PLAYING TECHNIQUES OF THE KLONG THAT THAO

Abstract

This research aims to 1) study the transmission of Klong That Thao drumming, and 2) analyze its roles and playing techniques. The study adopts a qualitative research methodology through document analysis, related research, and fieldwork. Use the triangulation verification method.

          The findings reveal that 1) the transmission of Klong That Thao drumming at Ban Pathayakosol shows the origins of a distinctive style known as the Thonburi-side drumming style. This style was later culturally transmitted to Ban Bang Khun Thian and Ban Pathayarat through dedicated masters. The transmission within the Office of Music, Fine Arts Department, is limited to internal organizational learning. 2) In the context of Thai nattakam (classical dance-drama), the Klong That evolved from a signaling instrument in ancient societies and a solo drum used in religious rituals to being integrated into the Piphat ensemble during the Ayutthaya and Rattanakosin periods. Its physical form was adapted into a pair of drums with different pitches. While not a melodic lead, the Klong That plays a crucial rhythmic role, supporting musical pieces and dance movements in Khon and Lakhon performances. It is also significant in playing hom rong (overture music), both with and without the drum. There are six primary drumming techniques: mai dern, mai dern phiset, mai rua, mai la, mai luk, and mai pradon. These techniques are creatively combined to suit various rhythmic patterns in hom rong yen (evening overtures).