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The saron barung and demung usually play less often and more simple parts. These are the usual techniques for playing them: Mbalung: playing the balungan melody as notated, without elaboration; Tabuhan pinjalan: playing an interlocking pinjalan pattern between the saron barung, demung, and slenthem, which fills in the offbeats of the balungan
The group of instruments which play the closest to the balungan are sometimes also called the balungan, or balungan instruments. These are the saron family and the slenthem. In many pieces, they play the balungan. However, they can also elaborate on the parts in a variety of techniques.
Pages in category "Balungan instruments" ... Bonang; S. Saron (instrument) Slenthem; Slentho This page was last edited on 20 December 2014, at 15:25 ...
The criteria for classifying musical instruments vary depending on the point of view, time, and place. The many various approaches examine aspects such as the physical properties of the instrument (shape, construction, material composition, physical state, etc.), the manner in which the instrument is played (plucked, bowed, etc.), the means by which the instrument produces sound, the quality ...
It is reserved for the most austere repertoire, typically playing a paraphrase of the balungan. The parts played by the bonang barung and bonang panerus are more complex than many instruments in the gamelan; thus, it is generally considered an elaborating instrument. Sometimes it plays melodies based on the balungan, though generally modified ...
The melodic framework of a piece, sometimes called the balungan, is played on the slenthem. The kendhang, two-headed drums played with the hands, control the tempo of the music and signal changes in irama. Different drums are used according to the style of the music; some lively and others more restrained.
Instead of the rhythmic structure provided by the colotomic instruments, and the core melody of the balungan instruments, the panerusan instruments play variations on the balungan. They are usually the most difficult instruments to learn in the gamelan, but provide the most opportunity for improvisation and creativity in the performer.
A typical large, double gamelan in contemporary solo will include, in the sléndro set, one saron panerus (or saron peking), two saron barung, one or two saron demung, one gendér panerus, one gender barung, one slenthem (or "gender panembung"), one bonang panerus and one bonang barung (each with twelve gongs), one gambang kayu, one siter or celempung, one rebab, one suling, one pair of kethuk ...