Saron barung (front, with wooden mallets) and saron panerus (in back, with horn mallet)

The saron is a musical instrument of Indonesia, which is used in the gamelan. It typically consists of seven bronze bars placed on top of a resonating frame (rancak). It is usually about 20 cm (8 in) high, and is played on the floor by a seated performer. In a pelog scale, the bars often read 1-2-3-4-5-6-7 across (in kepatihan numbering); for slendro, the bars are 6-1-2-3-5-6-1; this can vary from gamelan to gamelan, or even among instruments in the same gamelan. Slendro instruments commonly have only six keys. It provides the core melody (balungan) in the gamelan orchestra. Image File history File links Download high resolution version (1600x1067, 293 KB) Traditional instruments - the Indonesian Embassy in Australia File links The following pages link to this file: Gamelan Music of Indonesia Metallophone Wikipedia:Reference desk archive/Humanities/December 2005 ... Image File history File links Download high resolution version (1600x1067, 293 KB) Traditional instruments - the Indonesian Embassy in Australia File links The following pages link to this file: Gamelan Music of Indonesia Metallophone Wikipedia:Reference desk archive/Humanities/December 2005 ... Gamelan - Indonesian Embassy in Canberra A gamelan is a kind of musical ensemble of Indonesian origin typically featuring a variety of instruments such as metallophones, xylophones, drums, and gongs; bamboo flutes, bowed and plucked strings, and vocalists may also be included. ... ... Pelog is one of the two essential scales of gamelan music native to Bali and Java, in Indonesia. ... Kepatihan is a type of cipher musical notation that was devised for notation of the Indonesian gamelan. ... Slendro (called salendro by the Sundanese) is a pentatonic (five tone) scale, one of the two most common scales used in Indonesian gamelan music. ... The balungan (Javanese: skeleton, frame) is sometimes called the core melody of a gamelan composition. ...

Varieties

Sarons typically come in a number of sizes, from smallest to largest:

• Saron panerus (also: peking)
• Saron barung (sometimes just saron)
• Saron demung (often just called demung)

Each one of those is pitched an octave below the previous. The slenthem or slentho performs a similar function to the sarons one octave below the demung. In music, an octave (sometimes abbreviated 8ve or 8va) is the interval between one musical note and another with half or double the frequency. ... A Gamelan Gadhon is an ensemble consisting of the soft instruments of the Javanese gamelan. ... The slentho (also spelled slento) is a musical instrument of the gamelan. ...

Playing techniques

The sarons are struck with a mallet (tabuh) in the right hand. Typically the striking mallet is angled to the right to produce a fuller sound. Demung and saron barung generally use a wooden mallet, while the peking mallet is made of a water buffalo horn, which gives it a shriller sound. The left hand, meanwhile, is used to dampen the previous note by grasping the key, in order to prevent a muddy sound. On repeated notes, the note is usually dampened half a beat before it is struck again. Binomial name Bubalus bubalis (Kerr, 1792) The Water Buffalo is a very large ungulate and a member of the bovine subfamily. ...

The saron barung and demung usually play less often and more simple parts. These are the usual techniques for playing them:

• Mbalung: playing the balungan melody as notated, without elaboration
• Tabuhan pinjalan: playing an interlocking pinjalan pattern between the saron barung, demung, and slenthem, which fills in the offbeats of the balungan
• Tabuhan imbal: playing an interlocking imbal pattern between two of the same instruments, usually either saron barung or demung. Note that the dampening must happen as soon as the other performer plays a note; this is usually twice as soon as when playing by oneself.
• Pancer: sometimes a note is added between balungan notes if there is a great deal of space between them (i.e., it is in a slow irama). This is called a pancer.

Saron panerus has distinctive patterns which make it different from the other sarons. It usually plays more often, and keeps a constant beat going throughout a piece. Its playing techniques include: The balungan (Javanese: skeleton, frame) is sometimes called the core melody of a gamelan composition. ... A Gamelan Gadhon is an ensemble consisting of the soft instruments of the Javanese gamelan. ... The balungan (Javanese: skeleton, frame) is sometimes called the core melody of a gamelan composition. ...

• Nacah lamba: playing the balungan (with repeated notes if necessary, depending on the irama)
• Nacah selang-seling: playing the balungan in pairs of notes (which may be repeated), making a more elaborate variation on the phrase
• Imbal-imbalan: similar to tabuhan imbal for the other sarons

History

The earliest known appearance of a single-octave saron is in a relief at Borobudur, from the 9th century. It was formerly supposed that the saron derived from the decomposition of the gambang gangsa, after it fell out of use. Mantle Hood rejected this hypothesis, and associates the preference for a single octave with the characteristic shape of the cadence in the pathet. There is no evidence that the gambang gangsa is older than the saron; indeed, it may be younger.^[1] , Borobudur from a distance Borobudur is a Buddhist stupa related to the Mahayana tradition, and is the largest Buddhist monument on earth. ... Mantle Hood (? - July 31, 2005) was an American ethnomusicologist who specialized in tn studying gamelan music from Indonesia. ... In Western musical theory a cadence (Latin cadentia, a falling) is a particular series of intervals or chords that ends a phrase, section, or piece of music. ... The pathet (Javanese spelling; also patet) is an organizing concept in gamelan music. ...

Footnote

1. ^ Hood 1977, p. 240-242

References

• Hood, Mantle. The Nuclear Theme as a Determinant of Patet in Javanese Music. New York: Da Capo, 1977.
• Sorrell, Neil. A Guide to the Gamelan. United Kingdom: Faber and Faber, 1990.