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Gamelan surakarta is one of two subtly distinct styles of gamelan playing that have emerged in central Java since 1755. [1] In contrast to yogyakarta, the Surakarta style is known for its intricate, soft style of playing. [1]
A typical large, double gamelan in contemporary solo (Surakarta) will include, in the sléndro set, one saron panerus (or saron peking), two saron barung, one or two saron demung, one gendér panerus, one gender barung, one slenthem (or "gender panembung"), one bonang panerus and one bonang barung (each with twelve gongs), one gambang kayu, one siter or celempung, one rebab, one suling, one pair of kethuk and kempyang, one set of three to five kenong, one set of three to five kempul, one to three gong suwukan, and one gong ageng.
The complementary set of pelog instruments will include two each of gender panerus, gender barung, gambang and siter[ check spelling ] or celempung, the first of each pair tuned to the pelog bem subset of five tones (tones 1,2,3,5,6), the second to the pelog barang subset of five tones (2,3,5,6,7). The pelog bonang will each have fourteen gongs.
The slendro and pelog gamelan will usually share the drums (kendang), including one each of ketipung, kendang ageng (or kendang gendhing), ciblon, kendang wayangan, and, in the largest gamelan, a large hanging drum, the bedug. Archaic ensembles may still include such instruments as the gambang gangsa, slentho (in place of slenthem), and bonang panembung. A typical performance ensemble includes a female vocal soloist (pesinden) and male chorus (gerongan); in certain passages, the singers clap rhythmically (keplok).
In Yogyakarta, there is a tendency to have more sarons of each register and it is more likely that the bonang panembung will be present. An archaic instrument, the celuring, a set of struck bells is found only on a few gamelan in the Yogyakarta Kraton and is played in place of the saron panerus. The Solonese style is often considered more refined (or "alus") than Yogyanese style. One specific difference is in saron peking playing; although the pattern it plays for the balungan is often the same, in the Yogyanese style it is rhythmically shifted earlier, creating a different emphasis in relation to the balungan.
Gamelan is the traditional ensemble music of the Javanese, Sundanese, and Balinese peoples of Indonesia, made up predominantly of percussive instruments. The most common instruments used are metallophones and a set of hand-drums called kendang, which keep the beat. The kemanak, a banana-shaped idiophone, and the gangsa, another metallophone, are also commonly used gamelan instruments on Bali. Other notable instruments include xylophones, bamboo flutes, a bowed string instrument called a rebab, and a zither-like instrument called a siter, used in Javanese gamelan. Additionally, vocalists may be featured, being referred to as sindhen for females or gerong for males.
Gamelan degung is a form of Sundanese musical ensemble that uses a subset of modified gamelan instruments with a particular mode of degung scale. The instruments are manufactured under local conditions in towns in West Java such as Bogor and Bandung. Degung music is often played at public gatherings in West Java, such as at local elections, as well as many other events. There is international interest in degung as well among communities in other countries interested in Indonesian and gamelan music.
Pelog is one of the essential tuning systems used in gamelan instruments that has a heptatonic scale. The other, older, scale commonly used is called slendro. Pelog has seven notes, but many gamelan ensembles only have keys for five of the pitches. Even in ensembles that have all seven notes, many pieces only use a subset of five notes, sometimes the additional 4th tone is also used in a piece like western accidentals.
A gamelan gadhon is an ensemble consisting of the 'soft' instruments of the Javanese gamelan. This can include rebab, gendér, gendér panerus, voice, slenthem, suling, siter, gong, kempul, kenong and kendhang.
A gendèr is a type of metallophone used in Balinese and Javanese gamelan music. It consists of 10 to 14 tuned metal bars suspended over a tuned resonator of bamboo or metal, which are tapped with a mallet made of wooden disks (Bali) or a padded wooden disk (Java). Each key is a note of a different pitch, often extending a little more than two octaves. There are five notes per octave, so in the seven-note pélog scale, some pitches are left out according to the pathet. Most gamelans include three gendèr, one for sléndro, one for pelog pathet nem and lima, and one for pelog pathet barang.
A kempul is a type of hanging gong used in Indonesian gamelan. The kempul is a set of pitched, hanging, knobbed gongs, often made of bronze, wood, and cords. Ranging from 19 cm to 25,4 cm in diameter, the kempul gong has a flat surface with a protruding knob at the center and is played by hitting the knob with the "soft end of a mallet." "The wooden mallet used has a ball shape head with heavy padding on a short wooden handle. The number of kempul gongs present in a gamelan ensemble varies but, "although there can be two to ten kempul on one separate rack, it is common to have five kempul hanging on the same rack as the Gong ageng and gong siyem".
The slenthem is an Indonesian metallophone which makes up part of a Javanese gamelan orchestra. The slenthem is part of the gendér family. It consists of a set of bronze keys comprising a single octave: there are six keys when playing the slendro scale and seven when playing the pelog. These keys are suspended by leather cords over individual bamboo tube resonators in a wooden frame, which are cut so that the placement of the bamboo's node causes the functional length of the resonator to be shorter for higher notes. The instrument is played by striking the keys with a mallet, called a tabuh, which has a short handle and a thin wooden disk edged in cloth or rubber. One hand is left free to dampen notes. It is a low-pitched instrument with a softer sound than the saron demung.
The saron is a musical instrument of Indonesia, which is used in the gamelan. It normally has seven bronze bars placed on top of a resonating frame (rancak). It is usually about 20 cm (8 in) high, and is played on the floor by a seated performer. In a pelog scale, the bars often read 1-2-3-5-6-7 across ; for slendro, the bars are 6-1-2-3-5-6-1; this can vary from gamelan to gamelan, or even among instruments in the same gamelan. Slendro instruments commonly have only six keys. It provides the core melody (balungan) in the gamelan orchestra.
The gong ageng is an Indonesian musical instrument used in the Javanese gamelan. It is the largest of the bronze gongs in the Javanese and Balinese gamelan orchestra and the only large gong that is called gong in Javanese. Unlike the more famous Chinese or Turkish tam-tams, Indonesian gongs have fixed, focused pitch, and are dissimilar to the familiar puke crash cymbal sound. It is circular, with a conical, tapering base of diameter smaller than gong face, with a protruding polished boss where it is struck by a padded mallet. Gongs with diameter as large as 135 centimeters have been created in the past, but gongs larger than about 80 centimeters are more common especially to suit the budget of educational institutions.
The bonang is an Indonesian musical instrument used in the Javanese gamelan. It is a collection of small gongs placed horizontally onto strings in a wooden frame (rancak), either one or two rows wide. All of the kettles have a central boss, but around it the lower-pitched ones have a flattened head, while the higher ones have an arched one. Each is tuned to a specific pitch in the appropriate scale; thus there are different bonang for pelog and slendro. They are typically hit with padded sticks (tabuh). This is similar to the other cradled gongs in the gamelan, the kethuk, kempyang, and kenong. Bonang may be made of forged bronze, welded and cold-hammered iron, or a combination of metals. In addition to the gong-shaped form of kettles, economical bonang made of hammered iron or brass plates with raised bosses are often found in village gamelan, in Suriname-style gamelan, and in some American gamelan. In central Javanese gamelan there are three types of bonang used:
Colotomy is an Indonesian description of the rhythmic and metric patterns of gamelan music. It refers to the use of specific instruments to mark off nested time intervals, or the process of dividing rhythmic time into such nested cycles. In the gamelan, this is usually done by gongs of various size: the kempyang, ketuk, kempul, kenong, gong suwukan, and gong ageng. The fast-playing instruments, kempyang and ketuk, keep a regular beat. The larger gongs group together these hits into larger groupings, playing once per each grouping. The largest gong, the gong ageng, represents the largest time cycle and generally indicates that that section will be repeated, or the piece will move on to a new section.
The siter and celempung are plucked string instruments used in Javanese gamelan. They are related to the kacapi used in Sundanese gamelan.
Notation plays a relatively minor role in the oral traditions of Indonesian gamelan but, in Java and Bali, several systems of gamelan notation were devised beginning at the end of the 19th century, initially for archival purposes.
The panerusan instruments or elaborating instruments are one of the divisions of instruments used in Indonesian gamelan. Instead of the rhythmic structure provided by the colotomic instruments, and the core melody of the balungan instruments, the panerusan instruments play variations on the balungan. They are usually the most difficult instruments to learn in the gamelan, but provide the most opportunity for improvisation and creativity in the performer.
Pathet is an organizing concept in central Javanese gamelan music in Indonesia. It is a system of tonal hierarchies in which some notes are emphasized more than others. The word means '"to damp, or to restrain from" in Javanese. Pathet is "a limitation on the player's choice of variation, so that while in one pathet a certain note may be prominent, in another it must be avoided, or used only for special effect. Awareness of such limitations, and exploration of variation within them reflects a basic philosophical aim of gamelan music, and indeed all art in central Java, namely, the restraint and refinement of one's own behaviour." Javanese often give poetic explanations of pathet, such as "Pathet is the couch or bed of a melody." In essence, a pathet indicates which notes are stressed in the melody, especially at the end of phrases (seleh), as well as determines which elaborations are appropriate. In many cases, however, pieces are seen as in a mixture of pathets, and the reality is often more complicated than the generalizations indicated here, and depend on the particular composition and style.
Irama is the term used for tempo in Indonesian gamelan in Java and Bali. It can be used with elaborating instruments. It is a concept used in Javanese gamelan music, describing melodic tempo and relationships in density between the balungan, elaborating instruments, and gong structure. It is distinct from tempo, as each Irama can be played in different tempi. Irama thus combines "the rate of temporal flow and temporal density"; and the temporal density is the primary factor.
Imbal or imbalan is a technique used in Indonesian Javanese gamelan. It refers to a rapid alternation of a melodic line between instruments, in a way similar to hocket in medieval music or kotekan in Balinese gamelan. "A style of playing in which two identical or similar instruments play interlocking parts forming a single repetitive melodic pattern."
This imbal is a method of playing in which the nuclear theme is played by one of the nyaga's 'broken up' into half-values, what time another player beats alternately with the first, but in such a way that his tones, each of which comes between two of his colleague's, are always one step lower than the nuclear theme tone immediately preceding it. From practical considerations this imbal is, if possible, divided over two demungs; if only one such instrument is available, the two players sit facing each other. The player who beats the nuclear theme tones is said to play the gawé (...); the other one, the nginţil (...).
Gamelan siteran is a casual style of gamelan in Java, Indonesia, featuring portable, inexpensive instruments instead of the heavy bronze metallophones of a typical gamelan. A typical group consists of varieties of siter, kendang (drum), and a large end-blown bamboo tube or a gong kemodhong, functioning as a gong ageng. A full group has a celempung, siter, siter panerus, siter slenthem, kendhang ciblon, and gong kemodhong. It is typically accompanied by singing as well. The instruments are often homemade, something which is impossible with the more characteristic gamelan instruments. Performances are usually of pieces from the standard Javanese gamelan repertoire.
(Joseph) Vincent McDermott was a classically trained American composer and ethnomusicologist. His works show particular influence from the musics of South and Southeast Asia, particularly the gamelan music of Java. He was among the second generation of American composers to create and promote new compositions for gamelan.
Gamelan Munggang are considered among the most ancient gamelans of the kraton (courts) of central Java. The ensemble of instruments consists of gong ageng, kempul, kendang and horizontal gong chimes tuned to three pitches. Very low in absolute pitch, each ensemble consists of two types: pelog and slendro. There is a repertory of several repetitive pieces, the best known permutation being high-middle-high-low. It is theorized that pelog was derived from the three note munggang scale. The origin of the munggang ensembles themselves are described in Javanese myths, however the first one may have been imported to Indonesia in the first century CE, with the first ensemble constructed by the Javanese made in the 4th century.
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