Gamelan angklung is named for the shaken bamboo instruments that originally dominated the ensemble, but in recent times these have largely been replaced by four-note
metallophones . It typically accompanies temple festivals.
Gender wayang is a small ensemble of only four (sometimes only two) ten-key
gendermetallophones . Typically accompanying shadow-puppet plays, the instruments are played with softer mallets so that the storyteller may be heard.
Gender wayang technique is very complex and difficult, earning great respect among Balinese musicians.
Gamelan gong kebyar is a newer ensemble; it arose in northern Bali in the early 1900's and has since become one of the most popular types of ensemble all over the island, and a favorite with tourists.
Gong kebyar is a large, loud ensemble that normally accompanies women's dancing.
Gamelan gong kebyar instrumentation
Hung Gongs - The
form of the piece is outlined by various hung gongs. The largest one or two, the
gong ageng , play on the important divisions of the form (for example, on the final note of each cycle). If there are two
gong ageng , they are of different sizes and play at different times, not together. Less important divisions of the form may be played on the medium-sized
kempur or the small
kemong .
Core melody gender instruments - Carefully tuned
pairs of
gender instruments, with five keys each, are struck with soft mallets, playing the most basic version of the melody, which usually stays the same for most repetitions of the cycle. The
jegogan have the lowest
range of these instruments. An
octave higher are the
calung , and yet another octave higher are the
penyacah . (Some ensembles do not use
penyacah .)
Elaborated-melody gender instruments - These instruments may have between 7 and 12 keys each. They play the melody with complex flourishes and elaborations that often change from one cycle to the next. The lowest-voiced, the
ugal , is a single rather than a paired instrument. The
ugal player leads the section, sometimes improvising extra elaborations. The two pairs of
pemade are an octave higher than the
ugal , and the two pairs of
kantilan are yet another octave higher. The highest instruments in this category use
kotekan technique to play very showy, high-speed elaborations.
Kettle gongs - A simple, steady beat is played on the
kempli , helping to keep all of the instruments on a very precise beat. Two kinds of
gong chime may be used. The
trompong is played by a soloist. The
reyong is played by four people at once, using
kotekan techniques.
Drums -
Gong kebyar is typically led by two
kendang , the
lanang smaller and higher-pitched than the
wadon . Both are cylindrical asymmetric double-headed drums, with the head on one end being noticeably larger than the one on the other end. Played directly with the hands and fingers, they often have intricately interlocking parts that reflect the
kotekan parts. A
kendang wadon player is usually the rehearsal leader and composer for the group, as well as the individual responsible for signaling
tempo ,
dynamics , and section changes. Since these must be closely coordinated with the dancers during the performance, and since a very clean, tight ensemble coordination at fast tempos is one of the most important aesthetic goals in
gamelan music, this is a major responsibility. This is considered the most difficult instrument in the ensemble, sometimes playing highly virtuosic, improvisatory parts. Although in some older music styles a reserved approach is considered more appropriate, a good
gong kebyar drummer may put on a very showy, visually dramatic performance.
Questions & Answers
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