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gamelan

gong suwukan
NMM 9915B. Gong Suwukan in Laras Slendro "1." Medium-sized bronze gong with strong, thick cord through two holes in the rim. Diameter (backside): 54.6 cm. Three-piece teakwood stand decorated with nagas (dragons) wearing crowns ("dragon king") and flower and leaf pattern covered in gold leaf (view close-up of carving on stand leg). Mallet (tabuh) with a long handle and heavy, thick red cloth padding on one end wrapped in red cord. NMM 9917C. Gong Suwukan in Laras Pelog "2." Medium-sized bronze gong with strong, thick cord through two holes in the rim. Diameter (backside): 50.8 cm. Three-piece teakwood stand decorated with nagas (dragons) wearing crowns ("dragon king") and flower and leaf pattern covered in gold leaf. Mallet (tabuh) with a long handle and heavy, thick red cloth padding on one end wrapped in red cord. Function: The gong suwukan is a structure instrument that plays in designated places within a composition, relative to the patterns played by the kempiang/kethuk, kenong, and kempul. In many compositions, there are multiple phrases ending with the playing of the gongs and the entire series of phrases can be repeated many times. This gong is used when there are multiple gongs within a piece of music and is not normally used at the beginning, end, or as the last gong of a repeated series of gongs. The gong suwukan can also be used to emphasize certain melodic phrases within a gong phrase. Playing technique: The gong suwukan is played by hitting the node with the soft end of the mallet. NMM 9916E. Kempul in Laras Pelog "1." Small bronze gong. Diameter (backside): 33.2 cm. Three-piece teakwood stand decorated with nagas (dragons) wearing crowns ("dragon king") and flower and leaf pattern covered in gold leaf. Mallet (tabuh) with a long handle and heavy, thick red cloth padding on one end wrapped in red cord. NMM 9916A. Kempul in Laras Pelog "6." Small bronze gong. Diameter (backside): 37.3 cm. Three-piece teakwood stand decorated with nagas (dragons) wearing crowns ("dragon king") and flower and leaf pattern covered in gold leaf. Mallet (tabuh) with a long handle and heavy, thick red cloth padding on one end wrapped in red cord. NMM 9916C. Kempul in Laras Pelog "3." Small bronze gong. Diameter (backside): 43.5 cm. Three-piece teakwood stand decorated with nagas (dragons) wearing crowns ("dragon king") and flower and leaf pattern covered in gold leaf. Mallet (tabuh) with a long handle and heavy, thick red cloth padding on one end wrapped in red cord. NMM 9916B. Kempul in Laras Pelog "5." Small bronze gong. Diameter (backside): 41.2 cm. Three-piece teakwood stand decorated with nagas (dragons) wearing crowns ("dragon king") and flower and leaf pattern covered in gold leaf. Mallet (tabuh) with a long handle and heavy, thick red cloth padding on one end wrapped in red cord. NMM 9916D. Kempul in Laras Pelog "7." Small bronze gong. Diameter (backside): 36.1 cm. Three-piece teakwood stand decorated with nagas (dragons) wearing crowns ("dragon king") and flower and leaf pattern covered in gold leaf. Mallet (tabuh) with a long handle and heavy, thick red cloth padding on one end wrapped in red cord. Function: The kempul is a structure instrument. It plays in designated places within a composition depending on the structure of the music and relative to the patterns played by the kempiang/kethuk, kenong, and gong. Playing technique: The kempul is played by hitting the node with the soft end of the mallet. NMM 9917D. Gong Suwukan in Laras Pelog "7." Medium-sized bronze gong with strong, thick cord through two holes in the rim. Diameter (backside): 53.7 cm. Three-piece teakwood stand decorated with nagas (dragons) wearing crowns ("dragon king") and flower and leaf pattern covered in gold leaf. Mallet (tabuh) with a long handle and heavy, thick red cloth padding on one end wrapped in red cord. NMM 9917B. Gong Suwukan in Laras Pelog "1." Medium-sized bronze gong with strong, thick cord through two holes in the rim. Diameter (backside): 53.1 cm. Three-piece teakwood stand decorated with nagas (dragons) wearing crowns ("dragon king") and flower and leaf pattern covered in gold leaf. Mallet (tabuh) with a long handle and heavy, thick red cloth padding on one end wrapped in red cord. Function: The gong suwukan is a structure instrument that plays in designated places within a composition, relative to the patterns played by the kempiang/kethuk, kenong, and kempul. In many compositions, there are multiple phrases ending with the playing of the gongs and the entire series of phrases can be repeated many times. This gong is used when there are multiple gongs within a piece of music and is not normally used at the beginning, end, or as the last gong of a repeated series of gongs. The gong suwukan can also be used to emphasize certain melodic phrases within a gong phrase. Playing technique: The gong suwukan is played by hitting the node with the soft end of the mallet.

gamelan gong ageng

The gong ageng (Kromo Javanese

Javanese language

Javanese language is the language of the people in the central and eastern parts of the island of Java, in Indonesia. In addition, there are also some pockets of Javanese speakers in the northern coast of western Java...

meaning large gong, ngoko is gong gedhe) is the largest gong

Gong

A gong is an East and South East Asian musical instrument that takes the form of a flat metal disc which is hit with a mallet.Gongs are broadly of three types. Suspended gongs are more or less flat, circular discs of metal suspended vertically by means of a cord passed through holes near to the top...

in a Javanese and Balinese gamelan

Gamelan

A gamelan is a musical ensemble from Indonesia, typically from the islands of Bali or Java, featuring a variety of instruments such as metallophones, xylophones, drums and gongs; bamboo flutes, bowed and plucked strings. Vocalists may also be included....

. It is used as to mark the largest phrases in the structure. In small structures, the gong ageng is used to mark larger groups than the smaller gong suwukan. In the larger gendhing

Gendhing

The gendhing is a class of gendhing structures used in Javanese gamelan music. Gendhing can also used to refer to gamelan compositions in general....

, only the gong ageng is used. It is typically pitched to match the 6 of the gamelan. Full gamelans sometimes only have one, for both pélog

Pelog

Pelog is one of the two essential scales of gamelan music native to Bali and Java, in Indonesia. The other scale commonly used is called slendro. Pelog has seven notes, but many gamelan ensembles only have keys for five of the pitches...

and sléndro

Slendro

Slendro is a pentatonic scale, one of the two most common scales used in Indonesian gamelan music, the other being pélog.-Tuning:...

, but can have both as well, even if the pitches are the same.
The gong suwukan or gong siyem is the smaller gong in the set used for smaller phrases. It is generally pitched higher, and at different pitches for pélog and sléndro. Frequently gamelans will have more than one gong suwukan, for different ending notes, and different pathet

Pathet

The pathet is an organizing concept in gamelan music. It is difficult to explain, but is similar to the melody types, that is, for example, modes, ragas, or maqamat, of other musics....

. Most common is a 1 for pathet sanga and lima, and 2 for pélog pathet nem and barang, and sléndro pathet nem and manyura. Usually a 1 can be played for gatra

Gatra

A gatra is a unit of melody in Javanese gamelan music, analogous to a measure in Western music. It is often considered the smallest unit of a gamelan composition....

ending in 1 or 5, and a 2 for 2 or 6. A few gamelans include a gong suwukan 3 as well.
A gongan is the time between soundings of the gong which can vary from a few seconds to several minutes depending on the tempo

Tempo

In musical terminology, tempo is the speed or pace of a given piece. It is a crucial element of composition, as it can affect the mood and difficulty of a piece.-Measuring tempo:...

, irama

Irama

Irama is a concept used in Javanese gamelan music, which relates to how much space there is between notes. It is often confused with tempo, although tempo is different, and each irama can be played in different tempi....

, and length of the structure (bentuk). It is the longest time-span in the colotomic structure of gamelan. The goong ageung plays a similar role in Sundanese gamelan (e.g. degung). The kempur in Balinese gamelan is similar to the gong suwukan (and not to be confused with the Javanese kempul In other Indonesian and Philippine cultures, its analog is the agung

Agung

The agung is a set of two wide-rimmed, vertically-suspended gongs used by the Maguindanao, Maranao and Tausug people of the Philippines as a supportive instrument in kulintang ensembles...

.

Gamelan gong kebyar

Gamelan gong kebyar is a modern style or genre of Balinese gamelan music. Kebyar means "the process of flowering", and refers to the explosive changes in tempo and dynamics characteristic of the style. It is the most popular form of gamelan in Bali, and its best known musical export. Gong kebyar music is based on a five-tone scale called pelog selisir (tones 1, 2, 3, 5, and 6 of the 7-tone pelog scale), and is characterized by brilliant sounds, syncopations, sudden and gradual changes in sound colour, dynamics, tempo and articulation, and complex, complementary interlocking melodic and rhythmic patterns called kotekan.

Gamelan Sekaten

Gamelan Sekaten adalah benda pusaka Kraton yang disebut Kanjeng Kyai Sekati dalam dua rancak, yaitu Kanjeng Kyai Nogowilogo dan Kanjeng Kyai Guntur Madu. Gamelan Sekaten tersebut dibuat oleh Sunan Giri yang ahli dalam kesenian karawitan dan disebut-sebut sebagai gamelan dengan laras pelog yang pertama kali dibuat. Alat pemukulnya dibuat dari tanduk lembu atau tanduk kerbau dan untuk dapat menghasilkan bunyi pukulan yang nyaring dan bening, alat pemukul harus diangkat setinggi dahi sebelum dipuk pada masing-masing gamelan.

Sedangkan Gendhing Sekaten adalah serangkaian lagu gendhing yang digunakan, yaitu Rambu pathet lima, Rangkung pathet lima, Lunggadhung pelog pathet lima, Atur-atur pathet nem, Andong-andong pathet lima, Rendheng pathet lima, Jaumi pathet lima, Gliyung pathet nem, Salatun pathet nem, Dhindhang Sabinah pathet em, Muru putih, Orang-aring pathet nem, Ngajatun pathet nem, Batem Tur pathet nem, Supiatun pathet barang, dan Srundeng gosong pelog pathet barang.

gamelan Myanmar

circa 1930: A gamelan being played in Burma. The gamelan consists of a circle of small drums which have a boss in the centre and are played by a man sitting in the middle striking them with a small hammer. (Photo by Hulton Archive/Getty Images)