Javanese and Balinese Gamelan

The most obvious difference between the two Gamelan examples is tempo. Javanese has a generally steady rhythmic structure (melodies being largely quarter notes and eighth notes), while Balinese Gamelan plays more with fast gestures through interlocking parts and rhythmic complexity. Also, Balinese Gamelan seems to put more emphasis on the xylophone instruments as soloistic, rather than only part of the ensemble as a whole. While the Javanese example relies on a well-blended sound created by all the instruments together, the different instruments in the Balinese example seem to fade in and out of presence, being soloistic at times and in the background at others. Different xylophonists tend to exchange virtuosic solos in a call-and-response type manner. The Balinese example also contains more silence than the Javanese example, so many entrances of the instruments are unpredictable and provide a kind of a surprise effect. There are also more featured instruments in the Balinese example, like the flute and a stringed instrument that is likely the rebab. The instruments in the Javenese example were primarily percussion.

Playing in the Gamelan ensemble was a great experience, and I am very pleased with how it went. Having a history in the Suzuki method, I am accustomed to learning music by ear, so it was nice to translate that into an Eastern context. I especially enjoyed when I and a fellow student were given a kotekan part, that is, interlocking parts. Initially, it was quite difficult with the addition of the dampening of the keys, but I got used to it after repeating it many times. This was my first experience playing Eastern music in an ensemble, and it surely will not be my last