The word gamelan means to hammer, which reflects the way the gongs are played. The instruments used to make gamelan music are;
- Ugal
- Jegagog
- Jublag
- Kantil
- Pemade
- Reyong
- Kempli
- Suling
- Trompong
- Kendang
- Ceng-ceng
- Gongs - Kempur
-Kemong
The Ugal is generally known for carrying the melodic line, Pokok, it is the melodic leader when the Trompong is not being used. This instrument needs long resonating bamboo tubes so is often played while sitting down.
The Jegagog is the lowest pitched of the gangsa, the gangsa family consists of instruments which have brass or bronze keys suspended over a resonating bamboo tube. The Balinese gangsa differs from the Javanese because the keys make a louder sound and are designed to be struck with different hammers. This instrument also requires long resonating bamboo tubes so is played while sitting on a chair or bench. It has five keys (1, 2, 3, 5, and 6). This pattern is commonly found in both Java and Bali. It plays at submultiples of the pokok and is played particularly at important structural points as do the gongs.
The Jublag is the next higher pitched of the gangsa, this instrument also requires long resonating bamboo tubes so is often played while sitting on a chair or bench. The Balinese version has 5 keys (1, 2, 3, 5, and 6) seven key Jublag are also commonly found in Bali. It usually plays at submultiples of the pokok; the keys are struck more frequently than the jegogan and usually less frequently than the Ugal. It is one octave above the jegogan and shares tones with the Ugal. Another name for the Jublag is Calung.
The Kantil shares its lower octave with the Pemade. They are above the Ugal which plays the melody. There are usually 10 keys (2, 3, 5, 6, 1, 2, 3, 5, 6, and i) so the instrument spans two octaves. The instruments play the pokok.
The Pemade is an octave above the Ugal which carries the melodic line (pokok) and is the melodic leader There are usually 10 keys so the instrument spans two octaves (2, 3, 5, 6, 1, 2, 3, 5, 6, and I). It shares the lower octave with the Ugal and the upper octave with the Kantil.
The Reyong is a series of small horizontal gongs. The frequency range of this instrument spans more than several octaves. It seldom carries the pokok. It sometimes imitates the Ceng-ceng. The instrument is played by two or four players. It shares all tones with the Pemade and incorporates most of the Kantil tones.
The Kempli is the time keeper marking the pulses in the pokok. It is a small horizontal gong mounted to absorb some vibration
The Ceng-ceng consists of 4 or 5 horizontally mounted pairs of cymbals; each pair differs in diameter and thickness and creates differing pitches.
The Trompong is a series of small horizontal gongs. It seldom carries the pokok; however, it provides melodic leadership and often ornaments the pokok. The instrument is played by one player. It shares all tones with the Reyong and incorporates some Ugal tones.
Gamelan music is learnt by oral tradition which means that it has been taught by ear and not written down although some of it is written down by people so that people in other countries can play it. Balinese gamelan is more rhythmic that Javanese.
Gamelan music is cyclic and develops through repetition wit variation. The leader gives the signals with a drum to keep everyone in time. This person is the one who keeps everything in time so is important, although the players would say that everyone was equally important.
This is only one of the types of world music there are hundreds if not thousands more which I haven’t mentioned.
