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DEGUNG KLASIK: KENDANG
end of line iv, although both these are quite strong cadences (koma). Both
are marked by the closing pattern B. The stronger closing pattern, B' , in
which the dung (b) strokes match the jengglong syncopation, is reserved for
the actual goong at the end of line vi (and is also used at the end of the
whole piece). Line vi begins with the syncopated tung (p) strokes which warn
that a goong is coming.
In the first half of line iii, instead of the normal pattern A, we get a kind
of truncated version, which is repeated. This is interesting, since it
closely reflects what the melody does at that point: a short motive is
reiterated on 3/panelu. A sensitive drummer's realisation does not just tie
up with the goong notes, but also reflects the character of the melody.
In the second half of line v, we just get the figure . . p b|. . . .|, which
also occurs in the closing patterns B and B' , though not on this beat. The
whole of lines v & vi comprise the very common closing phrase, Rugrug. This
configuration of drum patterns is associated with Rugrug, and as such is best
regarded as a single entity.
Since the kendang parts are so sparse in degung klasik, the kendang does not
really control the tempo, as it generally does in other types of gamelan. In
degung klasik, the bonang player has much more control over the tempo than
the kendang does. For this reason, it is not necessary for the kendang to
play a special pattern for stopping. However, the kendang may indicate that
it is time to stop, by playing straight on-beat tung (p) strokes, instead of
the syncopated tung that normally precede the final closing pattern.
The decision whether or not to make the transition to a sekar alit (naek), is
in the hands of both the bonang and kendang players. The bonang can give the
signal to na6k by playing kemprangan instead of gumekan before the final
goong. Even if the bonang does not do this, the kendang player can make the
transition by changing to kawih style drumming (ie complex patterns played
with the hands - ditepak) at the goong. In order to naek, the tempo slows
down as for stopping, and then doubles at the goong.
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