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 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 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.
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 a Balinese group rehearses their version of gamelan beleganjur. It is similar to the version performed by the Yayasan Polosenni ensemble. One variation however, is the reyong melody.
In this clip Made rehearses the resident gamelan ensemble at the Yayasan Polosenni School. The video footage focuses on the gongs. The gong instruments define the underlying rhythmic structure of the composition. Tabuh Telu Tabana is organized by the…
In this clip Made demonstrates the various reyong patterns. I am playing the pekok, the skeletal melody. This is a typical rehearsal session. Refer to the notated manuscript for further clarification.
The interlocking rhythms and melodic parts performed by the four, reyong performers is determined by an underlying skeletal melody called the pekok. This melody is embellished by the jalan-jalan which is the basis for the reyong. In this clip Made…