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ments capable of playing melodies. But since the introduction of 'Lakhon Nai' or royal Lakhon, the 'Heavy Pī Pāt' of the 'Khon' has come into use for both, and it is this band which is now commonly employed.
The evolution of the 'Pī Pāt' has probably been in the following manner:—
During the period of Ayudhya the 'Heavy Pī Pāt' consisted of an oboe, a xylophone, a set of gongs, alto cymbals (or 'Thon' used by the same player alternately), and a 'Klong', making five instruments in all. The oboe was a small one in size to that which is called to-day 'Pī Nok'. The "Klong' also was small, like that which figures in the 'shadow plays.'
The first modification consisted in increasing the size of the oboe and the drum for use in the 'Pī Pāt' employed in the 'Khon' and 'Lakhon Nai'. The new oboe received the name of 'Pī Nai'. As to the smaller oboe and drum, they continued to be employed in the open air 'Pī Pāt', for instance, of the shadow plays. Such is the origin of the two kinds of oboe, but it is not known whether the development dates from Ayudhya, or is posterior to the foundation of Bangkok.
During the second Reign, the King was fond both of the 'Lakhon' and the 'Sepā' (song of great length). It is said that before His Majesty's time the 'Sepā' was sung without accompaniment, and it was he who introduced the 'Pī Pāt' into the 'Sepā' (as in the case of 'Mahorī'). It was probably at that time that the drum called 'Song Nā' was introduced into the 'Pī Pāt'; for its softer sound makes it more suitable for songs than the 'Thon' or 'Taphon'. This innovation leads us to suppose that the same King also improved the 'Pī Pāt' and made it more suitable for the theatrical stage, in which case it must be again to him that we owe the introduction of the 'Pī Nai' and the larger drum. The ordinary 'Pī Pāt' however has continued to consist of five instruments (see plate XIII).
We have seen above that originally the 'Pī Pāt' was employed only to supply music for theatrical performances: 'Shadow Plays', 'Khon', 'Lakhon', etc, or, for making music of a rather vehement
