Guide to Sundanese Music - Free EBooks Library

Jipang Prawa / Gambir Sawit
1 wilet
P P
jengglong 51 5
DEGUNG KAWIH
i 5 3 4 5|5 3 4 5|2 2 5 112 4 3 2
11
111
2 wilet
//
IV
4345|4345|3451|25 12
4 3 4 5(4 3 4 512 2 5 112 4 3 2
P
1 5
5 13 4 .434545
P
1
P
1
pangkat
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P P P
2 2
31
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1 5 1 2|1 5 1 2J3 3 2 3|2
1 5 1 2(1 5 1 2|3 3 2 3(5
slowing to 2
P
1
P
1
G
3 4 5
P G
5
3 4 5
• • •
3 4 5
21545
• • • I
wilet
5 13 4 .43454532 222 222 223 555 5 5 4 3 54512
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P
1
iv 22 3 2 111 5121222 3 2 111 5121255 555 555 521 333 3 323 2 32345 etc.
In more animated pieces, the cempres and peking may play caruk saron, as in
gamelan salendro. In order to overlap in what sounds as the same octave, the
cempres is played in its higher register, while the peking is played in its
lower register. Usually in this type of caruk, patterns are played which
anticipate the pancer notes. See section 3.1.1.
On the peking, some musicians play a kind of rincik part (there is no rincik
in gamelan degung). In rapid off-beats, they play the same notes as the
kemprangan bonang, but at twice the density, ie:
Cirebonan
bonang 5.512.2.2.21
P P P P P G
(in octaves)
peking ~57575T575757575 1272727272727272 . ?72727272727272l3737373737373737
jengglong 4*
' '
'l 4 2 1
Sometimes such "kemprangan" on the peking is played in octaves with two
beaters.
If there are more players than instruments, the peking and cempres can
accomodate two players side by side.
70
P
1
P
1
G
51
3
etc.