Irama

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Number of saron panerus notes per saron note in each irama. Saron panerus irama.png
Number of saron panerus notes per saron note in each irama.

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, [2] describing melodic tempo and relationships in density between the balungan, elaborating instruments, and gong structure. [3] It is distinct from tempo (Javanese: Laya), as each Irama can be played in different tempi. [4] [5] Irama thus combines "the rate of temporal flow and temporal density"; and the temporal density is the primary factor. [6]

Contents

One way to think of Irama is to use the most consistently struck instrument in the gamelan, the saron panerus (or peking). In some pieces, it plays once per note in the balungan (such as played by the saron barung ). In others, it may play twice as often, or four times, as the notes of the balungan are more spread out. This corresponds to a slower Irama. In most cases, the more spread out the balungan is, the longer it takes to reach a gong ageng . [7]

There are five Irama: [2]

Irama numberIrama nameSaron panerus beats per balungan note
1/2Irama lancar1
IIrama tanggung2
IIIrama dados (or dadi)4
IIIIrama wilet8
IVIrama rangkep16

In slower Irama, there is more space to be filled, and typically elaborating instruments become more important.

Each Irama can be played in three Laya ("tempi"):

Frequently, a change of Laya signals a new section.

See also

Bibliography

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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 (...).

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References

  1. Lindsay, Jennifer (1992). Javanese Gamelan, p.54. ISBN   0-19-588582-1.
  2. 1 2 Peeters, Geoffroy. "The Javanese Gamelan". The Javanese Gamelan. Retrieved December 5, 2011.
  3. Spiller, 2004.
  4. Sumarsam (2008). "Gamelan of Central Java". Gamelan of Central Java – XII. PANGKUR ONE. Yantra Productions (gamelan.to). Retrieved December 5, 2011.
  5. Jordan, Bern (May 25, 2002). "Javanese Gamelan". Javanese Gamelan: Glossary. Archived from the original on February 12, 2012. Retrieved December 5, 2011.
  6. Sumarsan, 1996. page 156
  7. Guberman, Daniel. "Gamelan Nyai Saraswati". Introduction to the Peking. University of North Carolina. Retrieved December 5, 2011.