Piphat

A piphat (, ) is a kind of ensemble in the classical music of Thailand, which features wind and percussion instruments. It is considered the primary form of ensemble for the interpretation of the most sacred and "high-class" compositions of the Thai classical repertoire, including the Buddhist invocation entitled "sathukan" () as well as the suites called "phleng rueang". It is also used to accompany traditional Thai theatrical and dance forms including "khon" () (masked dance-drama), "lakhon" (classical dance), and shadow puppet theater. 
Piphat in the earlier time was called phinphat. It is analogous to its Cambodian musical ensemble of pinpeat and Laotian ensemble of pinphat. 
Types of "piphat".
The smallest "piphat", called "piphat khrueang ha", is composed of six instruments: "pi nai" (oboe); "ranat ek" (xylophone); "khong wong yai" (gong circle); "taphon" or other Thai drums; "glong thad", a set of two large barrel drums beaten with sticks; and "ching" (small cymbals). Often other small percussion instruments such as "krap" or "chap" are used.
A slightly larger "piphat" ensemble is called "piphat khrueang khu", and consists of eight musical instruments. The other two instruments are the "ranat thum" (xylophone), which produces a deeper sound than the "ranat ek", and "khong wong lek", a gong circle that is higher in pitch than the "khong wong yai".
The largest form of "piphat" ensemble is the "piphat khrueang yai", which consists of ten musical instruments. Another ones are "ranat ek lek" and "ranat thum lek"; these are almost the same as their ancestors, the "ranat ek" and "ranat thum", but they have keys made from metal instead of wood.
Piphat khrueang ha.
"Wong piphat khrueang ha" (, ) is an ensemble consisting of:
Piphat khrueang khu.
"Wong piphat khrueang khu" (, ) is developed from "piphat khrueang ha", by arranging instruments in pairs of treble-bass. It consists of:
Piphat khrueang yai.
"Wong piphat khrueang yai" (, ) is arranged by adding "ranat ek lek" (ระนาดเอกเหล็ก; treble metallophone) and "ranat thum lek" (ระนาดทุ้มเหล็ก; bass metallophone) to the "wong piphat khrueang khu".
Piphat nang hong.
"Wong piphat nang hong" (, ) is an ensemble used in funerals. It is arranged by replacing the "pi nai" and "pi nok" with a "pi chawa". The name "nang hong" comes from name of its main music, which is intended for funeral ceremonies. A royal variant, "Wong piphat nang hong khruang yai" (for the King) or "Wong piphat nang hong khrueang khu" (for senior members of the Royal Family), introduced during the reign of King Vajiravudh (Rama VI) for use in royal funerals of the Chakri Dynasty, was reinstated during the reign of King Bhumibol Adulyadej (Rama IX) in 1995, during the state funeral rites for Srinagarindra, the Princess Mother, upon the initiative of Princess Maha Chakri Sirindhorn, the Princess Royal, after years of absence. If playing for the king, the royal funeral ensemble has 10 to 12 instruments played, a few more than the simple ensemble, for senior members 8 to 9 instruments are used.
In some funerals in Thailand the "nang hong" variant ensemble is supplemented by Western instruments like trumpets, saxophones, clarinets and even a drum kit, guitars and an electric piano. Some of these have also appeared in the normal ensembles.
Piphat duek dam ban.
"Wong piphat duek dam ban" (, , literally "ancient ensemble") was proposed by Prince Naris for using in Thai opera. It consists of:
Piphat mon.
The "piphat mon" is believed to derive from the Mon people, an ancient Mon-Khmer-speaking people of mainland Southeast Asia, and uses special instruments such as an upright gong circle called "khong mon". "Wong piphat mon" (, ) has three sizes:
Piphat mon khrueang ha.
"Wong piphat mon khrueang ha" (, ) consists of:
Piphat mon khrueang khu.
"Wong piphat mon khrueang khu" (, ) is arranged by adding "ranat thum" and "khong mon wong lek" to the "piphat mon khrueang ha".
Piphat mon khrueang yai.
"Wong piphat mon khrueang yai" (, ) is arranged by adding "ranat ek lek" and "ranat thum lek" to the "piphat mon khrueang khu".
The "piphat mon" ensemble is usually used in funerals, but it can be used for other events as well.
The "piphat" ensemble can be mixed with the "khrueang sai" ensemble to create a new ensemble called "khrueang sai prasom piphat" (เครื่องสายประสมปี่พาทย์ or เครื่องสายผสมปี่พาทย์).
Similar ensembles.
The Cambodian equivalent of the "piphat" is called "pinpeat". The Myanmar equivalent to "piphat" is known as "hsaing waing". The instrumentation is very similar to the Piphat Mon, which indicates a common origin. 
Gong-chime ensembles are also found in other Southeast Asian nations, such as Gamelan in Indonesia, and Kulintang in the Philippines. 
Gong-chime ensembles can also be found in Vietnam, although they're no longer played among the ethnic Viet, they're still played among the indigenous peoples in the Space of gong culture, as well as among the Muong people and the Thổ people.