Gamelan Angklung

Gamelan angklung uses an orchestra of 4-key metallophones. The angklung orchestra tends to have lighter and more delicate sound than the gamelan gong, but can be just as complex in its interlocking patterns and interweaving melodies, and hypnotic, repeating loops. The gamelan angklung uses a 4-note slendro-derived scale.

The 4-tone instruments played by Gamelan Anak Swarasanti are tuned roughly to the western notes G, A, B, D. In keeping with the duality that runs thoughout much of Balinese culture, the instruments are paired, with male and female instruments of each type, the male tuned slightly higher, and the female slightly lower than the nominal pitch, which generates a beautiful shimmering or beating effect at the difference between the frequencies of the male and female instruments.

This photograph shows the angklung instruments played by Gamelan Anak Swarasanti. At the back are the three large gongs, with the smaller kempul gong in front of them. In front of the kempul are the two jegogan which carry the bass melody. Three different types of gangsa instruments are arranged in front of the jegogan - these represent a range of three octaves above the jegogan pitch, and are used to play the more complex interlocking melodies. These instruments may be physically arranged in different ways, depending on the performance situation. To the far right is the large reyong instrument, which is played by four players.

The instruments played by Gamelan Anak Swarasanti are described in more detail below. Gamelan instruments in general are considered sacred and are treated with the utmost respect. They must not be stepped over, and players must remove their shoes when sitting at the instruments.

The instrument cases are highly decorated in red and gold, and are made up of three main parts - the foot, the body, and the head. The foot (base) is the part that connects with the earth and is carved with plant symbols, roots, snails and flowers. The middle section or body contains the bamboo resonating tubes which are situated beneath each of the keys to amplify the sound. The body is also decorated with elaborate carvings, including the sacred bird Garuda at each corner, who protects the space occupied by the player and ensures that he or she is not influenced by evil forces while playing. The upper section, or head, of the instrument, again elaborately carved, arches up as if to the heavens.