Guide to Sundanese Music - Free EBooks Library

GAMELAN SALiNDRO/P:eLOG : SARON
pangkat saron: 432115 124234
P P P P G
^ 111 5 1 2 14 2 3 41
II: 4 . 4 . 4 . 4 . 14 . 4 . 1 . 1 . il . 1 . 1 . 1 . 11 . 1 . 4 . 4 .
P P P P P G
I: 2 2 3 2[ 4 3 2 1| 1 3 1 2| 4 3 5 4[
II: 4 . 4 . 4 . 4 . 14 . 4 . 1 . 1 . II . 1 . 1 . 1 .11 . 1 . 4 . 4 .1
Such melodic improvisation is called ngamelodi. The exact path the melodytakes
is rather free, but it must of course arrive on the right note at the
goong (4/bem) and kenong (1/barang). It may also tie up with the pancer, but
not necessarily. This kind of melodic playing really comes into its own in
the sekar ageung, or larger forms, and is then referred to as cacag.
Takol lancar or ngamelodi is normally only played for a few goong phrases
before going into caruk, by which time it should have served its function of
making it clear what piece is being played.
3.1.4 4 wilet (opat wilet)
In 4 wilet, the saron play caruk phrases separated by rests. The first half
of Kulu-kulu Bern 4 wilet could be played like this:
saron I
saron II:
I:
II:
I:
II;
I;
II;
• •
• • • I «
35
5| 3 3 3
5)
k
7~^ . 2
5| 4 4 4
5| 7~^ . 3
k
5| 3 3 3
5( 7T . 2 .
ic
P
3|
c
5| 2 2 2| 4 2|
5| rr . 3 . 5 . 3 2j
I
ic N
4|
41