CAMBODIAN MUSICAL INSTRUMENTS

ONEAT is a xylophone used in the Khmer classical music

of Cambodia. It is built in the shape of a curved,
rectangular shaped boat. It has twenty-one thick bamboo
or hard wood bars that are suspended from strings
attached to the two walls.

SAMPHOR -  a small barrel drum indigenous to

Cambodia. It has two heads and is played with both hands.
The player of the sampho leads the pinpeat (a classical
ensemble of wind and percussion instruments), setting
the tempo and beat.

SKOR THOM

pair of large barrel drums, played with sticks

KONG VONG is a number of gongs that are attached to a

circle-shaped rack, closely resembling its larger relative,
the kong thom. Both instruments belong to the
percussion family of traditional Khmer instruments,
along with the roneat ek, roneat dek, and roneat thung.
CHHING

are bowl-shaped, about 5 centimeters in diameter, and

made of bronze alloy—iron, copper, and gold. They are
struck together in a cyclical pattern to keep time and
regulate the melody, and they function as the "timekeeper"
of the ensemble.
MYANMAR MUSICAL INSTRUMENTS

CHAUK LON
PART

Compose of a
set of eight
tuned

MAUNG HSAING

-  also spelt saing waing) is a traditional Burmese

folk musical ensemble, consisting of a number of
different gongs and drums, as well as other
instruments, depending on the nature of the
performance.

PAT WAING
- s a set of 21 drums in a circle, traditional from Burma.
The player sits in the middle of a horseshoe-shaped
shell made of elaborately carved wood and decorated
with gold leaf. The drums are played with the bare
hands.

KYI WAING- small bronze gongs with circular frame

SAUNG GAUK
 - is an arched harp used in traditional Burmese music. The
saung is regarded as a national musical instrument of
Burma.

HNE  is a multiple reed oboe with a remarkable crooked form. It

knows seven nearly equidistant playing holes which were basic
for the development of the main Burmese scales in both chamber and
ensemble music.

SIAND WA

The brass cymbals “si”(left), which sometimes get replaced by the bigger
“yakwin”, are held in the right hand of the vocalist. In the other hand,
he/she holds the wooden “wa” which appears in the shape of castanets or
a bamboo node slit open (right). Both provide the basic patterns of a tune,
where all accents are performed by the “wa” while the “si” gets used on weak or unaccented notes. Each
pattern is strictly linked to a melodic phrase and often counts up to 9 or 16 bars.