Chum Ngek

Roneat aik

A high-pitched, wooden xylophone with twenty-one bars, serving as the ensemble leader.

Photo credit: Robin S. Kent

Chamnan (roneat aik only)

 

Kong thom

This semi-circle of sixteen low-pitched gongs works in tandem with the roneat aik as an ensemble leader

Photo credit: Robin S. Kent

Chamnan (kong thom only)

 

Kong toech

This circle of sixteen high-pitched gongs shadows and embellishes the articulations of the roneat aik.

Photo credit: Robin S. Kent

Chamnan (kong toech only)

 

Roneat thung

This low-pitched xylophone with sixteen bamboo bars adds an acoustic thread to the ensemble that lures listeners away from the easy-to-follow paths of the roneat aik, kong thom, and sralai. Chum employs techniques known as tlok kamblaeng (joking around) which stretch and condense rhythmic patterns, slice and augment melodic phrases, and blend bright with muffled strokes.

Photo credit: Robin S. Kent

Chamnan (roneat thung only)

 

Sralai

This hardwood quadruple-reed oboe shuttles listeners between the leading voices of the roneat aik and kong thom.

Photo credit: Robin S. Kent

Chamnan (sralai only)

 

Sampho

This two-headed, barrel drum is considered the Krou (technical and spiritual teacher) of the ensemble and a sacred vehicle for linking human with supernatural worlds.

Photo credit: Robin S. Kent

Chamnan (sampho only)

 

Skor thom

This set of two, large, double-headed barrel drums responds (chhlary) to the call (hao) of the sampho.

Photo credit: Robin S. Kent

Chamnan (skor thom only)

 

Chhing

This set of bronze hand-cymbals provides a steady pulse for the ensemble, preventing musicians from getting lost amidst diverse renditions of a tune.

Photo credit: Robin S. Kent

Chamnan (chhing only)