SCORE 5 (lima) by Aris Daryono

5 (lima) is a composition for 5 musicians playing Javanese Duration: 8 minutes or more. , gender barung ( and ), , , , and computer. It was written between April 2004 and January 2006. Pitch 6 should be tumbuk (the same) in slendro and pelog. This is an interactive, semi-improvisatory composition Pitch 5 slendro should be the same as 4 pelog. with computer. The improvisation is similar to the traditional Unless indicated otherwise, use the Javanese Javanese pathetan, in which the destination notes () guide technique of damping each key after striking the next one. the overall melodic line and flow of the performance. The In section I, the rebab and gambang will improvise computer connects players by recording them and feeding in pelog nem. For both instruments, it is preferable to use the sounds back as processed sound files. The computer traditional motifs or related variations. is placed at the center of the stage, while each of the other The rebab is tuned to slendro 2 and 6 and, in Section IV, instruments occupy a corner of the performance space. This pelog 1 and 5. While there may be enough time to retune the piece reflects the Javanese philosophy “sedulur papat, lima rebab, it is easier to use two instruments, one in each tuning. pancer” (four brothers and ourselves as the center). This Gambang notation in section IV is intended only as a philosophy expresses the belief that we belong to a virtual guide; the player may add or refine the notes according to family of five: ourself, surrounded by four spiritual brothers his/her experience in playing traditional Javanese music. living in the north, south, east and west who always guide Gender players are free to add or embellish the and protect us. Reflecting this, there should be a strong bond notes in section IV according to their experience in playing felt between the five musicians, in which there is always traditional Javanese gamelan music. interaction, give and take, as well as individuality. Abbreviations for gamelan Instrumentation HM: hard mallet Javanese gamelan SM: soft mallet two rebab, tuned to slendro 6/2, and pelog 5/1 gambang pelog bem [1 2 3 5 6] Computer gender barung slendro The computer should run Max/MSP music software, or any gender barung pelog bem other compatible software that plays sound files and can gender barung pelog barang [ 7 2 3 5 6] process the sounds from a live performance. kempul: slendro: 5, 1; pelog 5, 1, 7 suwukan: slendro 2; pelog 1, 2 Sub-patches 1. sp1: reverb, distortion, and pitch modulation. Computer, running Max/MSP or similar software 2. sp2: record and play 3. sp3: reverb, delay, distortion, and pitch modulation. Notation key for pelog, slendro, and gongs. 4. sp4: play the sound files

Output gt1: contains 4 speakers (left-front, right-front, right-rear, and left-rear). gt2: surround sound 5.1 with hand control. The square symbols in the graphic sound score refer to the movement of the hand control on the surround sound.

2018/2019 65 Abbreviations for computer: Gendhing Dolanan (2013), Javanese gender barung and gt: gate/output panerus (slendro and pelog) and string quartet hctrl: hand control Rasa (2013), two players on Javanese gender barung and lrfront: left-front and right-front speakers panerus (slendro and pelog), , clarinet, oboe, cello lrrear: left-rear and right-rear speakers Sang Empu (2016), cello and ciblon middle: middle position of the surround sound Suatu Saat (suite) (2016), and Javanese gender pmod: pitch modulation barung and panerus (slendro and pelog) i. Bisikan, ii. sf: sound file Kongkalikong, iii. Main Gila, iv. Daun Muda sp: sub-patch Crowd (2017), Javanese gender barung and panerus (slendro st: store, i.e. storing the setting of Max/MSP in the computer and pelog), two diatonic instruments and audience Distanced (2017), Javanese gender barung (slendro and Selected Compositions by Aris Daryono pelog), two diatonic instruments and computer Kunang-Kunang (1996–1997), string orchestra “Quartet” (2017), any instruments (graphic score) Into the Darkness (1997–1998), mixed ensemble Papat (2018), Javanese gender barung and panerus (slendro ... and I Sleep (2001), French horn and piano and pelog) and two diatonic instruments (high and Sebuah Buku Tentang Aku, Kamu dan Mereka (2001–2002), low registers) violin and piano …….. (2018), solo piano A Place to Believe (2002), string quartet Song of the Lord (2002), tenor and piano Some of these scores are available online at A Space (2001–2002), mixed ensemble www.gamelan.org/balungan or Journey (2002), electronics www.gamelan.org/composers/daryono Ilir-ilir (2002), electronics Ono Maling (2002), Javanese gamelan in slendro Waktu Tersisa (2003), violin, flute and Javanese gamelan Siang Pantara Ratri (2003–2004), female vocal, violin, Javanese gender barung (pelog bem and barang), ciblon, wood block, triangle, kempul in pelog Sidhem, Bremara Kasireb (2004-2005), Javanese gamelan and orchestra 5 (Lima) (2004–2006), rebab, gender barung (slendro Aris Daryono is an Indonesian-born composer, Javanese gamelan and pelog), gambang pelog bem, kempul, gongs, musician, and teacher living in London. He studied classical computer guitar, composition and gamelan in Central , . Beautiful Error (2006), Javanese gender barung and panerus He received his Master’s degree in composition at the Guildhall (slendro and pelog) and computer School of Music and Drama in London, and his Ph.D. in Aku Gelisah (2006), Javanese gamelan and orchestra composition at the University of York. Let Me Have a Dream (2006–2007), Javanese gamelan His compositions reflect his background as a Javanese Aku Berjalan, dari Sudut ke Sudut, di antara Sisi-Sisi (2006- gamelan musician as well as his knowledge of western classical 2008), Javanese gender barung and gender panerus music. He has developed his unique musical language by blending (slendro and pelog) and string quartet the elements of gamelan music and western music to express his Wus Kawiwit (2007-2008), male vocal, five or more snare musical identity. In using European instruments, gamelan, and computer for this piece, Daryono explores and experiments with Padhang Bulan (2008), full Javanese gamelan the sonority of the instruments. His music exploits microtones, String Quartet No. 2 (2009) the pulsing ombak [wave] effect in gamelan, and the sonic Simple Mind (2010), Javanese (slendro and pelog, spectrum of the instruments by combining slendro, pelog, tumbuk 6) and diatonic tuning systems. He frequently collaborates with Untitled (2010), gender barung and panerus slendro and computer programmers, visual artists, contemporary dancers, pelog shadow puppeteers, and folk musicians. Little Piece for Clarinet (2010), clarinet and piano Daryono is the founder and director of the Gamelan Layang-Layang (2010), gender barung and panerus slendro Composers’ Forum, an organization that has hosted, since 2013, and pelog the annual international event “Concert and Discussion of New Convenience Guild (2011), flute and Javanese gender barung Music for Gamelan,” held at the School of Oriental and African and gender panerus (slendro and pelog) Studies (SOAS) in London. Phaedra Suite (2012), male vocal, Javanese gender barung and panerus (slendro and pelog), gongs, kempul, and cello. i. Malam-Malam, ii. Woman I saw Cry, iii. Play Me A Tune

66 y  e) ono y y cle quickl 4"  mp(sempr gt1-cir 2" y sf:noise4(loud), cle quickl 01'47 Aris Dar Pla sp3,     4 gt1 cir 15" sp4, f Play sf:noise2(string), sp4, gt1,front 4" 2 mp   mf    y sf:noise3(offstage), 9''  dle  Pla 00'22  3     p Play sf:noise5(wood), sp1, pmod, gt1 circle slowly p 00'38    gt2-mid  ! f 1   sp3,   7 3 s !    f GP 2" st 2 q = 60    y sf:noise2(string),   Pla 00'30 er) 7 .  s 2 ! l.v    p !   dle (full speak  7  mid s !      7 s  ! 5  Aris Daryono      7   s y  © 2006 ! cle wl        cle slo ee tempo gate 2 in cir fr    p gt1-cir .  sp1, l.v             p 3"    3 gate 1.    y sf:noise1(bead), mf Pla  00'37 9" 1 .  7" l.v      5"  . l.v     p q = 60  1 10" . Pelog Bem only st 1 l.v e  v mp 2"      Rubato        umbuk 6 T  elog)  Gong Rebab    Gender o+P Max/MSP Gambang Gamelan M/M The gamelan instruments should ha the same pitch on note 6. Gong (Slendr

2018/2019 67      5           p  2    . l.v .     l.v  hctrl  5 tion o gt2,     distor sp3,   slendr   ear (similar)  , yback, Pla mp   6   rubato      gt1-leftrightr   s    5 5  pmod, f  sp3, p    q = 70 mf 5     pelog bem 01'02

sp2,gt1 5"       yback,  Pla  mp   y sf:noise6(scratch), gt2 2" Pla  2     pp 3"              RECORD &      ont.    5"            Pick up the Rebab sound and use sp1,     1 HM      1  p ong note at the fr   2" ys the g       3"  (similar)    p   1 une the Rebab(s)"  "T       ooden mallet whilst the other hand pla GP 5"     

  st 3 *)2.  q =80    p 5" o  ong at the back with a w slendr 2"

   .

div  3"    d mallets.,  *)1 (enter the stage) p  p pelog bem  har 1 mp sfz Scratching the edge of g   ff I     *)1. 6 8      (+PL) Reb M/M M/M Gong Gong 2 Gdr (Sl)

68 Balungan

3             dle gt2-mid sp3,

   CK,

A

YB    mf RECORD & PLA HM  3

 mf   o)   HM    Gender (pelog) Gender (slendr               (suggested pattern 2)                         (suggested pattern 1)    .  ee tempo  fr        3 mf  o   ont. slendr     athet 6 in gambangan style  gt1-lrfr  g P

   elo sp1, 

d),   d) in P legato.  mf   . pelog bem mp  div visation based on the sound of computer o  athet 6, e) g P y sf:noise7(chor Impr (noise7-chor  elo d mallets., Pla har (sempr 2    d) in P  mp  visation based on the sound of computer  o q =70    Impr (noise7-chor              (+PL) Reb M/M M/M Gong Gong Gamb Gamb Gdr (Sl)

2018/2019 69 

 . y       *)2     mf        p   5       D        mf cle        C    SM    gt1-cir   p    5   sp2, y).    e  HM        yback,     eral times and then choose another motif randoml   v         ying the next k   d and pla          epeat it se     Recor       e hearing/pla  B  or           y bef   e elog Bem/7 A    HM            o and P   SM    st 4 q =90   (damp each k mp Slendr Pick one of these motifs and r       hnique  II               , tec      ! p mp       mp staccato                                 ff     ff    *)3          elog 7   P   HM mf  der to get a rattle sound.         *)1               pp     o   d the surface in or        Slendr war           .     l.v      ooden end) to         mf SM mf    .                        q =70           using soft mallets. y at the same time       e                  hnique     dle      ong with the mallet straight after striking it.      ue the tempo ( ) and fade out. ong and place the other mallet (the w          imbal tec ,             Contin    damp and hit the k elog Bem  3 hit the g damp the g      2 P          Gate2-mid f q =105 f staccato *)3. *)2. *)1.  1        1      M/M Gong Gong Gamb Gdr (Sl) 4 Gdr (Sl) Gdr (PL 7) Gdr (PL B)

70 Balungan  5 ff   3          3        3          3   D   C     3   3           3        3             D        3                          B A 3 y   .                    ppp     C     

    epeat it until the next bar yback,          Pick one of these motifs randoml and r . ear r     d and pla       gt1-lr   t the solo    mp sp3, Recor       then star      f    q =90  B q =90    ed their motifs, y    e pla v            ppp        x and     d.      w moments after the genders ha A e     ait a f ebab is hear W    ee tempo (ca.25 secs). o y these dynamics as soon fr , ppl      the solo r Repeat the motifs in bo a HM     HM   Slendr solo  mp mp  mf               Reb M/M Gong Gamb Gamb Gdr (Sl) Gdr (Sl) Gdr (PL B/ 7) Gdr (PL B/ 7)

2018/2019 71         1 p   3  5 p    5 s       3 5 s       1 p H   H        5 p     o or pelog  5 s       5 p             

   y in either slendr  G      uousl     .

ominant tuning on the genders.   y mf       yback,    d or soft mallets).     5 s   o motifs contin cle quickl          F e) 5 p wing the most pr d and pla     gt2 cir   ollo      y these tw  G    y f sp3, Recor Pla b      ent mallets (either har mf (sempr   er q =90    5 s    E   es and diff   v         ent octa 5 p   er             y using diff  

         yback, y them b    ar V

ear      r   lr H   e)  d and pla  F   epeat it. gt1,     G  sp2, Recor (sempr        5 s   p p  mf                     st 5    then choose another one and r              eral times, v                epeat it se F  r  , E   w     E            y genders.        ed b ou hear y     Pick one motif belo mf er y   v     3        y this bar whene Pla interlocking patterns pla                Reb Reb M/M Gong Gong Gamb Gdr (Sl) Gdr (Sl) 6 Gdr (PL B/ 7) Gdr (PL B/ 7)

72 Balungan 7                                                                                   dle                        gt2 mid    sp4,                  ong),             y sf:noise8(g       Pla 03'20                                       pp                                                                                                                        .                  ebab                       w the r ollo                    der to f     mf mf           mf mf    SM SM ed in or     1 s   p     equir *)        5 p     *)        y times as r 5 s or 02'50'' - 03'30'' y    Change/tune to pelog 5 f , legatissimo  1 s      x as man .              er  y 5 p  y-      5 s   ee tempo elog Bem onl   fr , or each pla             1 s d mallets onl     (as possible)    Gender P 5 p Rubato epeat the motif in bo  f   a1.,    Use har one mallet f ff  *) r 5 s mp K mp  IV    qqq = qq ( q =135) SM   mp           III      Reb Reb M/M M/M Gong Gamb Gamb Gdr (Sl) Gdr (Sl) Gdr (PL B/ 7)

2018/2019 73                                                                                                                                                                                                                                                                                                                                                                                                                                        Reb Reb M/M M/M Gamb Gamb Gdr (Sl) Gdr (Sl) 8

74 Balungan 9 . e . . l.v . l.v  l.v   08'00 or mor    mp     total duration:          .   l.v                                                                                                      Reb M/M Gong Gamb Gdr (Sl)

2018/2019 75