In this clip Made performs the Kenyur, the most active supporting part. I am playing the primary melody. We are again using the reverse side of the mallets to reduce the volume and to assist with the recording fidelity. The kenyur part is similar to…
In this clip Made performs the Jublag part while I play the primary melody. We are again using the reverse side of the mallets to reduce the volume and to assist with the recording fidelity. The Jublag supports only the notes of the primary melody.…
In this clip Made rehearses a reyong section of the gamelan orchestra. The reyong is an instrument comprised of 12 tuned gongs. Four performers share the instrument. The parts create a series of interlocking rhythmic and melodic relationships that…
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…
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.
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…
In this clip Made teaches the final section, prior to the main melody, to the full ensemble. This occurs between bars 103 through 119. Also included in the clip is the kebyar section from bars 120 to 126.
