Search results
Results from the WOW.Com Content Network
The kendhang player usually begins and ends on the ketipung and kendhang ageng, switching to more elaborate patterns on the medium-sized ciblon drum. The gongs — kempul (small hanging gongs) and kenong (large horizontal gongs) — act as structural markers and punctuate the form, depending on the type of piece being played.
In the dance or wayang performance, the kendang player will follow the movements of the dancer, and communicate them to the other players in the ensemble. In West Java (Sundanese), kendang are used to keep the tempo of Gamelan Degung. Kendang are also used as main instrument for Jaipongan dances. In another composition called Rampak Kendang, a ...
Imbal (Javanese for 'to repeat') [1] or imbalan (imbal-imbalan, demung imbal) is a technique used in Indonesian Javanese gamelan.It refers to a rapid alternation of a melodic line between instruments, in a way similar to hocket in medieval music or kotekan in Balinese gamelan.
Gamelan siteran is a casual style of gamelan in Java, Indonesia, featuring portable, inexpensive instruments instead of the heavy bronze metallophones of a typical gamelan. A typical group consists of varieties of siter (small zither, which leads to the name), kendang (drum), and a large end-blown bamboo tube or a gong kemodhong, functioning as a gong ageng.
Ladrang form on the balugan instruments. GONG = gong ageng Play approximation without colotomy ⓘ The kempyang and ketuk are two instruments in the gamelan ensemble of Indonesia, generally played by the same player, and sometimes played by the same player as the kenong. They are important beat-keepers in the colotomic structure of the gamelan.
This page was last edited on 15 January 2025, at 15:31 (UTC).; Text is available under the Creative Commons Attribution-ShareAlike 4.0 License; additional terms may apply.
Varieties of gamelan are distinguished by their collection of instruments and use of voice, tunings, repertoire, style, and cultural context. In general, no two gamelan ensembles are the same, and those that arose in prestigious courts are often considered to have their own style and tuning.
The kendang part is the most complex in gong kebyar, drawing from a rich lexicon of rapid-fire, syncopated patterns to fit the mood and progression of pitched music. The lanang drummer is responsible for filling in an appropriate interlocking part. Kendang players may sit facing the same way, wadon in front and lanang behind.