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 nature. When the second Sovereign of the Dynasty adapted the 'Pī Pāt' to the 'Sepā', it became a melodious band sufficient in itself. When in the third Reign the 'Sepā' accompanied by 'Pī Pāt' became popular, the 'Pī Pāt' was enlarged by doubling the number of each instrument. The following were added:—
 * 1) The oboe 'Pī Nok', to supplement the 'Pī Nai';
 * 2) The 'Ranat thum' (basso xylophone), to supplement the 'Ranat Ek' (alto xylophone);
 * 3) The small set of gongs, to supplement the large set of gongs.; [sic]
 * 4) The drum 'Poeng Mang Song Nā' to supplement the 'Thon';
 * 5) The basso cymbals ('Chhap') to supplement the alto cymbals ('Chhing');
 * 6) A second drum.

The 'Pī Pāt' of five players thus became one of eight, called "Pī Pāt Of Double Instruments," the older combination being known as "Pī Pāt Of Five Instruments."

During the reign of King Mongkut, the brass carillon was invented to supplement the alto xylophone ('Ranāt Ek'), the iron carillon to supplement the basso xylophone ('Ranāt Thum'), and when these were added to the 'Pī Pāt', it became a band of ten players, called the 'Grand Pī Pāt' and is in use at the present day (see plate XIV. In this picture the 'single gong' has been added as in use in the 'Lakon').

In the present day Siamese orchestra there are two instruments of foreign origin, namely 'Klonh Malāyū' or Malay drum, and 'Klonh Khek', probably of Javenese origin. These two instruments resemble each other and differ only in the composition of the band in which they enter.

The Malay drum combination consists of four drums, an oboe, and a single gong called 'Khong Mong' which are played by six persons.