At the beginning of this clip the focus is first on the reyong ensemble, the two drums, and the supporting gong parts. The skeletal melody is expanded in this beleganjur version to a three-note pattern, played by three performers. This supporting…
In this clip the Miami ensemble performs one a final rehearsal prior to the performance. The guest conductor is Professor I Ketut Asnawa director of the gamelan program at the University of Illinois. Professor Asnawa’s beleganjur composition is…
In the first clip, Made plays the individual reyong parts. He uses the tromping instrument from the gamelan gong kebyar ensemble for the demonstration. The tromping; however, is never used in a gamelan beleganjur ensemble.
In the second clip Made plays the two-note skeletal melody, He again uses the tromping for this demonstration. This part requires two performers each carrying a lower pitched gong. The skeletal melody repeats with no variation throughout the…
In this clip Made teaches me the transition to the main melody. This section is characteristic of the changing tempos that occur in Balinese gamelan compositions. The section is called a kebyar. It occurs between bars 120 and 126 in the score.