Guide to Sundanese Music - Free EBooks Library

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GAMELAN SALiNDEO/PfiLOG : SARON The same principle applies in sekar alit with 2 goong. Thus for instance, Banjaran has the patokan 1 (4) 1 (2). The two goong pitches are bem/4 and kenong/2. The kenong (mid-point) pitch is 1/barang. The pancer is 5/singgul. The saron would play caruk as follows: sawilet gancang (fast 1 wilet) gNnGgNnG 2 1 1(4)4 1 1(2) sawilet (moderate 1 wilet) cNcGcNcG cNcGcNcG 5 1 5 (4) 5 1 5 (2) sawilet kendor (slow 1 wilet) or sawilet satengah (If wilet) dua wilet (2 wilet) c 5 1 5 (4) 5 1 5 (2)
GAMELAN SALl^NDRO/PlgLOG : SARON At slower speeds a pancer may be interspersed: // P - 5 P -•- 5 P P P - 1| • 5 1| 5 •> 1| - 21 P -»• 5 -* 2 1 » 5 P - 21 P -*' 5 P -•> 5 G -2| Such pieces are sometimes called "opat kali, opat kali", or "four times, four times". 3'1'3.1 Caruk variations Some pieces have their own idiosyncratic variations of the caruk pattern. Thus for instance Kulu-kulu Barang 4 (1) in 1 wi let may be played in the normal way, with standard caruk to 4 1 1 (4), or (including the pancer 5) with standard caruk to 5 1 5 (4). Or alternatively, the following caruk variation may be played: Kulu-kulu Barang 1 wilet: "Cocol Pindang" variation G G -•• 1 G
Page 1 and 2: GUIDE TO SUNDANESE MUSIC A PRACTICA
Page 3 and 4: 3.2 BONANG AND RINCIK 11 3.2.1 Kemp
Page 5 and 6: IV this respect it is a definite ad
Page 7 and 8: U Chapter 1 INTRODUCTION 1.1 GAMELA
Page 9 and 10: INTEODUCTION - GAMELAN SAL^NDRO AND
Page 11 and 12: INTRODUCTION - GAMELAN SALiNDRO AND
Page 13 and 14: INTRODUCTION - GAMELAN SAL^NDRO AND
Page 15 and 16: INTRODUCTION - GAMELAN DEGUNG A gam
Page 17 and 18: INTRODUCTION GAMELAN DEGUNG The fol
Page 19 and 20: 1.3 TEMBANG SUNDA or CIANJURAN 1.3.
Page 21 and 22: INTRODUCTION - TEMBANG SUNDA player
Page 23 and 24: Chapter 2 SOME USEFUL TERMS AND PRI
Page 25 and 26: TERMS AND PRINCIPLES There may also
Page 27 and 28: ii) TERMS AND PRINCIPLES Another ty
Page 29 and 30: TERMS AND PRINCIPLES Sundanese song
Page 31 and 32: TERMS AND PRINCIPLES not widely use
Page 33 and 34: 3.1 SARON Chapter 3 PLAYING GAMELAN
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Page 45 and 46: 3.2 BONANG and RINCIK 3.2.1 Kempran
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Page 49 and 50: OB B N A N G GAMELAN SAL^NDRO/PlfiL
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Page 55 and 56: OR P A N E R U s 5 GAMELAN SAL^NDRO
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Page 59 and 60: GAMELAN SALlSNDRO/PfiLOG : GOONG &
Page 61 and 62: 3.6 Kendang GAMELAN SAL^NDRO/PfiLOG
Page 63 and 64: RH KENDANG AGEUNG (small head) COMB
Page 66 and 67: SAWILET SATENGAH (U WILET) or P t P
Page 68 and 69: gelenyu •
Page 70 and 71: GAMELAN SALJ^NDRO/PiLOG : KENDANG
Page 72 and 73: or cacagan LH RH jgl. // 5 . 5 i 5
Page 74 and 75: DEGUNG KAWIH melody, but it is not
Page 76 and 77: Jipang Prawa / Gambir Sawit 1 wilet
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Page 82 and 83: DEGUNG KLASIK: BONANG This type of
Page 84 and 85: Lalayaran bonang Peking cempres jen
Page 86 and 87: DEGUNG KLASIK: JENGGL0N6 The jenggl
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DEGUNG KLASIK: KENDANG The first of
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DEGUNG KLASIK: KENDANG end of line
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(Rugrug) // // 55 5 5 DEGUNG KLASIK
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Chapter 5 PLAYING PANAMBIH TEMBANG
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PANAMBIH TEMBANG SUNDA: KACAPI INDU
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Kulu-kulo 1 wilet PANAMBIH TEMBANG
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PANAMBIH TEMBANG SUNDA: KACAPI INDU
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PANAMBIH TEMBANG SUNDA: KACAPI EINC
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TABLE OF PATOKAN frameworks of seka
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ANGLfi BANJARAN Barlen Gede BARL6N
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CfiMPRlgS CIANJUEAN DA MI NA TI LA
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KEMPEANGAN KEMPUL KENDANG KENDANGAN
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PANELU PANELU SOROG PANERUS PANGAGf
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SINGGUL SOROG SULING DEGUNG SULING
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Rosidi, Ajip 1973 "My experiences i
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