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&#13;
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&#13;
The choreography depicts the various actions of a fisherman: searching for a fishing spot, casting a net, retrieving the catch, and returning home. The three dancers in this performance are: Putu Bagus, Kadek Yuni, and Komang Padmi. A notated musical score and examples are included on this website. &#13;
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&#13;
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&#13;
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                <text>Nelayan, taught by Gandra&#13;
&#13;
Wyang Gandra taught this version of the Nelayan melody to me in June 2002. Gandra, was a well-known teacher in the Peliatan area He also taught at UCLA in the early 1960s. Gandra was the father of Made Sukanda, the music director for this series of recordings. The attached score of the melody illustrates a few minor differences between the versions taught by father and son. Numerous versions of Nelayan are known throughout Bali. Balinese ensemble directors frequently create their own version of compositions they teach.&#13;
&#13;
Nelayan has been frequently recorded. Performances by numerous Balinese ensembles can be found on YouTube.&#13;
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&#13;
Tari Nelayan, the fisherman’s dance, is based on a traditional children’s melody that occurs only at the end of the composition. The dance and musical accompaniment originated in the mid-1960s and is among the few Balinese dance/theater pieces that focus on the sea. &#13;
&#13;
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&#13;
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&#13;
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                  <text>&lt;p&gt;NELAYAN SCORE&lt;/p&gt;&#13;
&lt;p&gt;&lt;a href="https://albinwml.lib.miamioh.edu/items/show/77"&gt; &lt;img border="0" alt="Demo #1 Score Link" src="https://albinwml.lib.miamioh.edu/files/square_thumbnails/40749c48e7cccfea3eabb2b3d77ef335.jpg" a="" /&gt;&lt;/a&gt;&lt;/p&gt;</text>
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                <text>Selected Passages from Nelayan&#13;
&#13;
The following are examples of the various sections of Nelayan. In this clip, Made Sukanda, demonstrates his version of the primary melody. &#13;
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                  <text>Nelayan is another composition included in the Miami University Gamelan Library. This performance was recorded in Bali on March 25th 2010, and features the resident ensemble at the Yayasan Polosenni School, Douglas Myers, Director. This version of Nelayan was taught by Made Sukanda. &#13;
&#13;
Tari Nelayan, the fisherman’s dance, is based on a traditional children’s melody that occurs only at the end of the composition. The dance and musical accompaniment originated in the mid-1960s and is among the few Balinese dance/theater pieces that focus on the sea. &#13;
&#13;
The choreography depicts the various actions of a fisherman: searching for a fishing spot, casting a net, retrieving the catch, and returning home. The three dancers in this performance are: Putu Bagus, Kadek Yuni, and Komang Padmi. A notated musical score and examples are included on this website. &#13;
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                  <text>&lt;p&gt;NELAYAN SCORE&lt;/p&gt;&#13;
&lt;p&gt;&lt;a href="https://albinwml.lib.miamioh.edu/items/show/77"&gt; &lt;img border="0" alt="Demo #1 Score Link" src="https://albinwml.lib.miamioh.edu/files/square_thumbnails/40749c48e7cccfea3eabb2b3d77ef335.jpg" a="" /&gt;&lt;/a&gt;&lt;/p&gt;</text>
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                <text>Embellishments</text>
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                <text>&lt;p&gt;&lt;b&gt;In the clip Made demonstrates one of two embellishment parts. These embellishments are played on the highest pitched instrument, the kantilan. Later in the clip Made and Doug Myers provide further explanation about the rhythmic variations used when performing the primary melody. This melody can vary when performed as a solo. When the melody is played within a full gamelan ensemble setting the rhythmic embellishments are omitted.&lt;/b&gt;&lt;br /&gt;&lt;br /&gt;&lt;/p&gt;&#13;
&lt;iframe width="560" height="315" src="https://www.youtube.com/embed/rvPmcbtXGxo" frameborder="0" allow="autoplay; encrypted-media" allowfullscreen=""&gt;&lt;/iframe&gt;</text>
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                <text>&lt;p&gt;&lt;b&gt;A second embellishment of the main melody is demonstrated in this clip. The sangsih part, the off the beat, is demonstrated first, followed by the combined polos and sangsih parts. Both embellishments are notated in my transcription. In the full score, this occurs periodically from bar 126 to the end of the composition. IN the full gamelan ensemble these parts are played on the Katinlan instrument.&lt;/b&gt;&lt;/p&gt;&#13;
&lt;iframe width="560" height="315" src="https://www.youtube.com/embed/GBLCh2k4NyE" frameborder="0" allow="autoplay; encrypted-media" allowfullscreen=""&gt;&lt;/iframe&gt;</text>
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                <text>&lt;p&gt;TWO EMBELLISHMENTS&lt;/p&gt;&#13;
&lt;p&gt;&lt;a href="https://albinwml.lib.miamioh.edu/items/show/79"&gt; &lt;img border="0" alt="Demo #1 Score Link" src="https://albinwml.lib.miamioh.edu/files/square_thumbnails/6e066f24eab29c89d6c0b492f501de5f.jpg" a="" /&gt;&lt;/a&gt;&lt;/p&gt;</text>
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                  <text>Nelayan is another composition included in the Miami University Gamelan Library. This performance was recorded in Bali on March 25th 2010, and features the resident ensemble at the Yayasan Polosenni School, Douglas Myers, Director. This version of Nelayan was taught by Made Sukanda. &#13;
&#13;
Tari Nelayan, the fisherman’s dance, is based on a traditional children’s melody that occurs only at the end of the composition. The dance and musical accompaniment originated in the mid-1960s and is among the few Balinese dance/theater pieces that focus on the sea. &#13;
&#13;
The choreography depicts the various actions of a fisherman: searching for a fishing spot, casting a net, retrieving the catch, and returning home. The three dancers in this performance are: Putu Bagus, Kadek Yuni, and Komang Padmi. A notated musical score and examples are included on this website. &#13;
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                  <text>&lt;iframe width="560" height="315" src="https://www.youtube.com/embed/D83623yJRfQ" frameborder="0" allow="autoplay; encrypted-media" allowfullscreen=""&gt;&lt;/iframe&gt;</text>
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                  <text>&lt;p&gt;NELAYAN SCORE&lt;/p&gt;&#13;
&lt;p&gt;&lt;a href="https://albinwml.lib.miamioh.edu/items/show/77"&gt; &lt;img border="0" alt="Demo #1 Score Link" src="https://albinwml.lib.miamioh.edu/files/square_thumbnails/40749c48e7cccfea3eabb2b3d77ef335.jpg" a="" /&gt;&lt;/a&gt;&lt;/p&gt;</text>
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                <text>In the next two clips Made demonstrates an interlocking embellishment, which the Balinese refer to as a kotekan. This occurs three times between bars 8 and 67 in the full score. The first demonstration is the sangsih, off-beat part. The second demonstration combines the polos and sangsih.</text>
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                <text>&lt;p&gt;KOTEKAN PATTERN SCORE&lt;/p&gt;&#13;
&lt;p&gt;&lt;a href="https://albinwml.lib.miamioh.edu/items/show/80"&gt; &lt;img border="0" alt="Demo #1 Score Link" src="https://albinwml.lib.miamioh.edu/files/square_thumbnails/237aa77c865f98a3a8f9850b15435460.jpg" a="" /&gt;&lt;/a&gt;&lt;/p&gt;</text>
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                  <text>Nelayan is another composition included in the Miami University Gamelan Library. This performance was recorded in Bali on March 25th 2010, and features the resident ensemble at the Yayasan Polosenni School, Douglas Myers, Director. This version of Nelayan was taught by Made Sukanda. &#13;
&#13;
Tari Nelayan, the fisherman’s dance, is based on a traditional children’s melody that occurs only at the end of the composition. The dance and musical accompaniment originated in the mid-1960s and is among the few Balinese dance/theater pieces that focus on the sea. &#13;
&#13;
The choreography depicts the various actions of a fisherman: searching for a fishing spot, casting a net, retrieving the catch, and returning home. The three dancers in this performance are: Putu Bagus, Kadek Yuni, and Komang Padmi. A notated musical score and examples are included on this website. &#13;
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                  <text>&lt;iframe width="560" height="315" src="https://www.youtube.com/embed/D83623yJRfQ" frameborder="0" allow="autoplay; encrypted-media" allowfullscreen=""&gt;&lt;/iframe&gt;</text>
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                  <text>&lt;p&gt;NELAYAN SCORE&lt;/p&gt;&#13;
&lt;p&gt;&lt;a href="https://albinwml.lib.miamioh.edu/items/show/77"&gt; &lt;img border="0" alt="Demo #1 Score Link" src="https://albinwml.lib.miamioh.edu/files/square_thumbnails/40749c48e7cccfea3eabb2b3d77ef335.jpg" a="" /&gt;&lt;/a&gt;&lt;/p&gt;</text>
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                <text>In this clip the full ensemble is learning the two interlocking kotekan parts. This particular segment  occurs in bars 58-85 in the full score.</text>
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