Guide to Sundanese Music - Free EBooks Library

PANAMBIH TEMBANG SUNDA: KACAPI INDUNG
Another common kendangan, which is often interchangeable with dong-diDING, is
the following :
.5. 5 5 .5. 5 5 .5. 5 .5.53 5 2
The kacapi indung player may give advance warning that the piece is about to
end by playing the following unsyncopated version of the above:
h 5 515 5 5 75753 t k\ - ding-DONG -»• STOP
The above kendangan may all also be used for the "goong" note 1/barang. For
"goong" notes 5/galimer, 4/bem and 3/panelu, the same kendang patterns are
tranposed up three strings:
ding-dong on 5 and h
-d—
2: g—
g (J—
'S
S: d— 2:
o— n—
i— n
goong 2/kenong
o— o—n—
o— n—
1 -o—-o— n-
5 d— 1— n—
^3
goong 1/barang
g
ding-dong on 3 and 1
h.
li. d— o— n-
^5
-o—
4,
3 .
^
goong 5/galimer
-d—
o— n— g-
i— n—
goong 4/bem
-d— o— n-
^6 g-r-o-r-o— n-
3 d— 1— n—
g— o— o—
I d—
^4
S d—
goong 3/panelu
o— n— g-
-
i— n-
Kendangan in other positions are sometimes found (eg on 5 and 2 in pelog).
Nevertheless, the above positions are the main ones for both the pelog and
sorog tunings. In panambih tembang Sunda, kendangan are always played on
strings which sound well together (usually a Western fifth or sixth: never a
tritone, as in some other kacapi styles). In salendro there is more
latitude, since any pair of strings with two strings in between sound roughly
a fifth apart.
Many panambih are based on sekar alit from the gamelan degung and gamelan
salendro repertoires. Thus in a song like Kulu-kulu, the patokan 5 (2), is
realised as it might be on the bonang or panerus/cempres: with patterns to
2 5 5 (2).
Javanese gamelan players may find this pattern easier if they think
of the rhythm of gembyang bonang panerus in Lancaran.
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