Guide to Sundanese Music - Free EBooks Library

or like this:
saron I
saron I I
I:
II;
GAMELAN SALfiNDEO/PlgLOG : SARON
I:
II; 2.2.2.
I:
5
k
k
I 3 3|
• ^ t £i * ^•tO« Li • 0* Ci o \
P
3 1 3|
4 4 4 4| 2 4 2 4(
r~57^7~J7TT7~57~Tr34|
c
P
3 1 3
2.5.23
c
II: 1 2
N
(g = goong pitch; n = kenong; c = pancer; k = pangaget)
Many sekar alit can be played in 4 wilet. In these large-scale expansions,
the kawih melody in the vocal and rebab parts becomes very much the focus of
musical attention. The kawih tends to go its own way, and the realization of
the patokan may be altered to accomodate this. While the goong and mid-point
strokes are the same as in 1 wilet or 2 wilet, what happens in between can be
very unpredictable. You have to know the melody, or at least be able to
follow it.
Thus, for instance, while Kulu-kulu Bem/Gancang clearly has the same basic
structure in 1 wilet and 2 wilet, in 4 wilet it is a little different:
caruk saron
1 wilet P . P . P P P G
*
2 wilet
4 wilet P
3 4
P
3
or
P
3
P
4 2 2 (4)
or *
2
3 2
*
4
3 2 3 (4)
p
*
3
*
2