny inppfinmenisfsruniguniniie Finegjsiggn qpyiSunigjaierinigis IMEC git OAYH(L/Octavey Digganirimducmstinngpaigyn 4 Higipassgs ipl inniig: tami inpgfinnifisian 1 Tomiinidigae smpyfinmundiayy HntpRUMBS garomugeriqusndies ancien cgumeyngema, Hejigt munkajucuniin Hepmemnndizaganda mipfagsbide + Yindiinywnigs yngeniafia Bigs yjunwaunininijantinapmsgignaanrgp aay monyfinSsonmengsingise — tyanigfuijaficnndsfagathsrindauniniqaa inumy Suddiqenmysigngjdinmy + Rncighmnijesiin muir ages (GStANAWY Clé de Sol) BAppeTingfiirl Musique Khmere -URBA ttasiygioede SiisuE e A i ee SS ian vsoeueee Hnmeiigjamgestin marin ages (gatan ayn cle de Sol) FasnaArafypsUMA pptunes YinfnrgisuAengpamanngHUgEpSH BoeNa TMS . plas teyon = ign 5 Oe 68Rnnshiajamijentin murgin © (ciede ©) Anaitafutonng VSS == SOS gucindegcoise Chapei Dang Veng 69CHAPEI DANG VENG The Chapei Dang Veng belongs to the Aareak and Aapeapipea (wedding) orchestras. In addition, the Chapei also performs solo in accompaniment of poetry, narrated stories, vocal duets of an argumentative style and riddle telling - a special feature of the instru- ment which has brought it great popularity from early times right up to the present day. The research of older teachers and of Mrs Pech Sal in her book "An Brief Introduction to Khmer Music" published by Buddhist scholars in 1969 has shown that a Chapei cannot be made any old way. Wood must be selected which has a good resonance in order to hold the attention of the listener, and of the spirits. The body must therefore be made of Teang wood and the neck from the kresang tree, while the face of the body should be made from the khtom tree. The ‘toad’ or ‘sticking point’ (tailpiece) is made from the thnung tree, the frets from bone or heartwood, the pegs from neang nuen or popool thma wood and the strings are silk; As the rhyme goes: "the body is reang, the neck is kre- sang, the face is khtom, the toad is thnung, and the frets are bone” The body of the Chapei is rounded, some shaped liked a bodhisatva leaf, some like a pineapple and some like a pagoda Semaa (conicaV/bulbous carving). The body meas- ures 0.5m in length, 0.34m across the front, 0.30m across the back and it is 0.06m deep The length of the neck from the body to the (bridge at the peg end over which the strings rest) or thoreni is 0.60m and from the prekien to the preper (curved end of the neck, like a stretched out scroll) is 0.50m. Holes are bored for three or four pegs which take two or four strings, but are tuned to two pitches only; the two lower Ko strings are tuned in unison as are the two higher Aek strings. The neck is decorated with inlaid bone in intri- cate designs along its length beneath the strings which rest on 12 frets along the neck. Holes are drilled in the frets through which the strings pass to ensure they do not slip free and get lost. The frets are not fixed in position so that they may be adjusted to the exact pitch if the ‘sticking point’ shifts position. This support is used to find the required pitch immediately, for example the sound "traeng traeng” 70The tuning of the Chapei Dang Veng varies because it is tuned to the Pei Au in the wed- ding orchestra and Aareak orchestra. The Ko string is tuned to the Pei with the two low- est finger-holes open but sounds an octave lower. The Aek string is tuned a fourth high- er than the Ko string. If the Pei is flat, then the Chapei is must be tuned flat, but if the Pei is sharp, the Chapei must also be tuned sharp. When playing solo, the performer must immediately tune to the singer which sometimes necessitates tuning tip or down a thean or a half thean in the middle of the performance to match their voice. They accom- pany their own singing. In order to keep the pitch of the Chapei stable, all Pei Au would have to have a perfectly standard pitch throughout the country, as this provides the fun- damental pitch for the instruments of the wedding orchestra and Aareak orchestra to tune to. Pitch spacing for the Chapei Dang Veng according to the 'G' or treble clef, as given on page 54 of "Musique Khmere - URBA" printed in 1969. A Upper string = ‘S a : Lower string Equivalent Western pitches for the Chapei Dang Veng according to the 'G' or treble clef below. Jn 2 Upper string ea Lower string asa 71Pitch spacing for the Chapei Dang Veng according to the Kh clef, equal spacing. SSeS] Upper string SPS Lower string Z Sa minsicegunmangecise Performance of Chapei Dang Veng 72jRiigence Wivmennse FhauniningywiinmemAigausseniia wasvgan: Sifummquniniynandis unnistsguninimerss Fmeauntiqunmimientin tine QUMINATTNgENsU_MN: UNAM 1 [pMsritnGestntauninfsintinss gomamiinwiitas quis Sueimasgagtnams wmimensdiinmarta mvvdidan ninndigia wguoded Tegimappuneiqeati Tnaunsniemreizmedig senime snenkumys Metapsiyph maniigunaywtiymer pHuitgH_SSd eaimaypEn insigy yqunumie mawnfismamsnugnihigumysisupmnRsnany 2 IseMFAy "Fi isruni punch: [tid mofivdionBy aveymiensqunsgengitinggans 4 india Sunw TEMANUMEnyunyP Ming Merge ign inary. ERMAseN: ms patgnteniinumigpeaqnséanrumenysorsivigunmlsi tga Amersavnial imenymesngigiss 4 nieymienaunimineywioumsnsysyaiN — MeviAMWtiNe,mos Apeunayss geniin mnuTitgayygnine 1 Gamanatanystnmsdy pital pigs wnafigysisipaq_nainsye 1 Musywomspiivotwn.s1 _AUGihuTAge Frese iiugii edinsigsow tiimwiia yfimngs meppeyntitimnennisngetany ws Winfsrindppigyansignyéa nnsteyti igSonnior tagnn thiiqgfigqs FagSosuTim “top tGtilegfggsiar aleyStinunier iayienyigynugy” fennbtiienynns 4 wnepuainnias yurUTisT Rakypmen” rafiqngnias mie faunmingyapinsiamnsnganijenis sindugmannitiaus 14 mmanwtph pnsisdigfamemeriacaaigimigqumpqusiqugial get : verge mi verquenied vert SuverpAorgjamuimemmenyruAREAsNAD 1 73TNMAIgEMMEMBIAN ages (GATANAIM Clé de Sol) BApRTAFAANfiEAT Musique Khmere -URBA THBYRIOSDS GHGED igyan Ee igqust = a Annigfame murin eges (GstAN AH Clé de Sol) isuNeairapapsuMA {pitnn YsnjfnisisafissnigfsAonmguUge pan BoennpmUc igastUTigeD Ae 2 igian 10) Hnnetgjame mun 2 (Cléde 2) fnanitgfsdaneny cHirqueruntii a lle 2 o SS SS 74iayti ig 2 = = we IETS Hnnedigjume metin ages (gatAn AysU Clé de Sol) FenuNsedtgfAUMF inn yinfrigiduAmeigisionmgsugypaN soen~mE Minas o> iejan fee iejugr tay Es > igjust 75KRAPEU OR TAKHE The Krepeu (‘crocodile’) or Takhe, is an instrument which has already undergone some development and is now more modem than other traditional instruments. Its origins are in the Chapei Dang Veng which has similar characteristics. Looking at the two instru- ments from above, they appear very much the same, having the same number of strings, prekien (bridge) and frets. The Chapel is flat and has no legs, so the performer rests the instrument on their thigh, gripping the neck with their left hand and holding the pick with the right after the fashion of the guitar, whereas the Takhe which developed out of it, stands on three or five legs and is performed by the player sitting behind the instrument, depressing the strings onto the frets with their left hand and holding the pick in their right. The shape of the Takhe is like that of a crocodile, the king of fresh water fish, hence the name Takhe which translates as Krepeu ("crocodile"). In the beginning, the Takhe or Taakhe was shaped exactly like a crocodile. The head of the instrument was carved into the shape of a crocodile with open jaws, complete with teeth and eyes, but later, cir- cumstances forced the Khmer to give up decorating instruments in this way, and the ordi- nary Takhe reached its modern form. The Takhe is a plucked instrument with a basic rectangular shape of 1.30m length. The head is rounded and narrowed, while the body or thung is fatter. The thung has three or five supporting legs, two or four under the body, and one under the head. Each leg is 12cm high. The thung is made from heart wood, particularly jackfruit wood. There are 12 frets made of bone or neang nuen wood and three pegs also made of neang nuen. There is a prekien (bridge) made of ivory or bone which supports the strings at the peg end. The first and highest of the three strings, called Aek is made of nylon, as is the sec- ‘ond, called Ko. The third and lowest, called Ko Bantor is of steel or copper and all three strings are secured to a small box of thin copper called the ‘toad’ or ‘sticking point (tail- piece), The Takhe is advanced in its playing technique and is generally used much more in ensembles than the Chapei, being able to perform, for example, wedding music, Aayaaye music, music for Chapei and other kinds of music according to the ability of the individ- al performer. 76Pitch spacing for the Takhe according to the 'G' or treble clef, as given on page 56 of "Musique Khmere - URBA" printed in 1969. Upper sing === : —__ Loo 2 tate sing = Ss oJ Equivalent Western pitches for the Takhe according to the 'G' or treble clef below. (Mahaori orchestra, second note tuning). Pitch spacing for the Takhe according to the Kh clef, equal spacing. (Mahaori orchestra, second note tuning). Upper string 7Middle string BFE Equivalent Western pitches for the Takhe according to the 'G' or treble clef below. (Mahaori orchestra, third note tuning). Upper string Middle string [ Lower string Pitch spacing for the Takhe according to the Kh clef, equal spacing. (Mahaori orchestra, third note tuning). Upper string 78gerindece Takhe ruBicegusmAaES Performance of Takhe 79Begs A auimiiiugs shauniniigwttatitupmnisign insinguisiguidqarns manhindgnes GigmuangimsnGnvigumsiuAywupsagunmidioggagats igummtwsiugem: gin isi me eur Wags ar Sunia+ sprifisssing urpmrsiguitipuanied Suitiquenniintwugyygiasasnes 4 auniniiugsmanngongisdraly gyyniuanis sGaitindygor yon : sobigjn ofr mengectiymsniunGatiaieg 4 eksindthAtgnstigs eungsBven Ai gintigiintrfeitgfmssiaeNdnAn cfg snot finitgjimstnynts 4 fientwens pegaywons det impmwunajmnafiniupernains cyoos t te midangiinniduyumeiaiy Ayiisimunkgjagnigjay gmengiijuysrssins UIMmAYE PTY OLOu.T IIMMATMU LN Méou.y BussunspiiA loueE.E 1 sprifiiseisiensianengunindnntrgsrenadiy 1 msuNNMNgoneA 8 égsigy punindcatgy Bupiiginindintgy 1 wengutingityaifinne ramiininatgs 4 isinigimnauguaaygnifonsiiniguggmensmnesiggnmnunmmmastiesnint Truaigja on sind ypuriafunensiggndfiaringayes got tinsmiinnigfnie ngniginuinsimny : Inigo igle igm igmngs ige Fieititiginnanchangpananis puGstimermnon mpgfinmeaunimiamyeian ndiniwutinngfumaonun thwtgmivpatiomesic pgfintepaitafumemipy {yO isiinudcerapmetas = stumiersiprisiqgaiiinaansmant snpgfinigo timelgn@edSmguyye siigfuginanomhandtrmersis chafing Ke siwndiersiparsige ihighunl mpg finiglnindjunhsfuigynameyna AGmeaivos —bngfinee GH siigft KD iiwrigipiquiiqudlsigyn Annpstidinmeusugyemie 4 80Hpnedigfndiegs merin eges (stan aps Cle de Sol) fsnaRigfayUNA jotuin yrafmioiSarracgfsfianmguuge pian goanymec hingansmanttge, sirgfagaiggon siigiagigynames l oe | + Ry | sirgfanngu Pans abort oor riigfugiggon riigfamiggniamos sorgfugiiagsadrgfianuy 11d eona 22% HnAhgpiygs murin ages (GSI AYU Clé de Sol) TAmENsHgfEypUNA pin i YinjnisiSsfimndgjafonngqyege pan suenymE igsurtTiigla> A ne 2 2 sitgjagaayon Hishugiggnames sigjagitagn airgfsnur = 82YN rirgfaagy 2 le SSS Rnnnigpniuys mungin ages (STAN ays Cle de Sol) TdenNsAiAfaUNA [utVI Ulnfrrgiduhiunigiuianniawuge pian geen digg sitgfagiigyon p zy riisiueigynamas % == SS siigfaiiage wor siigpanay Ay 22 a Rnadigjuepemeiin 2 (Cléde 8) AnaAgfumonmy Hipmigm a = scratiattc 2. ES chisfagiteyon a= = 83shigiugdaynamey shighugsiayn we piigfiscau ie BPO eurseiuniicge auninitiege snonditamarnfatiign whespmaidinuga HUE MiigfanwIAHME IMBAAREMyNaNigiy Gsryichowenynisrnstined tigjt Frequency) }MsIg Findenangpeuneramensincied stiles Suuseipfinne (Intervalle) FrigpaynnsinigpyMMimmesanstiynan 4 gonekweqe Khim Toch 84KHIM TOCH The Khim Toch is an instrument which the Khmer originally only performed in the Baasak theatre orchestra. Later, however, Khmer musicians began to use it with other instru- ments such as Tro Sau, Tro Ou, Takhe, Khloy, Skor and Chhing, in the modern wedding orchestra. In addition, it is also used in the Aayaaye orchestra and modern Mahaori orchestra. The Khim Toch is shaped like a butterfly. Its body is made from a light wood such as p'deak or koki wood and the front and back are made of thin spung wood. There are two rows of bridges on the left and the right which support the strings. Strings supported by the left hand bridges are played on both sides of the bridge, but those on the right (Ko strings) may only be played on one side of the bridge. There are seven bridges in each row, though newer Khim Toch may have eight to ten bridges in order to avoid problems of tuning to higher and lower pitches to suit the singer's voice. The near side of the Khim Toch measures is 650mm long, the far side, 390mm and the width is 255mm. Inside, there are supports which keep the front and back firm. There are metal pegs at each side of the instrument sufficient for the number of strings; on one side, for securing the strings, and on the other, for tuning. The strings are struck with two bamboo mallets whose heads are bound with cloth. The bridges are capped with bone or ivory on which the strings rest. The upper strings (aek) are three per pitch and are made of steel, while the lower strings (Ko) are two per pitch and made of copper. The Khim Toch is tuned, as Khmer musicians say to * the first note, the second note, the third note, the third and a half note, the fourth note" that is, tuned to that note on the Roneat Ek which is taken as the standard pitch. If there is no Roneat Ek in the ensem- ble, the pitch should be taken from an instrument which has tuned to a Roneat Ek first. At the same time, a Khim Toch with seven bridges must be tuned according to the requirements of the various ensembles below: In the Baasak theatre orchestra, the Khim Toch is tuned to the first note pitch (of the Roneat Ek). It is the third string from the bottom of the middle group which is tuned to KE. If the Khim Toch is played in the Mahaori orchestra, then the same third string of the middle group is tuned to second note pitch, which is KD, but if it is played in other ensembles, it may be tuned still differently according to the requirements of the orches- tra. 85Equivalent Western pitches for the Khmer Khim Toch according to the 'G' or treble clef below. (Baasak theatre orchestra, first note pitch). Upper strings Middle strings Lower strings Complete range of pitches fappeeeteeitco tt Pitch spacing for the Khmer Khim Toch according to the Kh clef, equal spacing. (Baasak theatre orchestra, first note pitch). Upper strings Middle strings Lower strings 86Complete range of pitches Equivalent Western pitches for the Khmer Khim Toch according to the 'G' or treble clef below. (Mahaori orchestra, second note pitch). Upper strings Middle strings Lower strings = Complete range of pitches — ; = re atehln oo 2802S Pitch spacing for the Khmer Khim Toch according to the Kh clef, equal spacing. (Mahaori orchestra, second note pitch). Upper strings Middle strings 87Lower strings Complete range of pitches Equivalent Westem pitches for the Khmer Khim Toch according to the 'G' or treble clef below. (Wedding orchestra, third note pitch). Aa 2 2 Upper strings idee stings SAS oe ey oe Lower strings = SSS a= wea Complete range of pitches eta near ne Pitch spacing for the Khmer Khim Toch according to the Kh clef, equal spacing. (Wedding orchestra, third note pitch). 2 2 = Upper strings a 88Middle strings Lower strings i Vw Complete range of pitches a —— = CRAY The Khim Toch may be performed as part of many different orchestras, simply by tuning up or down to suit the ensemble. In the past, traditional musicians did not actually pay much attention to the pitch of the sound (frequency). They were more interested in the names of the notes produced by each string and in maintaining the proper intervals between them according to tradition. nusicegenaaSsge Performance of Khim Toch 89Bes Huiauninignivapmesigtavinanal pirsigunitcgngnemanimsA Bunpaciugyygiss 1 ippifipiivgudngunamanh auninitiusrss gins iaipaguiiiguenniiy ymmnteupygyiemates 4 auniiiuGinensyschug weed 1 quyniissrs aid anwodem: tise fou mnfitginyiniigiini + wgentBsagepmeriitiadags anw yu wuamnegiige ignsinigigennsumnsnigpmmadinna —otersinigietintinanirapam tasinining’ gibywomenigd gtengHiyuowmatgndapHmantiniatiannmsy agunanfinsignhapsoniin tGitiqns4 ediGitinigene vnpHaygnisifnies Symone Guimanpmesye piso oon. surements ppiiseions.u Bugduee (ilincven.1 igneaguinamnisndnnugseneiins gunmisnsuinwidnan quypimuigetay yunindwuigzairgfy Supingjanindintgigjas inating ah yng juehesppammnindhentes 1 isipuiiepinansmnnh Wetrss pfinppagdimndtirymergntqu ype gpa SinnnevgyuShdtgfHigscrumADMTiMNgsunigjasie (KE) 1 tsiquihgyurTt ig udppfinteymighSeattins aypiBanirgiulge summon wWieneiSuchnapinites (KD) 4 su iMIUNTEieErMigissho mafyemstrymeg sauna GH titnungpungsiusrgmmDaRED ATE 1 90Lnndhgjinied murGin ages (qainn ayy Cle de Sol) TouenaningjaysuMA wind yrAfmioiuhmahgpaAonmguLge pian geetyEc hiegmsmnnttgo> shrgjugreznn Fe Ax Fars nfo singfisgrtegnngnas eirgfaditegns airgjueapu inngiiecmerin 2 (Cléde 8) Ang pHANAA HigsANsMANigS) firgfagiigion 4 nx siighadigynames 1singjagiiggn sirgjangyy == end serv Rnnehigfawiud murine (qsian ago cle de Sol) Heuenseisgpapsue potas YuAfnsiBaA Arg urANAAAERy YN goat MUCHiguETUTMEyigialy shigfagiiggon siigaiiggnamas SSS A = a So = = siigjagieyn firgfayy 92WNnehighivsmsign 2 (Cléde 8) AmNIgfahanMY cHighuwTimmyigi¢ey rirgfagiggun = siigfuciig¢names shafagitgyn risgfiioyu 93KHIM THOM The Khim Thom is an instrument which the Khmer have performed in the Baasak theatre orchestra from early times up to the present day. Apart from forming part of the Basak theatre orchestra, the Khim Thom is today sometimes also played as part of the modern Mahaori orchestra. The Khim Thom is shaped like a butterfly. Its body is made from a light wood such as dueng chaem, p'deak or lambao wood and the front and back are made of spung, mango or rolues wood. The Khim Thom has two rows of bridges. The strings are played on both sides of the left hand row of bridges, but those on the right hand side may only be played on one side of the bridge. There are seven bridges in each row. Each bridge on the left is strung with three steel strings, while those on the right are strung with two copper strings. The bridges are made of heart wood capped with bone or ivory. The front edge of the Khim Thom is 110cm long, the back edge, 70cm and the width is 45cm. Inside, there are supports which keep the front and back firm. There are metal pegs at each side of the instrument sufficient for the number of strings; on one side, for securing the strings, and on the other, for tuning. The strings are struck with bamboo mallets whose heads are bound with cloth In the Baasak theatre orchestra, the Khim Thom the third string of the middle group, counting up from the bottom, is tuned to the eighth note of the Roneat Ek, which is Khmer E (KE). In the modern Mahaori orchestra, the same third string is tuned to the ninth note or the Roneat Ek, that is Khmer D (KD). A special feature of the Khim Thom is its slow moving note pattern of its style of per- formance. Like the Roneat Thong its sound is distinctly recognisable in the ensemble. gunned Khim Thom 94Equivalent Western pitches for the Khmer Khim Thom according to the 'G' or treble clef below. (Baasak theatre orchestra, first note pitch), Upper strings Middle strings Lower strings Complete range of pitches Pitch spacing for the Khmer Khim Thom according to the Kh clef, equal spacing. (Baasak theatre orchestra, first note pitch). Upper strings Middle strings 95Lower strings Complete range of pitches Equivalent Western pitches for the Khmer Khim Thom according to the 'G' or treble clef below. (Modern Mahaori orchestra, second note pitch). Upper strings Middle strings Lower strings Complete range of pitches Paes ———— re ee ToS 96Pitch spacing for the Khmer Khim Thom according to the Kh clef, equal spacing, (Modern Mahaori orchestra, second note pitch). Upper strings ——_ =. Middle strings Lower strings 97adio nis Fmgunnin sew pnaiifipnfigamsdinsiones 1 musnniin inonsghyysRetunynfrenminsnnmo sintepingy 1 spensiggirgiEsyeno MSMANAE INUABIgnneAATINayay 1 moniyrgisiguis dndgag pags fopeffirenensiuin 1 imBigginiuigna: gunisgs pity neon msergienynetcy Undynijins + wlergstapnme rudy goo wietnsyfrenwaansiacneyn 1 conta: sings: Farequnageminstnsrindimesias — Gigenmhrtay InNUIAguigUNYATIEY Tnufotidamitsmhenesa neni + Cinemennantiond mpi ie mont inafiersisinnaungigs gi ero) gumabasio Kong Ring 98KONG RING The Kong Ring is a musical instrument made of bamboo with two joints at either end. A sharp knife is used to cut the crust of the bamboo stem to make seven tiny strings. Under each string at either end of the bamboo joints, there can be found a small bridge separating the strings from the bamboo crust The string, though small, are of equal distance from each other set in the bam- boo. Directly underneath the strings, long and narrow holes are cut in order to allow resonance. At present this instrument can be found in some villages in Mondulkiri province, but the strings have now been replaced with metal fibres. The technique to play the Kong Ring however, remains the same, ie using fingernails to pluck the strings. Reference to the instrument in Mondulkiri province can be found in Lomnom Sangkeb Nay Pleing Khmer by Mrs Peac Sal, which is mentioned in the section of the Chapei Dang Veng nudiceguaaaacic Performance of Kong Ring 99asia {URIS OI Wind Instrumentssestqggs Re pstqyé [Wiggs Supviqetmhavninftemmdnsiquidiuhnnma, Saniguiicrazn igi imaunmiis: marhutiyswdwayrenysnaiguianiqenayy ysaniisi TneHwig A. Foo -ob 4 [uigiithaunmli_umaningsign instisaiine sqrics t[8s Frpmsqunmniigiats iseenaminiean tpn tian Sanipneie 4 nitenBauigasapviggunpysisiivngiiavsyains madidapsigs Saigneyum tGunwusqamdintinemnspeiginym smeywigitinss Big! cgiiguynioperpD Tasusgram FMinwmarigpatenmia: Figuswpuns conan: gortayirafeigomingys Gunwmimenatine + diene sunwmsh mig (wig Sayviggs cmignany Sechon tyme pdansvadand ppigiehentiegs QndGsns Byjinpsgemimag 1 nyjumsgunmiypwiggintr Fingiwrsins aihigationd Ragngsiejn Aig SaMisapotguadynmUMHOSs gomHy! iglowndicghing + tamemansnyarunitdia isigujummidumamnisitpannaagiig 54399-ol0 izmneaunmiqvigianas maunganiqen Aigiynanmeniiengy isl nigntisionn~me iesUEMAgnggiysands iy yge sunsaunaningag ier AURINTPHIGQUsHIgHsINnsigdHaN d gam Figmipipneininsutisins cope 1 Tngyvigawinssnfeumimiengysh tabprgy yeuge var insnignisiin Bamaryinpeisiviy —wuritingn einiypseadagedtayy 1 To AIMMIQH gsi FssAnAIMAg 1 AnNAHiuAhchYs tesenArmMeENENG Shige iionfitiqngppasmennysuntemmandsqe cindnmirelsagpeig, 4 ig¢uigg Supvigns thgslnssiuyjumiyegenns shAiyuhigysenaijin Gisndigtionmumeionnmeiigysennd gigsmynOOyNUTe [gig net 103AMY ENMUNRETNgysEKT tmsihwgGhy BH NensAnnnmemngian msaum 4 shgjuuadpviqewinnangantmssmaaunmigiiongga shen pptagas Heiner Pmediapniies meonguanparuingiinsananngig, unmet shigjania 1 yngemogma oloriigfa gugininegmsoorigfa nyionham §epttiiaams Bapnwie 1 mastignan Sritiumescneimaiapsamnguchanndganpnintes Gig iiiafnamandonestimonyfamsnpntancimnmapeig gh: oF 0 in F 91 9 or. Tut Tink. iG . ini ig Baustugefingrenanugyyg + dime animeigaigfs iuncfoninsisimengan: plug Pgdhapysedonmn mia su yard Swursimefusiyfa see 1 qiniMutasFenmannisimeunsammunpsigeM 1 nag yAsiAN AYAY suniMeTAy{itAT Musique Khmere femmsfinntitupeninafs rmenydpuspagt oébé Biniin 2 imrpniphtundyysyning 1 104Annniigpapwigier muriin ages (Herne Cle deSot) AnypuditnyfiteTl Musique Khmere-URBA tianugiodaé GisGc10 wiggs quige Rnanhigpapwigig: murin ages (qian my Clé de sonidnumnaitayapruntgsinnar SufmadigpinnnguygeprengsesyME ciene_U_RENg . o of & 22 wigs we 2 2 wigt oS Hnnsiigpapsigite: murgn 2 (Cléde 8) Airsnitafatinnenéds wiggs wigé ee 105SRALAI TOCH AND SRALAI THOM The Srelai Toch and Srelai Thom belong to the Pinpeat orchestra and other ensembles too. These instruments have existed since before the Angkor period and are depicted in the wall carvings of the temples at Angkor Wat which date from the eleventh and twelfth centuries. The Srelai is a very difficult instrument and is not played by many people because of the technical difficulties presented by breathing, tonguing and fingering. In early times, the Srelai Thom and Srelai Toch were the leading instruments which gave the introduction to each piece of music. The performance of the Srelai Thom and the Srelai Toch together makes the music more beautiful to listen to, as the two instruments perform in different melodic styles. The range of sound is different too, but as they fol- low the same melody in a given piece of music, the two blend together in a way which is pleasing to the ear. It is fair to say that blowing the Srelai Thom and Srelai Toch is com- Plicated and demanding because each piece of music must be performed with a contin- uous, unbroken breath so that the melody is also unbroken. Each player holds the Srelai according to their individual preference, some with the right hand at the top, and others with the left hand at the top. In the eleventh and twelfth century carvings at Angkor Wat which depict the Srelai however, Khmer ancients are shown playing with the left hand at the top and the right hand below. This shows the correct technique for playing Khmer wind instruments. Both the Srelai Thom and the Srelai Toch have a total of six finger holes each, but their fingering methods are different. The body of the Srelai is usually made from wood, such as krannoong, or neang nuen wood etc. The shape of the body is elongated and there is decoration around the holes called kantuet. The reed is usually made of ripe sugar palm leaf. The leaf is folded in four and is tied securely with thread and sealed with wax. to a ‘spout’ or reed-base, which is made of copper. This is inserted into the end of the Srelai, The holes of the Srelai Thom and Srelai Toch are usually evenly spaced, like those of the Khloy. In fact, the four upper holes are evenly spaced while the lowest two are slightly further apart, necessitating the player to spread the lower two fingers more than the upper four fingers. This is because the second and third holes are set farther apart than the others. The sound of both Srelai has a special quality which is different from other wind instru- ments in that each hole is capable of producing several different notes as the player changes their tonguing on the reed. Some players can produce 12 notes, athers 16 depending on their tonguing and fingering skills. In ancient times, even though there was no written system of note names, there was still a special oral tradition of note names for the Srelai such as To; Teu; T; Tae; Pei; Torae; To; Tor; Hayeri; Hayerae; Hayeti; Hayetear; Teye and this has been in use right up to the present day. It is possible to describe standard hole spacing relative to the length of the 106instrument, but there is not yet any standard pitch, each region having their own practice. Below are the note names of both Srelai in the treble clef (G clef), as given in "Musique Khmere - URBA" printed in 1969, and in the Kh clef, after the authors' own research. Pitch spacing for the Khmer Srelai according to the 'G' or treble clef, as given on page 70 of "Musique Khmere - URBA" printed in 1969. Noo? Srelai Toch SS Asie 2 2 Srelai Thom Equivalent Western pitches for the Khmer Srelai according to the 'G' or treble clef below (by the authors). o of 2 22 Srelai Thom Srelai Toch Srelai Thom 107esypesmegomuSaosa surwpesiqgysrosigggs x= wmigta ue o= nuigtin mindtmmuivonggis “x” Sign “o"tsighauniniipsiqgsta finns Fite metvurmnnantanay uu idwynUgEpISN IMINoETUNTiN 4 muufiuniivincs eiiyedy ymeciiias insunwynijsquninipotgysinty mamdinsBamdnipnete namiBartin wgywigy 4 thaympumAnHAonMMEaags indinnamingjsimineysivige + gor mapiggsivinees Rayinenesess Baguvigeniiqjnuyrens — Befjurrpysinafa Pugnarnowspyy wiSypneiid idwyNiUEEimsty sory spenettie sagen mnamigniiynmes 9 tsimudand Ge Baro nyfigs 1 evattmutss rGuyuriming simeigeo girmdinwwige quiggs swueinignr mei pamitis sOnpnwieguigy ser a yamdiagstas wtqige sestbansnes igs Se se maha Paps! igtinn sina segmamAs 4 estyMEEs iiemennnAystinns Ficus iaputgisiatiaundannyg 83 ee cui ge» 4 1082eesep ct jpendiageiqggs XXXXKXKXOOXKXKXKXOO XXXXXOOOXXKXXKXO XXXOOOOOXKXXKxXOO XXOOXOOOXXxXOOO XXOOXOOOXKXKOOOO XOOOXO0OOOXOOOO0OO0O 123 4 56 78 9 1011121314 saendtesctggs XXXXXKXOOXKXXKXOO XXX XXOOOXXX XXO ini XXXOOO0OOOXXXXOO fgnuni XXOOXKOOOXKXKOOO XXOOXOOOXX0 000 ityms XOO0OOXO0O0OXO00 000 1234567 8 91011121314 figeigueihsoizaisianyme yt isucmgie sinwaipotgne yates Fenasqn tame iqnpnvitensah yeraginund pig wer pmetannigpnas ABarg guigiiors 4 109So) endiagsiggs swesiannys age Ge tonnyg ages Fe maka pMeNMY aun} qpvinanehatiny: BusnySema 4 sunifgndigyns 1 agg tannmegeusingrdies + aenpmures iismennnaginiinsthd Heung inviggsuedmA ddtafacidin Aisipdigannun Go to giRsiginnnnd o0-Kc twelo piBuiginnnnd é - KD mem giBiginnnd Gd = KE twee [giBnigrnnbnd = - KF twee [giBuiginnnng 9 = KG wed gigaiginnund e - KA ten giBsiginnond ¢ = KB cipfiggobAyninirgyin ted ppBuiginnong m=Kc BepiBjuniningpn ted giSsigimnond = = KD i290 [giSuiginnuns 9 = KE 110pendie signs XXOOXXXKXXX XXOOOXXKXKXKX XXOOOOOXKXX XxXOOOXOOXX XXOOOXOOOX OxoOxxOOOX 1234567 8910 B/ RmGlagsiass swebins ages ges upYg wonn Fithyninignagunan tsigheuitendeotinysstanty 4 quMEss thofingigentimemeannonhocmed widwis pig Aehdhaf~me ian fisifatiginnan gon 4 tm29 [qiStigismund onl- KC tela qgiStiginnung 98-KD iwem [gisuiginmynd ot = KE twee giRagimaung 9G -Kr wet giSsiginnnnd om- KG iuea yiSuigimnnnd ol- KA m1smart {piSuiginnons 99=KB cinAnAgMAD wed [giShigimnund 90-Kc cHnMngny wed pfisigimnnnd = KD tweoo [gistigimnnns d= KE tueoo [giSuigimnang = KF meoe piStigimnnnd 8 -KG tueom qgishiginnnnd wu = Ka teog [giStiginnnng ¢ = KB teow [piSnigimmnnd = m-=Kc cnn gaondieesiggs XXXXXXKOOXXKXKXXxXO XXXXXOOOXKXKXKXxXOO XXXKXKOOOOXXXKXOOO XXXOXOOOXXXOXOO xXxXOOXOOOKXOOXOO XOOOXO0OO0OOXO0O0O0OXOO 123 45 6 7 8 9 101112131415 112FINGERING SYMBOLS FOR THE SRALAI THOM AND SRALAI TOCH losed hole O = open hole The system of showing a closed finger hole as "X" and an open hole as "0" for both Srelai follows the method of Mr Om Meangkul and is the same as the established Western sys- tem. We consider this a good system because it allows the student to memorise the fin- gerings for both Srelai quickly. Playing a wind instrument ordinarily requires the use of additional breath, that is over blowing, and the addition of lip pressure appropriate to the fingering in order to make the notes the player requires etc. We observe that there are some personal variations in fin- gering technique. Below is a table showing some of the fingerings used by three musi- cians for the Srelai Thom and Srelai Toch. A. FINGERINGS FOR THE SRALAI THOM AND SRALAI TOCH OF MR CHIN CHAN Mr Chin Chan is a musician of the Prek Temple in Samraong, Kandaal Province. Below are the fingerings for the Srelai Thom and Srelai Toch, given in interview by Mr Chin Chan, known as ‘Grandad Toch’. FINGERING FOR THE SRALAI TOCH xXXXXXXOOXXXXKOO XXXXXOOOXXXXXO xXxXxXOO00O0XXXxOO xxX00xX000xx0000 XxxXxO0O0x000xx0000 x000xX000x00000 Fingering Number: 1 2 3 4 5 6 7 8 9 1011121314 FINGERING FOR THE SRALAI THOM xxXxxXxxOOxxxxoo X X X X X 00 O X X X X X O Upperhand xX X X 0000 O X X X X OO this line is where the X X00 X00 0X X 000 0 ‘ightandlefthand fingers are spread xX X 00X00 0X X00 00 Lowerhand Xx000X000x00000 Fingering Number: 12 3 4 5 6 7 8 9 1011121314 131. The disconnected lines above or below the symbols for the Srelai Toch and Thom show where the notes played by the fingers of the right and left hands are spread owing to the wider spacing of the holes at this point. B. FINGERINGS FOR THE SRALAI THOM OF MR NOL MIC Mr Nol Mic is a retired teacher of wind instruments at the Department of performing Arts (National Theatre) and at the Faculty of Music. Below are his fingerings for the Srelai Thom given in interview. The highest note is the first note of the Roneat Ek. No. 1 which is the same as note no. 10 of the Roneat Ek = KC No. 2 which is the same as note no. 9 of the Roneat Ek = KD No. 3 which is the same as note no. 8 of the Roneat Ek = KE No. 4 which is the same as note no. 7 of the Roneat Ek No. 5 which is the same as note no. 6 of the Roneat Ek No. 6 which is the same as note no. 5 of the Roneat Ek No.7 which is the same as note no. 4 of the Roneat Ek = KB (overblown) No. 8 which is the same as note no. 3 of the Roneat Ek = KC (overblown) No. 9 which is the same as note no. 2 of the Roneat Ek = KD No. 10 which is the same as note no. 1 of the Roneat Ek = KE FINGERINGS FOR THE SRALAI THOM xX OO0XX XXX X xxXOO0O0XXXxXxX xxQQ0090Q0XKXxX xxQO09xX900XX xX XO000XxX0OO0XxX OoOxO0O0xXXO0O00xX 170987654321 C. FINGERINGS FOR THE SRALAI THOM OF MR NOL KOL Mr Nol Kol is a traditional musician in the Faculty of Choreographic Arts. Below are his fingerings for the Srelai Thom given in interview. The lowest note is the seventh note of the Roneat Ek. No. 1. which is the same as note no. 17 of the Roneat Ek = KC (low register) No. 2 which is the same as note no. 16 of the Roneat Ek = KD No. 3 which is the same as note no. 15 of the Roneat EI No. 4 which is the same as note no. 14 of the Roneat Ek = KF No. 5 which is the same as note no. 13 of the Roneat Ek = KG No. 6 which is the same as note no. 12 of the Roneat Ek = KA 114No.7 which is the same as note no. 11 of the Roneat Ek = KB (middle register) No. 8 which is the same as note no. 10 of the Roneat Ek = KC No. 9 which is the same as note no. 9 of the Roneat Ek = KD No. 10 which is the same as note no. 8 of the Roneat Ek = KE (tongue up/stopped) No. 11. which is the same as note no. 7 of the Roneat Ek = KF No. 12. which is the same as note no. 6 of the Roneat Ek = KG No. 13 which is the same as note no. 5 of the Roneat Ek = KA No. 14. which is the same as note no. 4 of the Roneat Ek = KB No. 15 which is the same as note no. 3 of the Roneat Ek = KC (upper register) FINGERING FOR THE SRALA! THOM XX XXXX OOXXXXXXO xXXXXxXOO0OO0XXXXXOO xxXxxXXQOOQOOXxXxXXO090 xxxQOxQagooxXxxXxXaOxaa xx0o0x000xXxXx00x00 xoo0o0x000x000x00 12 345 6 7 B 9 10 11 121314 15 115gunmdjssiggs jesiqgs Sralai Toch and Sralai Thom 116ees % gos Fihnguninfingkynaitgrmpnne tumateriinsiggntgimutigas doonniqyae ftungnneaunsipAgaiigstiannas qinmemagnigaceh fina wacfinn nage wnmhamnpe Sanhia;mmenias cAfyudgetieunteunds pinbinniaunnfigwmantisitigapanspiy w.A8 o8 qUNETEMS ajisfisé 4 auniniguenaisinatiiquinnmainsietintes — Gtgrymersnenniicgyens iifisiquidiqaenun figumistesname igianecanh iigumid Ba figh fisigjn thiiugwinsgsm~moamawahine 4 Fonujumaiq Fimmarcimy Sondiuniyniomnyaogs gomynge MAikeaA NG Sayngeajn chiigenmnsiny finaiar 1 infimemmstanoeina tsiguisquugronisann tnt eitag une ‘nin paita un ite a” Sooo jummsiishGs mevingyuyy Gifinyguma auninignig: Fiiikeungy mfieidigewayl 1 gymmhAynvidisauniniyas ier dndinngindipmunesiconigies — gomdaummnApnsitryaguyyyprans comundiqgy tes 4 SimemnGauniniguiarndigudtiuysjan pinswigs yonssounigen few oyomFaunigennsiyd gouiluypionens Pépajuhajrnwinyge Snins 1 mudondgamieBamafiynanmesnmnmsigargyys Hnrgfayersinirapages InUNMINHENMEUAAS wiwanurig vgdunmeuniinyupgtingspnsysia andytgl guishGqgumugiimsijo sindvhig giafionnig 1 dfindnbrgjngestgntiin tshanimenigjsiginnon wesige tam ike... mupuinaiings iain: 4 omnpiyanieiig}unign inneinachigpshigusingns Aeiapud Rechapsyme gudmaisinaige tymmuninsig d tUENIginnsig ¢ Hisigdisign ims PANchiga rau surisugurgigysiaray 4 17Hnmetgfagwign murgn ages (HSIANAG Cle deSol) — BAypwATIAAfiIAT Musique Khmere-URBA tmsqyWI9eDE GID innehgjuswigimetiin ages (HaIHN AY Cle de So) ftwesHigfapUMAppINT YinrisissrmndigisionnguTgepsenctgi csehenppEyNngy guise ON nnedigjugwigimenr fin ages (HSIAN AYE Clé de Sol fHuINsNiafApUNApiMA YrnfmsisahagparonnyUBepsn iguMAgM ceeOTREENENg 18annehiajuewte: menin 2 (Cléde 8) fisigfshanny quiinamicigm oe 2 gust B SSS = =I , =, (SDE rere eon RosegismapomBarSaynuiewmsaunadg es yA Memanwpyurindyndypsymes wiumsGhwqeindamedigens fis Sintin iuomnanqAN np RUMIBBBEEMTME foemunyl X =tucmisis coeinanys o =naenugitin ma ymmnnsqunindiyagees inuinenamigjafintwgyivise 1 gothme wpfiggijunt daywiAqeind Ragmuigusiyjoyrnd wijopmangpasingnes Ayos [NuIeapNEiteO_nOMEimants ww 1 animUrsertiinngyrsminicimedgsog’ sonismiis Sutinigemnunmaigfucintds quvgpuquigs idandiameuyeens wigemtsi : 119mnoasnqnesmad pied aarggutgdge a Bg cee sss 7 oo ee 2 z eee See q] eo 7 x x x x x x x x x x x x x oO XX OX OX! xX} 0 x x x x x oO Oo x x x x x oO oO x x x x oO oO oO x x x x oO fe} oO x x x oO oO oO oO x x x oO oO oO oO x x x oO oO oO oO oO x x oO oO oO oO oO x x oO oO oO oO Oo o;|;xXx oO oO Oo oO oO oO x}/o}loj/olo|lolo};o}olo}o}o]o}jojo wows! | 2 | 3 | 4] 5 | 6] 7] 8 | 9 | of | 12) 13 | 14 | 15 find pnigAh dindgneiaw| sindpnwidgh | sindpneienge islam island isles tales igangjug <———_ x x ———> gshafudiuya iermuising Xx x oe — ——> iasfitnugniengihapneiigt ignigjas ~<+———— 0 . . . Aapnuisimuuniguniniigen 0 Tagghhetn ys ° idorenstionnfigenratgesdin 120junogiaiinauninseesigs « NN, Bae igen) (atu) igisu ee Sy igcita}y (6) o.0 0 0 OF 121KHLOY The Khloy is a traditional Khmer instrument which originated in the year 611. Itis played in the Pinpeat orchestra which is made up of four players of the Pin, Khloy, Skor Samphor and Chhing. It should be particularly noted that the Khloy is shown in a stone carving dating from the 12th century reign of King Soriyaavoraman the second, on a wall at the ‘Temple of Angkor Wat. The Khloy genuinely belongs to the original Pinpeat orchestra, but later it was used in the Mahaori orchestra, the middle age wedding orchestra, the Baasak theatre orchestra, the Aayaye orchestra and other ensembles too. The Khloy is also performed solo to beauti- ful effect. The method of holding the Khloy depends on performer; some put their right hand at the top, and some their left. In his thesis "A study of the Khloy" 2000, however, Mr Kaev Dorivann illustrates how the Khloy is held with a photograph on page 6, show- ing the left hand above the right. The fingering of Khmer wind instruments is therefore the same as that of Western wind instruments (left above right). The body of Khloy is made from a kind of bamboo called Pok, a heavy wood, or piping. The reed is usually made from a fine-grained heart wood such as guava wood, so that it does not soak up saliva. The method for making the finger holes has been passed down from Khmer ancestors: A sugar palm leaf is folded into pleats and then laid out on the body of the Khloy. A cylindrical piece of iron, the size of a little finger, is heated up and then used to burn equally sized holes in the Khloy body at equally spaced intervals along its length. The Khloy is tuned to the second, third or fourth... notes of the Roneat Ek according to the kind of music to be performed. Each hole can produce two notes, an upper note, and a lower note. The earliest Khloy had four holes which later were extended to six, and later still to eight, but the additional holes are only for tuning and are known as holes for letting the air escape. Pitch spacing for the Khmer Khloy according to the 'G' or treble clef, as given on page 66 of "Musique Khmere - URBA" printed in 1969. 122Equivalent Western pitches for the Khmer Khloy according to the 'G' or treble clef below. (second note pitch). (by the authors). Seven hole Khloy Eight hole Khloy Pitch spacing for the Khmer Khloy according to the Kh clef, equal spacing, in the Mahaori orchestra (second note pitch). Seven hole Khloy Eight hole Khloy Equivalent Western pitches for the Khmer Khloy according to the 'G' or treble clef below. (second note pitch). (by the authors), 123Seven hole Khloy 4S Eight hole Khloy A 7 SSS ES SS = Pitch spacing for the Khmer Khloy according to the Kh clef, equal spacing, in the Mahaori orchestra (third note pitch). Seven hole Khloy Eight hole Khloy 2 S= Boer FINGERING SYMBOLS FOR THE KHLOY For ease of study by future students, we have selected easy to remember symbols to denote closed and open finger holes on the Khloy as shown below: The letter X = closed hole The letter O = open hole Playing a wind instrument ordinarily requires the use of additional breath, or over blow- ing, and the addition of lip pressure appropriate to the fingering in order to make the notes the player requires etc. Below is a table showing some of the fingerings for the 15 notes of Khmer music given in the examples above. 124TABLE OF FINGERING SYMBOLS FOR OPEN AND CLOSED HOLES OF THE KHMER KHLOY, SECOND NOTE TUNING x xX x x | x x |x | x |x | x x |x x | x oO gras! | 2 Left hand Right hand fingers Lefthand | Right hand fingers | 5 fingers beh ingers below pk low above Front hole «————— X x ——— > Side hole Left hand above X x — ———> Side holeThis line divides Front hole <———— 0 the right hand from the left hand fingers of the Khloy which are equally spaced. ° Right hand below o o 125(GENERAL SHAPE OF THE KHMER KHLOY Khloy body J Khloy reed Blowing hole Sound hole (side) escape hole =O So “a Finger holes (front) o.0 0 0 OF 126gentadgus Kloy musdicegunmiges Performance of Kloy 127FugFwyes Ga youn Acauniningiunignyw pins ieudinsiquysianantpgyad + x thauninfigen_ucmmsaunmiysyerypngin « gigio wijuntine igmajio qrize > quddiqunmysatdiquenmuifimuiusinentig: Wanamaigsuseonyungs + Ajisigwmspnumags — Anwnydijnepsunasgsthaunmaiiges yionenting spmsjamenganiis whonnhinen amaindenig sairprivurith “pis ObEAABe yA mheonaupursateyMgigns sndinfuntenandiinnen pss amg wgiuninnepptis bo.eo wy Savinspiia 90 we marge Rigen igayme 9 Bugisléuyfao+ sgisidfansteppmnniintyiene mange aoahajaugtapafe 4 mifantsaja Fpgfinguninftdiquinny ysiegamiynandiaigjn mucingjs sudan tpmsguninijahauniniidwssindingugsmamvia soqunmivia iginta4 chajauniijaginadismsionh maynonigemgsinprenistde fine gumuasugnieimeruaynerayes — dian ginynoniendinensnyonmnsfiann shiajafiganaiyesgsm 4 Hmaiajuiamengn ages (qstanagy Cle desol) SnppstifitayfiteT] Musique Khmere-URBA ttc] ygiOédé Std 3S sein we aight a 128Hnnnhafufameniin ages (yer ays Clé de Sob feevinaniafa punA piu UinfnigiGurrnhgpatonmahugepen gua siigfisties snags myst Cx xx xxx x) Ulendanhapatennammund ater gegefich shtgpa KD 1 nétnnnsdafann Grit (xxx xxo 0) tHmnuniafuiguuniuedisign aigenth shigpa KG 1 Adigmminsimudanitpifmnypnages masteunieoiey pod Ggigh (xxx 000 0) Smnadgia riuhegennminimninhasy m Bariapaon gach shaligfa ke-Ke cshiafisnnantaninyy wend maniendty 4 unnaajuty merino (clede &) Antedtafurianenty — sirgftiaitin z= —— si oT 2 =a edvapinasateut = ae, o —— 129PE! AU OR PEI PREBOS The Pei Au, or Pei Prebos is a Khmer wind instrument. Together with four other instru- ments (Tro Khmer, Chapei Dang Veng, Kse Diev, Skor Daye) it makes up the Khmer Aareak orchestra and Aapeapipea orchestra which have been in existence since before the Angkor period. The Pei Au is made of narrow bore Ping Pung bamboo, not wide bore bamboo which is used for the Khloy and Pei Pok, because the Pei Au has a special external reed called the Loam. The Loam is made from the Prebos tree and is held with a small strips of rat- tan in order to keep the Loam flattened and easy to blow. The body of the Pei Au is 20.50cm and the Loam is 10cm. There are nine holes in the Pei, seven front holes, one hole at the back, and one on the side which is covered with thin paper to give a buzzing sound, like a cicada singing. The Pei Au is used to give the tuning pitch to the other instruments of the Aareak orches- tra and ancient wedding orchestra because this instrument cannot be tuned freely like other instruments. There is not yet any standard tuning for the Pei Au throughout the country, instead there are variations in different regions, villages and individual ehsem- bles, however traditional Khmer musicians are in agreement about pitch spacing. Pitch spacing for the Khmer Pei Au according to the 'G' or treble clef, as given on page 68 of "Musique Khmere - URBA" printed in 1969. pesca Equivalent Western pitches for the Khmer Pei Au according to the 'G' or treble clef below. Sy The lowest (Ko) sound (X XX X X X X) of the Pei Au is the same pitch as the middle Ko string of the Tro Khmer, that is KD. The Aek sound of the Pei Au (X X X XX O 0) is the same pitch as the upper Aek string of the Tro Khmer, that is KG. However, in prac- tice, the fingering ( X X X O OO O)is said to represent G, as on the Khloy, so we pre- fer instead to call the Ko and Aek notes of the Pei KB and KE (at the request of Mr Om Meangkul). 130Pitch spacing for the Khmer Pei Au according to the Kh clef, equal spacing. Actual sound 5 Written notes oY 131mredicegonmags Performance of Pei Au 132¢ tase iysihauninigamundtgnnpina iemsfindumatysutesgsenigs 1 tay wafupins Fywiyunninmes ingangumstvuvers Bagwnajn Figuensanman Spdanmansivovsdnygangersn + simu pandiundiann MA oBamEDKANIEsaiA mauepich : gununitegufingatimngdahigamaipeys gigas Sami wreargeay 4 ishonideumnigag? fui UisiinaimaduAMAge yrsioningippATT uneitrrsigGty Guinuaniqginseg Befeneochanesdigim 1 spnitinaeren iiss igannianwrsindislipany 4 auniniiasGatiiqnim igapii yiguergny idwensnanweryy aneenen tims 4 TnMAgEIMMUgs porMggEyt islenisapUMHeAH cinduywieignedte sin sighs 4 islownnmnagdywieutarinmhwpAdieA 4 tslenAnaMetagiiTTns gpoyes thnaysupstindndhinamnitangAAugegnyags 1 smqiangn wissiguhangs (yaiiotigh 1 ugnenismnpigunminas Aoywidgh [pits sineinsnéimeg goog diguadigasm nitwrywmibsrinprumsensd «anne wimeningpaiein sine giyeniuniige aunmiiqn maunimigupinsigamsngananuénesa mans inmontyuns Wiwrhgiohiinsgssmemisg 1 seiniinehensak aqeph MIG uNeAAIs gunMiss_insmMmAgasiqaENgnguAIM qarautee iiguinne 4 eS Caingrigs enppatisorpiinngfiiml Musique Khmere-URBA tnsg HH) DEE Fitts) 133SNENG This instrument is made from the horn of a buffalo or oxen. The Sneng is said to have originated from the time when the Khmer people hunted and traveled through the forests. A simple instrument, it was used as a signal to call others, or as a waming or even to seek help if the traveler became lost. It is also known that the Sneng was used to call domestic elephants back to work, when they were grazing in the nearby forests. A hold is drilled through the pointed end of the horn and is covered by index finger of the left hand when played. The mouthpiece is usually made of thin, flat of bamboo and is struck to the hor using a piece of bees wax There are two versions of this instrument one with a mouth piece and the other without, where the Sneng is blown from the end of the instrument, producing only one note. The more common of the two types is the Sneng with a mouth piece, as this gives a wider scale range. The player covers the open end of the horn by using the right palm whilst blow- ing through the reed in the mouthpiece . This is one of the few instruments in Cambodia which is almost never accom- panied by other instruments in a ensemble formation and is used purely as a solo instrument. - Reference : Musique Khmere, URBA, 1969, P.6 134egal gumadigge Sneng sisigeguaiahiqge Performance of Sneng 135Se 2 Gn Fhquninfingmpay iwvluaysymnes tsimecsuapgnipesmss auninidinies weftinmumegsmninsiontiammsiuntmpss 1 wminn ma aggnfiustinindengimmsimatvuvsiderayiogs 1 mnseondgn dent ngs apm Gaya Gnipyis yneieaintewmsdisaganmnpunAyinwmengs ining intusl MIKNANMSIAMAnAMMYN[SIY — EhAgMIgiqUMAho Nein irenomsavyreniang 1 whigjeiiomnagigjsiisignvyrnianisnys reine inpiiniountierinindhondagyy iernsimenivvys Gndwdgesoundiennen sngistnmssyinone itiunGstes nope 1 ininsimsghuapdpines ylinmuidonmesy mBsyiongmsiAnyas auninfidiats Fifedinninsinngmesnwssiin —Aiymenthauninh seshRGsinsgn quite frusmedime + nogigisgunmignmaymsntissimessuepyniqusms: semmayines digs Stradyinsymsstios ahgfmingsymipYSUMAtgsmAysMATsiguanenmes yd 136SLEK The Slek is fashioned out of leaves from the trees of the "Ampour", "Pourch" , "Krai", "Kravagn" “Chrey Kram” and from many other broad -leaved trees. It is commonly found among cowherds who whilst minding their cattle, pick broad leaves and create their own music. The Slek as a musical instrument, therefore, is not found in the cities, but only in the countryside. The leaf must be fresh, broad and not too soft in texture. It is curled into a semi-circular shape so that the leaf touches both the lower and upper lip where is vibrates to make the sound. The upper lip controlling the sound, is used to alter the timbre The Slek can be played for a long or a short time depending on the ability and mood of the player. It is, however, a solo instrument only, because the tone is shape and high-pitched , similar to the human whistle, it cannot really be played with other instruments. municegenmagn Performance of Slek 137eng guudy Fgunmiquunigngeping tkupgimigersigungnyijag + auniai igeingingn tag” ieuchigg:ymumsiguyencfina sures 4 pmNYMNUYEsinanpirs wGitwhmaynisegauniinastars auninfgyadigns: Finundunungudps idwmagiheyndigentss mito Hungymitumenséuwnens1 wmwrguenmigammuvss ijunwmegainiin duetrienigins + auninigpaciySatuaysaunimingimanorare Anis miaja"gn, gn,” ints 4 qunininentteintisiqupenchiiucdppesumyYesh — fpenchGfisipsng y eneifigworgis sindppewumyp quence thosnagnyMy "mg"Aryism yng thAigudemmiigs om qan gi odo nnysipssings dingfis renymetnighé WneviguypuNpeHY Ardpeig coppeiyps isioormsnsgnng fish mswngumdueniguenchiiins yjsiisnmhwpeny sfispengdayamsins yemn 4 KYANG SANG The Kyang Sang wind instrument can only be used in Royal ceremonies particularly among members of the "BaKu" group depicting the divinities of the God Brahma. To play the Kyang Sang is a great privilege and only the musicians of the Royal palace may perform on these instruments . The Kyang Sang is made from a conch shell which is called "Kyang Sang" only the largest , most beautiful shells are selected for this special instrument . The tip of the point- ed tail of the shell is cut just large enough to be a mouthpiece and the sound emitted is a"Tut Tut " sound The Kyang Sang was used on 23 October ,1992 for the seventy -first birthday ceremony of His Majesty King Norodom Sihanouk, In the ceremony , the Kyang Sang symbolized the "Brahama BaKu's" wishing the king good health and long life. 138gunnhesosse Kyang Sang 139G2e8s wv gw Fihguniahinwywizonsnanapinwmsatns 1 manujurmigunasdia wEhsnsh gutasihinstouynanternaindstsnusdanntimens QuinspadegjangAidununngygn + mgupuagmiaiquypaddigjame wapiiy YMuUtndgAy ivrindgemmpss imndoinigis e-a yo idanGatiyaijonssiqudun MIN Thonsiiinsywomsimegiigjayw indie tingimuvsivyiianoins+ auniniivuunssimuiuaishiimnfsgen sechfigh figs Badshh we tsighjow sii] tepuagways gnyyniusimsteneommsd” ay’ (ainpodsogpiinaytiat Musique Khmere - URBA snzqy 9€99 $1799) 140PLOY The Ploy is solo wind instrument mostly used in rural areas , as a form of entertainment in rural communities. played in the evening time when the farm work is finished , it is still popular amongst the rural people . The central body section of the Ploy is made of a gourd, from which five to seven hollow bamboo tubes protrude. These bamboo pipes are called "Mobot" and have a small metal vibrating rod placed in them which vibrates when air passes over them. Air is blowed in and out of the instrument through a bamboo pipe ,set at right angles in the gourd. This double action gives the instrument the ability to produce two different tones. On the other upright pipes, are cut holes, so that by use of the fingers several notes can be produced. The Ploy can be found amongst certain tribal groups in Mondulkiri province ,such as the "Phnoug Tampuan" a similar instrument known as the "Caen" in laos could possibly have originated from the Ploy. - Reference : Musique Khmere, URBA, 1969, P.12 141gurmnkges Ploy 142tae ing Fiquninlingngwpingttiong afiyajenis winismaiharpineh : insig Su tnsep 4 inary wetindyajjigs o¢ sig o¢ 121 4 Hoianninagh metndynjigs od wsig od iti Aymomsigs Gi insinhenspiin Gow.y tinnninsginspiin Ge 84 isipinignd sGatiaiinnygwmsmspuninindwnindyaenn fuyjum — chfiagaitie wsrienes moninpnssndonnatmsttydndgin: eyjfrenweysd encore 4 wommuning GAtiq_ndanamywpny mdianimesennenia — SurmmeAchaame iinmnisiiciuqindyafftamimmsnpigninpes 1 sdtafssusiiis nansganstngs ain : sirgfugiymy HAanirafay wiusndigfuiyme qGindsaje vid 4 inafihauniniguitemdiizasiquiagmensinsitwmsins m, « & y os gndiduauniniins [piginsgsbady Sungsnadn yyoneynginginl aninfaty si sisigs repigulins Pywsaymges yppngagums eoigrsssipssnyh auniniites Homspipeniisapaug 1 mnuYANASEO [pthisisiusim: tninvinunine engin pgfahuhseynansimysiadinueies 4 143,KEN The Ken is a wind instrument used for performing the "Lakaon Ken" play. The Ken play- ers often play and dance at the same time. At other times it is played while two peo- ple ,a man and a woman sing together .The Ken is found in Steung Treng province on the lao border, where the instrument is used as part of the people's traditional festivals. There are two kinds of Ken instrument , the "Ken Pleing” and the "Ken Lum" made of "Docmai" bamboo. The Ken Pleing consists of fourteen vertical bamboo tubes and has fourteen finger holes. The Ken Lum has sixteen tubes and therefore has sixteen finger holes (eight on each side). The Ken Pleing is around 80cm long and the Ken Lum 85cm .The mouthpiece is made of a hollow rounded piece of wood with holes in it where the vertical bamboo pipes are placed in two parallel lines. Each line has seven or eight bamboo pipes placed in them , they are then sealed with wax "Mhrom" to prevent any air from escaping. The sound piece is made of metal, which is of molten bronze and silver. This is then flat- tened into thin strips which are cut into small pieces and inserted into the bamboo through ready -made holes .The Ken can create the following tones which are overblown: Low C High C Low D High D 144minicogenmdiag Performance of Ken 145#OS 3 ngs Frhauninfinynantgrges idonfinensisiguyprsnanychehariayensameden iMansinerisustyniqusms iMneurquounimpnT fining yniisieonivnyadjuntin Grchauniaiiasdjy wiwsignmevss gsmemmenvayioy gemevrnrmenvnyemey gosh chyfagen omens auniniageriifiun wanhepaBenyigngenpmgittens 4 aunmiayeteorn Awurpigoihnnmayesadten Fipnenysignmenitayaye snefugia Sufisnesajncy indayBwumnauniniays isipamywaunmMidisgjmes ysmermpsayeinguninii aygugMati F yys ysmarmmnsuNHoDY wWinsSeinvsvsnmigetus_EopymD Both us[pmnpieig: vewuriigeshss sw 4 ayuibifiyajinanuddtinigtis Tnayoditiznnsnsgmpoayaiipeigas 8a Tagsgniniiy fignyssiniiuvissdeyidyne tslqnacnytnagigiss + ANGKUOCH The Angkuoch is both a simple wind and percussive instrument , making a noise similar to a,rattle. It is very popular instrument in present -day Cambodia and is believed to have originated from children, who fashioned it whilst minding the cattle . The more traditional Angkuoch is made just of bamboo , but is it not as popular as those with metal bells attached. The Angkuoch is really only used for extremely simple folk songs and not often with ensembles. However, the instrument models vary, along with the sound level . This means that the instrument is sometimes played with Mahori music accompanying folk dance, especially where the dance is choreographed for public performance . There seem to be two particular types of Angkuoch , those made out of bamboo , where the shape is long and flat and those made of metal where the shape is round ,or in a tree -leaf shape. 146gunmdngs Angkuoch musdizegunimiuges Performance of Angkuoch 147QusURneewe Percussion Instruments 149Ie ImmonAthaunininynantgnyn Ins ieeFnsiguagnims’s ( Percussion ) 4 aurinie MSMNASs Ameisiqsiitghanme; Suitiguennit Fepnshiignsoapyy tslignaniug ( Mélodie) + IMANKINGIEMIGnAs soe: YMIMAYAdINAEY ign 8H HSH 4 9. qnimnypAdiodargy : mignymvisipifamss — ehonfufiven WinsiniineRanmogy —gotinfimage saiitwa 1 oy teomnetsdudsudey iscines igisisisinos qynismigedidia imwcdagnpourmaguMBeg ind fuanerined ysdupizihon.s Sumennmepiivooon.y mihwmymuseempme writ tmnt etassahhoiswseMties 1 istémAnane Istanyn seensimegyednd moingnuiciiias 1 qrimnsingommsgignd chqpsys Marae vndgesiqe encinfinfegisanaing mossiin 6. igimn yigehajn : tignenuiisigininn 1 iginmuninségsbo Pah indjjims igiwn wiimags ybuyajy iggia lore immegeanity Suninpmeir sindihatgpinmsBgy ging fijuMsiypANgitwA isieMG|A Ayan Finegn Byjaynanivsdnmga + smnpijur teejfinyag qginnwhywrinns Soangudianwnan igi: isigimadywo Mefinngjanpyimursuedraparguigs tdi 1 tgGo telnmeyiiay cynndign maniigjuge fy main meuteapte leds algugumd fmagoge oujammunkhdngmadigs bo meatgane can manne BIAMUT PT cow.u4 Arefsigimdsmanjundenaiiss ANGIUNIgi [Aisi paibig Fina fine Ravhignunniifins Fpnaingrimeigpamengy cy myymigimesdgutianmay 151Htiqhhonmgy — Babiquenul quimutgygiinnmeyyurnt — unesBemsrfignisafy Chagtgp Geiaed 1 thumniginninygwtes boty ingpphvarqaynnnignysianitgyy CYTon) wehwsGaciasrfigniiayy (#,b...) teria Guenpmesserciitinsa Gnedrafs (2Clés) tis: Fi- tiriagea (Clé de Sol )Gosiwanitstinngns py who Bement ps Ages 4 8- iGnarys 8 (Clé de 8) fnmudpeitgjaigs tuematiann (ntervalle) Fehgfagmrsiniajayes omen ooupsanynqdais rena yAdinamurinass (Clé de Sol ) Hhugudgemsryfuntssi gunnse hoe 1 mupirinygsinnsint: (Clé de Sol,Clé de 8) aman Fymasdgwurne Qyniiicg gnnifimngem shwmANA (Intervalle) ruAdHEAgFEIgUyNanig: RufmunhgpMAUeE pyran sriupiverqaynanign sirdagromgngwamensys Ejipeinsspan: sniearyatsich sqaynnnigaiicios + m. Hgiusm: wnsigetiny iGatipineinigennimnizs Gnggenaymietia nana Suidthusaskeugemeptinman.ey isinsqpwngunisaparnensys stin}pamidy gins ponrdaiimchainy agummonnsiiivy ywivucindniquiigufinnmay Ba guivurgjenitsiquiiquenutiin aguas 4 Annigdefummunign muin eges cysianipy Clé de Sol> BmpRNfitT Musique Khmere-URBA tmanygi 988 diir8c0 152Hnatgedrafumaantgmmuriin ages CHATANATS cle de So femuensningpapsunnpstinas Sofiunigpatanngaoge pron Foamime cmap Eynng, 153RONEAT EK The Roneat Ek is a traditional Khmer instrument of the percussion family. This instru- ment is very important in the Pinpeat and Mahaori orchestras because it takes full melod- ic lead in the ensemble. The Roneat Ek has different parts described below: the body or sound box, the notes or bars, and the mallets or sticks. 1. The body or sound box of the Roneat is the lower part of the instrument and is made of good quality wood, such as neang nuen, or beng wood etc. which is capable of with- standing the weight and tension of the 21 strung bars. The body of the Roneat has par- alle! walls curved up at both ends to a height of 20cm, and having a length of 100cm These are joined by a plank underneath; the floor of the body, and two end walls called khaol. A hole is bored in the centre of the floor of the Roneat through which the stand is secured. The whole body is decorated with inlaid ivory in beautiful floral and other designs. 2. The notes or bars of the Roneat form the upper surface of the instrument. The Roneat Ek has 21 notes made of krannoong, beng, neang nuen, or bamboo wood. All 21 notes are bored twice at each end and laced in order onto a nylon cord, then stretched out and suspended between the end khaol without being allowed to touch the rims of the sound box. Promor, made from a mixture of wax and lead, is stuck on the underside of both ends of the notes at the pueh (thickest point), in order to alter the pitch of the notes and bring them into tune with our Khmer musical scale. The first note, at the far right of the player, has the highest pitch and is 25cm long. The notes are each slightly longer in order until the 21st note which is the lowest and is 40cm long. The Roneat Ek may be played in the Pinpeat orchestra or Mahaori orchestra, as stated above, simply by playing in the different keys required by the Pinpeat and Mahaori orchestras, but this does not necessitate the use of accidentals or key signatures. Since the Roneat Ek is able to play in different keys without the use of sharps and flats, we have written its range of pitches below in two clefs: 1, - Treble clef (G clef). Every aspect of Western musical notation is retained with- out alteration. 2.-The letter Kh clef. This represents the Khmer scale which is made up of equal intervals. From one note to the next, every interval is an equal thean. As for the note names, we have borrowed them from the G clef lettering, as described in the introduction. The two clefs given above, are used in order to make the differences between the inter- vals of the traditional Khmer scale and of the Western scale quite clear and therefore which clef should be used when traditional Khmer music is performed. 1543. There are two Roneat sticks. They are made of the same kind of wood as the body, whittled to long smooth, rounded sticks, slightly larger in diameter than chopsticks. Their length is 38cm. The stick head is a lump of promor (wax and lead), which is in the shape of a flattened sphere and is covered with two or three layers of cloth bound tightly with thread. There are two kinds of Roneat sticks, one for use in the Pinpeat orchestra, and the other, called me lumtun, used in the Mahaori orchestra. Pitch spacing for the Khmer Roneat Ek according to the 'G' or treble clef, as given on page 80 of "Musique Khmere - URBA" printed in 1969. Se ee ee Equivalent Western pitches for the Khmer Roneat Ek according to the 'G' or treble clef below (by the authors). Pitch spacing for the Khmer Roneat Ek according to the Kh clef, equal spacing. a 116 222 155gusiedierabs Roneat Ek AussicegerAhRaADs Performance of Roneat Ek 156{MASS 3 yenswAyONGH chauniningynanignympinsnsiqensnagial gutagyfianmgy 1 otUnMOUNA[HIgMZsENdisiquthuUIUTiaEte: AameSamensfingdpasruriises agnenddonig 1 figehaunmimnnnniasetente: ttsnauninfimnnguciigné : 9 -qgnins bs -igisis m - Hghime 4 O- qyrigmel : tntpfesmmnpsnatniig:s mage ppngyl idorchyatniinaran moa Qninngunséni paispoyEsugnianonids AdigignmnBurcpingnan spend ries gnc faynamiiinsnamagiuAis cqyerapzumnguniniisnngn 1 ames qynigengppiined nu Sheduyrindpiin bow.e metnuiiie gonueysrAon lamang — sinujsqinnsinguidengatiadpdunwgiftoon.y Bunsminpsuyd and? yim [Ad isimecepayNsireurinan pringye oe 4 b- iginngy : igimmgueneiga odig 4 ikangatimipnds tive wniimuga Burniyajmndy + ig8o iaonsinuyingndian wiwensdiajrendinspsiiavimmes morw.y nigugumbimamamuaes ujamipnendiigd od igmmanigjamuminn tne amet co 84 s-agnianngs : gone Agus MnAia HgMANGUENgUND SvitsenF pi Adigisiqnmngeniaepreagems sitar pramsjBsmains Pejrenesgeyras 1 imaguin GagwredadindarGaguisdine frymeshiafunnquaumadtgyasayn ‘guIB EH (Octave) 1 157