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Kendhang ageng, kendhang gede (krama/ngoko, similar to gong ageng in usage), or kendhang gendhing is the largest kendang, which usually has the deepest tone. It is played by itself in the kendhang satunggal (lit. "single drum") style, which is used for the most solemn or majestic pieces or parts of pieces.
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.
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.
One instrument, tuned slightly higher, is thought of as the "inhale," and the other, slightly lower, is called the "exhale" (Also called the "blower" and the "sucker," or pengimbang and pengisep in Bali). When the inhale and the exhale are combined, beating is produced, meant to represent the beating of the heart, or the symbol of being alive.
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.
In some contemporary compositions, if the classical techniques are not used, more parts might be notated, or just learned by rote in rehearsals. When instruments from other traditions are combined with gamelan (e.g. violin, erhu, tap dancer, bagpipes), notation may be given to those players only if they are accustomed to it. [4]
It refers to the use of specific instruments to mark off nested time intervals, or the process of dividing rhythmic time into such nested cycles. In the gamelan, this is usually done by gongs of various size: the kempyang, ketuk, kempul, kenong, gong suwukan, and gong ageng. The fast-playing instruments, kempyang and ketuk, keep a regular beat ...
The soft-playing style includes voices and instruments like gambang, celempung, rebab, gendèr panerus, and gendèr barung. The loud-playing styles only include instruments like gong ageng, siyem, kempul, kenong, kethuk, kempyang, engkuk-kemong, bonang family, saron family, gendèr slenthem, kendhang family, and bedhug. [3]