Guide to Sundanese Music - Free EBooks Library

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PANELU PANELU SOROG PANERUS PANGAGfiT PANGJADI PANGKAT PANGKAT BIASA PANUTUP PATOKAN PEKING PiLOG PETIT GLOSSARY = 3 = Javanese 3/dhadha. For those familiar with Javanese notation but not yet used to Sundanese, it maybe useful to remember that 3 is the same in both systems. [For those who have ever had piano lessons, another useful mnemonic is to think of piano fingerings for the left hand. 3 is then your middle finger.] = 3- (= + Javanese 4/pelog). The note which turns the pelog scale (12 3 4 5) into the sorog scale (45123-) a) in gamelan salendro/pelog: 7-note metallophone one octave below saron. = Javanese demung. b) in gamelan degung = cempres A secondary pivotal note, which may come between the pancer and the stuctural notes. The very first section of a piece after the pangkat, during which it becomes clear what the piece is, and the tempo settles down. Introductory phrase played a single instrument. = Javanese buka. Literally "normal pangkat". In degung klasik, the pangkat which opens the majority of sekar ageung with goong 5. A closing piece. Like the bubuka, often fast and loud. A framework of pitches. The basis of sekar alit. a) in gamelan salendro/pelog: 7-note metallophone one octave above saron. = Javanese peking/saron panerus. b) in gamelan degung: metallophone of nearly three octaves' range, and relatively high pitch. a) a seven-note gamelan tuning (sometimes called pelog jawar), resembling Javanese pelog. b) short for "pelog degung": a five-note tuning used in gamelan degung and tembang Sunda, with intervals rather close to those of Western music. In gamelan degung approximates to G F# D C B. In tembang approximates to F E C Bb A. a) in gamelan salendro: the high 5/singgul b) in general: a very high melodic phrase. Often sung to "Aduh" or "Manis". Sometimes referred to as "jerit": literally "scream". 106
POLA P.S. PUPUH BEBAB EINCIK EUMPAKA SALfiNDRO SARON SAWILET SAWILET SATENGAH SEKAR AGEUNG SEKAR ALIT SENGGAK SfiNGGOL GLOSSARY Pattern or model. If a vocal melody is "dipola" , it means it is a pre-existing tune, as opposed to an improvised one. Pronounced "pe es". Short for "gamelan pelog/salendro". Javanese verse forms. The ones used for the lyrics of Sundanese songs are Kinanti, Sinom, Asmarandana and Dangdanggula. A two-stringed fiddle. In gamelan salendro/pelog, a small bonang pitched an octave higher, ie Javanese bonang panerus. Also sometimes short for kacapi rincik. A song lyric in any verse form. A tuning in which the five notes are almost equally spaced at intervals of around 240 cents. Similar to Javanese slendro. a) in gamelan salendro/pelog: 7-note metallophone. = Javanese saron. b) in gamelan degung = peking. = 1 wilet (see wilet) = If wilet = 1 wilet kendor = a slow 1 wilet or a fast 2 wilet (see wilet) Literally "large piece". Larger scale forms in both gamelan salendro/pelog and gamelan degung, which are usually based on a melody, as opposed to a framework of destination pitches. Literally "small piece". Small scale forms in both gamelan salendro/pelog and gamelan degung, which are usually based on a framework of destination pitches. Rhythmic cries, hoots, animal noises, shouts of encouragement, heckling and so on by gamelan musicians. a) A style of melody: eg senggol kaleran = melody in the style of the North coast b) (sometimes) a whole melody: eg "how did that senggol go ?" = "how did that melody go ?" c) a melodic turn of phrase d) a melodic ornament Not an exact synonym for Javanese cengkok, but covering similar ground, and at least as elusive to define. 107
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GUIDE TO SUNDANESE MUSIC A PRACTICA
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3.2 BONANG AND RINCIK 11 3.2.1 Kemp
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IV this respect it is a definite ad
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U Chapter 1 INTRODUCTION 1.1 GAMELA
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INTEODUCTION - GAMELAN SAL^NDRO AND
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INTRODUCTION - GAMELAN SALiNDRO AND
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INTRODUCTION - GAMELAN SAL^NDRO AND
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INTRODUCTION - GAMELAN DEGUNG A gam
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INTRODUCTION GAMELAN DEGUNG The fol
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1.3 TEMBANG SUNDA or CIANJURAN 1.3.
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INTRODUCTION - TEMBANG SUNDA player
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Chapter 2 SOME USEFUL TERMS AND PRI
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TERMS AND PRINCIPLES There may also
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ii) TERMS AND PRINCIPLES Another ty
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TERMS AND PRINCIPLES Sundanese song
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TERMS AND PRINCIPLES not widely use
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3.1 SARON Chapter 3 PLAYING GAMELAN
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GAMELAN SALjgNDRO/P^LOG : SARON In
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2 wilet // GAMELAN SAL^NDRO/P^LOG :
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GAMELAN SALl^NDRO/PlgLOG : SARON At
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GAMELAN SALiNDRO/P:eLOG : SARON pan
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GAMELAN SALlgNDRO/PfiLOG ; SARON In
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3.2 BONANG and RINCIK 3.2.1 Kempran
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GAMELAN SALlSNDRO/P^LOG : BONANG sa
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OB B N A N G GAMELAN SAL^NDRO/PlfiL
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GAMELAN SALlfiNDRO/P^LOG : BONANG B
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GAMELAN SALjgNDRO/PfiLOG : PANERUS
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OR P A N E R U s 5 GAMELAN SAL^NDRO
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GAMELAN SALfiNDRO/P^LOG : PANERUS &
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GAMELAN SALlSNDRO/PfiLOG : GOONG &
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Page 84 and 85: Lalayaran bonang Peking cempres jen
Page 86 and 87: DEGUNG KLASIK: JENGGL0N6 The jenggl
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Page 92 and 93: (Rugrug) // // 55 5 5 DEGUNG KLASIK
Page 94 and 95: Chapter 5 PLAYING PANAMBIH TEMBANG
Page 96 and 97: PANAMBIH TEMBANG SUNDA: KACAPI INDU
Page 98 and 99: Kulu-kulo 1 wilet PANAMBIH TEMBANG
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Page 102 and 103: PANAMBIH TEMBANG SUNDA: KACAPI EINC
Page 104 and 105: TABLE OF PATOKAN frameworks of seka
Page 106 and 107: ANGLfi BANJARAN Barlen Gede BARL6N
Page 108 and 109: CfiMPRlgS CIANJUEAN DA MI NA TI LA
Page 110 and 111: KEMPEANGAN KEMPUL KENDANG KENDANGAN
Page 114 and 115: SINGGUL SOROG SULING DEGUNG SULING
Page 116 and 117: Rosidi, Ajip 1973 "My experiences i
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