THIS SECTION CONTAINS NOTATIONS AND MUSIC SEGMENTS FROM SEVERAL SIMPLE BALINESE PIECES.
MUSIC FOR MASKED DANCE (TOPENG)
MUSIC FOR WELCOME DANCE (PANYEMBRAMA)
Topeng: As the first illustration the way in which Gamelan Bali is played, consider Topeng Dance, a Gilak form using 8 beats leading to a gong. In the following illustration from Pak Sumandhi, the Javanese notation will be used to allow easy comparison to Javanese pieces (see Becker, Karawitan, University of Michigan Center for Southeast Asia Studies, volume 3 for hundreds of Javanese pieces). The P is for Kempur, G for female gong (wadon), and (G) for male gong (lanang) strokes.
Topeng Pokok
(G)P P G
6 5 1 6 1 5 6 3
Jegogan Part
6 3
Jublag Part
5 6 5 3
The ugal plays the pokok (the nuclear melody or pokok gending in Bali). The pemade and kantil can play the pokok but they also can play the kotekan illustrated below; note that kotekan will be more fully treated later.
(G) P P G
6 5 1 6 1 5 6 3
.35.35.35.35.3.53.53.53.53.53.53Polos
61.61.61.61.616.16.16.16.16.16.1Sangsih
or
(G) P P G
6 5 1 6 1 5 6 3
.23.23.23.32.3.23.23.23.23.23.32Polos
61.6.16.161.616.16.16.16.16.1.1.Sangsih
Panyembrama: As a second illustration of the relationship of the above instruments (especially the drums), consider the third major element in Penyembrama as taught by Pak Sumandhi. The notation is again as used in Becker for Gamelan Jawa. It starts with a gong 2; the P is for Kempul, M for Kemong, and G for gong strokes.
P M P G 6 5 3 2 1 6 3 2
The Ugal plays the pokok; however, the pemade and kantil have alternatives to the pokok. For example, they can double or quadruple the pokok. They can also use repeated patterns where the pokok note is embedded. For example, here is an 8 fold pattern: (2b,3(b+1,b)). It used on each note of the pokok. For example, the 7th note of the pokok (5) is replaced with the phrase 55656565 where the 4th note (5) of the phrase coincides with the pokok 5 as played on the ugal. Following is an illustration of the drumming in the third elaboration of the pokok above; the meaning of the stroke notation is shown in the Appendix at the end of this web page.
P M
F: k.k.u.u. k.u.d.u. k.k.dd.d ..d.d.k.
M: .p.p.v.v .p.v.t.v .p.p..t. tt.t.t.p
If repeating the gongan:
P G
F: d.dd.d.. ....d.d. k.k.dd.d ..d.d.k.
M: .t..t.tt ..tt.t.t .p.p..t. tt.t.tt.
If transiting:
P G
F: d.dd.d.. k..d.... .d...... d..d....
M: .t..t.tt .p....tt .....t.. ..t..t..
Baris Dance: As a third illustration which also focuses on drumming, the following is the Baris dance as presented by Tenzer.
Buka
pupupuuuuuuu Drum
K K K K K K Kempli
6 Gangsa
G Gong
Gilak (8) Baris Dance
(G) P P G
2 1 3 2 6 2 1 6
2 6 Jegogan
1 2 1 6 Jublag
K K K K K K K K Kempli
M:u.uu.u.u.u.u..u.p.u.p.p.u.p.p.u. Drum (Lanang)
F:.a..a.a.a.a.aa.a.k.a.k.k.a.k.k.a Drum (Wadon)
S:32.32.3.23.232.323.23.23.23.23. Sangsih (reyong)
P:.61.61.16.16.61.6.16.16.16.16.6 Polos (reyong)
(This is form kotekan empat.)
RETURN TO HOMEPAGE FOR GAMELAN BALI
p pak left hand - open slap in the center of the drum head while holding other end (mute).
v pung (perung) right hand - fingers are spread and strike near edge of drum head.
t tut right hand - slap four spread fingers near center of drum head; muted by simultaneous touching opposite drum head.
k kap left hand - open slap in center of the drum head while holding other end (mute).
u pung (kung) right hand - thumb rests on drum head while fingers are spread and strike near edge of drum head; fingers rest momentarily on drum head following the strike (mute).
d dag right hand - slap open fingers near the edge of the drum head; the left hand doesnt touch the drum (not muted).
p pak left hand - open slap in center of drum head while holding other end.
a dag right hand - with stick.
aa da'dag right hand - two quick strokes with stick.
k kap left hand - open slap in center of drum head while holding other end.
b dug right hand - with stick.
bb du'dug right hand - two quick strokes with stick.