Traditional Cambodian musical instruments


Traditional Cambodian musical instruments are the musical instruments used in the traditional and classical music of Cambodia. They comprise a wide range of wind, string, and percussion instruments, used by both the Khmer majority as well as the nation's ethnic minorities.

Woodwind

Flute

  • Khloy - vertical duct flute made of bamboo, hardwood, or plastic, with buzzing membrane
  • *Khloy ek - smaller in size
  • *Khloy thom - larger in size

Free-reed

Quadruple Reed

  • Sralai - quadruple-reed oboe
  • *Sralai toch - small quadruple-reed oboe
  • *Sralai thom - large quadruple-reed oboe
  • Pey ar - oboe with cylindrical bore

Horns

Other

String

Bowed

  • Tro - fiddle
  • *Tro Khmer - three-string vertical spike fiddle with coconut shell body; used in classical music
  • *Tro che - high-pitched two-string vertical fiddle, with face covered with snakeskin
  • *Tro sau toch - two-string vertical fiddle with hardwood body; used in classical music
  • *Tro sau thom - two-string vertical fiddle with hardwood body; used in classical music
  • *Tro u - lower two-string vertical fiddle with a coconut shell body, with face covered with calfskin or snakeskin; used in classical music

Plucked

Struck

Percussion

Drums

Gong chimes

Xylophone

Roneat - trough-resonated keyboard percussion instrument; generally played with two mallets and used in Khmer classical and theater music

Gongs

  • Kong vong or kong thom - single suspended gong

Clappers

  • Krap - pair of flat bamboo or hardwood sticks

Cymbals

  • Ching - pair of small cymbals used to mark time
  • Chap - pair of flat cymbals

Woodblocks

  • Pan - woodblock
  • Nay pay - pellow
  • Sindang - small size woodblocks

Occasions

Traditional Cambodian musical instruments play a significant role in the Cambodian culture. These instruments are typically used during royal events, weddings, and festivals. For weddings and royal events, the musicians playing the instruments would wear traditional Cambodian attire. Just like the Chinese, with regard to playing context, there is no conductor in traditional Cambodian music because musicians generally learned and memorized how to play the instruments aurally. These instruments provide a sense of identity for the Cambodian people.