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The gendèr barung plays a slower, but more complex melodic pattern that includes more separate right and left hand melodic lines that come together in kempyung (approximately a fifth) and gembyang (octave) intervals. The three sizes of gendèr are called jegogan (the largest), jublag, and penyacah. A pair of ten-bar gendèr are called giying. [2]
The slenthem (also slentem or gender panembung) is an Indonesian metallophone which makes up part of a Javanese gamelan orchestra. The slenthem is part of the gendér family. [ 1 ] It consists of a set of bronze keys comprising a single octave: there are six keys when playing the slendro scale and seven when playing the pelog .
The complementary set of pelog instruments will include two each of gender panerus, gender barung, gambang and siter [check spelling] or celempung, the first of each pair tuned to the pelog bem subset of five tones (tones 1,2,3,5,6), the second to the pelog barang subset of five tones (2,3,5,6,7). The pelog bonang will each have fourteen gongs.
2 Sets Bonang Barung (Bonang) 2 Sets Bonang Penerus; ... One instrument, ... gender is used and for ceremonies in temples, gong gede is usually used. ...
Several other instruments can also be included: the gambang (xylophone), suling (end-blown bamboo flute), and siter (plucked stringed instrument). Vocal parts called gerong (for male singers) or sindhen (for female singers) can be added in certain sections of pieces, as can alok , vocal cries that accent certain parts of the form or melody.
Gamelan gender wayang is a style of gamelan music played in Bali, Indonesia.It is required for wayang (shadow puppet theatre) and most sacred Balinese Hindu rituals. The smallest of gamelan ensembles, it requires only two players and is complete at four, the additional instruments doubling an octave above.
Bonang barung is pitched one octave below the bonang panerus, and also generally covers two octaves, approximately the same range as the demung and saron combined. This is one of the most important instruments in the ensemble, as it gives many of the cues to other players in the gamelan. Bonang panembung is pitched the lowest.
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
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