05.06.2013 Views

Guide to Sundanese Music - Free EBooks Library

Guide to Sundanese Music - Free EBooks Library

Guide to Sundanese Music - Free EBooks Library

SHOW MORE
SHOW LESS

You also want an ePaper? Increase the reach of your titles

YUMPU automatically turns print PDFs into web optimized ePapers that Google loves.

GAMELAN SAL:gNDRO/P]gLOG : SARON<br />

Other examples are found in Bendrong, Senggot and Angle. The ascendancy of<br />

the female solo singer means that such variations are falling in<strong>to</strong> disuse.<br />

The emphasis is nowadays on providing her a smooth accompaniment, rather than<br />

on interesting (and potentially distracting) instrumental techniques.<br />

3.1.3 Other saron techniques: pangkat, takol lancar, ngamelodi, cacag<br />

Pieces begin with a pangkat, or introduc<strong>to</strong>ry phrase (equivalent <strong>to</strong> the<br />

Javanese buka). In 1 wilet, it is nearly always played by the saron. In<br />

2 wilet, it may be played by the saron, rebab or gambang. In 4 wilet it is<br />

played by the rebab or gambang.<br />

Many pieces have the same or very similar pangkat. It is not always<br />

announced beforehand what piece is about <strong>to</strong> be played, particularly during a<br />

wayang performance. For both these reasons, what is played by saron I<br />

immediately after the goong is crucial for defining what the piece is. In<br />

many pieces, the saron I player does not launch in<strong>to</strong> caruk straight after the<br />

Initial goong. Instead, saron I may play a melodic line based on the pa<strong>to</strong>kan.<br />

This is sometimes called takol lancar.<br />

Thus for instance, Kulu-kulu Bem (Kulu-kulu Gancang) 1 wilet may begin like<br />

this:<br />

G<br />

pangkat saron: 3 12 13 14<br />

I:<br />

P P<br />

1 3 1 41 1 3 1<br />

II: 4.4.4.4 2 .<br />

P P P G<br />

1 3 1 2| 1 3 1 4|<br />

2.2.2.2.12.2.4.4<br />

The saron I part is based on the pa<strong>to</strong>kan notes 422 (4) or gNnG, with<br />

the filler 1 3 1 x in between. 3/panelu is the pancer, and 1/barang is<br />

the pangaget: a kind of pancer <strong>to</strong> the pancer, or pivot between the pivots.<br />

Saron II reiterates the pa<strong>to</strong>kan notes on the off-beats. Representing the<br />

pangaget as k for "kaget" (which means "taken aback"; "pangaget" is "that<br />

which takes aback"), this gives us the following scheme:<br />

I:<br />

II:<br />

P<br />

k c N! k<br />

P<br />

c k<br />

n<br />

P<br />

c<br />

G<br />

k Gl<br />

In Kulu-kulu Barang, G = 1/barang; N = 4/bem; c = 5/singgul; k = 3/panelu<br />

The piece begins<br />

II: 1 . 1 . 1 . 1 . !1<br />

pangkat saron:<br />

P<br />

P<br />

5<br />

41<br />

5<br />

4.4.4.4.4.4.1<br />

Sometimes the takol lancar section is much freer melodically. Thus Gendu,<br />

which has the pa<strong>to</strong>kan 1 (4) with the pancer 3, may begin like this:<br />

34<br />

P<br />

G<br />

1<br />

1 .<br />

G<br />

11

Hooray! Your file is uploaded and ready to be published.

Saved successfully!

Ooh no, something went wrong!