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In some types of gamelan, two gendèrs are used, both spanning approximately two and a half octaves, the gendèr barung and the gendèr panerus, pitched an octave higher than the other. [1] In Gamelan Surakarta, the gendèr panerus plays a single line of melodic pattern, following a pattern similar to the siter. The gendèr barung plays a ...
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 ...
The rebab, a two-stringed fiddle, is the melodic leader of the ensemble.The rebab player signals changes between sections of a piece, and to a new piece.. The gendér is a tube-resonated metallophone with fourteen keys suspended by string above metal tubes.
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 .
Bonang panerus is the highest of them and uses the smallest kettles. It generally covers two octaves (sometimes more in slendro on Solonese-style instruments), covering approximately the same range as the saron and peking combined. It plays the fastest rhythms of the bonang, either interlocking with or playing at twice the speed of the bonang ...
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.
Saron panerus has distinctive patterns which make it different from the other sarons. It usually plays more often, and keeps a constant beat going throughout a piece. Its playing techniques include: Nacah lamba: playing the balungan (with repeated notes if necessary, depending on the irama)
Sekaran (Javanese for "flowering") is a type of elaboration used in the Javanese gamelan, especially on the bonang barung.. It is similar to the cengkok of other elaborating instruments in its floridity and openness to improvisation, but a sekaran generally happens only at the end of a nongan or other colotomic division.