Three percussionists playing the same syncopated rhythm, offset by one beat, can produce a sound that is a steady stream of beats with varying timbre.
This is not the only way that such closely cooperative parts are produced. In the technique called
kotekan , two distinctly different parts are combined, again to form a line that the ear hears as a single part. In a typical
gamelan gong kebyar , for example, the elaborated-melody part for the highest
gender instrument may have two, four, or even eight notes for every note of the core melody. For variety, some variations of the melody will be slower, while others are faster. At the fastest speeds, this part may be literally unplayable for a single person, so for these sections it is divided into two parts. The
polos part is based on the melody, and still plays the same note as the core instruments at important points in the melody. The
sangsih part may sometimes play at the same time, but also fills in gaps in the rhythm of the
polos . At slow speeds, players may play both parts, but at high speeds, each player plays only one of the two interdependent,
interlocking parts. Each part is incomplete by itself, and may be highly
syncopated ; when played together correctly they form a single steady stream of notes.
A typical
kotekan forms a steady stream produced by the interlocking
polos and
sangsih parts. Note that the individual parts may be very
syncopated .
Even when the main rhythm of a
gamelan piece is a very steady stream of notes, the rhythm will sometimes be interrupted by dramatic cadences marking important points in the piece (which often correspond to actions in the dance or play that the music accompanies). Changes in
tempo and
dynamics also add to the drama of the music, and all of these are determined (sometimes during the performance, in coordination with the dance or drama) by the leader of the group, usually a drummer, who indicates them both with gestures and with drummed signals. The ensemble that can maintain a very "clean", highly-coordinated sound during such changes wins the respect of a Balinese audience.
Recognizing and listening to gamelan music
Easy-to-hear clues that what you are hearing is Balinese
gamelan include: a predominantly percussion ensemble featuring drums, gongs, cymbals, and/or
metallophones ;
wide tuning with audible beats; use of a five-note mode; and thick, busy
textures . The cyclical
form of the piece may or may not be easily audible to the beginning listener.
If you have a chance to watch a
gamelan performance, particularly in context (with dance, theater, or religious rite), take advantage of the opportunity to observe. Many of the important elements, such as the form and
kotekan technique, are easier to appreciate if one can watch the instruments being played.
Watching gamelan performances
Within the bright, busy texture, it can be difficult to distinguish individual parts. Observing, rather than just hearing, a performance, promotes understanding of the form and the part played by each instrument,as well as allowing appreciation of the interplay between the music and the dance, play, or ceremony. (Excerpt from
Paksi Mas , "Golden Bird", by I Ketut Gede Asnawa,
UIUC Fall 2007 Gamelan Concert .)
Watching performances
Pay attention to the interplay between the dance or action and the music. Watch for the leader of the musicians to closely coordinate the form, dynamics, and tempo of the piece to the action.
Try to get a feeling for the basic
form or structure by watching the large gongs and/or other
colotomic instruments .
Observe the different instruments being played. Which are playing colotomic parts? Which are playing basic or elaborated versions of the melody? Who is playing solos or leading?
Listening to gamelan music
Try to get a feeling for the length of the form by listening to the repetitions of the melody. Listen also for the colotomic instruments to mark off the main points in the form.
Listen for the variations on the melody.
Listen for the beats produced by the wide tuning
If you can, listen for mode.
You may also encounter
gamelan techniques or instruments in specialist percussion ensembles, world music, or hybrid musics. Such performances may simply use the Balinese instruments for their particular timbre, or they may also incorporate other elements of Balinese music. For example here is an excerpt from Christopher Reyman's
Reng Gam-Jazz , which uses a jazz rhythm section along with Balinese instruments, in a form that includes jazz-style improvisation as well as an eight-beat Balinese-style cycle.
Thanks also to the Asnawa family and to all of the University of Illinois students and professors who participated in the Fall 2007 Balinese Music and Dance Concert at the University of Illinois Urbana-Champaign, for their cooperation in preparing the photos, videos, and audio recordings accompanying this lesson: including dancers Yonitika Asnawa, Yunirika Asnawa, Norshahida Ismail, Samantha C. Jones, Dewidiari Rachman, Ya-Han Tsui, Justina Whelchel, and musicians I Ketut Gede Asnawa, Putu O. Mardiani Asnawa, Tarika Asnawa, Yonitika Asnawa, Yunirika Asnawa, Taylor Briggs, James Bunch, Vincent Calianno, Joel Caracci, Samuel Carroll, Fang-chi Chang, Rosa Chang, Meghann Clancy, Philip Clark, Mark Eichenberger, Joshua Hunt, Justin Kothenbeutel, Mackenzie Martin, Andrew McBeath, Ayu Putu Niastarika, Christopher Nolte, Zackary Penckofer, Matthew Plaskota, James Price, Dewidiari Rachman, I Wayan Rachman, Christopher E. Reyman, Nur Syahida Mohd Shafei, Ahmad Azlan Shahrudin, Shahira Tunnaww Mohd Sharkar, Otto Stuparitz, Stephen Taylor, Priscilla Tse, Shane Wirkes, and Philip Yampolsky.
