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Guide to Sundanese Music - Free EBooks Library

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PANAMBIH TEMBANG SUNDA: KACAPI INDUNG<br />

In the above transcriptions, most of the p^ncer are pivotal notes within a<br />

pattern: in other words, the right hand thumb plays the same note before and<br />

after the pancer. In two instances, however (the first pancer in Kulu-kulu<br />

1 wilet, and the third in 4 wilet), the pancer acts as a pivotal note<br />

between patterns: in other words, the right hand thumb plays a different<br />

note before and after the pancer. Van Zanten calls this second type "pancer<br />

hiasan" . It can be compared <strong>to</strong> the pancer played in passing by the bonang<br />

when changing note in kemprangan. The decision by the kacapi indung player<br />

whether or not <strong>to</strong> play a pancer of this type is partly dependent on the<br />

nature of the vocal melody at that point. Thus, for instance, the common<br />

sekar alit Catrik, with the pa<strong>to</strong>kan 2 (5) , is generally played with the<br />

pancer notes 3 and 1 in between patterns:<br />

Catrik 2 wilet<br />

//<br />

. 5 22. 22.2,55 5 5 22.^5 2 3<br />

pancer "goong"<br />

.53 53.<br />

. { . . > . i<br />

5 3 .5.53 5 2<br />

2 5 2.<br />

5 2 5 2 5 2 5 3 2 5 2 5<br />

5.5.5.5. 5.5.5.5.<br />

>N<br />

.S. § 5 .§. § 5<br />

.5. 5 .L^h t 1<br />

pancer<br />

H si.<br />

"goong"<br />

§ i .S.M 3 t<br />

5 3 5.<br />

2 5 2 5 2 5 2 1 5 3 5 3<br />

5.5.5.5.<br />

>G<br />

This sekar alit is used <strong>to</strong> accompany the panambih melody Panglipur. At the<br />

third repetition of the accompaniment, Pa Uking <strong>to</strong>ld me <strong>to</strong> play without the<br />

pancer, beginning thus:<br />

Catrik 2 wilet beginning without pancer (3rd cycle of Panglipur)<br />

. 5 i H<br />

.<br />

5 i .§.§i S S<br />

5 3 5.<br />

"goong" "goong"<br />

. !<br />

5 3 h 3 .<br />

5 h .Lhh 5 k<br />

2 5 2.<br />

5 3 5 3<br />

2 5 2 5<br />

0*0*DaO« 0.0.0.0.<br />

>N<br />

However, it would not be wrong <strong>to</strong> play in the normal way with the pancer<br />

between patterns throughout.<br />

In general, kacapi indung players have much more latitude <strong>to</strong> bend the pa<strong>to</strong>kan<br />

structure than gamelan musicians do, because they are in sole control of the<br />

musical structure. Many singers have little regard for the musical structure<br />

of the accompaniment: if a gelenyu (or instrumental interlude) feels <strong>to</strong> them<br />

<strong>to</strong>o long, they will ask for it <strong>to</strong> be shortened, even if this results in a<br />

Unfortunately this term is not in common use:<br />

useful if it were.<br />

93<br />

it would be very<br />

etc.

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