gender-wayang
(rebab)
http://youtu.be/RtE0DquEeAA
http://youtu.be/Q3RrCqBNAV8
http://www.gsj.org/gender-wayang
http://youtu.be/RtE0DquEeAA
http://youtu.be/Q3RrCqBNAV8
http://www.gsj.org/gender-wayang
jegog, rindik, tingkl
http://www.abitabout.com/Jegog
Jegog is a form of gamelan music indigenous to Bali, Indonesia played on instruments made of bamboo. The tradition of jegog is centered in Jembrana, a region in Western Bali. In recent years jegog has started to become popular in other regions of Bali with a few groups being established in central Bali to entertain tourists. International interest has been spread by tourists visiting Bali and by recordings. There are virtually no ensembles outside of Bali with the exception of at least two groups in Japan ( [ 1 ] Sekar Sakura and Geinoh Yamashirogumi, the latter's being used in 4 of the tracks to their score for the film Akira ), one in the United States ( [ 2 ] Sekar Jaya) and one in Germany. [ 3 ] Jegog music is very fast, loud, rhythmic and precise. Pieces last from a few minutes to as long as thirty minutes.
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The instruments
Jegog instruments have a four note scale that roughly corresponds to the four pitches of a dominant 7th chord in Western music. All instruments have eight bamboo keys. Some instruments have two keys for each pitch slightly detuned so that the pitches beat when they are played together. Other instruments have a two octave range with four pitches in a low octave and the same four pitches an octave higher. In this case the instrument will be paired with another instrument that is slightly detuned. Taken together the ensemble has a range of five octaves.Most Jegog ensembles have instruments that have keys that are made of bamboo that are split at one end and then half of the tube is removed. The other end remains intact and functions as a resonator for the split part. The keys are suspended on a wooden frame and struck with mallets (called pangguls), made out of wood or rubber. There are also Jegog ensembles with instruments called Jegog Tingklik. These smaller instruments are used primarily with children. The keys are made of bamboo slats mounted above a resonator box.
Jegog
The lowest instrument in a Jegog ensemble is also called a Jegog. The ensemble gets its name from this instrument. The keys of the Jegog instrument are as long as 3 meters in length and a pitch as low as 60 hertz. The instrument is so large, and the mallets are so heavy that it takes two people to play it. The players crouch on a platform on the top of the instrument and alternate playing the keys. The Jegog instrument has the lowest octave of the ensemble. Each pair of pitches are detuned by as much as 7 hertz. In this octave, that is almost a whole tone.The keys are arranged 1' 2' 3' 4' 1 2 3 4, one being the lowest pitch and 4 being the highest. The four keys on the left are the higher pitches of the detuned pairs and the four on the right are the lower ones.Melody Instruments
One octave higher than the Jegog is an instrument called the Undir, and an octave above that is the Kuntung. The instruments are small enough to be played by one person each. The Undir is still big enough that the player needs to crouch on a platform on the top of it to play it. There are two Undir and two Kuntung. The Undir and Kuntung have the same arrangement of keys as the Jegog. These five instruments together play the melody (called the bun). Some ensembles have a high pitch flute called a suling that also plays the melody.Kotekan instruments
Each of the remaining 9 instruments span two octaves and are arranged 1 2 3 4 5 6 7 8 where 5 through 8 is an octave above 1 to 4. The lowest of these instruments, called the Barangan, span the same octaves as the Undir and the Kuntung. The next higher is the Kancil which begins with the octave of the Kuntung and extends an octave higher. The next higher—the highest in the ensemble—is the Suir, likewise, extending one octave higher. There are three Barangan, three Kancil, and three suir.The Barangan play the melody twice as fast as the other melody instruments. Since this is often very fast, the players alternate playing the notes. The Kancil and Suir play interlocking patterns called Kotekan, sometimes the Barangan play these patterns as well. The Barangan are the front line of the ensemble. The center of the three Barangan is the leader of the ensemble. Other players watch the leader for cues and tempo changes.
Instrumentation variations
A smaller version of a gamelan jegog might not have the 2 kuntung and the 3 suir. This smaller ensemble has a longer history than the one outlined above.If a gamelan jegog is accompanying dance, it may be augmented by kendang (drums), ceng-ceng (cymbols) and tawa-tawa (a beat-keeping small gong).
http://www.abitabout.com/Kotekan
Kotekan is a style of playing fast interlocking parts in most varieties of Balinese Gamelan music, including Gamelan gong kebyar, Gamelan angklung, Gamelan jegog and others. In kotekan there are two independent parts called polos and sangsih, each of which fills in the gaps of the other to form a complete rhythmic texture. In Gamelan gong kebyar, Kotekan is usually played on the higher-pitched gangsa and reyong as embellishment to the main melody (pokok) played on the calung and ugal.
- Note: In the transliteration of Balinese used here, the letter "c" represents a sound similar to English "ch".
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Nyog cag
Nyog cag. Stems-up is polos, stems-down is sangsih. All pitches are only approximate.
Nyok cok
Nyok cok is an ornamentation of the pokok melody in which polos and sangsih anticipate the next pitch of the pokok in unison and then each plays one of its neighbor tones.Kotekan telu
Kotekan telu. Lower staff is polos, upper staff is sangsih.
Kotekan empat
Kotekan empat. Stems-down is polos, stems-up is sangsih.
Kotekan theory
Kotekan are typically composed by elaborating the pokok melody. The subdivisions of the composite kotekan are usually played four or eight times faster than the pokok. Since the kotekan patterns are either three notes (telu) or three sounds (the kotekan empat has two solo pitches plus the open interval), the simple patterns do not repeat every four or eight notes. This can be illustrated in the following example:Kotekan 1 2 3 1 2 3 1 2 3 1 2 3 1 2 3 1 etc... Pokok 1 . . . 2 . . . 3 . . . 1 . . . etc...The above is the most basic example of a kotekan telu. In the example the numbers refer to the different pitches being played. The kotekan is repeating the same pattern over and over. Note that the pokok is exactly the same pattern played four times slower. The kotekan would be divided into polos and sangsih as follows:
Polos 1 2 . 1 2 . 1 2 . 1 2 . 1 2 . 1 etc... Sangsih . 2 3 . 2 3 . 2 3 . 2 3 . 2 3 . etc... Pokok 1 . . . 2 . . . 3 . . . 1 . . . etc...If the pokok changes, the kotekan will follow it. Here is a simple example that is similar to the first example except that it changes direction.
Kotekan 1 2 3 1 2 3 1 2 3 2 1 3 2 1 3 2 etc... Pokok 1 . . . 2 . . . 3 . . . 2 . . . etc...Notice that this example can repeat over and over. Here is what the separate parts might look like:
Polos 1 2 . 1 2 . 1 2 . 2 1 . 2 1 . 2 etc... Sangsih . 2 3 . 2 3 . 2 3 2 . 3 2 . 3 2 etc... Pokok 1 . . . 2 . . . 3 . . . 2 . . . etc...Here is the same melody with kotekan empat:
Polos 1 2 . 1 2 . 1 2 . 2 1 . 2 1 . 2 etc... Sangsih 4 . 3 4 . 3 4 . 3 4 3 . 4 3 . etc... Pokok 1 . . . 2 . . . 3 . . . 2 . . . etc...The polos part is the same as the previous example. However, the sangsih part is very different.
http://www.native-instruments.com/fileadmin/ni_media/downloads/manuals/Balinese_Gamelan_Manual.pdf
http://ekerala.net/r.php?url=http://www.tingklik.com/bali-cultural-and-arts/difference-between-jegog-and-tingklik-jegog.html&title=Jegog&type=web
Difference between Jegog and Tingkl...
Posted by admin , On January 23, 2011 , in Bali Cultural and Arts , No CommentsWhat is the difference between Jegog and Tingklik Jegog? This question emerged as both a sound very similar. So many people who consider both this is the same instrument, whereas the second has a unique musical instrument respectively.
The Tingklik Jegog have the uniqueness that lies in the instrument. The whole materials is made from bamboo. Tingklik shows alloy flat bamboo and bamboo tube in a small size that serves as a rhythm or melody in contemporary music. While Jegog is a blend of flattened bamboo and bamboo tube in large size. It serves as a gong or bass in modern art.
Is a farmer named Nang Geliduh as spring-born gambelan Jegog in Jembrana. Later the name Nang Geliduh is more popularly known as Kiang Geliduh, referring to the age of the elderly, as a grandfather alias kakiang in Balinese. Kiang Geliduh findings are then followed by the Pan Natil Village Delodbrawah year 1920.
Pan Natil later known by the call Jegog Kiang, due to persistence Jegog stream to the next generation, to extend to a number of villages in the district of Jembrana. A decade ago since the generation Jegog Kiang, music made from raw bamboo has spread to the village of Poh Santen and Mendoyo Kangin. The Decade of the 1940s appeared in Tegal Village Cangkring. Jegog indeed be typical of Jembrana learned music from the expanse of shifting cultivation and forest.
When farmers cultivating Kiang Geliduh dispel birds descend grains of rice fruit that start yellowing in the tree, he rang the penghalau birds. Tools penghalau birds were made from bamboo, which is already obtained at that time.
When the whole block of birds, other farmers in the environment surrounding the Subak Sebual huma Geliduh Kiang, also welcomed as well. They like go adrift replied with a bamboo bird penghalau tool as well. Average camp (cottage) in huma farmers when it contains kulkul bamboo. Without the cue just like in the military, be a tool penghalau bird is an orchestral music and Neat. Interconnection, contetin each other, flowing in a rhythm measurable sense.
In the midst of preoccupation were cantet-cantet that the mechanism of artistic creativity Geliduh Kiang was piqued. Taste her thrilled. Pure soul dancing to the rhythm of the sound of bamboo. When the evening before the dawning. Kiang Geliduh fellow farmers gather sedesanya huma. They tried to make the bamboo musical composition. Beginning with barungan tingklik, bamboo music devices smaller.
Barungan tingklik that breed later became Jegog, once perfected, was varied with bamboo various sizes. From the composition of bamboo of various sizes were found later music barungan bamboo larger, intact. This artist’s recollection of farmers was piqued at the Gamelan Gong Kebyar tool at most. The device Jegog called, because tongkrongannya majegog, or nylegodog big. Hence the name Jegog breeding. Kiang grandson named Men Watra Geliduh said, his grandfather bequeathed his musical equipment to himself. Only, he admitted not really understand the ins and outs of Jegog.
Furthermore Men News story, when it, Kiang Geliduh not using bamboo as raw material Jegog instrument. But the grandfather use wood blades, such as the xylophone instrument. In addition, the creator Tingklik Jegog also have not thought about gising or tone composition.
Tetabuhan Jegog originally just a medium of entertainment for the residents who were nyucuk or work together to make roofs of thatch leaves. Understandably, tetabuhannya dynamic and rhythmic rumble. It is believed to be encouraging the citizens who were working.
It was not until around the 1930s, artists from the village of Loka Kiang Kaliakah Tingklik Jegog modify the raw material from the bamboo slats. These developments such as a grandchild Kiang told Loka, I Ketut Daton. According to him, folk art is then made to be more a reflection of character and seemed to be a citizen uprising local. Particularly addressing the gulf between the king and the people. Because of that, the character of the composition is impressed dynamic and rhythmic flow. No Selendro and not pelog.
As with other folk arts in Bali, Tingklik Jegog also so intimate with religious life. Religious Institute This has been happening since an artist Jegog seeking raw materials to make instruments. These religious values are valid today. And the awaited day arrived. The artists prepare Jegog a simple offering. They then determine the best time of day dewase or before entering the forest forest on the edge of the village. After a good day is determined, they then choose the bamboo that will be used as instruments Tingklik Jegog. If all the provisions were not living, they believe will not get a slick music devices and gave birth to the sounds typical Tingklik Jegog. Shades of religion in producing bamboo gamelan instruments also apply when the artist started working. When forming a piece of bamboo into bamboo or flat tube. The artists from the Village Dangintukadaya also believe only those who have makatsu or supernatural talent particular. Clearly, they could make a musical instrument is typical of Jembrana.
Religious rituals that will get stronger. Especially when a sekeh Tingklik Jegog got an invitation to play at an event. They prepare bebanten (offerings) complete, as pejati, squeeze Ajengan, and segehan great. This complete offering is a medium yourself approach to the Sang Hyang Widi. Especially for the request safety and success of staging later. After all the sacrifice is ready, indigenous stakeholders took him to an altar in the instrument storage Tingklik Jegog called taksu. Indigenous stakeholders and serve offerings, tirta, and rice or Wija. Furthermore, tirta and rice is splashed into shape carved giant called Rangda. They believe, Rangda who protect the instrument. Including making the whole show Tingklik Jegog looks charming. The drummers Tingklik gamel Jegog or interpreters also get spray tirta and Wiji. It aims to have the drummers who wore red clothing and Balinese headbands that can demonstrate their skills optimally. Without harassed by any party.
While percussion teruntungan is the opening music on a show. This music is trying to say hello spectators who wish to enjoy the beauty ritmisnya, of course, through the language of music. And when the percussion-ibingan Ibing sounding, exotic Tingklik Jegog as if moving into the erotic. A dancer Ibing-ibingan showed typical wild tetabuhan this Jembrana who no longer mere accompaniment or opening a custom event. However, this dance is more a reflection of the existence of an interaction between the musicians entertainment, dancers, and spectators who circled the arena event. Indeed, Tingklik Jegog is an art that is ingrained to every village in Jembrana.
Not surprisingly, when this art belongs not only among adults. School-age children were already recognize exotic percussion-ibingan Ibing them. Jegog tetabuhan dynamism increasingly felt when art was held in an inter-Jegog battle. Residents Jembrana call Jegog mebarung. Tabuh teruntungan in mebarung is played by two or three Jegog tetabuhan group. This event is usually held as an expression of gratitude of residents in a village.
For starters, both groups played tetabuhan tetabuhan Jegog teruntungan as an expression of respect and thanks to the audience. And the climax Jegog mebarung this is when these two groups playing music loudly, to satisfy the audience. Especially when the action of the bamboo-beating sekeh Bamboo is attractive and created a sound beating. Usually, the audience who become the jury in this mebarung. They will encourage a group considered to play tetabuhan Jegog be attractive, dynamic, and of course extremely loud. Even so, composition remains a matter of beauty should be put forward. While gifts are obtained from Jegog mebarung pride.
They no longer think about the matter, but the pride of the group or village to be everything. Especially when the audience gave applause to excess. For them, this is the spirit which is very tetabuhan Jegog crave happiness and equality of classes in the community. Without any gaps or social inequality because caste or social status. Now the rhythm rhythm Jegog it was not limited to just echoed in Jembrana, but Jegog been paved up to the Japan, America, Australia, even down to the European lands.
http://www1.tcn-catv.ne.jp/bintang/jegog/jegog01.jpg
http://www1.tcn-catv.ne.jp/bintang/jegog/takekiri.jpg
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