There
are no sharps or flats possible, and only half filling the holes, as in
a fife, will not produce them, the note being got by the vibration of
small tongues of metal fitted in the side of the reed. Hence, possibly,
the epithet " monotonous," which has been generally given them; and
hence the fact that a good player generally has more than one. Their
playing is very fast and effective, but is at first hard to follow or
properly understand. The mouth-piece is made of the fruit of the mat lamut, and
being very hard, takes a lot of work in being hollowed out, and will
receive a good polish outside; two parallel slits are cut along the top
and bottom, and the two rows of bamboos fitted in, and the whole made
airtight with beeswax. In case of damage to one of the reeds, it is
quite simple to undo the grass bands which are put round at intervals
to remove the beeswax, and take out the reed; often a gentle flick on
the reed will set the metal tongue vibrating again when momentarily
out of order. The reeds, by being put over the fire, are often very
prettily marked.
They can hardly be obtained in Siam, except where Laos are situated.
The
Wieng Chan men, who are all over the country since the city was
destroyed and they were sent south, are the best makers and players,
and a few colonies of them are to be met with in the neighbourhood of
Bangkok. This fact of their love for this highest of Indo-Chinese
instruments, coupled with the fine remains of the old city, certainly
support the idea that at Wieng Chan there was civilization and taste
ahead of those of the surrounding places.
With
regard to the music, it is impossible, without a long study of it, to
say more than that they are very fond of the minor, that they use the
octaves very much in playing, that the key-note may often be heard down
for a long time, and the time is generally s
Flickr
Stumbleupon
Scribd
