Balinese Pieces (Preview)
Music by Gareth Farr | Piano Works include Sepuluh Jari, Tentang Cara Gamelan, and Jangan Lupa
Music by Gareth Farr | Piano
Works include Sepuluh Jari, Tentang Cara Gamelan, and Jangan Lupa
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PROMETHEAN EDITIONS
GARETH FARR
Balinese Pieces
Piano
Gareth Farr
Balinese Pieces
Piano
PROMETHEAN EDITIONS
WELLINGTON
Balinese Pieces (PE128) for Piano by Gareth Farr (1994-2003)
Sepuluh Jari (1996) © Promethean Editions Limited
Tentang Cara Gamelan (1994) © Promethean Editions Limited
Jangan Lupa (2003) © Promethean Editions Limited
First edition © 2013 Promethean Editions Limited (201504)
Series Editor: Ross Hendy
Editors: Thomas Liggett, Ben Woods
ISBN: 978-1-877564-28-4 (print)
ISBN: 978-1-77660-128-8 (ebook)
ISMN: 979-0-67452-200-7
Promethean Editions Limited
PO Box 10-143
Wellington
NEW ZEALAND
http://www.promethean-editions.com
No part of this publication may be reproduced in any form or by
any means without permission in writing from the Publisher.
PE128 – ii
Gareth Farr (1968)
Gareth Farr was born in Wellington, New Zealand. He began his studies in composition and
percussion performance at the University of Auckland. The experience of hearing a visiting
gamelan orchestra prompted his return to Wellington to attend Victoria University, where the
characteristic rhythms and textures of the Indonesian gamelan rapidly became hallmarks of
his own composition. Farr continued with postgraduate study in composition and percussion
at the Eastman School of Music in Rochester, NY, where his teachers included Samuel Adler
and Christopher Rouse.
The inclusion of his works in four events at the 1996 New Zealand International Festival of
the Arts inaugurated his career as a dedicated freelance composer. Since then, Farr’s music
has been heard at, or especially commissioned for, high-profile events including the 50th
anniversary of the New Zealand Symphony Orchestra (From the Depths Sound the Great Sea
Gongs), the opening of the Museum of New Zealand Te Papa Tongarewa (Te Papa), and the
2000 Olympic Games in Sydney (Hikoi, a concerto for percussionist Evelyn Glennie and the
NZSO). In 2003, a commission by the Auckland Festival resulted in Stone and Ice, composed
for the combined forces of the NZSO and the Auckland Philharmonia Orchestra. In 2006
Farr was made an Officer of the New Zealand Order of Merit, for his services to music and
entertainment. In the same year, the Royal New Zealand Ballet toured the country with their
brand new work The Wedding, featuring a score by Gareth Farr. At ninety minutes, it was
among the ballet company’s most ambitious projects, and combined Farr’s talents with those
of prominent New Zealand novelist and librettist Witi Ihimaera.
Farr’s music was integral to Maui – One Man Against the Gods, a stage show four years in the
making. First premiered in 2003, it featured aerial theatre, Maori kapa haka, contemporary
dance and song, with Farr’s stirring music, and toured a number of centres in New Zealand.
In more recent years, Farr has developed a fruitful collaboration with director and librettist
Paul Jenden, producing four comedy musicals. In 2007 Farr was appointed as Composer-
PE128 – iii
in-Residence for the Auckland Philharmonia Orchestra. The residency culminated in 2008
with the premiere of Ex Stasis, a symphonic song cycle for four soloists. In 2008, Farr also
celebrated the world premiere of his work Terra Incognita, for bass solo, choir and orchestra,
performed by Paul Whelan and the Orpheus Choir with the New Zealand Symphony
Orchestra. Farr’s artistic excellence was acknowledged when he received the Arts Foundation
of New Zealand’s Arts Laureate Award 2010, which aims to celebrate significant artistic
achievement as well as nurture future creative endeavours.
In March of 2014 Farr’s Concerto for Piano and Orchestra received its world premiere from
soloist Tony Lee and the New Zealand Symphony Orchestra, conducted by Pietari Inkenen.
Its UK premiere followed one year later, with Lee backed by the BBC Philharmonic, with
conductor Tecwyn Evans. The BBC Philharmonic included Farr’s work alongside Douglas
Lilburn’s Symphony No.2 as a programme to mark the 100th anniversary of the ANZAC
troops’ battle at Gallipoli during World War I. The concerto received critical acclaim,
described by the Dominion Post’s John Button as containing “marvellously free piano
writing surrounded by orchestral sounds that conjure up memories of Prokofiev ballets,
Ravel’s L’Enfant et les Sortileges and even the Bartok First Piano Concerto…the ear was tickled
bar after bar. I have no doubt that this marvellously inventive piano concerto is bound to
develop an international life all its own.”
Farr’s music is particularly influenced by his extensive study of percussion, both Western
and non-Western. Rhythmic elements of his compositions can be linked to the complex and
exciting rhythms of Rarotongan log drum ensembles, Balinese gamelan and other percussion
music of the Pacific Rim.
Latest information about the composer may be found at www.garethfarr.com.
PE128 – iv
Balinese Pieces (1994-2003)
With a tradition dating back well beyond 500 years, gamelan music continues to be an iconic
feature of the Indonesian performing arts. The gamelan orchestra is comprised of bronze
percussion instruments, ranging from smaller keyed instruments hit with hammers to large
gongs struck with soft mallets which produce a deep resonance. New Zealand composer Jack
Body notes that “gamelan reflects the character of the cultures; Javanese gamelan is more
refined, reflective, and conservative while Balinese gamelan is more extrovert, dynamic, and
open to exploring new things.” The three Balinese Pieces explore the exciting rhythms and
beautiful sonorities of this music. Apart from Farr’s works written specifically for gamelan,
this set of three pieces best exemplifies the significant influence of Indonesian music on
his writing. Balinese Pieces appears on Horizon, a compilation album of Farr’s piano music
performed by Henry Wong Doe (Trust Records MMT2070).
Sepuluh Jari (1996) was the result of a commission Farr received from New Zealand pianist
Michael Houstoun. Houstoun asked Farr to compose a toccata, which led the composer
to write a virtuosic work that draws on two non-Western tuning systems for its harmonic
material — the Indian saraswati scale and the Balinese pelog scale. Beginning in the rumbling
lower register of the piano, a lurching, dissonant sprinkling of pitches is repeated before
being joined by a comparatively clear melodic line that gradually draws both hands into
a higher and more expansive range. Cascading scalar passages interject over low-register
arpeggiations, which then arrive at joyous declamatory moments that make use of the
exoticism of the work’s harmonic influences. The composer transforms these features as they
recur throughout the work, rendering them as challenging passages that often require swift
finger work. Insistent, pulsed material is interspersed with elastic rushes of energy and brief
snatches of stillness and reflection. Sepuluh Jari was commissioned by Michael Houstoun
(with financial support from Creative New Zealand) and received its premiere performance at
the New Zealand International Festival of the Arts, in Wellington, New Zealand, on 12 March
1996.
PE128 – v
Tentang Cara Gamelan (1994), pron. “chara”, translates to “on the technique of gamelan”, was
written by Farr for his friend and colleague Nicola Melville while they were both studying
at the Eastman School of Music, New York, USA in 1990-92 and 1994. Farr had become
intrigued by how French impressionist composers such as Claude Debussy responded to
their exposure to the music of the Javanese Gamelan, which was famously showcased at
the Paris Exposition in 1889. In an early programme note, Farr humorously alludes to the
character of the music by imagining a dinner conversation between Debussy and composer/
ethnomusicologist Colin McPhee in which they discuss the influence of gamelan on their
music, before professional jealousy leads to an exchange of insults. Tentang Cara Gamelan
does indeed bring together an impressionistic sound-world with a more clearly derivative
gamelan style, at first as if viewing gamelan ‘from the outside’ with a flurry of notes that
merely hint at Balinese harmony, then moving towards Balinese harmony and rhythms
outright. Tentang Cara Gamelan was commissioned by Nicola Melville and received its
premiere performance at Kilbourn Hall, Eastman School of Music, Rochester, New York, USA.
Jangan Lupa (2003) was written in memory of the victims of the terrorist bombings that
took place in Bali on 12 October, 2002. The commission for the work came from Indonesian
pianist Ananda Sukarlan, and was one of a number of Bali-inspired works commissioned by
Sukarlan in response to the bombings. Being familiar with Bali due to several journeys there,
Farr was deeply affected upon hearing of the bombings. The composer says of the Balinese
people that they are “incredibly forgiving and get on with life — their music and dance reflects
this and keeps going undeterred.” The most emotionally direct of the Balinese Pieces, the
pianist will find Jangan Lupa’s journey through catharsis, hope and sorrow to be a worthy
test of their expressive capabilities. The trauma at the heart of Jangan Lupa is evident in the
thunderous opening chord in the piano’s lower register and in the group of rhythmic upper
register stabs that follow. A tender, drifting melodic statement emerges from the resonance of
the opening material, and eventually receives a rhythmic foundation through a soft internal
pedal note. As the work expands in register, this tenderness takes on a defiant strength before
the eventual return of the work’s turbulent opening material. We are reminded of the sombre
circumstances surrounding the work’s origin in its final moments, in the delicate gravitas of
the repeated octave chord in the piano’s lower register. The phrase “jangan lupa” translates to
“don’t forget”. Jangan Lupa was commissioned by Ananda Sukarlan and received its premiere
performance in Wellington, New Zealand, on 5 August 2003.
PE128 – vi
Performance notes
Tentang Cara Gamelan
Metre: This work is notated without time signatures. Bar lines and bar numbers have been
implemented in this edition to assist comprehension and navigation of the score. Dotted bar
lines have been used where material should be aurally seamless and without a stress on the
downbeat.
Accidentals: Dotted barlines are to be treated as if they were solid barlines and standard
conventions apply. Accidentals have been restated at the start of systems where there is no
preceding barline for added clarity.
The melody stated in m.17 is repeated in mm.18-19 but must be shared between the hands
to accommodate the addition of new material. Maintaining legato performance of the melody
is paramount in this section and some pianists may find it preferable to cross hands or
distribute the notes differently than notated.
PE128 – vii
PE128 – viii
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Sepuluh Jari DEDICATED TO MICHAEL HOUSTOUN
Gareth Farr
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PE128a
Sepuluh Jari © 1996 Promethean Editions Limited
PE128 – 1
This Edition © 2013 Promethean Editions Limited PE128 – 1
ISMN: 979-0-67452-200-7
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PE128 – 6
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C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C
ev`
PE128 – 7
PE128 – 7
#
C>C
C>C
C
CC
C
C
CC
C
C
g
C
C
C
C
CC
C
C
C C
CC
C
C
C
C C
C
CC
C
C
C C
C
CC
C
C
^C
C
T
CC
C
C
C
CC
C
C C
C C
CC
C
C C
h
C
CC
C
C
C
CC
C
CC
C
C C
C
T
T
CC
C
C
C
g
C
C C
h
h
CC
C
C
C
CC
C
C C
CC
C
C
C
CC
C
C C
g
C
g
C
CC
C
C C
C
CC
C
C C
g
C
g
C
C
>
C
C
CC
C
C C
g
C
CC
C
C C
CC
C
C C
C
C
C
C
C
C
C
h
h
C
C
CC
#
66
=
CC
C CC
C CC
C CC
! 4 5
C CC
16 16
7 C CC
4
1
I I
C CC
I I
C CC
C
fff martellato
! 4
CCC CCC CCC CCC
5 C C
16 C C 16
7 #
C C C C 4
1
I I I I
69
! 4
1 X 16
7 C C C
16
5 16
3 CCO
O
O 16
5
O
# 4
1 16
7 16
5 16
3 CCO
16
5
W
W C
74
! 5 16
CC
C
CC
C
CC
C
1
4
CC
C
2
4
# 16
5
CCC
4
1 2 4
W
W C
g
C
g
C
CCC > C C C C C> CC
C C>
CC
C
C>C g
C
C
g
CC
C
C>C
C
C CC
C
g
C
g
C
C C
CC
C
C
>
C
C>C
C
g
C
g
C
CCC > C
CC
C
C>C
C
g
C
g
C
CC
C
79
!
g
C
C !
C C
CCC > C
CC
>C
g
C
T
g
C C C
g
C
CCC > C C C C > C C C C > C C C C > C C C C > C B B
CC
>C
g
C
CC
C
CC
>C
g
C
CC
C
CC
>C
g
C
CC
C
CC
>C
g
C
CC
C
CC
>C
BB
B
84
!
# C C
C C C
CC
CÒ
?
CC
C
senza misura, meno mosso
p con rubato
C C C C C C C
W C C C
PE128 – – 8 8
#
#
#
^
?
>
#
T
h
^
h
h
g
#
?>
?>
S
K
! C W C C C C C C S T
C C C
W C
h
C C C C C
G
C
C
C
C C C W C
W C C C
C C C C
I
C C
C
C
!
T C g
X C
A
A
W g
W C
C
>C
C g
C
C
C
>C
C g
C
C
C
>C
C g
C
C
C
pp
p
A
A
C g
C
W
W C
> C
C g
C
C
>C
C
T C g
C
W g
W C
C
>C
!
! U T
A
A
C
C W C
esitando
C C C C W C
C CW
C
C C C C C C C C C C C C C?
g
C
!
W W C
g
C
W C
> g
C C C C
C > C C C
^
?
TU
W C C
W C CC
C
C C
CC
CC
CC
C C
C CC
C
C C
CC
!
C
fff
ev`
! 4 !
W C C
W C CC
CC
C
C C C C
C CC
CC
C
C C
CC
CÒ C
CC
¯
Ò
4 PE128 – 9
PE128 – 9
#
#
^
C
A
C
A
C
C
C
C
g
C
C
C
C
C
C
C
C
g
C
C
C
C
C
C
C
C
g
jh
C
jh
C
B
CB
U
U
#
C
C
CC
T
T
CC
h
h
C
A
C
A
C
C
#
C
g
C
C
S
C
g
C
C
C C
>C
C
g
C
CC
C
jh
C
jh
C
C
C
C
CC
h
g
C
B
CB
C
g
C
C>C
h
g
CCC
>C
CCCC
CC
h
C
h
C
C
#
Œ = 144
86
! 4 U C
T
W C C C C C W C
C C C C C C C W C
C C W C C C C C
TU
T T
g
C
C
f metallic, brilliant
! 4 U
T C C W C C C C C W C
C C C C C C C W C
C C W C C C C C
TU
T T
g
C
88
!
g
C
g
C
WW > C C C C C > C C C C > C C C C^C
g
C
U T
W C C W C
U T
C C C C C C C
!
W > C C > C C > C C^
TU
C W C C W C
TU
C C C C C C C
90
C C W C C
C C C C
C C C
W C
g
C
! T T W C > g
4
6
C CC C > g
C CC C > g
C CC C > g
C C C C
C CC C^C
4
g
C C W C C
!
C C C C
W C
C C C
C C
T T
> C C > C C > C C > C C^
4
6 4 92
! 4 4
U T
W C C W C
W C C W C
!
W > WW
C O
C>C
C C
C C
C C
CC
C C
! 4 4
W C C W C C C
!
W CCO C O
CC >
C CC
W
Sost. Ped.
94
(to m.197)
! Q Q Q Q
f staccatissimo
. ^. ^. ^. ^. ^. ^. ^. ^. ^. ^. ^. ^. ^.
W C W C C C W C C C W C
W
W
W
W
Ì
^.
C
^.
C
98
! Q Q Q Q #
pp subito
. . . .
W C C W . . . .
C W . . . .
C C C W . . . .
C C
W
W
W
W
PE128 – 10
PE128 – 10
!
A
A
B
B
A
A
B
B
A
A
A
B
!
A
B
B
B
A
A
A
B
B
102
p legato
W C # W C C C W C
W C C C W C
W C C C W C C W C C C
C
W
C
C
#
W
W
.
C
.
C
.
C
.
C
W
W
.
C
C
.
C
.
C
.
C
L.H. sempre sim.
W C C C C W C C C C W C C C C
W
W C W
107
#
#
C
C
W C C C
C
W
C
W C C W C C C
W C C C
W C C
W C
W C
C W C C C
W C C
C C W C
W C
C C C
W C C C C W C C C C W C C C C W C C C C W C C C C
W C W W C W
W C
g
! W C C C
W C C C C
W C C
W C
W C C C W C
W C C
C W C
C C
W C C C
C C
C
C W C
C C
W C C C
C C
C
C W C
A C
#
W C C C C W C C C C W C C C C W C C C C W C C C C
W
W C W
W C W
112
117
! TU
CW
C
#
f
W C
W C
CW C C C C C C C C C
h j T U T
metallic, brilliant
W
C
C C C CW C C C C C C C C C C C W C
C C C W C C C C W C
W
W C
C C C CW
C
C
C C
120
C C W C C C C C C W C
C C C CW C C C C C C C C C C C W C
CW
C
C C C C C C C C C C C C C
#
W C
C W C C C C W C C C C
W
W C
PE128 – 11
PE128 – 11
#
#
#
#
#
A
B
B
A
B
A
B
A
A
T
A
T
B
#
122
!
CW
C
C CW C C C C C C C C C C C C C C CW
C
C C C C W C C C C C C C C CW
C
C CW
C
C C C
W C C C C W C C C C W C
W
W C
W
(S.P.)
Ì
C
!
CW
C
W C C 125
C C C CW
C
C C C
CW C C C C C C C C C C C W C
C C C CW
C
C C C C C C C C C C
W C C W C C C C W C C C C
W C
W
127
!
W
C
C C C CW C C C C C C C C C C C W C
C C C CW
C
C C C C C C C C C C
W C C C C W C C C C
W C
W
129
!
W
C
CW C C C C C C C C C C C C C C CW
C
C CW C C C C C C C C C C C C C C CW
C
C C C C
W C C C C W C C C C W C
W C
W
W C
C
!
W
C
132
W C C C C C C C CW
C
C CW C C C C C C C C C C C C C W C
WW C Ċ C
U T
C- CO
O
C CO
Ċ C C C T
C- C CO C
O
W C
C W C C C C W C
W
W C
!
g i
W TU
C C.
C COO
C-
C.
C COO
C-
PE128 – 12
PE128 – 12
134
!
#
C
-C
CW C C C C C
- C- C C C
- C C C
- C C C UT W - W C - C C C - C C C -
T U C - C C C - C C C -
legato, less percussive
UT C - CW C C
- C C C C C C
- C- C C C
- C C
W C C C C W C CB
C C W C C C C
W A
W C
W A
137
!
#
C- W -
C C W C C C- C-
C C C C C- C-
C C C C C- C
UT C - CW C C
- C C C
- C C C C- C C C
- C C C C- W
W C - C C C - C C C -
W C CB
C C W C C C C W C CB
C C
W C
W A
W C
C
C- C C C C - C C
140
! C C-
C C- C C W C
- C C C C
- C C C C
- C C C C C- C
W C C
C C W C C C C C C C C h j C UT T
W
C
C C C CW C C C C C C C C C C C
#
metallic, brilliant
W C C C C W C CB
C C W C C C C
W A
W C
W A
143
!
W
C
C C C CW C C C C C C C C C C C W C
C C C CW
C
C C C C C C C C C C
#
145
!
#
W C CB
C C W C C C C
W C
W A
W
C
CW C C C C C C C C C C C C C C CW
C
C CW
C
C C C C C C C C C C C
W C CB
C C W C C C C
W C
W A
147
!
C C CW
C
C C C CW C C C C C C C C CW
C
C CW
C
CW
C
C C C C C C C C C
#
W C CB
C C W C C C C
W C
W A
PE128 – 13
PE128 – 13
#
#
#
#
#
T
B
ig
B
B
B
T
A
#
A
A
A
A
B
B
B
B
B
A
A
A
A
A
149
!
W
W
C
C
C
W C
WW C Ċ
C
!
W C.
U T
U T
-CO
CCO
C
O
O
CO -C
Ċ C C C T
C.
-C CCO
C
O
O
CO -C
W C C C
W C C C
W C
W C W C C C
W C C C C C W C W C W C C C
W C C C
C C W C
W C C C
W C
W
p legato
C C C W C C C C W C C C C
W C
W
(S.P.)
Ì
153
!
g
C
W C C W C
C C
W C W C
C C
W C C W C C
C C
C W C
C C
W C C W C C
C C
C W C
C C
W C C W C
C C
C W C
W C C C C W C C C C W C C C C W C C C C
W C
W
W C
W
g
C
W C
W C
157
!
C
C
W C C C W C W C C C
W C C C C C W C W C W C C C
W C C C C C W C W C W C C C
W C C C
C C W C
W C C C
W C C C C W C C C C W C C C C W C C C C
W C
W
W C
W
161
!
g
C
W C C W C
C C
W C W C
C C
W C C W C
C C
C
C W C
C C
W C C W C
C C
C
C W C
A C
W C C C C W C C C C W C C C C W C C C C
W C
W
W C
W
165
! TU
CW C C W C C C C C C C C h j
f
W C
W C
metallic, brilliant
C U T T
W
C
C C C CW C C C C C C C C C C C
W
C
C C C CW C C C C C C C C C C C
C C C W C C C C W C C C C
W
W C
PE128 – – 14 14
#
#
#
#
#
T
A
A
B
T
#
A
B
A
B
B
A
A
B
B
A
168
!
W
C
C C C CW C C C C C C C C C C C W C
CW C C C C C C C C C C C C C C CW
C
C CW
C
C C C
W C C C C W C C C C W C
W
W C
W
C
!
CW
C
W C C C
171
C C CW
C
C C C
C C C C W C C C C C C C C CW
C
C CW
C
C C C C C C C C C C C
W C C W C C C C W C C C C
W C
W
173
!
C W C
WW C Ċ C
U T
C- C CO C
O
Ċ C C C T
C- C CO C
O
C
- C
C W C C -
C C C C- C C C
- C C C
- C C C U -
T
W
W C-
C C C - C C C U -
T C C- C C C C- C C C C-
W
W
C
C
!
g i
W C
TU
C.
C CO
O
C-
C.
C CO
O
C-
legato, less percussive
W C C C C W C C C C
W
W C
176
! TU
C
- C W C C
- C C C -
C C C C- C C C
- C C
C - C
W - C W C C C- C
C-
C C C C - C
C-
C C C C - C
TU
C
- C W C C
- C C C
- C C C C- C C C
- C C
W C C C C W C C C C W C C C C
W
W C
W
179
!
C W C- W C-
C C C - C C C -
C C- C C C C- C C
C C
C- C- C W C C
- C C C
- C C C -
C C C C- C
W C C
C C W C C C C C C C C h j C TU
T
,
metallic, brilliant
W C C C C W C C C C W C C C C
W C
W
W C
PE128 – 15
PE128 – 15
#
#
#
182
!
!
W
Half speed ( Œ = 72)
C
p
W C
W C
(S.P.)
W
C
C
C
C C C CW C C C C C C C C C C C W C
legato
C C
Ì
W C
W C
C C C C C
W C
W C
C
C
185
W C C W C
g
C
C
C
C C C CW C C C C C C C C C C C W C
C C C CW
C
W C C C W C C W C
C W C C CW C
W C C C W C
W C
CW C C C C C C C C C C C C C C CW
C
W C C W C
C C
W C W C C C
W C
C CW
C
C C
C C C C C C C C C C C
CW C C C C W C
C
C
187
!
C C CW
C
C C C C W C
C C C C C C C CW C C C W C
# C C
W C C C C
C
C W C
C C
W C C C
C C
C W C
C C C CW C C C C C C C C C CW
C
g
C
W C C W C
W C C W C
CW
C
C C
!
C C W C C C C C C W C
accelerando poco a poco
190
C C C CW
C
C CW C C C C C C C C W C
C C C CW
C
C C C C C C C C C C
# C C C C
W C C
C C W C W C
C W C C C
W C C
C C W C
W C
C C C
W C
192
!
W
C
C C C CW
C
# W C C C
W C
W C
C
C CW C C C C C C C C W C
CW
C
g
C C C
W C C
W C C W C
W C C W C
C C C C C C C C C C C C C
C
C
194
!
W
CW
C
C
C
C CW
C
CW
C
C
W C C C C
C CW C C C C C C C C C CW
C
C C C CW
C
W C C C
W C C W C
W C C C
C W C
C C C C C C C
C
C
PE128 – – 16 16
#
#
B
jh
T
B^
B
B
196
!
CW
C
C CW C C C C C C C C C C C C C W C
WW C Ċ
C
f
# A T
A
a tempo ( Œ = 144)
(S.P.)
U T
W ĊC C U
-CO
CCO
Ċ
CO
C C T
>C
C C > W C > CW
C
G
C
>C
-C CCO
C
O
G
C W C
>C W C>
C
C >
C
C W >
ff
X C
X C Ò
CW
C
C C
!
201
!
W C
W
CC
W
g
C
C
C
W W W
C
W
199
W B C B
C C C CW C C C W C
C
W C
W C
W
CC C
B BB
C C C CW C C C C C C C C C C C W C
X C
X C
Ò
C
C W
C
C BB
B
G
CW C C C C C C C C C C C C C C CW
C
C CW
C
C C C CW
C
X C
X C
Ò
W C
W W W
C
C C C C C C C C C C
W C
W
CC
C C C C C C C C C C C
203
!
C
W W B B
W B
C
W W W
C
C
W C
W
CC
C C
# C C CW
C
C C C CW
C
C
Ò
C C C C C C C
CW
C
C CW
C
C C C CW
C
C C C C C C
205
!
W W B B
B
W B
C C W BB
W C
W
CC
C C
# C C C C C C C C C C C W C
W C
W C C C
C
C
Ò
PE128 – 17 – 17
C C C CW
C
C C C C
C >
con rubato
W >
C
C
C W C C>
W C>
C C C C>
C>
W C>
#
#
#
#
#
>C
C
>
>C
>C
C
T
C
C
C
C
C
>C
>
C
C
C
CCC
C
C
>C
>C
>C
CC>C
C
C
>C
CC>C
CCC
C
C
C
C
>C
>C
C>
CCC
CC
C
C
C
>C
C
C
C
C
C
C
C
C
C
C
C
>C
>C
>C
C
C C
C C
Ò
C
C
>C
C
C
C
C
C
C
„
Â
W W A ^A W A
! Q
pp subito, crescendo poco a poco
W
W C C C C C C C C C C C W C
W C C C
207
C C C
C C C
‰
A
X ÒA
G
J
J
J
J
J
J
J
209
J
W C W C
J
C C C C C C
J
C C C C W C
J
C C C C C C
! !
W
210
!
J
W C C W C C C
J
C C C C C C
J
W C C C C W C
J
W C C W C C C
W
211
!
fff
g
C
!
W
W C CC
C > C C
G
g
C
W C C C
G
g
C
g
C
C C C C
>
g
C
g
C
CCC
G
G
CC
C C
>
g
C
g
C
CC>C
G
G
CCC C
>
g
C
W > C CC W
eva
eva
W C>
C C
C C
W
W >
g
W C
C #
C
>
g
W
W
W > C
g
W
C
C
>
?
B
B B
B
B
PE128 – – 18 18
-
TU
Tentang Chara Gamelan
Tentang Cara Gamelan DEDICATED TO NICOLA MELVILLE
Gareth Farr
12 Ù = 60
!
Y CY C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C
ppp
! Y C C C C C C C C C C C C C C C C
una corda
d
Ì
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Y
Ù = Ù sempre
CY C C C C C C C C C C C C C C C Y CY
C
C C Y C>
C C C C C C
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3
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! C
-
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C C C C C C C C C C C C C
X C
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C C C C C C C C C C C C C C Y
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C
4
C C Y C>
C C C C C C
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!
Y
CY C C C C C C C C C C C C C C C C C C C C C C C C C C C T C C C C
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PE128b
Tentang Cara Gamelan © 1994 Promethean Editions Limited
This Edition © 2013 Promethean Editions Limited PE128 – 19
ISMN: 979-0-67452-200-7
#
!
!
T
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C
C
C
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C
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8
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x5
! : Y Y C C C C C C : Y C Y C C Y C C C C C C Y C Y Y Y Y
Y Y Y
eva
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! : Y C C C : Y C
#
Y C
X
tre corde
{eva}
Y
loco
Y Y C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C
! U
ff ppp
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Y
una corda
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9
X C C C C C C C C C C C C C C C C C C C C C C C C
! Y C C C C C C C C C C C C C Y C
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10
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rubato
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eva
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- C
-
11
!
! C Y C
C Y C C C C C C C Y C C C C C C C C C C U
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eva
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!
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rubato
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eva C
-
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C
-
C C C C C C C C C C C C C C C C C C C C
Y C C C C C C C C C
PE128 – 20
PE128 – 20
#
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15
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ff
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depress silently
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Sost. Ped.
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legato
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mp
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ev` p
una corda
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PE128 – 21
PE128 – 21
C C C C
C CY
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20
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PE128 – 22
PE128 – 22
TU
TU
T
TU
T
#
T
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20!
: 21
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U
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-
tre corde
eva
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C C C Y C C C Y C C C
23
!
C
!
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29
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cresc.
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eva
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ff
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PE128 23
PE128 – 23
#
TU
A
S
A
B
Ç
A
A
S
A
B
#
B
A
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31
!
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(S.P.)
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C C C
C C
!
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C C C C C C C C C C C C C C C
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Y
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Y
(loco)
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(refresh)
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35
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legato
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C C C C Y C C C C C C C C
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38
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:
ff
p 2nd time only
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C :
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ev`
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PE128 – 24
#
#
#
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A
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#
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40
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48
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C C C C Y C C C C C C C C C C C
Y C C
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C C C C
eva
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C C C
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A Y A Y
ev`
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PE128 – 25
PE128 – 25
!
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CO
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C
(S.P.)
!
#
#
B
B
d
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#
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% Œ = 200
50!
: legato
CY C C C C C C C C C C C C C C C C C C C C C C C C
f
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senza pedale
!
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CY C C C C C C C C C Y C
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CY C C C C C C C C C C C C C
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To Coda &
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PE128 – 26
#
#
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B
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59
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dim.
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67
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PE128 27
PE128 – 27
CY
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Jangan Lupa
Jangan Lupa DEDICATED TO ANANDA SUKARLAN
Gareth Farr
Œ = 96 With anger and sadness
eva
Y Y 4 ! 4
5 #
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PE128c
Jangan Lupa © 2003 Promethean Editions Limited
This Edition © 2013 Promethean Editions Limited PE128 28
PE128 – 28
ISMN: 979-0-67452-200-7
O
#
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PE128 – 29
PE128 – 29
#
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C C C
C
.
g
C C
.
47
! Y Y C. O C C C C.
C C B C O C C C C C
C C C
C C C
A
C C C C
B
C
. . . . . . . . . . . . . . . . .
Y Y C B C C C C C C C B C C O C C C C O
A A A A O
C
.
T C C
C C
C C
. .
C C C C
52! YY C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C
Y Y
C
jh
.
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C
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C
.
.
O
.
C
. . .
C C C C C O
.
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55! YY C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C
.
Y Y C
O
.
. . .
C C C C C C
. . . .
B C O
PE128 – 30
C C C C C C C C C C C C C C C C C C C
cresc. poco a poco
.
.
C C C
58! YY C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C
C C C C C C C C C C C C C C C C C C C C C
. . . .
ff
Y Y C O
C C C C
C
C C C
C C
O
C C S
C
C
Ò
Ò
.
#
#
#
#
#
C
C
S
R
C
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C C
C
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CC
C
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T
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C
g
C
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g
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C
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C
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C C
C
C
CC
C
C
B
B
S
C
CC
C
CC
C
C
S
C
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C C
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B
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C
CC
4
#
CC
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C
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C
C
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C
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C C
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g
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A
A
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>
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61!
Y Y C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C
Y Y
O
O
O
C
C
C
C
C
C
C
C
O
B S
O
O
O
C
C
C
C
C
C
C
C
64!
Y Y C C C C C C C C C C C C C C C C C C C C C C C C
C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C
69
Y Y C
C B
B
C
cresc. poco a poco
O
O
67
! YY CCCCC C C C C C C C C C C C C C C C C C C C
CCC
C C C C C C
C C
!
C C
C C C C g
C
C C
C C C C eva B
G J
fff mf fff
Y Y !
>AAA
ev`
! YY CCC CCC
CCC
4
7 #
I I I I
I
I I
I I I I
! YY CCC
I
CCC
C CCC 4
7
I #
CCC
C C CC C
I I
C C C C
CCC C C
C C C C
C I C
O
C
C
C
C
C
C
C
C
O
O
meno mosso
Y Y CCC C
71
C C C ? C 4 ! 4
3 #
4
6
I
A
BBB C
C C B B
p
mp
Y Y I
CCC B
4 3 BB C B C 6
C
4 4
C
AA B
>
B
ev`
C
C
C
C
C
C
G
G
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
G
G
C
C
C
C
C
C
O
pppp
O
PE128 – 31
PROMETHEAN EDITIONS