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 Ayudhya period onwards. Originally the 'Mahorī' consisted of four musicians: a singer who keeps her own time by using the castanets ('Krap Phuang'), a Krachappi player, a violinist executing the melody, and a player of 'Thap' or drum with one face serving to accompany and mark the rhythm (see plate XI). We see that the composition of this orchestra consists simply in the fusion of 'Banleng Pin' and 'Khap Mai', except for the 'Krachappi' replacing the gourd-lute and the 'Thap' drum replacing the 'Bandoh' drum, and the addition of the castanets 'Krap Phuang' to emphasize the rhythm.

It seems that since its inception the women's 'Mahorī' was greatly in vogue. Instruments which were added to this orchestra during the time of Ayudhya were (from what may be inferred from an examination of pictures of that period) the 'Rammanā' intended to assist the 'Thap' drum, and the flute ('Khlui') for strengthening the melody. Thus it became an orchestra of six musicians.

After the foundation of Bangkok, various other instruments came to be added, coming for the most part from the 'Pī Pāt' but of reduced size suitable for women. It is said that during the reign of the first Sovereign of the Dynasty (A.C. 1783–1809) the xylophone ('Ranāt Mai') and the carillon ('Ranāt Keo') were added and the 'Pī Pāt' then formed an orchestra of eight musicians. During the reign of the nexr Sovereign (A.C. 1810–1824) 'Ranāt Keo' was replaced by a set of gongs known as the 'Khong Vong' and the lute 'Chakhe' was added and thus the orchestra becomebecame [sic] one of nine musicians. During the third Reign (A.C. 1825–1851) the basso xylophone ('Ranāt Thum') and a set of smaller gongs were introduced into the 'Pī Pāt', and the 'Mahorī'. A pair of alto cymbals ('Chhing') replaced the castanets to cope with the increased sound. Lastly a pair of basso cymbals ('Chhap') were introduced, and the 'Mahorī' now became and orchestra of twelves musicians. During the reign of King Mongkut (A.C. 1852–1868), 'Ranāt Thong' (brass xylophone) and 'Ranāt Lek' (iron xylophone) were introduced into the 'Pī Pāt' and they were also being added to the 'Mahorī', which thus consists of fourteen players, that is to say, alomost as