The Vocøl Notøtion of K.R.T Wasitodiningrat
Volumel: Slendro
based on a collection by Leslie (Dexter) Dhono Isworo
introducfion by Alex Dea and Laurie Kottmeyer
consultant: I.M. Harjito
edited by Jody Diamond
published by the American Gamelan Institute l@l A M C A N
INSTITUTE [email protected] www.gamelan.org
This collection is published by the American Gamelan Institute by agreement with K.R.T. Wasitodiningrat..
O L995K.R.T. Wasitodiningrat (notation and compositions) @L995 Alex Dea and Laurie Kotmeyer (introduction)
O 1995American Gamelan Instiute (collection and indexes) The VocalNoøtion ofKRT. Wasitodiningrat
Volume I: Slendro
Contents
Editor's Acknowledgments lX
Introduction: May This ServeYou \Øell XI pathet nem
Gendhing Kabor kethuk 2 kerep minggah Ladrang l(arawitan larasslendro pathet nem J Ladrang Karawitan (Iftawiran) laras slendro pathet nem 4 Gendhing Kocak (Kotjak) kethuk 4 kerep larasslendro pathet nem 7 Gendhing Ipkananta (Lokononto) kethuk 2kercp minggah 4lansslendro pathet nem 10 Gendhing Lokananta (version2) kethuk 2 kerep minggah LadrangSiy.m larasslendro pather nem r6 Ladrang Siyem larasslendro pathet nem 17 Gendhing Majemuk kerhuk 2 kerep larasslendro pathet nem 19 Gendhing Pujangga (Pujonggo)kerhuk 4 minggah I larasslendro parhet nem 23 Ladrang Badranaya(Bodronoyo) larasslendro pather nem 27 Ladrang Dir¿da Meta (Dwirodometo) larasslendro parhet nem 29 Ladrang Remeng larasslendro parher nem 32 Ladrang Sobrang larasslendro parhet nem 34 Ayak-ayakan laras slendro pathet nem 36 Srepeganlaras slendro pather nem 37 Lagu Penghijauan larasslendro pather nem 39 PatethanWantah larasslendro pathet nem 4t PathetanJugag larasslendro parhet nem 42 Pathetan Kedhu (Kedu) larasslendro pathet nem 43 ,þÅtada. Gfuisa (Odo-odo Giriso) larasslendro parhet nem 44 Ada-ada Hasta Kuswala,{geng ftIasrakuswala)laras slendro pather nem 45 Ada-ada Hasta Kuswala Alit (Hasrakuswala)laras slendro pathet nem 46 Sendhon Kloloran larasslendro parher nem 47 SekarAgeng Gurnang lampah 6 pedotan Z-4lansslendro parhernem 48 SekarMacapat Pucung larasslendro parher nem 48 SekarMacapat Gambuh larasslendro pathet nem 49 SekarMacapar Gambuh (version2) latasslendro pathernem 50
pathet sønga Gendhing Gambir Sawit (Gambirsawit)kethuk 2 kerepminggah 4larasslendro pathet sanga 53 Gendhing Gambir Sawit (Gambirsawit)(merong)kethuk 2 kereplaras slendro pathet sanga 60
Inggah Gendhing Gambir Sawit Sembung Gilang (GambirsawitSembunggilang) kethuk 4 63 kalajengakenLadrang Vestminster larasslendro parher sanga I-,adrang'Westminster larasslendro pathet sanga 65 KetawangGendhing Ganda Kusuma (Gondokusuma)kethuk 2 kerepminggah Ladrang Ganda Suli 67 larasslendro pather sanga
Ladrang Ganda Suli (Gondosuli)laras slendro parhersanga 69
KetawangGendhing Jongkangkethuk 2 kerep minggahLadrang Jongkang laras slendro pathet sanga 70 Ladrang Jonglang larasslendro pather sanga 7t KetawangGendhing Purnama Sidi (Purnomo.siddi) kethuk 2 kerep minggah l-adrang PurnamaSidi 73 kalajengakenBubaran Purnama Sidi larasslendro parhet sanga Ladrang Purnama Sidi larasslendro pathet sanga /> Bubaran Purnama Sidi larasslendro pather sanga 78 Ketawang Gendhing Purnama Sidi (version 2) minggah Ladrang Purnama Sidi laras slendro pathet 79 sanga
Ladrang Purnama Sidi (version2) larasslendro pathet sanga 83
Gendhing Renyepkethuk 2 kerep minggah LadrangEling-eling Kasmaranlaras slendro pathet sanga 87
Ladrang Eling-eting Kasmarankaseling Sekar Macapat Sinom Logondanglaras slendro pathet sanga 90
Andhegan SekarMacapat Sinom Logondhang (Logondang)laras slendro pathet sang¿ 95
Gendhing Sumedhang(Sumedang) kethuk 2 kerepminggah Ladrang Gonjang-Ganjing larasslendro 96 pathet sanga
Ladrang Gonjangganjing larasslendro parhersânge 98 Ladrang Gonjangganjing (version2) larasslendro pathet sanga 102
Ladrang Hutama larasslendro parhersange 1.04
Ladrang Kagok Madura larasslendro parher sanga 106
ladrang Pakumpulan laras slendro parher sanga 109 Ladrang Pangkur larasslendro pathet sanga 111
Ladrang Rondha Malam (Ronda) larasslendro pathet sanga r14
SekarAgeng l"angenAsmara (Langen-asmoro)lampah 14 pedotan 6-8 dhawah Ladrang Sri 115 Katongron larasslendro pathet sanga
Ladrang Sri Karongron larasslendro pather sanga 116 Ladrang Sri \Øibawa (Sri Vibowo) larasslendro pathet sanga I20 KetawangSuba Kasawa (Subakastawa)laras slendro parher sanga 122 Lanc¿ranGodril larasslendro pathet sanga 724 Lanc¿ran Kid*g Talun laras slendro perher sanga 725 Ayak-ayakan Mijil larasati laras slendro pathet sanga 126 Ayak-ayakan larasslendro pather sanga 131 Srepeganlaras slendro pathet sanga 732 Lancaran Walang Kekek ($Øalangkekek)laras slendro pather sanga 733 Jineman UIer Kambang (Ulerkambang)laras slendro parher senga 134 JinemanWiting Klrpr larasslendro pathet sanga 736 PathetanWanah larasslendro parhet sanga 737 PathetanJ"gag larasslendro parhet sanga 138 Gendhing Kemanak Mangun-kung (Mangunkung) larasslendro parhet sanga 139 pathet mønlara
Gendhing C"î"g Gantung (Caranggantung) kethuk 2 kerep minggah Ladrang Kembang Pete laras r43 slendro pathet manyura
Ladtang Kembang Pete larasslendro pathet manyurã 146 Gendhing Cucur Bawuk (Cucurbawuk) kethuk 2 kerep minggah PareAnom kethuk 4 kalajengaken t48 Ladrang SriIGton.kalaþngakgn KetawangSukma Ilang kãajengakenAyak-,{yakan kaÉ;erig"ken Srepegankalajengaken Sampak laras slendro parher m"nyura (pãralon) Inggah Pare.Anom (Pareanom)kerhuk 4la:asslendropathet mariyura 15r Ladrang Sri Katon (Srikaton) laras slendro pathet manyura 152 KetawangSukma llang (Sulama-ilang)laras slendro pather manyura r53 ,Ayak-ayakanlaras slendro parher manyura r54 Srepegan(Slepegan) laras slendro parher manyura r56 Gendhing Genes kethuk 2 kerep larasslendro parher manyura 157 Gendhing Gonjing Miring (Gondjing-miring) larasslendro pather rnanyura 160 Gendhing Kinanthi Padang Bulan (Kinanti Padangbulan)laras slendro parhet manyura 164 Sekar Madye Kugwa (K¡rryrorogo) þn dhawah Gendhing Kutut Manggung kethuk2 kerep 165 minggah Ladrang Kutut Manggung kaselingCekilrelilaras slendro pather manyura Gendhing Kutut Manggung kethuk 2 kerep minggah ladrangKurur Manggung larasslendro pathet r66 menyura
Ladrang Kuttrt Manggung laras slendro pathet manyure 168 Andhegan Kutut Manggunglaras slendro pathet manyura 170 Andhegan Cekikrek (Tjekilaek) laras slendro pather manyurâ 17r Gendhing lambang Sati (Lambangsari)kethuk 4 kerepminggah 8 larasslendro pathet manyura 172 Inggah la.mbang Sari (l-a.mbangsari)laras slendro pathet manyura 174
SekarAgeng Madu Retna (Maduretna) lampah 12 pedotan54 dhewehGendhingLobong kethuk 2 L75 kerep minggah4 kaselingLadrang Puspanjana laras slendro pather manyura Gendhing Lobong kethuk 2 kerep minggah4 kaselingPuspanjana laras slendro pathet manyura L76 Ladrang P"spanjana (Puspandjono)laras slendro paúret manyura 182 Gendhing SekarPuri (Sekarpuri)kethuk 8 larasslendro parhet man)rura 184 Ladrang .Argopenila¡as slendro pather manyura 186 LadtangAsmarandana (Asmorodono) larasslendro pathet menyura 188 Ladrang Ayun-ayun larasslendro pathet manyura 191 Ladrang Ginonjing larasslendro pathet manyure 194 Ada-ada Mentaraman larasslendro pathet nem 198
Ladrang Kagok Liwung (Kagokliwung) larasslendro parhet menyura 198
Iadrang Kandha Manyura (Kondomanyuro)laras slendro pather manyura t99 Ladrang Moncer larasslendro pathet manyura 20r Ladrang Pangkur larasslendro parhermanyura 203 Ladrang Pangkur (ngelik) laras slendro pather manyure 2A6
Ladrang Prabu Anom (Prabuanom)laras slendro parhet manyura 208
Ladrang RujakJeruk (Rudjak-djeruk) Iarasslendro pathet manyura 210
Ladrang Sd Katon (Srikaron) (version2) larasslendro pathet menyura 213
Ladrang Sri Katon (Srikaton) (version3) larasslendro pathet manyura 214 Ketawang Kembaqg Kates laras slendro pathet manyura 216
Ketawang Madu Murti (Madumurti ) larasslendro pathet manyura zLV Ketawang Pawukir laras slendro pather menyura 218
Kerawang Puspa'W'arna(Puspowarno) laras slendro pathet manyura 220
Ketawang Puspa'!Ø-arna(Puspawarna) (version 2) larasslendro pathet menyure 222
Kerawang Kinanthi] Sandhung (Sandung)laras slendro parher manyura 224 Ketawang SekarTeja (Sekarteja)laras slendro pathet manyura 226
Ketawang Sukma Ilang (Suksma-ilang) (version 2) la:as slendro pathet manyura 228
Lanc¿ran Emplek-emplek Keæpu larasslendro pather manyure 230
Lancaran Rena-rena(Reno-reno) laras slendro parhet manyura 233
Bubaran læbdaJiwa (Lebdojiwo) larasslendro parhet mâ.nyure 234 .dyak-ayakan laras slendro pather menyurâ 235
Ayak-ayrkan Kaloran laras slendro pather manyura 237 -,{yak-ayakanMijil larasslendro parhermÍrnyura 239 ,{yak-ayakanumbul Donga (umbul-dongo) larasslendro parhet mírnyura 24r Srepegan(version 2) larasslendro pathet manyure 243 Srepegan(Slepegan, YogyÐ (version3) larasslendro parhet manyura 2M Srepegan (Slepegan,Yogya) (version 4) laras slendro pathet manyure 245 SrepegarrGegot larasslendro pathet manyura 246 Lagu Orek-orek Montore Mabur larasslendro pathet menyum 247 Lagu Dolanan Äku Duwe Pitik larasslendro pathet menyura 248 Lagu Dolanan Buta Galak larasslendro parhet manyure 249 Lagu Dolanan Gajah-gajahlaras slendro pathet manyura 25r Lagu Dolanan Paman Tani laras slendro parhet manyura 252 Lagu Dolanan Ris-irisan Pandhan (Pandan) larasslendro parher rnanyura 253 Lagu Dolanan Ris-irisan Tela larasslendro pathet manyura 254 Lagu Dolanan Sepuran larasslendro pathet manyura 255 Lagu Dolanan Tukang Kayu larasslendro parher manyure 256 Jineman Mijit Wedadng Tyas larasslendro parher manyura 257 PathetanW'anah larasslendro pathet menyure 258 PathetanJugag larasslendro pathet manyura 259 LagonJugag larasslendro pathet manyu(a 260 sekar Ageng Tebu Kasol lampah 9 pedotan4-5 larasslendro parher manyura 26r SekarMacapat Mijil larasslendro parhet manyura 262 Sekar Macapat Pucung laras slendro parhet manyura 263 indexes 267 Editor's Acknowledgmenæ
I am grateful to all the peoplewho havehelped organize,assemble and refine this book. Thanks to their efnorts,Pak Cok¡o's beautiful script and incomparable musical knowledgewill continue ro servefurure generationsof karawitan studenrs.
Most of this notation was first collectedand organizedinto a book by Leslie (Dexter) Dhono Isworo in the mid-1970s. Vith a calligraphy that imitated Pak Cokro's own hand, she added page numbers and created a table of contents. fu Pak Cokro notated more pieces, a rcotganizationof Leslie'swork became necessary.
Alex Dea and Laurie Kottmeyer helped conceptualizethis new book, and wrore rhe inrroducrion. Gt"g McCourt was particularly helpfirl in bringing the collection up ro date as of Pak Cokro's rerirement from California Institure of the Arts in 1992.
Hardja Susilo strongly recommendedthat the notes missing due to repearedphorocopying be filled in; I.M. Harjito supervisedand assistedin this processand was consultedregarding the order of the piecesin each section. A.L. Suwardi answeredquestions about severalpieces. Two publications from STSI Surakartawere alsovaluable in checkingsome words and nores:Doþumentaçi Wangsølan Susan¿n Nyi Bei Mørdasari by T. Slamet Supatno, and Dibuang Sayng, a collection of vocal melodiesand texrs by R.L. Martopangrawit, edited by Rahayu Supanggah.Djoko \Taluyo was kind enough to provide some rexr for the pelog volume.
Philip Yampolsþ contributed valuable commenß on the organizationof the indexesand orher formats. Susan\Øalton and Andy Sutton provided essenrialadvice on spelling, formar and texr. David Fuqua assembledthe indexesand assistedwith overall design and page numbering.
The final responsibility for suppþing missing text, norarion and tides is my own. Future editions of rhis collection will be up-dated. Those who use this work are invited ro suggesrcorrecrions, additional pieces or other conttibutions. I hope theseefforts will bring honor and pleasurero my firsr teacher,and be of value to those who, like myself, have been inspired by him.
Notes in the margins
Through the years,Pak Cokro's studentshave written on rhe notadon: notes,translations, instructions, rhythmic hints for ornaments,and other comments. M"ny of thesemarkings are in the collection, either in the otiginal writing or re-written for cladty, as it is likely thar the noteswere raken during lessonswith Pak Cokro himself.
One annotation in perticular invokes a fitting blessingfor rhis projecr. At the bottom of SekarAg"rg Sudira Vicitra is Pak Cokro's own rranslation of rhe lavaneserexr:
I(ømøsd.ls to Drona donTbe ofoi¿ I hauepusaka Ifl! tirne not a?
JodyDiamond Lebanon,New Hampshire ,{ugust,1995
tx
Introduction: May This Serve You Vell by Alex Dea and Laurie Kottmeyer
The Vocal Notatìon of RRT. lVasitodiningrat attempts to put in one place all of the vocal notation that Pak Cokro I wrote out while teachingin the United States,beginning in 1971 at the California Institute of the Arts (Cal Arts) in Valencia. Over the years,he has taught at the summer programs of the American Socieryfor EasternArts (ASEA), et the Center for'SØorld Music, and at numerous universities,including the Universiry of California at Berkeley(1977 - 1987).Until 1992, he v¡asvery activeat Cal Arts and continued to make new notation in his own hand. [He is now retired and living in Yogyakarta,where a gamelancenter is being esmblishedto continue his teachings.He has cunailed his activities somewhat,but he continues to overseerecordings of his own compositionsand the training of severalgenerations of musicians.] Pak Cokro is well known to aficionadosof Central Javaneseclassical gamelan music. Many, if not a great majoriry of Ametican and some Europeanand Japanesestudents have come under his spell and tutelage at some time; he taught in the U.S. more or lesscontinually from L97l to 1992. Before coming ro the U.S., he was the pirnpinan [musical director] of the goyernment radio station gamelan,R¿dio Republik Indonesia (RRI) in Yogyakarta.In addition, he was pimpinan at one of the four principal coutts in Central Java,the Paku Alaman. Through thesenvo postsalone, he greatlyinfluenced the courseof classicalgamelan in this century. This collection is especiallyinteresting becausePak Cokro is one of few-gamelanexperm who is a talented vocalist. \Øhile gamelandirectors alwaysexert some degreeof influence on their vocalists, Pak Cokro, through his own natural ability and leaning, feelsa particular responsibiliryfor ensuring that the vocal music in gamelan-specifically pesindhenøn(female parts) and gelongd.n(male parts)-are properly developed.He numbers his studentsin the hundreds, mostly in the Yogyakartaa¡ea and particularly in connection with the RRI radio stetion in Yogyakartaand the palacegamelan group at the Paku Alaman. In fact, he felt so suongly that the vocal parts must be perfectedthat he establishedhis own school in t964. Pak Cokro's contribution to classicalJavanese music goesfar beyond composition. He has trained many important singers(both male and female) and instrumentaliststhroughout the years.He brought Solonesesensibiliry to YogTakarta,single-handedly affecting the Yogyanesemusical tradition. Although Pak Cokro was the leader of the Paku Alaman court gamelanin Yogyakarta,his family roots are actually in Surakarte,rhe other court ciry of CenmalJava, making the musical sryle of the Paku Alaman court somewhat Solonese.The cross-fertilizationof Soloneseand Yogyanesemusical sryle sometimesresults in differencesbetween his versionsand more predominant Soloneseversions. Some of his worla have found their way back to Solo, cross-fertilizingthe court tradidons. The credibiliry of this collection is unquestionable.This is the work of one of the musical giants of his time and tradition, an ardst with a highly influendal and classicalesthetic. The overall gara.Pøn [interpretation, errangement]is correct. The choice of cenghoklbasic melodic pattern] is correct. Yet, one is c¿utioned against taking this material as a bible of Javaneseclassical vocal music. [Jser's Guide or ReferenceManual? This collection might be seenas a referencemanual: e sourceof information on vocel rnusic as taught by one ofJava's most important classicalgamelan musicians, an artist whose careetspans years that
1. Pak Colno (pronounced"choke-row") is the familiarname for K.R.T.'SØasitodiningrat.He wasformerþ known asIC'Wasitodipuro, and beforetfiat asTjokro'Vasito. His studentsand friendscall him "Pak Cokro." [A biography of K.R,T. Vasitodiningrat is in the eighth edition of Bøþer'sBiographicøl Dictionøry of Mushiøns.Eð,.1
lntroduction xi include Javanesefeudal courts, pre-independence,and the modern Republic of Indonesia-This book could also be seenas a user'sguide, since it providesa wonderfi¡l and practical introduction to Javanesevocal music. Pak CoLco wrote all Êhenotation by hand on I LlZ by 11 paper in the form of a "score."The |esinàhen [female singer] and gerong[male chorus] parts are wrirten underneath the balungaa [melodic framework]. Typically, the scoreshows the balunganon rhe firsr line, followed by rhe gerong part if there is one, and under that the pesindhenpart. Eachline contains2 gatrø,(unit of four beats),showing 8 beaæof balunganmlaþuor one gerong phrase.Kempul, kenong, and gong are usuallyindiceted. The buþa (introduction to the piece) is frequently included. Since rhe norarion in this collection is from versions that have been reusedand recycledcontinually through photocopying, some of the pagessuffer from lack of clariry, or occasionallyhave lines cut off due to repearedphorocopying. [Many of the incomplete lines have been filled in. Ed.] This way of presentingvocal norarion is nor normally used in Java,even for teachingPurPoses in the governmentmusic schools.Pak Cokro, however,has usedsimilar noredon ro teach classicalJavanese voc¿l music ro his studenæin Java. This collection contains a veritable wealth of classicalmusic eiramples.A wide range of forms are rePresented,from large sedatepieces like Kocaþ ro shorr, fast-temponew compositions ltke l(tui Apa Ifuwi, The music appearsfor the almost mysdcal bedhayadances as well as the lighrer ladrang end hetøwangforms.Also included are suitesof dancepieces used in senl.røtøri[dance drama], bøuølsolo songsused to inroduce pieces], and andheganand hend¿la.a[intedudal cadenza-likephrases somerimes referred to in America as "stopping"J. Music from the wayanghulit [shadowpupper rheater] tradition also apPeaß:the mood-setting songs?d.theta.n and løgon,as well as rhe more marrial and urgenr þak-ayøkan arrd Srepegdn. The collection contains about 40 gendhing and about 100 of the smallerladrang and kerawang forms. By comparison, Mloyowidodo's two volume compilarion of balungan notationz, consideredto be representadveof the bulk of the Soloneserepertoire, conrains approximately 280 gendhing and 350 ladrang and ketawang.Thi" givesa rario of l:7 gendhing md l:4 smaller forms berweenthis collection and Mloyowidodo's compilation. Considering that there are many piecesin rhe Soloneserepertoire that erc ørely or never played, this collection provides a good sample of the Central Javaneseclassical court style and repertoire. It is also a fair crosssection of many of the kinds of piecesone is likety ro encounter. Anyone masteting the pieceshere will haveli*le trouble fitring inro musical situarions in Central Java. Even so, the collection is not a completecourse in Javaneseclassical vocal music. Some of the larger classical pieces ltke I{ombangmoro,Morosonjo, or Rondhon ale not included becauset}rey are not widely performed in Ametica, although they are very much a pam of the reperroire. Pak Cokro explained that in teaching in,A.merica, there are new students each semester,so it is always necesseryto restart at the beginning of the material. Most of his studentshaven'l stayedlong enough to study rhe more classical pieces.Besides, it is likely that by the time a student reachesrhe level of proficiency needed ro understandsuch pieces,notation of the type in this collecrion would no longer be needed. For the Solonese-orientedstudent, there are some unusual items: Yogyanesesendratari pieces and lagon fYoganese pathetan melodiessung by the male chorus]. There âre some surprisesas well, including a bawa (Puspaklito) that Pak Cokro composedfor his American studenm and new compositions rypically in fast tempo with choral singing, such as Goronørgo("Freeway"), wrirren when he first moved to rhe Los Angeles ææ. Gugur-gunangandVafura are wonderful examplesof his senseof nvo-parr choral harmony, a teal innovation in Javanesemusic.
2. Mloyowidodo, S. ed,.Gending-GendingJøwø Gø1a SuraÞørta [Classical Pieces in Surakart¿ Style]. Surakarta: Akademi Seni lG¡awitan Indonesia, Departemen P da¡r K di Surakarta, 1976. Volume I: Slendro; Volume II: Pelog. There is also a third volume of slendro and pelog piece, not referred to in this introducrion. Ed. xii The Vocal Norarion of KRT. \Øasitodiningrat Pak Cokro has made it clear that this is notation for teachingpurpos€s only, and may even contain mistakesthat he would correct in his lessonsand classes.The researcherpafticularly should be careful noËto infer too much f¡om this notation. Each choice of cengkokreflecrs only one of many possibilities. Pak Cokro may sometimesbe illustrating a particular sryle or technique. He may be illustrating parnijen (specialcengkok) ot gail.urn(required or characerisriccengkok). He may be showing rJrerelationship berweenthe pesindhenparr and that of the rebaband gender. There is also the problem of properþ interpreting whar Pak Cokro has acruallywritten. The primary problem is that it is difficult to disdnguish basic melodic patterns from ornamental details or knowwhere nuancesof dynamic and accentshould occr.rr.These are elemenrsof this musical idiom that need to be understood. If this material were sung basedon \Testern notational practices,the result would invariably be incorrect. The trained student, however,would not ettempt to read the notation note for note, but would look only for generalindications: where the vocal parr is placed,wherher the melody was high or low, whether there was e plesedzn[a musicalprocedure where a cadentialmelodic rone slurs ro anorher tone], whether a special melody or text was to be used, etc. All of rhesedecisions might be made instantaneously.Never would the nores be literally'read.o Author! Author! It is obvious that some piecesin the collection are Pak Cokro's own creations.Some were composedbefore he cameto rhe U.S., otherswere written here. Bur when he was askedto indicate which pieceswere his own, he declined to do so. Since dre conceprof authorship and the sysremof copyright in the SZestis fundamental, one may wonder why he prefershis contributions to remain enonymous, especiallysince he is recognizedfor bringing so meny improvements and innovations to maditional gamelan pracrice. In the courts of Java,there was no conceprof copyrighr in raditional gamelan music. Pieces composedby court musicianswere atffibuted to rhe lord of the menor, that is, the king or prince in whose court one was employed. Someonefrom such a bacþround might not anach much sþnificance ro authorship. It may even be considerednegative to claim individual credit for a piece. Pak Cok¡o made the following comments: "Ifpeople know that you have composeda certain piece, they may become overþ critical. Classicalpieces have changeda lot over time-many anonymous musicians have conttibuted small but important changesto piecesin the classicalrepertoire. Garapan does change over time.' He feels very uncomfortable drawing etenrion to himself.3 Pak Cokro haswritten his name on many of the pagesin this collecdon. He is nor claiming authorship-most of the piecesto which his name is attachedare classicalones. His name even appeírrson 'We Swara Saling, a modern composition by Ki Nartosabdho. know útet Goromøgo and Puspalalin were written in Americ¿ by Pak Cokro. It is possibleto armibute the piecesKuwi Apa Kuai or Sopir Becahrc him beceuseof recordingsand other documentadon.But noration alone is nor convenrionallyused as proof of authorship. He may have signedhis name to indicate rhar rhis norarion is his version or perhaps ro rake tesponsibiliry rarher than credit for the particular rendition of the piece. Poetic Texts This collection contains examplesof many vocel music forms, using many rypes of rexrs.A number of traditional pieces,such as Puspawøm4,þah-dyahan Umbuldnnga.and I(aloran,have special texts. Modern piecestlrat comment on topical subjectsalso have their own rexrs,such as Sopir Bec¿þ,Ktwi Apa Kuul alrrd Goromøtgo.
3..-Since this essaywas written, Pak Colao identified his own composidons in this collection. It is unclea¡ whether this was due to a change in philosophy or a change in the inærviewËr. Ed.
Inroduction xiii For a very large portion of the classicalgamelan repenoire, however, the useof texts is far more flexible. Texts, while having meaning (i.e. they are nor nonsensesyllables or random collections of words), in generalare not relevantor connectedto a particular gamelancomposition. Instead, tocts are reusedfrom one composition to enother, and there are cerrainrules or guidelina for their use.These guidelines are concernedprimarily with the rype of text to be used.For example,when the gerong sings,a text in the appropriatepoetic fotm must be chosen.The most frequently usedforms ue Kin¿nthi and Salisir.Pak Cokro has been deliberatein including a number of different examplesof Kìnanthi ¿ndSalisir texts, es well as texts for other poetic forms, including Jurudemungandr4smøradana Poetic forms are usually defined in terms of (a) number of lines per verseþ) number of syllables per line (c) ending vowel sound of eachline. In many cases,the combination of compositional süucture (ketawang,ladrang, gendhing kethuk 2kercp, etc.) and ìranøfrnstntmenal relationshipsin time and densiry] affect which poetic forms might be used. For example,a ladrang played in irama dados[a Particular level of time relationships,also called irama II] is ideal for the Salisir form, which consistsof 4 lines of 8 syllableseach. One line is sung per kenong phrase.Iãnanthi texts, v¡ith 6 lines of 8 syllables each,fit nicely into the last one and a half kenong phrasesof ingah [secondsectoin of a gendhing] form when played in iram¿ ciblan fa time level which often include ciblon drumming, dso called irama III or irama wilet]. Some compositionssuch as LadrøngPangkur require use of the Pangkurpoedc form, although occasionallyone hearsthe gerong singe lGnanthi text concurrentlywith the pesindhen'ssinging of a,Panghul text. There ere evensome compositions which appeerto be "up for grabs,"such as the merong section of Gmdhing Gambirsa.witwhich might be sung with Kinanthi, Jurademung, ,4sm¿ral¿nøor Sinom. For the solo pesindhenpart, the two types of rext aremost often usedarc wøngraknand isen-isen (sometimes called abon-abon). Vançalan are didactic riddles consisting of 2lines of rwelve syllables each. Hundreds exist, and Pak Colco ptovides numerous examples.Isen-isen or abon-abon ere texß for the shorter melodieswhich the pesindhensings betweenwangsalan melodies. Their purpose is to fill in or "spice up" the pesindhenpart. Besideswançalan and isen-isen,other types of texts are also used,such as rajahan,which havethe feeling of isen-isenbut consistof more words and are didactic in nature. The pesindhenmust alsoknow and usethe sametexts as the gerong. The spelling of the texts can be confusing. This collection includes boúr the new modern Indonesian orthography and the older one from Dutch colonial dmes. The clue ro which spelling is being nc" uy",which used in the useof the letters ot were not presentin the old spelling. The following table shows the changes. new spelling sounds like: old spelling c cherry tj j jo-p dj y yak j
A lesserproblem concernsthe Javanesevor,vel "a" when it is found at oÍ near the end of words (the preciserule and explanationof this sound cen be found in Elinor Horne's Jauanese-EnglishDictionary,Yale 'o' Universiry Præs, L974). In the older spelling, a small wasplaced over the "a.' This is pronounced "aw" (es in the word jaw). In modetn spelling, a single "o" replacesthe "a' and "o" combination. For 'rema" example in old spelling is "romo" in the new spelling; the word is prounouced "raw-maw.'A problem existsin that there are words that are normally spelledwith the letter "o.' These words are not *o" pronounced using the "alv" sound but with en sound. This problem is resolvedonly through knowing the language. [-fhere is also an older style of symbols for kenong and kempul in some piecesin this collecdon. When Pak Colco fust came to the U.S., he used a pointed chevron or caret abovea note to indicate
'Wasirodiningrat xIv The Vocal Notation of KR.T. kenong, and a down-tutned curve to indicate kempul. (Seepage Ladrang A1ruft-alun on page l9l for an exampleof the old symbols.)Later he switched to the currenr sysrem,in which rhe down-turned curye indicateskenong and an upturned curve indicatesrhe kempul. Ed.] The Gerong Notation Vhile the pesindhennotation presentsnumerous problems related to the peculiaritiesof rhe female vocal part's idiom, the notation for the gerong parr is more straighrforward.A srudenr of the gerongancan easilyuse this materid, pardy becausethe geronganrhphm is more fixed. The parr is sung in measuredtime rather than the freer rhphm of the pesindhenpart. Also, the use of melodic variation is restricted becausethe gerong ideally is sung by three or more men. Melodic variation occurs,of course,but on a grosserlevel than the pesindhenparr. Each female vocalist will sing different variations of the basiccengkok for repetirionsof the gong cycles,whereasrhe male singersgenerally sing the same melodies eech dme. Even ornemenrsand embellishmentsmight become stylized by male singerswho perform together frequenrly resulting in a a group "sryle" or consciousness. But evenin the gerongpart, the samesort of precautionsprevail as in interpredng the pesindhen notation. For instance,there may be vocal ornamentsand embellishmentsthat are not notated. In the first gerong line in LadrangSrt I{aton, A .f é- : f ìt o - f-ó ,6 i å 6 .â.å .4Gt ð rc.6o' æn¿_ ,Þ, - 8a.- ,A&cn ""- the vocal ornamenß could be written: 4 /ã. l' ,é¡ã¿'' ð 6e.- v?îu.n
Sometimes,what may seem to be at one level of melodic structure may actually be at another. A typical example is from rhe rhird gerong line in Gendhing Gambirsaait.
t\ ? / o :1 .:-lr,t7 ,?i '!s I a,e?f/.: .h?l :" +ii z 4,d- Z¿ * ?fan l* * luy - fun The rhyrhm of the fourth syllable appears to be {ui although it is acrually closer ro ut! and probably ought to be notated to show only the principal melodic rones as follows: .î r¿-2,
Inuoduction xv Even at the grossestlevel, the gerong notation cannor be taken at facevalue.Rhythmic valuesare not alwaysrneant exacdy aswritten. The previously discussedphrase from Sri l{atoncotildhave been notated: -:- fu- -''€. t6t. 3 f 5-r' -¿.e ¡ A .n6 .5 G
In fact, this is what would be taught in lessons.The discrepancyis not one of content but merely ofnotational expediencyor convenrion (or perhapslack ofconvention). Nso, aloh'aloleand senggakan[incidentd vocalizationsand melodic inrerjections] are not alv¡eys indicated. For instance,in the notation for the popular piecel{etawang Puspauama., the male vocalizations are not notated. SincePuspawa.rna. is the sþature opening pieceof Pak Cokro's prince, the Paku Alam, studentswould certainly be mught thesevocalizarions in lessons. In this collection, the gerongvariations that do occur should not necessarilybe construedto be Yoryaneseversus Solonese, nor Paku r{laman versusSolonese style. In Java,there are many minor variations among gamelangroups within the samecourt or regional sryle.Variations are generallythe interpretation of the leader of the group. The choiceof variation often defaultsto the bestsinger in the ensemble.In a sense,these variatiorìs are a processof composition within the idiom of the music. Therefore, variations found in this collection neither validate authenriciry of style nor make Pak Cokro's melodiesmore aurhoritative. For example,in tåe gerong for Sri l(aton in this collecdon, on the third line we find a melisma on the third syllable that probably would not be heard in Solo. Pak Cokro allowed that even in Yogya it would be rarely if ever be done. He wrote it that way becausewhen he first taught this piece in ,{merica, the gamelantuning wasso low that he wanted ro "spiceup' the phrase! A Closer Look at Gambfus¿wit Since it is expectedthat this collection will be of special inrerest to students of the femalevocal part, let's examine in detail one of the most popular piecesin Yogyakanaand Solo. This piecewill be arralyzedin order to show the fundamental proceduresfollowed by the femalesinger in performing her part, including use of text, melodic variarions, and embellishments. The piece to be examinedis GendltingGarnbircøwit, inslendro senga.Garnbircøwit is in the form called gendhing kethuk 2 kerep. That is, it is comprisedof four kenong phrasesto the gong cycle, each kenong phrasemade up of rwo kethuk phrasesof two four-beargatra each.The schemafor this is:
.: .0
Each be¿ris representedby a . ; rhe tarks the kerhuk. Kenong are marked Uy ?nd the gong by Q Piecesin this form, rwice as long as the ladrang, are often the most commonly played piecesfor hlcnengan[a program of music alone, not as an eccompanimentto danceor thearer]. In order to keep our place in dre following discussion,we will refer to eachgatra and kenongan by number. For instancethe fifth beat on the third line will be refertedto as the "secondgama of rhe rhird kenongan". There are severalpoints of interestwhich beardirectþ on the successof the beginning pesindhen student. Theseare timing and phrasing,cengkok and ornamenration,variation of cengkok, and garapan. Pak Cokro's notation includes lessonsin all of these,but the notation can not be read literally. The xvi The Vocal Norarion of KRT. \Øasitodiningrat pesindhenPart has a definite rh¡hm but it is not strictly merered.It is in a free rhythm with a very definite senseofweak and smongpulses, and of very minute levelsof slovring down and speedingup. The rhythm of the pesindhenpan is very difficuh ro norerepreciseþ. The first four lines of pesindhennotation in Gømbirsdwitas notatedby Pak Cokro, if interpreted stricdy in metered wesrern notarion might look like this: A EJ 2r ¡?. ..9- 2r7., I t/ ft,¿-ri,s haf n øa' )r r Lgr
3 7 -/ 6s ;à ,i .ó..; . &.Ås Á.or- da lLt 6f I.!
/\ f 6 ié.1- a, i à.i G.j= î , sTr dT.{ Hary'anîtyt voy tnnol,.ed. æ
7 z J. ¿ 1 rf ur r {gjIrr ,7d
.t .t .¡ / ^ ,ìr=- ¡ó t r ófó -.1. .L ,1.', ?ris - 4a'¡29*- Åor. 9a- t// 3 t r å¡. ¿tuH_teu_r +êê
This is not at all what shouldbe sung.Yet, to tccurutelynotate uhese lines using a steadyreference pulse (afterall, the gamelanitself is planng in fairly regularmeter) would be painstakinglydifficult and would resultin a finely detailedbut relativeþuseless documenr. One way ro rnoreclearly show timing
Introduction xvii might be to usehorizontal spacing to indicate relativedurarion. But this would only be slighdy befter becauseanother problem in interpreting pesindhennoþtion is that the differenceberween vocal ornamencs and the basiccengkok cannot be discerned.The useof horizontal spacingstill doesnot give a clear sense of the underlying pulse of the pesindhenpart. The addidon of various symbols to indicate vocal ornamentsmight make it easierto focus on essendalthe melodic movementsof the cengkok. A ? f
t2. ..3æ er?,, I t R¿-ñs hdf n d^
,l L g -e-.L l-
3 2 f 6 t I z ,,i.;6, Ê¿.r¿s /tor. lo
- -l àre | -Jl65- 6r ¿-
/' .r z- .f 6roeJ .=: | â-l ,dîi.? 1,sã'c .1.-4 ,t I . .) ryatdnncnT wÐnî Qtndfr.la æ ¿ 7 -i s .r+'enTr$z- J. J.4 -6*l"E æ ¿ rra
z 3 .t 3 / ¿F¿.E 'i,l- .r , ", Ð,{s - sig, * ,(o;r. sø ^ ?. 3 î ¿\,*Þf - .6Í_f*65., - . é ¡. ,-_A4
lJltimately, the best notation is a recording. P"k Cok¡o ¡eminds us that his notation is mereþ a teaching tool and is not meant to be usedwithour a re¿cher. xviii The Vocal Notarion of K.R.T.'Wasirodiningrar Once one has begun to understandthe idiom of the pesindhenparr, however,his notation becomes helpful in showing how variations of cengkok are usedand how ga.rrpalworks. A simple exampleof variation is illusrated by comparing two of rhe cengkok going to rhe gong 5. In rhe first gong cycle of Gambirsauit (page 53), he gives us the rwelve syllable: , f 37¡ /o --: @ '..2 ?-. I t6t-7ó e ,7,ê, , t.çî' I ¿. ?. :R- Ao-iu.ncr¡a--J l-zz- - Ð*srþ l,o,so4om3fu J 9' late¡ on page 56, he givesus an eight syllableversion of the samecengkok: ?. *-, :1 , t.Í', ,. e ,,.ç{J 9?fi':1,4*ã"y".( oogS,ì- J*V ,4,nexample of more complex variation is found on page 54, when the pesindhensings to pitch I at the end of the secondkenong and in the middle of the fourrh kenong.
- ..F .: t.-5: . j ]JE ,6.6 ? ,?.f,, r.fezr, 4ery{c>yÅdlë-ty*o Áa.trrry. t.rn
- i , à.å z-i ¡fic 7 ta. t-Qt, (a. run, 7na9,.-¡^¿ *-
Both cengkok sart the sameway, but the first dips down to pitch 5 while the second immediately takes a turn to high 3. Both rest briefly on high I in the middle of the phrase (fourth syllable of an eight syllable text) before proceeding.Then, both patterns resumesimilarly but each finds a different way to end up on pitch 1, the desiredgoal. M*y other examplesof melodic variation abound throughout this collecdon and form a fascinatingstudy, but it is not neccessarilyPak Cokro's intention to show offhis skill at making such variations. He is simply expressingthe compositions as idiomatically as possibleand according to his senseofesthetics. For instance,the cengkokgoing to the first kenong on page 54 also ends on pitch 1. It statts differently on low pitch 5, but is in fact, a variation like the rwo just discussed.
- ó= &jF r, ,e, - ¡.é1, D¡ruúomæryt,í ,yë{a - Qn
It worla im way to high 1 by mid-phrase (like the other nvo) and continues its way to pitch I exacdy like the second cengkok. Esthetically,starting on pitch 5 is more pleasingbecause the gerong melody has just begun and is on a relarivelylow pitch of 2, /\ 22 2 J / oor,2, : ,442 2, 1)' te - ) tlrØda - t)tt¿gø -5 D¡rudonærgí ,y,ítø- î -
Introducdon xix while the other n¡¡o cengkok coexistwi*r gerong melodieswhich have alreadyreached high 1 by the dme the pesindhenmelody begins.
1 113e1 o --r, ,: ,"" ,i. ¿i å -Ég .E.-E ,es ?, r #o ^?f .ru?l kd.-zi * (un .T?? ¿o' {uV _ t 2,. = .i ?tÍ: 'â'ó ¡,'5 1,1'f,r'sra¡, rt- 4 Iety&,y áa.li-12e.n Áa.f.,rg. &"n
7. 2 6- a, / z3! g' l¿ c L¡ 6; à ,¡E ,"ú f+ ,zs .rt T ,,¿r- f.3.¿ c¿-aj-.r¿.,
These are 3 variations of the samecengkok, eachin irs estheticallyappropriate context. Garapan The final (and most difiìcult to discuss)concern in using thesenotations in order to learn to sing the pesindhenpa$ ß garapdn Garapanis a difücuh conceprto explain, bur we can ar leasrsay drasir is that which givescharacter to a piece through the expressionof cerrainkey parts in the ensemble.These parts include the gender,rebab, gambang, bonang and the pesindhen.Knowing much if not all of the correct garapanfor a pamicular piece comesfrom experience:from hearing other musiciansexpress their inteqpretationsof the piece.Garapen can evenchange over the courseof rime. Garapan is "the way ofworking out" a composition. Vhile one could play arry piece in the gamelan repertoire formulaic¿lI¡ making nice variations on cengkok thar fir the balungan, it would not necessarilybe the correct garapan.Garapan does seem to follow some rules, but there are many exceptions,and perhapsit is thesevery exceptionswhich give the piecesindividual character.Typical rules govern when to sing a high or a low cengkok,whether a specialcengkok such aspunt gelut or a.!u kuningis used,whether isen-isenis used,whether the minor sounding petogJike børangmiring melodies would be used,otwhethet plesedanþliding to another note afrer rhe end of the cengkok] is used. Pak Col,no'snotation representsto a large degreehis interpretation of the garapanfor these pieces.One is cautioned that there are placeswhere he may have excludedspecial garepen, perhaps because of teaching requirementsor the ability level of the srudenn. On the other hand, becausehe has included something doesnot mean that he excludesother interpretations.
'Wasitodiningrat xx The Vocal Notarion of KRT. In Garnbirsawit,for enample,there is a specid cengkok rhat only can be usedin that piece. It comesafter the gong in the merong section.
/a\ î 3 L ¡z , J Y/ ("6 4 6 6t "-: Ganb¡rsuæ,t ma- u)ur
r z 3tó
2a ? L -r6r-¿ 5 ,1.. -¿¿ ! ?-.L---¡tç 5çt4gÇ 7na-- Uur Ìd h- té-t4 i¿-'l'-- il¿i ,^ z L 3 z n4
tl h¿L' D o
There are severalother possibleways to complete this cengkok:
s-23{ Á J- J S- 3 Lt tã-i-rL |# 3.3J ú1an ¿ t e-r4¿¿/l em ) ? 3 2- t - lL €-'___.t 71uÌ?L { ? 3 s- ¿5 T'L L3 L /4 ÄtL- t,- ct¿ - ürK z\ ?z 2 a 2_t ç !-:4 la" mqs Inttoduction xxi But in the notation in this collecdon on pege 56,PakCokro hasused the much more rypical and lessspecial regular cengkok ro gong 5, followed by an isen-isenro the first garra: J f 3 - ó t^f ) oo =./ z. ât ê 5 ;!r,t¿ 7t9a( h/o>?a a'æJ4y. v -/- 7. 1.t .tó¡ .ó ,. .'ltr . l-:-, Êé, úÉ¿, .iflnçgune Á*línoo.( wolj a.- JJJJ J*:r -r,. g' .lX . .lód ,J l-ra-:J lq mo.g /a- - rrteg He was probably ettempting to teach his new American studentsthe basicstructure of gendhing kethuk 2 kerep form in which an isen-isenphmse would frequently be usedin the firct gatra after the gong. TØeknow from lessonswith him that Pak Coftro is well awareof the specialcengkok that could be used. In fact, he made notation at a later date that included such phrases. May this serve you well... 'Wasitodiningrat's In summary, this collection of Pak Cokro vocal notation is a valuable learning tool both for the Javaneseand non-Javanesestudent of classicalCentral Javanesecourt vocal music. It contains many of the uypicalcompositions that ere still popular today, and it benefits the student well to have learned thesepieces, as there are many opportunities to play them in and outside of Java- For the trained student, this collection will probably not be sung verbatim, but rather will be used as a referenceto check the garapanof individual compositions,e.g. the use of special melodic Patterns,the possibleplaces where isen-isencould be used,whether a melody should go high or loïv, etc. For the untrained student, the useof the material as a referenceis equally important, but ir must be rememberedthat without an understandingand feeling for the idiom of pesindhenanend for gamelanin general, this material can be misleading.Pak Cokro warns that this material is only a guideline and is really a teaching tool. Thetefore we are cautioned that this material should be usedwith a teacher knowledgeablein pesindhenan. 'W'hatever use is made of this material, we have here an unprecedentedcollection representinga broad crosssecÈion of Central Javanesevocel music, createdby the humble efforts of a great musician through his love and concernfor the musicalgrowth of his students,and for his own culture's truús. May his effots not be in vain. 'Wasitodiningrat xxii The Vocal Notarion of KRT. 2' .v,,j^ Çn^,à''"*qI A' W"?^*h,rrç, 9y'or{o¿ X,¿il, Qt"l -oqol,o, (/rnJ^ {,.r*ul Ðy./ - oj,o/,or, f-, + {" ¿+ 2_2 i {ç lf,¿ f Jró î3 a,/ó@ + .5f, f,2.? J .fzrî¿ L/¿â 5 (ow, J..- 1l-- - *t .3 j- 3 Hil-'Lt"'t4 . tr]s, ..-. t\O 56 ,ó ;6 ,nO r --r ê¿ Ða3rrs 7; ,{o ó5r .á-Jz/ , -: .- Q) 6 ¡.ó z. ¿ O X)\,J.ó , 5-3¿, t_r¿ . eôr.o tur tJ¡\farrl2nQ sA-s - lro t L .f,, 6 _ J ,d.sã (a-vl dr'- fi- s r.îa :-r r.3 î: É*..i L YLwaAc2j vu(an {c¿r."Lé,r..¡& >¡o- ¡7)ê î¿; -.f¿f,g L .3. î. - yo. nè,s .s.J, ro î¿ f, Sr/ - .t-6î to d f .,. f :i z 6 _ .r-,7sl+ Ko nlty c. - rìyl . z3 ç é a/óâ -.: I ñ '(e.¡ca{ {o P, or. ,r!, 4 ,, ,& ,t.éî, I{¿./odo lry¿t Aa.ns Áo - {ro rg,lti â Jt Slendro Nem 3 ,) t - - /la.6o>^ ?. 6 (, î4 ar\=.': 6 ó . 5^ t53z - 3îé 5 .f-i. i /lo. fi>o * y" Ç ',i' 7 G) i i.i.r ),.4 f, ,J.4,- é /" t --t ,çL f . n9e }ïc l¿ La-tzs . fi1 ê - fo -ó?zJ f lt 3 ,é.¡sz, Ro rro - '..,o ,no tót-róì? :v.u i î'i ,&l'Y ?¿- ./-d//6, P,,3uto . i7 14 i" eT¡'^,; ?:/,.9¿j" f, f;y' l-*T .,:i d* é,LL 77es ¿ - Jo- *u sa- fo- Lso 5.¿f,J2./ó@ 6 6ì'= é .4e Ptur/yÇ; É-g io - E- ¡" P"/ea/ {o tÕ, T" {rc.nsilcän {o /"a*ry r/rori{,or,@ l't, ilî2na^\,,-.1 ( - .f - ó € J _ î -? - r ó" - ó- . ? - 2, y _ 7 -â :å :iÉz ñ' nt. wi - r/frñ ,, . r - ¿¿ ttv-(,_\ î ¿ â { ¿ .ÁT-F, r 9, 4," -,"r, - dn TheVocal Noration of K.R.T. \[asitodiningrar ta /rool{on -5- 3 ó J ê : i.Z Jii--e ,é ,6, É-9J ?onlogoãr¡"t;tÆ. m4 f 2 .J Z, *ð .fg-¿-¡/ 2, tnJI sa.- me.ry - ,ec J { .3 .: rÐ -t-< , \-/ ó ê- t .r¿t.3 é .*,9 ,s-Jt , .t . .é t - Huh a,l¿tt hud.vas - Zë . tto IJ 3 .' J r ,é Íi^ .6 3. .J- â¡ /Jcno{cinc P4* J io- é -t-3 . -:- -L{t 2. 9-¡ Z -6 ê .d-3.,J -\.t- H¡a>z (,o - - -î3.2rr? /{a.. ¡so / ó -f,-J î6 ¡. s 6 é_-rd, | | -- /n¡lcary Sa.r- {o"ù!-, 2 J -é(") :-:\-/ 6 é.s,J U.-z é .6.2 ¿,êî D--,--r---r J lnaryan7.no /r( . ì^o - Jusva- 3 2 -ú -f,_ IL. lZ .rtTr / 9" to eaâ. t/ê +l J ? -J-z- - : : =-- J-_aé13, -t. 3 ¡ (t^/n" ,f3.L 5a.roz gïnq mongÁo rnanggo - ¿" JJ,,tJJ J - 7 J --z L 3 - ,Ut-Lr t, âol,n ZÇt,t Slendro Nem ,lroo¿ton -.4: -Þ ,/ î 3 -ó :, : =' @ 6 6.3 î-z é - t.és .ó-¿t' r 9 ') L--./ fan c mune Se>>&,Á Ho - w(,¿. (,o J 3 z 3 .î .' & ,6 r-¡, ,.] n' ç - t-cþ . Zo v77o - që - t \ll z s6 í, z ô-^ frm4u/.>q J { 4 { é ó, h-'.¡ i. -6 ,J ?, /"o . n7cr, tcs. ,'nL - 2 / -76\ -T!J .-=-1':-\-' rt . Kongga-rcyXit a lanSen.t- y'ro -¿o Pu ¿¿"7). (unul4yÇa@+ TheVoc¿l Notation of KR.T. Vasitodiningrat YîæU*ß''ßÅ^^,("4 Ç^A*'f'Ð*ruroU*,-**' W,414^câfl"/-ua f*ry lo** AÍ*'ert pú,rt, 6. Bu,6 QnEo!, - ff-.[r- z .aró 4sç€' Wràrnr" Z r{ 2 3 4 g ¿ tlil- 2 2 .c ? 3 ë ./. ¿ J €a ,-1 f, ¿rì 2/ {"î =, ,6.; i. j__E 3 . 5 ,é-i 6:s _3t-2 ç 'e .1 .mi* Ql\^,/ ?. wå- t¿ ù (7', d,zr') - SlvtC.+ n cn7 le caÇ Trcjê - ¡ 'T f tl s a 223.f, t6E :ì ,, 3. ¿ ,&-,¿t âo - ro' ,fur. oo Å a z ,î 2 øî +__,.:-l = .t¿¡frs- .1, U ã ,t_ loâ, di- wa. sG. nrú sqri'a { 3 -=5 2 .5 2 .-J-:,J ,-3 - .fJ3- .¿ , ó-z -= - s¡f -é ,6.2. -/c *\,-æ ¿c's ao'- "?¿'s Ð ,4 6 .f .3 ?, ó ê -' - -9 ,Í'' t, 16. , .6i gs¿ 'ms ,e, u-J Jo - ¿Ú--- >7(í - .C -7 f ,t" iec 3 -,::/ Slendro Nem Gd. Kocdle .t ó 2A2 5 Ì úi ;'ci ,¿/q-p/,^.ì/: i á_ ?.-lolor;U g LL'.c óè. so a -t 2 J € 2- -=i 7t/2. oF - - _'¿S _ó . 4.2. .3 - -_¿, , _ t35 ,6 4J /r\ ¡/r t/o v-v! r rs lyc- * "aàs nès t g ës"t a/6î .'.._A,=--:.=. ì ,é.\ ; ,6 i.ic. .s-J -/\, --;--- -- 6rî¿?. ,.32.å r. ¿ ¿,_ - u-c- Ì ,_ç2, r , lJen - óe - ¡i 71/y, ¿-/>!tovru. t¿a - 6ara>gt /cczr-¿o 7 3 I é $, (s î -3 2 È+irr¿rnis -,,nç vi - úà. 2-Q r./JJ c a ð é .f, ôð1 a e -:_-jJ -e { ' -õe -.í ,ó .rJDarano w¡;4 . so â z a, .3 ÉraÆ-1 îe z '= -:a ....J .ô -r 3.e, t2rÀ._ 3 ,5^-3ir,t.419, {rul"o ,vZëis ta>¡ -l'c /oo - {ro r// TheVocal Notation of K.RT. \Tasitodiningrat - 3- ¿ 3 {s .t e L.é.¡ ,2' ' tG" -J 6.jiL ,U. - Ta, -- - Jlc.rn /*U 4- 6 ,4 t9 / é f -ã .¿ÌJF c-E'G. ry eË ){oyr ct-- ,4 nìA AlSoh-- do 'lJo Qyn*-€, æ, Slendro Nem Ç**nE fu re, {"*LuE E *w tr,X,l"l, h. rJfrÅ"o +L, (, . ÕuÅoPu6.ó,( z ztóî -./-/ -z-( -{9} -¿¡€t tt - - - -\-/ 7) r/-- ./ a 4 { 3'4 atJz/ .l { 6 ¿ .' ; 4{;', 2? z?.7tê .¡-1, t iî.S .nds /o - TTaS . J îf, 6 3J .îî ò ð.¿ ¿ìi . ¡ 3 .-1-f. .2.t6 , ^l 4 Q. *nJ to - so lya. ,to - ¿o é *-- 6 ,¿ ñ. ,i |l/a{an ta - Tv?o>)J 23ô á Js.l(ît it c \-.' .w cl 6 i. ¿ ,i.i à..ó s gi, ,-ã?¡¿, $a/rïr"ry {an -rto u - ,1o. }o Fî D. v- é-423 .9 é..(. ,O - Cr /^'// YeYì - c{d,& /\ s4 î3 2/?ó ( ,6-i ; LtÉ ,r-3 , J -S 3 ,!. t. ,2.t6-. No. Ð)ô - :a ro 7na Pu- íin¡ * Jor- wo 10 TheVocal Noration ofKRT.'\üTasitodiningrat -) /o,Lonor,^to 33 6.ç J8 _ -¡ ,1.r 9ra J, l}ó ,r 6¿' f, ) ncs Þ ñ.u6en3 - wo Yo- Jo, a\ âa 1J f J z 2,é -f, 6..f g-.2 .t -0ræ.to,ó.ì ,3 .¡.J e.t6 lre - ri ?;{, /o- ,.o z 2 4 .t ?. 2 ,l t6., .l 2, Jlnrr',o, ,n cr.t F /a .tó 5 J z /é€ :ì t .= z z.ó. a.E. t/- /1s.76* TrgO-þo \/J/ 3 2 é ¡ | ,, -f ,t 8{, ,6. ? ,J 3. .3.1, ,a.r6., D"l. dol, 7o * /r",(. tdo.¡o n¡a - J ,öo .ä J 2 J € €) J 3.¡, 2,.t ,9.5 ¿. ,3-t. ,3- ,./ , t ' 6 r(q¿q gawc (ofr wa + çc - ,ro - J¿ V .t 2 /6€.t tF a^t6 ,+¿ É .6'¡ a, ró 'âì. 3- /{o - mo - ''ôs - >7c8 Ç" ta. -\ a ó € a, -./2ó ^ ,3 = ¿ ,3-1.-3. _ 7a. ,?4 æ . _ JonJ 3o -4 /ó€,3 2.r6 ,6- 72, 6eTt¿Gtg -- :¿ ' t-J l--t:, Ro- >no Ta. nu - - jon7 Jo SlendroNem 1l :3: /\ ó f J 2 -/2ó g.z g 3 ,2r1,- Lg.r. ,1.ré, Normodo dir {rr-la. n7 - ro . 2 2 J Z z 1 16 ,r 1, l?osttos þ - thas. \/ 4 .t a o JJ.1 ó -: -2 3 .5' 3 .3.f ,e' n;"-¿ol_ 6o- \/)o ¿ ; ói J .1 tô. 5é ,6 i.6, ,à. 6o- Herd,¿L Jo 7 3 o é J .î 1, .= .: @_ tÞ ó, 6 t.6 ,a.r a..ó 3 --.¡.6.,-dErr, lry tu!.ga7 iò" l,asaí z>?o- to Rn t-t H,i35e/, e_ ó- g g g 2 3 s 3-2. .J ó-, Con - du,4- ^ ô ó o r1 2 z 6 2 ,3 -f q ,3-t, ,2-r4, ' '/', - /<4n Lng Do - 4." \/ 3 J ó f, .t .f | É__- 3, Po. *o 12 TheVocal Notation of K.RT. Vasitodiningrat /o Loz,to , j4= ,â. J f JEI ?ó 7o' gs'e. . ,l 3. ,2.1é-, 7t y',,- tcL - (o Êct - (e>n Sa- ó" _ rvo 2 ., c ó € .3 5 r1 ,7.-4, ,?- '4;- ro- rrLnît S¿cr? ? 2 tês 7 \-/ 3 e-ì .rrr. ìl J d-ù ,3. â .) 1 ¿ ,t a /,lasih lo c<-o,ton sa'. trôD - co ñ {-t - 3 2 g z t6S, 3 a¡6 J-. r-.6-¡ ' t--!6 . :r Ro. 7no flro ,^ .' 2 _/_é 1 .J.5 J .3 .1. ,3- rí - ?'r?d.r- üh- fë 3 7 -€-3 zt 6 .f é t6t,--l ¿. .6.¡ z r. , . ' ??cr lo. nos 9e ,A g 2 _/4 r r-aúÈ J r è¿ ¿1!J ?u . soro 1". l¿ -ring ¡vis- rno Slendro Nem 13 {oAononto, 3 al J -2 la ,s 32. L 7o . zq,s. - /r?æs v^f s , .t -o e J. -i, ,g-5 ,j +- P.F :rc,l, - to ^ ì ó J -.2 tA f,6 i6. jr'rt bJjj ,6 n. a1c.t. rq- lo .^. 6 g _ J - l2) ó ii i r ,3.ó.,i*-. It -Ui ^CA g'|ã - - ne ,?emu S( JO Ê 3 ó 3 .f ré .i ¿s. c Qo ,rto )æ- 7no 2 ., / 6 a .J.5 J, ,J î, .¡. /.a. l¿ - úz'- t{ê 2 J é .f t6 s6 ¿r" ô- l.a - Z¿ dJ'c' - wô ) 3 é f ,d.i d..c ,3 {.¿ 3 ,l-3. ,i. 5". .n3 ,h{- - Ao 7j," "å- lo ¡; o J a, z ¡6 ?. s..ô 3?. a, fnas /o . ìrrras T"- f, 3 6 € | ,?,.å L. ;.¿ z.t6î t, "/ 17. sa- )æ- J" 14 TheVocalNotation ofKRT.'SØasitodiningrar lo(ononlo -.6-. -z-t-ed . z e ,si,, ,3- ,l ã- Sc¡. :ec - J" -3.2-.rG) ,uf ". JE. .,4- _- ?lrto,(,^," ,f" sctn êanla¿¿"I,. * a,s - lo - SlendroNem 15 lb Po^ânr*2 r^Lr*^ *,*âÇ*^o1g,Ç¿,ßolro ro *r*,o''*4",f, tb;xt'r* l'ør,*t,50,nnàr!,yi"ht*, e - A!./,op'"(*A¡- 2- z 14{ - / - / . t,- 4 - ¡e? - :tG) a, 4 3 2 J î é/Y Iz ,¿ 3 s d+ ,2-f{, g..F cis- wa f ? f,.1 2 ,é',-Fa,3 ,é 3,, -- \ l?a - ,r?ù Va - ,1reg Á î J 2 ..3 f, 6/Y -3 3.a rata, -l 3 .l' 3, ,2.t . , fr raní åa. sa tXa. wa . ta. 22 22 3 ¡^2-¡16. +-J ; r.t49.rndsJa,:- - t>2o'8, .rf élY "f .f -.¡.å j ù.i ú'¡6. ^t- Ê (e.*o?J rYa.. Vdn ó 4 ó' c .3 ó- ó '¿ :¿ .i.i F¡ -t .s.é,..dt3¿.- ^t. ¿ô : lYra(ctnano tanÁc ¿¿- ,é4. ¡n¡ {Jt ß= Çtn - duß- té.t e 2 / 2 ó/Y - I i, '.F-.g ,J-l r1.ró f) Ecc- öeme- gaf . wa J ,./ -VØasirodiningrar 16 TheVocal NorationofKR.T. Gd. Loþønøntd 3 4 () t -, + ., ^1 g ' î^',. - I l(a-na Ê- F e 2 / 2 ó/Y 3 :: -5 .ó. ¡ 6-€ ,3 .l; J .t.J .2.t6, . ¿Ff d t ^- d I LluS.xe We 7¿ 07a/a. d@. '1â,. z s Z 2 z t6 .t.4, ulYlastnø9 7o- - T>las \./ r4î 2 / é îry i , ,z .-z 2,, ¿.{, ,",1j {a e\ ¡ã yo-fo 3 2/6 i¡r6îó.tó.t .1-te. "l 7a écc,(, du{- -/J .f J a .3 .1 .3 3l¡ ,*i-l.r .J.f g ,8.r. p.& ,{arg7avá..t tj 'tr/¿- - 6ra, Jb Jrè , WI t f7,'a 2 7e an J" . .2. 3 .¡ 3 ..fó. "6a H 4^s l-¡onds 4 - ¿ã Ve,. '"es a, t¡ó r¡ú -/ 2/ ié-' € -6 e -.t ô . 7 .t {g_J,ó¡ ¡. :l 7. . éé, ú9, Aona znanis ,9a7ane ilenås wè . - r&. ní JJ !i, .Fe.t 2 fi-¿J CZ llc á ,l ó'4 ô Tawas , fi* 6 ¿t\ ?.3 s - (.f i) -3 f.3 €6 .-- @ é 7,Jó, t -r ¿.i .ó i A-, 4j é'i &Ð ê ,Á, ?7r@. ioe Ðo C"la..Vc's - wa ya nrt, J,e,r. SlendroNem L7 _ -6 i é ;^ ó -i 6i ?g J l¿ ì-ì .ii 6 .iù é izrsé,J ;t, ÇoaJ's .Ç*rdos lu. wãe lu-*îs Se. g¿- ca,- hc ó-.t -23 -f 3?æ.j Gny,, o .a 2..a .3..f, I¿ ,6.¡i ,4i6î. g >\rt. t . - - t l< - d,erc720 ra'Z ld- J lVr.de*þ-T a. - ã "rf ?*t g 3 o -3 s.3 ,6.'r, la- tc.rzd dtá gr r.ffi/et \ãrc.':-" ã h¿r' Féinéiil#'JJJJ s "?., *i ,6.ì, å.;ó r.f-3, ,ôi6ç, é J7 - ?2ê- (æ- 8O-4, * nè ,tyè. - f.a'.. _t&+ _ jd d.? ,iei i.-¿ 6 ,i-i6.,r-Jt fita-tasTwaro ã ,/ "ã- -ôf,_t.t Õ ? r :72¿- *uru'7 6-gaE ¿v 49,.3f,, óé Ls.rc3, 2. Tu.tnuru:tT-**fu'fo:,:þ- S{c;wy trä- 6{s 18 TheVoc¿lNotation ofKR.T.'Wasitodiningrar ll ßulu, ll ., 2./ 2 32,/2 p "t ì. /2 / 2 3 a/2ó ó 23îâ ---=-':.---.- 6 C.1.Tt.i T.; 4.4,3-)t. .ã ,313, Boso'Ìl,rrno hlr.. Jtiyosatt L>y s¿trJþ f 6 iL -é É ré i. /¡ / / Vo m4- ce- - 7)€ - J (t tr -f,J? ; ,3iå, -å iA - 3 .ele' 7 z^ P - io qtnqs(.r - tig ¡5rz--s! -&+o J J J J/ J a ó f, 3 23 tE 37'.,r1.é, fto tro To - 77)o , 2/?? ô 3 - ,Æ, li 3 ,t-3. ú 1) " - 4ro /ü, SczysLr "V f*.t" a/ J 1 ,9 66, ,232.tat6-t7' - Yo-o- nes - ztà - nès 3 z 24/rØ ó i-6 i.\ 6.1 ¡tL-i 3 & ú3 (/o m,tíarí Oio gcitqsb cne y'ra-så - {v" J ;/-J J J/ r 3 -2/2 , -,i. J 2-32.ta,t611 Uo Àà- - \-*\æ SlendroNem 19 9L tî¡ -Hori-nl ó 'T',.^' J2, I ó r' J 2å ,-9& t¿. 7, ?t'/" t¿ - YO- - 7A \./ .1 2ó .a. å ,t É 13, 3 23 Qt c ra. - Eã7ní ¿. elcs Ja J 6/ -= â _6 c.c ¿ii r.¡ 6.-u,fA ì ÈI!, Q¡ -Te .', ?- JehSL fa.lo ta-m6aÃøcn9g¿17)a. ó¿ -So J Yl¿ 6 -,;i. 6 -,a 1é_L iloYno- ro. mo- 6 î -€J? , J13. .1 ,t& -6 3 ,?"t2. z Ç> 7 a r'- fatn6a,- éa.rc>l no Óc -So Jcc- I ó i) 19 32. 2. 3 . rf JI De;l^- l¿- ñ .+o 2/;'6\ å 3 n ,2.r7,îi- 9.r3. ,216, fr ,go -nru - Á¿ 6n*rg 'Lor-jo ,+ -*1 7. 3 . .9 f,J, É.L - tJô n(j,s - 9a - ,às 7çt 3 2 €t g3-å,35J3r df¡é, â noonrrr/.i êorore lor JJJa- 20 TheVocal Noration ofKRT.'s7asitodiningrar >o /d 3 r../.æ/cmurcòf: ó . r'- / // tarna . + pi ^ \_. / f3, 2J t Ð: | ,JJ t'/ 5u-tLl4 - wav + ./+ J( € -/-? ât-Ïrr, .z rr -L .*tL* ¡ 3 ,t 3. ,r¡€. -t6t'¿ t 4 leee. - se óo - So Sa.t- kô. ,^o J¿ \t 4 é 3 6. .36L,+J NO _ tto fo - rr?o ¿ é/2?_:l 6 e.a4i-i ¡îâ-4,jÁ = å A-t. U - to gcngscr úencng marLstn? Ttcco -fE JJJJJ r .3 é ,ú -6,,a lé i, ft.z,ong se - Zc + JJ ,( -Jî à ¿å -i ,\ à:6 ¿ êtr, z \1/a.d.e"v É.n û-n - sJ. so n - &' - ,o, € \t _6 , f, 3t.. t6 - l -t fo-72 - l0 Ç\ 2 3 -() 3 J :¿ ,2,î2,T J,t3.rarÉ. (/u" ,vortlen T¡*{ ,(a--wcc- to 2 -?/ 3 tJ, L - L3 ,1', Po -o F 7r)o Slendro Nem 21 4 s.2-/Gl-r / - g s . .l Jna>na--.//L . rssJ.s ,ñe-, nor¡{en /t-¡*t /ruwr. -F JÇr, 22 TheVocal Notation ofKRT.'s7asitodiningrat ,,5****^o"Å,hr,,&. h ,wvc/B å\wrÅ,* ,vo*r), (l . Ç**Lrr.t,' ûre 0 , Brrlo'ë"ht'(?-!f-4 -/-/ -J-r -tós t2 r@ /- t ,\rncr .J- ¿ J3 - _ ¿ i r z - ./é; / a , ó + JJ ó î j 2 - / ó; ,/ z / ? 7- J / ran>a 4. J s -T à r s ,2t4, lgr;yl/l . saty¡jra.nln¡t y'o - ro 'ni ' í,rc + 2 23 Po -o fê * />', O +- ? J .f é 23 6 ,t 2. ,6 i 6 J_:' 9¿- t¿ }^o- wÔ + é z s 6 ,3-6.,â31. I \-zo nas 9o - ,7as lrl + g .t 3 2 / 2 ó' 6i ä'i 6 iÉ-g J é ó -? C--J= ¡ lî J'l'çr It 1> VO. famê-tþraro ,þ - 77rO (a>¡/o- Vo Åa- nqi,4,et y'r*-¡no + J/..// ¿ 3Al6 3 - 3¿, \ ,5 J-jJ /(O tno )'o - )>2o I 3 f, ó .'2J .¡ i. ,6 i6. €g t - êa.- S'nV fn- 3lo SlendroNem 23 -2 wQ,r^o^o.o h/ f 2 5 6 ,t-L,rgtr. I L7o nas - ,zQs Jo + s¿s3 t2? 6 i i.i 6 &g 3 é 6 - ,¡ s.1 3 f ,3-¿¡{, -rorlno- rÉvr"o - fo' mo ' !/o 7?nro sanco,JanirTq þo -to ,ni lro + JJJJ'// 2 î ¿ -f, .4, ? .¡? f4 3- €13. 7ar- rta to - Ao + ? f ) J f, ó 33-i -,,{rrJ - ,5- y'¿* ri nqm - þo - Ao * ".t¿t / i 2 2 J'2 t. r6 J É-3 V*- t nj,cÃu ga 'yo + ¿ .f 2 @) ¡ 3 - z ì 3 'r'3''a'¡{' /-o'(o. ngán *è( sulìn9 d'ti '1ro JJ t 3 6 r 6 i i-i é 3 ,a-117 /^ ,(O. lnO b -- 7?ê.- \o- + Jq."nts /ó î 2 ó z .3 fJ I , l.t4 n,;4Í se'- {o * 24 TheVocal NotationofK.RT.'Wasirodiningrar 7 8,*\o^'"r"uo -J u "r., + 3 3 4 f, L LJ 6 ,l 2-t 6 J ,l.ll. - t/o - 7)a .-. nes 3c¡. t ó f, /2/? : 3 3 -¿ .ztl ¡ .9 ,¡.3._ .2-t6. (ano mirro srLno ¡i . ni, - cto - )^o JJIJ *l 4r:/ {{"r {Áe seeond,4.rro7 , on/ {o t. eonlc)c.d ;iq* i,1ol4,e ,4nory, o*og"Ì 2 + 5 3 { _ó z3 'ë-g .Huoo - 7n4 + Jê 2 3 -z 56 - 3 6, ,-g-Jz, fu-*o ñ - ylrê f 6 f, HrnoqoÅ ,4lrrÅ & - + + - 3 ¿ J -4, : 5é ,s 6. . t3¿ Uo- mæ Vo - mas + + Å f / .6 Z,3fJ - r A-rd l---¿r öo-so þtct. vo SlendroNem 25 En*o\l*qo vnr + t J -J 2 56 tÅ ttSz Po-*o t'o - rno + ç ? 3 I 3. 2' -i 3 ,53¿. ,,-6-. I a l. ka- (u dc- va - santrS su-?- J/Ô + + ó -4 3 .' -å 2 38 4 l- Ha-rnoÈo+a + + i / € 6 .i ; 6 i6 .f.3 f, Uo. mu- Ca.- >?e -./ + + s 2 J-1 á. 6 3 ,ó-.t.t¿, ne8 Ça nas JÊ-' + a 3 )Ga -5 sé ,3 {-1 3 ,r.3. rz.tQ. o.ù - ,V a:-. -tJ/o + J J(rysLl fft.se /+ _- _a 3 .f, -3 z 3á- ¿ + t à î -J -. 6.i; ,6 i6..Ð n¿.- '.o- 7¿ + .t \J c z _3-z fé r J=€:3 1 - nas ja. ,es fo 26 TheVocal Notation of KRT. \Øasitodiningrat + +a) î - ./ . ó' r -6 3 .J ; r .r.3 ./.té. larn.Eo-- 6a.- rc'r?q gLc.71oBè - so + + a 3 € -v + + 5 J I 2.3 D.n la + + 2 3 e t6 ,s3¿, v ¿-g tvo - ,>.ro tro 7no + + ó / \-/ J J -¿ 7. -l ; t ,z''4/ !/ :;oa w rq. . Á,1 oa.rtr +¿'tcrf Jê /-t a (o-nlrnuud {,o ,{adrang Õodrono - 1 ? 6 6 ,-6í ,î 6. | .¿ ., .ii i 6 a-rvè tuA . Ç S.; d,u - ro - tr,. I þra. i ï = ¿i.ì i ji¿, ó toy - Çorvo T¡ {,*.ro /". a* 4îyzrr? r;-.62. rt .¿. ,6 ¡ 65 J j I- - _ì.j .l¿ ¡ 4 Wr - eo- fê fl)O _ wo tca - fo - ,7o ..: råi ,l z,-ó sê-é 6 / - W¿.eo.ro ,>1o - W6 fu.. îo . 7?o Slendro Nem 27 ,rn "J) oàto 4no 4-(.o 2 e , J5. 2, ' uf- ,r 1' t6-.3t32 o -jo ¿" - (an L.n Vo- F to 6éF g = é ,s-6 ,s32, O- ìo doÁ, lon )4/*=- T L./ J g J óóf ',- e) - -6. ,só-- r = ,E ,é .t i. ,'ê. ., - ,.åt 3 z Ja,Yì ,'rvo - lo a 9tc'r Åo- ã 4.o J -3 6t-6 z-63JlL2 ã, ,yto- to asr¿'nq Á...ãn- 4-" J .5- 3 f f,J f,î - g. gal_, ,6 ,{ ò¿¿ryo - JL-*og 5 3 f, ó f 3 î a éé3 c-å é .E.é .€Jz, =-¡ 4 ^ re -o¿ -.tc lo -sa Sar - Ao- fo 'é'^, 4 á é- .t - z9 É*¿ ÛlJ oJo J.ra) su ¿, f, 3 2 Jf, @ 2. 5 -i -'i i-¿ f, ,-3d. á D.nc770 ,nanZ - tt7 )y'¿'- eo - ro gunrrl. $uorn { lo l-__-_ -r, 33 tat2,.ì J ,r-3. ,r.¡{ Denèry ma-ni -tiV W¿'.eo. ro 28 TheVoc¿l Notarion of KRT.'Wasitodiningrar ' /Jtr,¿* r¡""I* 6 zt ó¿' t-t-ii i;iC) In ó 4 ó¿ ó'? ; 6 t J 223? ó 2 6 f, óJ 6î ¿ J ó î ó3 ó@) {a, ó ,l ó f, ór óa s4 - ì ,4- 7or. oo ?ur. *o / o J ó f ã 53 2 é ¿7s.r ì òt lc¿ngga( 6asa>zc 3 ó î 2J , 36 ^ .ñ. 77?c,. f .3 l¿ . (" ,6 .t I ji-É.f,- e - li ó.s' ,3 .f- z J , r.3. ,ztó /t-/ tLo. t7)o * fo - lno O' t' Þ cn dcn S cn c{o>zt n q frþ.¿o >1oe o JJJ 33 óJ- 2/z? I ,2- 3 (, o-¿.ãã 5 l\--.-/ . ã J - ,J ì z.té ,Yo- mo Porrotlã'*i füroî Hrtr - 7)o _ ó; 2/2? _ 3 3-¿ 2.1 3 , ¡-3, ,2.1(r., 8 u¡ oti orJo"{ rþ. /ri7 .,ü ll SlendroNem 29 -7_ D*|ro Jo rnu{o v.^ 3 î2/eó -t 6s.lzi 5 -7 .3 - ,3 ,?.1É. 2*orJ ¿,;l N,rroàns ji ^ lo * J \J ^, J .3 4 .f J 2 / (2) -_-_j-:V | 2 3, 6 i.6 i.i 6.t ?. | 3 ,5.3tr, "¡'l N ur riry gîto V*3 t oân v, n orL y, Ço >grs o zæÐ-éE? '.ilLrr,_d. ; f Æry .?1 I H- Io Ho * ,no ,(usu - >72d'. tro Y- / 2 3î n3E6) - ,TL "ú¿ to. 77? O / 2 ./ / - ,/- 6lz , ,l/r/,, ^ ,(o - n?o - \., G ói 2r óltt' -oz z 3 3" àn¡,/. r -v /6 =n-5nã? iå 6 . î JÀ 6 ; ;.ijg i:/,4 f,, ,/49 ì¡ U" ili. nà' Ðâ P" - r7?o|Vt . sis- wo 9" Vo'n J 30 TheVocalNotation ofKR.T.'SØasitodiningrat -? Dwr'ro y'o rnoto /) .f 3 2 23e Å ¡,é 2, .6 J ,2¡. z -Ð."orl 6oso No . -o - 4 t r^ ¿ 3 ó .f JÓ 1. -= î 6 . r .ô . t-r ..¿ t..'u,53¿ a a,Y) (a - 7>7ênQ N^* ó 3 (, f SlendroNem 3I b[**ran' +ab*b6. t').. .ai;@ "/4{ I tl rA ¡l é ó 6ró ; 6 î î 23î r\ n, é ? 23a :L 3 - ,s ¡¿E I -(/- znL - wL '¿¿ ^ s z _=:/ 6' f,-=é: / - e3 5 ¡ @ ,xr¿ 3-1 6 é i-6 ,ì-ì i.é s .91¿ ,d.F¿, /c /(a>na. Kct -* 7T)a 9r;¿o,, çr-¿. -.;-,o P*ãç ;--l- J/ J J ,/ .4 (' d CA - ,d f¡ ,d.sã. Ã-no, Å¿ d* ,a 3 2 ? t f.3 / t -/ / / q ,5-3 3-x.,t 6 'l'È { -/I *-2.ã 4 é,6.i/;. ¿ tP''' tf ,: is 2æt¡" ¿ù. rf LS - >>tL /eor- Vn .^ f --= - 3 ;6 .t .' .3.2 -ó ó - - r ,(s6, lç 2 Ta Re - zna >,Ô ./ Tccrweyt 3. -- {o s 6 ¿ ? f z @ -ó. ó-z ,, 1-3 3 ,á¡61é,,-ós.3, ,/orsoy'o âL, 9r; íctrin - d,o ^ C ó 3 2î 6.s- 3 ,.ó5J,,a I - D tr',roã'r'" Ka>ra Er Ja 4 .f6;? î32/ - ___ -: :_ .6 ,t ^.-6 3.^r:1{,. __1 -.3 ÉrU, Velyâ" solu wà4øé--- t/'c-'so 32 TheVocalNotation ofK.RT.'Wasirodiningrar Ld. Remeng A / / .l ? ?.t 4 / -.e / . J2J s'.3 . Z- | Ka-r.lo !Y¿( - (a-nq J J 3 .f .3 ? -/ó@ ,: :: -5 ó.c ,J 5,.2 é ,4,é, ,2.t41, V"'rro{"- n"' uo:.f lo úouu- ^ 6/2 -.6f ê -¡ .¡3 -t 2. '¡--.! ,zEt ó- ,2-tqÍ-, (."->>t1a- nr' d¿ - YYe -'7' t / /q>>t4 al¿ 9d- 9"r ^ ê I Ç 6 f æ 6¡ a 6i.!, fz Qo. -,rar>! c/¿. we tt ^ -5 .t -ó' t, ô- Ka-tne- + (, 4 ^ I ¿ f I 22.3e --=. -:.- .-_ -ê 6-Z t7 ,ilsz I ¿y3þX!,l-z-tz, Lo{u Jiw'a.sa>tinç -- 9un- jo /J /.¡,/ ../ /: c IYaS¿lodçÁ¿c>z /- SlendroNem 33 -^f*" f-oÀn",n óotn^,,,"/5?*'*¿*o l'rfù (6 ) f,r/ J5? 7,, 3 - ,å t. t2,.¡6. 9¿.{¿ îo- wô- ó î 32€f,? 3 3 -a li., J, Ot ,eir, +9 ,ú J a>7 &aVo -l¿¿- Yô \J foVcfta.(. \-/ a^ ó tzJsó' a 3 - 13f,J'6, ,f,.J:,, fr*ryy'am - to* Syo 2, 2 -2.t2Ø ; 2..i i.l e-í ,e í,'t L ú-Ð Ér-1! n Ni':, 1uVt¡"r,,/,gyo mtètysV' U+ lo ,d' 2 J f, ó GÍ_ir/-7,{ú¡¡Ê io,,^ ¡o . Ao _f.r. / ó f, ó d- .3/î ff :i é-t 3 r gdc f -\ ',ó" ' k /^¿. n. t¿l >i n¿cm î ó/ ói, L I ,ç-L ¡ a ,5 .s 6ss. t- 8a'* ya Ðn- f".å lntány ry 32/ z. z .¿ ?. 2, :t- .1.r1. ---12199- / r r , - - t -.- Ãa-.(a>gen ntet sußen¡ drL-JÞ 34 TheVocal Notation ofKRT. \Øasitodiningrar / t O / O/ ./ Kc{i': Jo6rcM- a _ rj_ Ç { l-¡ ø7 éel#,ú -^ ls¡.tx // h ,on))o V?nn/rry,se{a.7en&V se'lo z / {f,ó/î -7/ 5 ,L - 3 îé, ; I -¿,i tKo. t}.o r*æ Nug, - '.r>ugo *- /i f, óì@) - 6s- 6 ; ?, 3 -2. LL-3;j ,36 ! ùlæ At¡o.t" .îJ DoÁo -o"y'- to tó\ ó ¿ .f ¡ ,iil \ ÉL 3 ,6-i. P-/" /r;" n¿T / / 6 ('{eî t f ã 7z 5 r¿.13.3 bg, "¿¡¡3nJ*y''g" nti.'no JT*rmo 3 ó- ó/óá-â ¡ .r ,4rs 3 /"to ,6o.- n! 'do J/ ^ /ó î /2/e t ]l ^ j * s,tz";ç€ ,z ú7e \?,"'ç, ,lomo ,o- 7>7o l"s {o, -tu - ,¡o aúon S'ct' '4,o- P"/es{ to A SlendroNem 35 Grg"Xr. ",?I-"* /\tr,,rÅ,ro+&L 6 ñ;r-\ (ó) { ¿ s ó 2 / r z óC r o .ì¿.cs -Jarwo %. oo {f,.t-/.t.ã,'. [s t r f, ( r ó f, r r 6 / 3' r^ ä ¿ à,9 i i ; l-i.¿.a.1r¡,1 Ro rrol ,'Ò>y7c> nrfr^¿ 6o - sîrí B*Zro t 6 S J f, ó fg a / z ó ?. / z.î _ f 6 .i65J g i66. Y ,----. { úl¿ ,6 r>cI . ¿eg VorJ Oo /l->ni - wi. - tr' j* r é J a. / J ?, J f ¿ A J ? J.á- 6 6 i f .i ó.(zzÏ" 9cnluh sen&nr.-'Ðt: J z J î 2 J ,-'r-"';"-Ït:*å'" ,,t7t ú{, ^iii '-6cJ."'"" !/o mosla.t,o.e S'rtin sonJorinç8o,/onçeo J r'4'/ 9un,o4t(>róJ?/@ ari.rdrf, ¡óf ?.,6.2 !', D - t I- ' {L"H""sen/oni 'V 1Ì1d47f'.?" 36 The VocalNorarion of KRT.'Wasirodiningrar " Ç^A"5",/5'í+î ótr,*â"* 4tkrh 6 /,r?r, 6y 4rl^t¡ A - D ag Q,ró € î 2 ? î ,6 -\ ; t ,r J. Nor- di * go f 3 .1 {2 a f .á- 6 i¿ .g- s tyo tno ,1 777 0 ,/ ,â / órJ óó a, r+ 6i.?L lg É ¡Az Vrio,l.u sa.û¿ we {r.é wà - .9s J ,/^ 3 { o ,f' \- .?4 - -t6 -,t .J. a - (oV- rYgo¿¿¿, ,{arqo wu B 'f 2, ó/?/ é 6 - -¡ .iå --,3 ,2.t6 ,/ ,{oyo - w¿r- lo7 ZJz/ 3 óf./ J - 6,i6. - - ì 6 ild; Lf) tYa. -- /, ,/ - >nand ek wé Wq.*a- {o. nu' Slendro Nem 37 J a, .3 ? ll Pyu*t {o vJ) A .ó f, . tá ,î 3 î. f, ,voy/A-w¿¿-- (o (rrorr,1, sz6f,r1 s- ó 3 ,f,.3¿, noa /V" - wu- ¿'e- 38 TheVocal Notation of KR.T. Vasitodiningrat )ú?a 2aqi*,,Ðo^M* [,**, òt,*ho ¡rù,r], 6 tor/.,UWt. sr€ó_-s6s z z z@ _ /¡ | L, ê- y_ (lm¡aL: t^ .- l( /J - 2 tJ -/ 2 / 4'-?æ"ræÐ?;^/t{. € ^--gæ=æ-\,'-T; e îó i --ì ó; -l¡ óì fr ? r':ãä?ï¿?,ä t @) Scry , ùlorut , ho/" dt¡/ &-r.(r. 2 îig i/dJé - ?n ,(onç-si t,6 4o, /or,e - .s¿ - t¿o ^ \.t 2 z ?, / z ó' / i ; .;- ó .7 þq. çc¿ - nu - ,?oa.r, l:,1 s ? z I f, 6î¿ / .t ,{ z//'// j I { '. ' /, ,(, n4 .s4._ ,1.on | .ó- { Áo>4,s¿ -oundu( âa. êe'l 2 Z/ -z 3 é ?Y1 I / / / , )/; vtv^ 1t -z 3 7 /' z ó i // /l'z /é E - ro - si la.n7'-8- ,1¿- to -{u' SlendroNem 39 '€.^v e ó I T?;E 7.3e-5 356¡rJLz Ì{7t. t rQ.. nA- '?a. >'ìL ûon)ir sa.- li . wo l{- no[- n"' \J\-¡ é ^ Ç J L {3.f7 - -/ J t -/, . ,E{ / i t l I é / z/ é E E nuh 6!oèA li {or-/r¿ _rj J â 2 J 2 .1 3 1- Z - 6- a / _ ./ - / / /7/7âÍ/2 Ê E Ë /arg¿t.le'- G Nrrro-,(o- 6i 'ã v^vO .1, I 3'2'¡o tz 36ii -./-J/,/\/ n ô 'Ffz/é,fé .JQ,/1 ,t t, ¿ >?e1 LL(f dc a.. tc¿f Ti . no.to-- rìnlil .-rr'nt¿,( 1 1Z EE - P" ¿+3. \ty'osi{oJrir,rm 40 TheVocal Notation ofK.R.T.'Wasitodiningrat rn r.,|lP I \ ¡lll n . 4- n "JøYrÅcvw\ ì,. It /òY.rrnÀ,t,o I 6 nv*"uWrt - ./ f,' 3 J -.1 . -l J. ,1 .__3,1 . - - ,? - J g lL* Ìo un tsl Líry {rV ramja. - nino AarT So ,,- J*JJu s . f s-s,s-E- . ì sory- /o lu- rnå, O \,++ * h-ú' Uo, t f¿ 13__f,32. 7 Z Nonq ã ,4,rn {o, J 7" 2, .Lâ I' - s .s é.- s ç - .r rQ I _ þo si- rd{ p-E' , I ,"a oo3 T,H,t' 'î 6 2- 7 2- L - z rt 'wo >T?^w J 2, t6 S'- a @ Slendro Nem 41 8;* 6 y"o^, ú?o*ân, (-aoe//// ( ç .4 44 't 77 - |tAâ- L7) çllclnQ ,|us- þi-to a- )'n n JJ// .r 7 î.7 - ? 2- ). ?- - ,, €. ,. ,4o - ò¿ {L 7.LÐq Scr - ¡ztì ro - tto tn r'.'Å- J .6 lr) -fó r 6t- .3 A J 2, 23.f / f."- lo" - Ca cfct>tg J H" 'LJ o F noæs - Jorr. d* ryo É 22' at-L L,! Ðrrri4, ro'-rû-S fe r)a-- )')(nq ^ J z,t ,u .Jr-7tó-.J-J ã.t'¿ - ¿¿o - \/ o o -a I-=[ 42 TheVocal Notæionof K.RT. Wasirodininerar 8"x*aÇã*"t\lr",,A^"6 a ff66i¿66-6,8é.\ llZt ,;t lolinin7 ,(i- h 93/oi 7n4Ð - "JJr" /anJa-m .2r 2, z -1 z 1. ¡ 6.. t \ rl t 1- ra t êa,f - o /tnon (cf fte -Êo - n"a s.E6 .3 5 c 5,f,J.2. ,z i f (', - J(¿'" en sv-m -lJ ton -doU /4- fa , .z 3 5 ., It T' Sot - \./ r , - ?, t6 6 - 3 | -t I oÊ- aæ ?rr, - norrà --- "gJ "2¡i i .e -i. z t65-3 -a ¡.16 - -O Jo.Do q + LZlþ i2,-¿,11.4i 'Âr '- ' t ^, t t 1- Ua.So..- re ,Tro'nQSo êa. - Ac - 9ê Þ Hi. J-/ o f '3 2, i z ,,,, 3 . J .S o. 3 .' ,f - cê - 7no 4- na. wenî /A LL Juy Áor- I q - = I z 1 ã t -.z . .e { - ,2 u o t, / - ã (o A. - .S€-- ,)cD 'tayo w( -Je - ,Æé72ì12',',2 no - O - Nr;rt sining wo-r?o .Ê-- ( -ì . . 2 t6 . oropeKqrNDËR. _ro-\' f I I ll rl ''¡4 I{nl"o . ,?u - 1 ¡. , (. L/ o* "üio'f".?l 6 rE L sasó 3 t 6 5' ¡.é 7' SlendroNem 43 o - oâ"o ß"X.* "{t,o e *orrþo,1,Z rSCJ¿ Lîr3^ üry 3o-li - niU- loV P * >yan ?. z. r .r x. " ,s - d. é 4 ,c é, sa6o - .ro- to / lç - /|U r!øst; - ,1o ,3 -z L 2 7 - 6 -ó ó ê é 1t.t' .fa - tnøn to - ro It - År',y / |r?L - (u r 44 TheVocal Notation of KRT. Vasitodininprat oen-oào "W" 61ry (/sØ*J*G ) It - 3 4 2.?,2t.ral ,l !- t/^ - ndlrnoniS * AnU rê.n vtu3 3ry J", é é ,¿#. é - .t 3 - 3 ,z 3. .2,2.?" a ' ' 4'r . t | / - ngTLh zna.--'-J 9ê - (arl ' gQnl¿ tna.nL t'L'A R.- -.¿"Á J _ J :i z. = .t- . t-e, z îr f. zz2.ro lV¿ - sa-r?g a- æ -t _ 653.-z-zìz-l .t 2. J 9rd,or- soÐo do- Áot - ' - 6 ¡ I t .l ¡ ¡ | A- râ^.â-- ,(on da. - l¿ - ,uryoí. noaTzzy î ; é s ¿ -,sy'é. ô é ,É_// L.*,l' - (*1on Åu * do . J J I ,7 3. - z ?, 1. 1 L 2. ,/z¿ n3ñl znlit( ,oá- - ,4A7,, lrr/, l¿t>nara.rn', - ¿d/L- ztó ¡ flrrry, - - CL -^- o J'u, 6-z ¡ ,t ¡ ¡r -l -é-A t I ,tE----, >f) { tLLt2q - 7cf a. - so ¿îl:- - nnd-rr- - Åo, J-, 1!aA ,7 - 3 L- J, ,4rrrro sr* tq-72a- ,¿{ CL z -1 1 I Na.yot zno -jo o -!ié na so7 SlendroNem 45 ' J,*, . (/59,^â.r*G ) / -/ rn. . o 6 6 6 6 -e 6 3 I i, -'2' L i . Polyo '',o lh '2^7J cxy y'ro 'ra ' Hu, dur ¡al;4. ;3.; ä ¿JÁ i 7 é 6 é --ó6 ô sanyo sa - nl - t/.-ury rdrnJo 9noror|r3, 9o Jo . f .J- f, f 3 ,.c .3 ,.*-".4 l^t/r 9*6a.r. QcLrnæ/79 Êd- (e - wd/) < /JJ R¿- t*, to,ríur yry 9*t3 y'ofonJ¿n : à ,i\ sl 2 é44é¿ doûr- ¿3 Dondo'ro ,rtvoÁ. /,a.Ao, do - 6 4 ¿,sZ C.' r r 5 .J sé s3¿ D- t ' I t. - .fc zz . da - dL - qan - -- wa?no. >ra-f no -J-/7a-La- O - + 5r-5,f,-3 îé - f 3z n., f7- Src tta-- wu.r- Ud.r) æ 46 TheVocalNotarion of KRT.'Wasirodiningrar .ÃrnÃaw " /S[nnnâo, 6 ,,1tto[ooo,'* +*r] ll 3 3 I .t I i ,;-i-¿,6 * r' I'/t ÇoloL /"¿¿ T.últ A- áo w TcLna 7 2 t4z-t-6 J .3 .3 3 /-r'l\t 4 ,(anq Åa- - 7>7Lc- ft Q¿S TY?c.->?Ls J/ .) .3 -å-.3 ,7 - ¡ \_./ 7nq*à4- * Årrno \â4æ + \./ -ç | I a- o(å- o/"" - 3' - it-' t 1,, r-ó't o*/",( ,3 ,l | I Ç"nJ,,z JI rnon4.o raa Á.r.ry, llzzz ,t--1 3 å .3 ó f .3 ,Z - l âJ.^\ /,1 ' .H-qo-r"/, y'on* J)adqo ÅaÐ{e's vt¡a(a-v - ,1.rr, ,J .-/ / 'l-*'Y'"*u 2- - r- 6 ( O,-¡oÅ Ç"n/",.2 SlendroNem 47 L 7 3 5 6 { T¿ Po L, Ho /yri 7(. (o,n¡o/, p- 9/.,4,y Ç ,nong. ó , ¡oúofa, 4. 5f, -r É-É. 2, ,{u. rí Sr -t, 7rg - \.t/ a¿v lc JS rvv €¿ 2r, lYo - ,a ,ni -qa- la. - nè -J )x ó6-0 s +¿ ê, Ðrrr3o- ¿.->?o L>ag f*y -ì I .2 , ,2s,3 é 9¿ - >þ,-Jo tYq - l,r, . lo. ' Setar Noeo¡o{,, P*ouA 9(onlm (- \I s s -] ,d-f,.;, þ"(-ru .-ff- 48 TheVocalNotation of KR.T. \gasirodiningrat /Jrfl."*,tW**F"b,,Qo*fl&" /51,,,^Å^, 6 - '\J' l_ i ,r-;i i .i-; = ,i-î -6i¿tI ¿ 5 {u/o, l ,./ ç"--3u4 fr;: oo-ffi tUo.ry cc - Lr-¡-23 z I I .'¡,_ii,,; ' ,t,_t, 7 e_l 6riI ,1... tu, n-T lo,f T G.Zr _ Slendro Nem 49 t / / W S'(nnr{ro /ú-, zt 4.ö-. ü ,Þ z 2, jix a t GJP-Lr-L (* Ja ú- Ã;- s{ù ¿L Ç {ul- 50 The Vocal Notation of ICRT. Vasirodiningrat indexes Abbreviationsused in lndexes Piecesin Bedhayanstyle...... 2T 6 Gd. Gendhing Pieceswith A¡dhegan...... ZTG Kt. Ketawang 8awa...... 276 Kt. Gd. KetawangGendhing kt. Kerhuk Pieceswith lrama I, II andIII... 276 Ld. Ladrang Pieceswith Irama [V...... ZTT I.n. Lancaran Piecesin Yogyasryle...... 277 mg. Minggah Compositions by P5 PelogLima KRT.'Wasitodining rut ...... 272 P6 PelogNem P7 PelogBarang PN PelogNyamat S.Á. Sekar Ageng 56 SlendroNem 59 Slendro Sanga SM SlendroManyura Indexes 267 Spellingchanges Kembang-peteKembang Peæ Rendukentir Randhu Kentir First entry is spelling asir ocçurson Kinanti Kinanthi Reno-renoRena-rena notation; bold entry showsupdated Kinanti Padangbulan Kinanthi Retnamulya Retna Mulya spelling usedin indexesand Table of Padhang Bulan Ris-irisan Pandan Rþfuisan Contents. Kondomanyuro Kandha Manyura Pandhan Kotjak Kocek Rondo Malam Rondha Malam -Asmaradono,Asmorondono Krawitan Karawitan RondongangsuRan.lha Ngangsu Asma¡andana Kumudo Kumuda Roningtawang Roning Tawang Kusworogo Kuswa Raga Rudjak-djeruk Rujak Asmo¡ondono Jokolola Jeruk AsmarandanaJakatala Lambangsari l-ambang Sari SandungSandh*g Banyaknglangi Banyak Nglangi Langen-asmoro langen r{smara Sedyo-.asihSedyaAsih BasontoBasana LangengitoSrinarendro Iangen SekarpuriSekar Puri Bimakurda Bima Kurda Gita Sri Narendra SekartejaSekar Teja Bodronoyo Badranaya Larasmadyalaras Madya SembunggilangSembung Gil"trg Bondhet Bondhet Larasmoyo Iaras Maya Sinom Logondang Sinom Budeng-budeng Budheng-budheng Lebdojiwo LebdaJiwa Logondhang Buta-galakButa Galak Lokononto loliananta Sinom Parijoto Sinom Parijatha Caranggantung Cararrg Gantung Lunggadung l,ung Gadhung SlepeganSrepegan Cucurbawuk Cucur Bawuk Madumurti Madu Murti Soroyudo Sa¡aYuda Dahono Dhahana Maduretna Madu Retna Sri Duhito Sd Duhita DandanggulaTurulare Dhandhang Madya-Lalita Madya Ialita Sri lGetarto Sri Kretarta Gula Turu lare Maesalangit Maesa Langit Sri Sinubo Sri Sinuba Djago-kateJago Kate Manggologito Manggala Gita Sri \Øibowo Sri Wibawa Donoworo Dana'S?'ara Mangunkung Mangun-kung Sri'Widodo SriWìdada Dulaino Duksina Maskumambang Mas lfurnambang Srikaton Sri Katon Duporo Dupara Mayangmekar Mayang Mekar Subokastowo Suba l(astawa Dwirodometo Dirada Meta Mentok-men tok Menthok- Sudirewitjitro Sudira Wicitr¿ Gadj ah-gadjah cajah-gajah menúok Suksma-ilangSukma Ilang GambangsulingGambang Suling Mugirahayu Mugi Rahayu Sumedang Sumedhang Gambirsawit Gambir Sawit Njoto kowewasisNyata Kowe SurungdayungSurung Dhayung Giriso Girisa Wasis Tatanjo Tatanya Gondj ing-miring Gonjing Miring Odo-odo Ada-ada TebuhsahuyunTebu Sauyun Gondokusuma Ganda Kusuma Padang Bulan Pandhang Bulan Tedjonoto TejaNata Gondosuli Gande SuIi Pancatnyono Pancat Nyana TejasariTeja Sari Goromargo Gora Margp Pancerono Pancerana Tirtokencono Tirta Kencana Greget-sautGreget Srut Pangkur Ngrenasmoro Panghú Tj andra-asmataCandm Asmara Gudasih Gudha Sih Ngrenasmara Tjekilaek Cekikrek Gugur'gunung Gugur Gunung Pa¡eanom Pare Anom Tropongbang Tropong Bang Gunungsari Gunung Sari PrabuanomPrabuÁnom Tulis-kresno Tulis Kresna Hærikaton Hasri Katon Pujonggo Pujangga Tunggal-jiwo Tunggal liwa Hastakuswala Hasta trürswala Purnomo-siddi Purnama Sidi Lllerkambang t ller Kambang Purwagilang Purwa Gilang Umbul-dongo Umbul Donga Janggleng-irengJanggleng Ireng 'Waditro PuspandjonoPuspanjana Waditr¿ Jonggolono Jangga Lana '!Øalangkekek Puspandjala,Puspanjolo W-alang Kekek IGgokliwung Kagok Liwung 'Wedyasmoro Puqpanjala Wedyasmara Kagolaemi Kagok Semi 'lfidosæi Puspawatna,Puspawarno Puspa Wìda Sari Kapirento l(api Rento 'Winduaji Kedu Kedhu Wä¡na \flindu Aji Kembang-kacang Kembang Puspogiwang Puspa Giwang IGcang PuspolalitoPuspa Ialiø Kembang-kacesKembang Kaæs PuspotadjemPuspa Tajem Kembang-pepeKembang Pepe Putjung Pucung 268 The VocalNotarion of KRT. Vasirodiningrar Index by tifle, Vol. | & ll Gleyungld. P6, 116 Iambang Sari, lnga\ P7, 232 Godril, Ln. 59, r24 Ada-ada,W ayangG olek P7, 324 IambangSari, Inggah SM, 174 Gonjang-ganjing(v. 2), Ld. 59, Aku Duwe Pitik, lagu Dolarnn SM,248 102 Iangen.r{smara,Sl- 59, t l5 Gonjang-ganjing Argolagu,Ld. P6, f01 Ld. 59, 98 langen Gita Sri Narendra,Kl P7, 284 GonjingMiring -Argopeni,td. SM, 186 cd. SM, 160 Iangen Gia [Sri Narendm], Kl V7, 282 Gom .Arum-arum,Andhegan Marga,I-agrP7,263 laras Maya (v. 2), Kt- P7, 288 @udheng- Greçt Saus -AÅ^ budheng)P6, 6l Ada P6, 197 Iaras Ma¡a, Kr. W, 286 Greçt Saut,Ada-adaP7, -Asmarandana(v. 2), Ld. P7,233 327 Iansingrum,Ll. P6, 130 GudhaSih, Ld. P5,19 læbda Bubaran AsmarandanaJakal ala, IÅ. P7,236 Jiwa, SM, 234 GugtrrGunung l:n. D7, 305 -AsmarandanaSemarangan, L;rgu P6, 107 Lobong cd. SM, 176 GunungSari P7, 279 Asmarandana,LÅ,. W, 2ll Lokananta(v. 2), Gd. 56, f6 GunungSari, td. P6, Äsmarandana,kl. SM, 188 118 I-okananta,Gd. 56, 10 GurnangSl- 56,48 Ayak-ayakan(Paalon) SM, 154 LungGadhung, I-d- P6, 132 HasriKaton, Afalc-ayakan(v. 2) SM,235 G¿.P7,209 MaduMu¡ti, K¿SM,2l7 Hasri Katon, Sekar .A¡ak-ayakanP6, 86 Madya P7, 330 Madu Retna,S.A. SM, 175 Hasta P7,222 KuswalaAgen6 Ada-ada56, 45 Madya Lalica,S À- P7, 244 HasraKuswala AIir, Ada-ada Âyak-ayakan56, 36 56, 46 Maesabngit, SekarTcngahan W,218 Huama,td. 59, ,{yak-ayakanSg,l3l 104 MajemulcGd. 56, 19 Ibu PeniwiP5, Ayun-Ayun (v. 2), Lxl.P6, 108 32 ManggalaGita, SJ" P6,73 Ilir-ili¡, PalaranP7, Ayun-ayun (gerong),Lrl. P6, I l 1 318 Mangun-kungGd. Kemanak59, 139 Kate, Laga Ðolanan ,tyun-ayun,Ld. P6, 104 Jago P7, 373 Manjilo,U.P5,22 U.P6,124 ,{yun-ayun,Ld. SM, l9l Janggalana, Mas KumambangSekar Macapat P6, 201 lren6 Badranaya,U.36,n Jangglcng U. P6, 121 Mataraman,Ada-ada P6, 131 Kt. BanyakNglangi,U.P5,6 Jongkang Gd. 59,70 Ma¡angMekar,Gd. P5,3 Ld. BasanaP6, 153 Jongkang 59,7l MegatruhP7,290 (Mataraman), BimaKu¡da,LA.P7,238 Jugag lagon P6,87 Mencaraman,,{da-ada56, f 98 (slendro),Paútet:,n Bondher(Y"ry"), Gd. P6, Jugag P7, 322 Menthok-mentholcLagu Dolanan P6, f90 52 (v. 2) Bondhet,Gd.,P6,46 Jugag , ParhetznP7 , 327 Mijil laramti, Ayak-ayakan59, 126 lagon Boyong Gd'P7,205 Jugag P6, f96 Mijil Sulasri,Ji¡eman W, 375 Lapn SM,260 BrondongMendiPT, T75 JuBa& Mijil Ifcdaringtyas, JinemanSM, 257 PaúeranP7,323 ltìdawaten, BrondongMennrl, Andhegn W, 277 Juga6 Mijil JinemanP6, 192 Pathetan56,42 Mijil, Budheng-budheng Gd' P6, 57 Jugag Ayak-ayakanSM, 239 Pathetan59, 138 Buta Galak,l:gu DolananSM,249 Jugag Mijil, SekarMaca pat SM, 262 Pathean5M,259 CandraAsmara, S ^ P7, 245 Jugag, ModernisasiDesa, Ln. P6, 176 IGbor, Gd. 56, 3 CarangGanrung, Gd., td. IGmbangPeæ Moncer,IÅ.P7,240 sM,r43 KagokLiwung td. SM, 198 Moncer,Ld. SM, 201 KagokMadura,t¿ 59, 106 Cekikr€lçÁndhegan SM, l7l Mugi Pahayu,l-Ã. P7, 242 KagokRespati, Gd. P6,68 Cucur Bawuh Gd. SM, 148 NyataIGwe \Øasis,l:gu DolananP7,3l4 KagokRespad, LÀ. DanaIØar¿ P6,157 P6, 126 Onang-onang,Gd' P6,74 KagokSemi, U. P6, Dhahana,lÃ,P7,303 1T7 Orek-orekMonrore Mabur, I aW SM, 247 Kaloran,Ayak-ayakan SM, DhandhangGula Turu l¿re, Seka¡ 237 Pakumpulan,ld. 59, 109 KambanglGcanglagu MacapatP6,200 P6, f84 PamanTani, lagu DolananSM,252 KambanglGtes P7, 281 DiradaMca, td. 56, 29 PancatNyana, Gð,.W, 215 KandhaManyura, DuksinaP6, 159 td. SM, 199 Pandilori,Gd.P7,2l9 KapiRento, U.P5,21 Dupara,td. P6, t13 Pangkur(nçliþ, I-d. SM, 206 Karawitan,t,d. 56,4 Durma,,{da-adaW,326 PangkurNgrcnasmar¿, Kt. P5, 34 Kedhu,Paúretan 56, 43 Pangkur, Durma, SekarMacapat PZ 329 LÀ.V,246 KembanglGtes SM,216 Eling-elinglGsmaran, Ld. 59,90 Panglarr,Ld. PN, 333 KembangPepe(v.2), Ld.P6, 129 Emplek-emplekKerepu, Ln. SM,230 Pangkur,td. 59, I I I KembangPepe, td. P6, 85 Gajah-gjah, lagu DolananW,1t2 Pangkur,t"d. SM,203 KembangPets Ld. SM, 146 Gajah-gjah, lagu Dolarun SM,25l Pangþur,Palaran P7, 319 Kidangelun,Ln. 59,125 GambangSulinp Iagu P6, 183 PareArom,Inggah SM, 151 Kinanthi PadhangBulan, Gd, SM, Gambir Sawir(merong), Gd. 59, 60 164 PatalonSM, seeGd. Cucur Bawulc 148 Kinanthi, Sekar Gambir SawitPancerana, Gd,,P6,62 [Macapat],lagu laras Pawukir,Kt. SM, 218 MadyaP7,328 Gambir SawitSembung Gilang Ingah Pcnghijauan,t"agu 56, 39 Kloloran,Sendhon cd. s9, 63 56, 47 Playon(v. 2),1Å.P5,26 Kocak,G¿ 56,7 GambirSawir, Gd. 59, 53 Pleyon,IÀ.P5,24 Kontap,Kt. P6, 160 PrabuAnom, td. SM, 208 Gambuh(v. 2), SekarMacapar 56, 50 Kumuda,Srepegan GambuhP7,278 P6, 182 PucunpKt.P7,292 Kupu Kuwe,l-agu Dolanao P6, 188 Gambuh,Sekar Macapat 56,49 Pucung,Selcar Macapat 56, 48 KuswaRaga, SekarMadya SM, 165 GandaKusuma, Kr. Gd, 59, 67 .sØirangrong Pucung SekarMacapar SM, 263 Kuswa Kr. GandaSuli, l.d. 59, 69 P6, 162 Pujangga,cd. 56, 23 Kutut Manggunp,{ndhegan Gegot, Srepegan5M,246 SM, 170 PurnamaSidi (v. 2), Kt. cd. 59, 79 KurutManggung Gd. Genes,Gd. SM, 157 SM, 166 Pu¡namaSidi (v. 2), Id. 59,83 KuutManggunp [d. Ginonjing td. SM, 194 SM, 168 PurnamaSidi, Bubaran59, 78 KuwiÁpaKuwi, lagu P7,3ll Girisa,Ada-ada 56, 44 PurnamaSidi, Kt. Gd. 59,73 lagon, IØa¡ang Golek P7, 324 PurnamaSidi, Ld'.59,75 Gþr-gþr, Ayak-AyakanP7, 309 hmbang Sari,cd. SM, 172 PurwaGilang Gd. P6,84 Indexes 269 PuspaGiwang KcW,294 Sum¡ar,IÀ.P7,266 lndex by pathet Puspal-alita, Sá. P6, 199 SurungDhayung ff"ryd, t¿ P6, 148 PuspaTajem, Kt. P6, 168 SurungDhayunpU.P6,146 Puspa\Øama (v. 2), Kt. 5M,222 Swan Suling LaguP6, 183 Pelog Lima Puspa'Warna,Kr. SM, 220 Tatanya,JinemanW,316 Asmarandana Semarangan, [Sekar Puspanjala(v. 2), Kr. P6, 166 Tebu Kasol,S-A SM, 261 Macapatl, 107 Ptrspanjala,k.P6, 164 TebuSauyun, I.4.P7,270 Banyak Nglangi, Ld., 6 Puspanjana,Ld. SM, f82 TejaNata, Gd., P5,8 Gudha Sih, l¡1., l9 RandhaNpngs w Laga P5, 42 TejaSari, cd., P5, t4 Ibu Peniwi, Kt., 32 RandhuKcntir, Gd. P6,88 Tina Kencana,Ld. P6, 150 Kapi Rento, [d.,21 RebengGd. P6,9l TropongBang Ln. P6, 178 Manjilo,I-Ã.,22 Remeng,Ld. 56,32 Tukang IGyu, lagu Dolanan SM, 256 Mayang Mekar, G4 3 Rena-rena,Ln.5M,233 Tulis K¡esna,tagu DolananP6 191 Pangkur Ngrenasmar¿,Kt,, 34 tunyep,cd. 59,87 TunggalJiwaP6, 174 Playon(v. 2),U,,26 RetnaMulya, 51..P7,259 Uler KambangJinemanP6, 193 Playon,l-Ã'24 Ris-irisanPandhan, lagu DolananSM, UIer KambangJineman59, 134 Randha Ngangsu, Lago, 42 253 Umbul Dong, Ayak-ayakanSM, 241 Santi-sunda, Kt. 36 Ris-irisanTela, lagu Dolana¡ 5M,254 Vadera,Buba¡an P7, 307 Sembawa,ld.,28 FondhaMalam, td. 59, I 14 Wadit¡a,Ln. P6, 180 Srepegan,4l RoningTawangI-d. P6, 135 \Palang Teja Nau, Gd., I 'S?antahKekek, Ln. 59, 133 tujakJeruk, [d. SM, 210 (manynra),Paúteøn P7, 321 Teja Sari, Gd., 14 SandhungP7, 296 \Tedyasmara, Kt.,38 IØantahand Jugag,Pathetan P6, 195 'l7elasan SandhungSM, 224 Asih, Ln., 40 -Vanrah,Wantah, Pathetan56,41 Santi-sundaP5, 36 Pathetan59, 137 Iøindu,A,ji (gerongan), Ld., 30 SaraYuda,lÅ.P6, 137 \Fantah, PathetanSM, TØindu Aji (sindhenan), Ld., 31 'Wedyasmara, 258 SedyaAsih,U.P7,251 Kt. P5, 38 !Øindu Aji, Gd., 17 SekarPuri, Gd. SM, 184 VelasanAsih, 'Westminsær,Ln.P5,40 SekarTeja SM, 226 Ld. 59, 65 Pelog Nem Sembawa,LÅ.P5,28 Tfietah,f,agonP7,325 .WidaSari, A¡golagu, [d., l0l Sepuran,l,agu Dolanan SM, 255 Gd-P7,225 Arum-arum (Budheng-budheng), SinomLogondhang [Sekar Macapat] Mlujeng (v. 2), I-Ã. W, 2:74 Aadhegan, 6l Andhegpn59, 95 Vilujeng lÀ.P7,2:72 'S7induAji Asmarandana Sem¿uangan(P5), tagu, 107 SinomParijatha, Kl W, 298 (gerongan),l.d. P5,30 Af¿k-ayakan,86 Siyem,Ld. 56, 17 IFinduAji (sindhenan),td. 'WìndurA,ji, P5,31 .Ayun-ayun, lÀ.,lO4 SobrangBetawe n, lÀ. P7, 221 cd.P5,17 'Wirangrong, Ayun-Ayun (v.2), Ld., f 08 SobrangU.56,43 U,P6,152 Ayun-ayua G"*ng), Ld., 11f SopirBecahlågu P6, 186 Mting Klapa,Jineman 59, 136 Basanta,Kt. 153 Srepegan(Patalon) SM, 156 Bondhet, Gd.,46 (v.2) Srepegan 5M,243 Bondhet (Yogra) , Gd.,52 Srepepn (Y"Syd (". 3) 5M,244 Budheng-budhen1 Gd' 57 Srepegan(Y"g¡r) (". 4) 5M,245 Dhandhang Gula Turu La¡e, Seka¡ SrepeganP5, 4l Macapat, 200 SrepeganP6, l8l Dana'Wara, Kt.,157 SrepcpnP7,310 Duksina, KL, f 59 Srepegan56,37 Dupara, I-d., f 13 Srcpcgan59,132 Gambang Sulinp lagu, 183 S¡i Duhira,I.d.P7,253 Gambir Sawit Pance¡ana,Gd., 62 S¡i Kaloka,Ld.P7,256 Gleyung ld., 116 Sri Karongron,t"d. 59, I 16 Greget Saut, Ada-Ada, 197 Sri lGton (Paulon),L¿. SM, 152 Gunung Sari, td., 118 SriKaton (v. 2), Ld. SM,213 Janggleng lren6 lÅ., 721 Sri Katon(v.3), I-d.SM,2l4 Janggalana, I.Ã.,124 SriKaton, L¿.P7,264 Jugag (Mataraman), hgon, 87 Sri lketarta, Ld. P6, 139 J€ag, lagon, 196 Sri Lulut P7, 300 IGgok Rrspati, Gd., 68 Sri Rejeki,cd., P6, 95 IGgok Respati, U,126 SriRejeki, td. P6,98 Kagok Scmi, l-Ã,,127 SriSinuba, U.P6, l4/t Kembang Kacang Lagr, 184 S¡iMbawa, Ll. 59, f20 Kembang Pepe, Ld., 85 Sri Mdad¿, IÀ-P7,260 Kembang Pepe (v. 2), l-d., 129 Subatríastawa, Kr. P6, 170 Kontap, Kt., 160 SubalGstawa, Kt. 59, 122 Kumuda, Srepegan,182 Sudira'S7icit¡a,S-4. P6, 45 Kupu Kuwe, lagu Dolanan, 188 SukmaIlang (Paralon),Kt. SM, 153 Kuswa IØirangrong 162 SukmaIlang (v.2), Kt. SM,228 I-arasingrum, Ld., t30 SumedhangP6, 172 l.nng Gadhung LÀ.,132 Sumedhang,Gd. 59,96 Manggala Gita, S*4,.,73 270 The Vocal Notation of KRT.'Wasitodiningrar Mas Kumambang SekarMacapat, 201 IambangSari, Ingah, 232 Srepegan, 37 Mataraman,.Ada-ada, l3l Lançn Gita [Sri Narendm],Kt.,282 IØantah, Patetan,4l Menthok-menrhoklagu Dolanan,190 lançn Gita Sri Narendra,k.,284 Mijil ïØidawaten, 192 Jineman, LarasMa¡a, Kt., 286 Slendro Sanga ModernisasiDesa, Ln., 176 (v.2), laras Maya Kt., 288 Ayak-ayakan, 131 OnangonangGd.,74 Madyalalia, S.A-,244 Eling.eling Kasmaran, [d,, PurwaGilang, Gd.,84 90 Maesal-angir, Sekar Tengahan, 218 Gambi¡ Sawir (merong), Gd., 60 Puspalalita, SJq..,199 Megatnrh,k.,290 Gambir Sawit Sembung Gilang (inggah), Puspanjala, Kt.,164 Mijil Sulasui,Jineman, 315 cd.,63 Puspanjala(v. 2), Kt., 166 Moncer,lÅ'240 GambirSawit, Gd., 53 PuspaTajem,Kt., 168 Mugi Rahayu,IA.,242 Godril, Ln., 124 RandhuKentiç Gd.,88 NyataKowe Vasis, Lagu Dolanan, 314 Gandatrú¡suma, K¿ Gd., 67 RebengGd.,9I PancatNyana, Gd., 215 GandaSuli, 1.d., 69 RoningTawang,LÅ.,135 Pandilo¡i,Gd'2l9 Gonjang-pnjin¡oLd,98 SaraYuda, U, 137 Pangkur,U,246 Gonjang-ganjing (v. 2), IÀ, 102 SopirBecak,Lagu, 186 Pangkur,Palaran, 319 Hutama,U.,104 Srcpegan,l8l Pucung,Kt.,292 Jongþng Kt. Gd.,70 Sri lGetarta, U, 139 PuspaGiwang Kt,294 Sri Rcjeki,Gd., 95 Jonþng,f.d.,7l RetnaMulya, S-þr,259 Pathetan,l38 Sri Rejeki,Id., Jugag, 98 Sandhun6Kt.,296 trGgokMadura, Ld., 106 Sri Sinuba,LÀ.,144 Sed¡aAsih,LÅ'251 KidangTalun, Ln.,125 SubatrGstawa, rc., 170 SinomParþtfia,Rt,298 Iangen.Asmara, Si-, f 15 SudimIficitr¿, S.4,45 SobrangBetawe n, l-ð,.,221 Mangun-kungGd. Kemanak,139 SumedhanpKr, 172 Srepegan,310 Mijil l:nsati, Ayak-ayakan,126 SurungDhayung (Y"g¡a), td., I48 SriDuhia, LÅ.,253 Pakumpulan,kl., 109 SurungDhayunglÀ.,146 Sri lGloka,LÀ.,256 Pangkur,Ld., 111 Tirta Kencana,kl., 150 Sri Luluç Kr., 300 PurnamaSidi, K¿ Gd.,73 Tropong Bang Ln, 178 SriMdada,L.¿..,260 PurnamaSidi, [d.,75 Tulis Kresna,lagu Dolanan,191 S¡ilGton, U.,264 Pu¡namaSidi, Bubar¿n,78 TunæalJiwa, k., 174 Sumyar,IÃ.,266 PurnamaSidi (v. 2), Kt. Gd., 79 Uler Kambang Jineman,193 Tatanya,Jineman, 316 PurnamaSidi (v. 2), LÅ.,83 IØaditra,Ln., 180 Tcbu Sauyun,lÁ., T70 Renyep,Gd., 87 ïØantahandJugag, Pathean, 195 Vader¿, 'S?irangrong 'WanmhBubar¿n, 307 RondhaMalam, [ã., 114 L,Å.,152 (manyura),Paúretan, 321 Sinom Logondhang [SckarMacapat] \tretah, I-agon,325 Andhegan,95 Pelog Barang lfrdaSari, Gd'225 Srepegan,132 Ada-ada,IØayang Golek, 324 Vilujeng IÀ.,272 SriKarongron, tl., 116 .¡{smarandana,U.,211 Itrilujeng (v. 2), IÀ., 274 Sri Wibawa,U.,120 .Asmarandana(v. 2), I.Ã.,233 SubaKastawa, Kr.,122 AsmarandanaJakal ale, IÅ., 236 PelogNyamat SumedhangGd.,96 Ayak-ayakan,222 Pangkur,l-¿.,333 Uler l(ambang 134 'WalangtrGkeþJineman, Bima Ku¡da,LÃ'238 Ln., 133 Boyong Gd., 205 'Wantah, Slendro Nem 'Westminster,Pathetan, 137 Brondong Menatl, Andhegeu 277 Badnnaya,IÀ.,27 [d.,65 BrondongMentti, Kt., 275 DiradaMea, Ld., 29 Viring Klapa,Jineman, 136 C-andr¿Asmara, S A., 245 Gambuh, SekarMacapau 49 Dhahana,Ln.,303 Gambuh (v. 2), SckarMacapat, 50 Slend¡oManyu¡a Du¡ma, Ada-ada,326 Gi¡isa,Ada-ada,44 AIm Duwe Pitik, l,aguDolanan, 248 Durma, Sekar Macapat,329 GurnangS-4",48 .Argopeni,1.d., 186 cajah-gjah, lagu Dolanan,312 Hasta KuswalaAgcng Ada-ada,45 Asmarandana,Ld., 188 Gambuh,Kt'278 Hase KuswalaAIit, Ada-ada,46 A¡ak-ayakan(Patalon), I 54 G r, Ayak-,{¡'akan, þr-gþ 309 Jugag Pathenn,42 Ayak-ayakan(v.2),235 Gora Marga,I-ag't,263 IGbo¡ Gd.3 Ayun-ayun,I-d,, l9l Greget Saut,Ada -eda, 327 Kedhu,Parhean,43 Bua Galak,lagu Dolanan,249 Gugur Gunung Ln.,305 Kloloran,Sendon,47 CarangGantun g Gð., 143 GunungSari, Kt.,279 Kocak,Gd.,7 Cel{ilçrck,Andhegan, l7l Hasri Katon, Gd., 209 Ka¡¿witan,Ld.,4 Cuor¡ Bawuk,Gd., 148 Hasri Katon, SckarMadya, 330 Lokananra,Gd., l0 Emplek-emplekKetepu" Ln., 230 Ili¡-ilir, Palar¿n, 318 l,okanann(v. 2), Gd, 16 Gajah-gajah,lagu Dolanan,251 IGæ, lagu Jago Dolanan,313 Majemuk,Gd., 19 Gegot,Srepegan, 246 Pathecan, Jugag, 323 Mentaraman,Ada-ada, 198 Genes,Gd., 157 (slendro),Pa¡hean, Jugag 322 Pcnghijauan,Lagu,39 Ginonjing I.Ã.,194 (v. 2), Parhean,327 Jugag Pucung SekarMacapar, 48 Gonjing Miring Gd., 160 Kambang Flates,Kr, 281 Pujangga,Gd., 23 tagon,260 Kinanthi, Sekar Jugag [Macapat],Lagu Laras Remeng,Ld,,32 Parhean,259 Madya,328 Jugag Rena-rena,Ln., SM Í561,233 IGgokLiwung 1.d.,198 Kuwi Apa Kuwi, Lågr¡,31 1 Sþm, ld., 17 Kaloran, A¡rak-ayakan,237 lagon, \ØayangGolek, 324 Sobranpld.,43 KembangKates,Kr,276 Indexes271 KembangPete, LÅ,,146 lndexby form PanetNyanaP7,215 Kinanthi PadhangBulan, Gd.,164 PandiloriP7, 219 KandhaManyua, I.Å,.,199 Pujangga56, 23 Kuswa Rap, SekarMadya, 165 Âdâ-Ada Pu¡namaSidi, Kt. Gd. 59,73 Kuurt Manggunp Andhegan,170 GregetSaut P6, 197 Pu¡namaSidi (v. 2), Kr. Gd, 59, 79 Kuut ManggungGd., 166 Ada-ad¿,V ayangG olekP7, 324 PurwaGilang P6, 84 Kurut Manggung,Ld., 168 DurmaP7,326 RandhuKentir P6, 88 I-ambangSari, G¿,., 172 Girisa56, 44 RebengP6, 9l LambangSari, Ingah, 174 GregerSaur P7, 327 Renyep59, 87 l,ebdaJiwa, Bttban¡, 234 HastaKuwala Açng 56, 45 Seka¡Puri SM, 184 Lobong Gd.,176 Hasta[ûswala Alir 56,46 Sri RejekiP6, 95 Madu Murti, Kt.217 MataramanP6, 131 Sumedhang59, 96 Madu Retna,S.,4*, f75 Mentar¿man56, 198 TejaNata P5,8 Mi j il Ïøedaringrf¿s,J ineman,257 TejaSari P5, 14 Mijil, Ayak-ayakan,239 ,{ndhegan 6c Selingan WidaSariP7,225 Mijil, SekarMa c:;par,262 Asmaranda¡aSemí¡rangan, P5, p. 107 T7induAjiP5, 17 Monce¡,I-¿..,201 Arum-arum@udhengbudhcng) P6, 61 Orek-orek Montore Mabur, Lagu,247 BrondongMenruIW,277 Gendhing IGmmaIc Paman Tani, l:gu Dolanan,252 Cek¡lüekSM,171 Mangun-kung59, 139 Pangkur (ngelik), l-d..,206 KututManggungSM,170 Pangkur,U.,203 Sinomlogondhang 59, 95 Inggah Patalon,see Gd. Cucur Bawuk,148 Gilang Pawukir,218 GambirSawit Sembung 63 Ark-,{yakan SariSM, 174 PrabuAnom, IÁ,,208 Iambang Giyar-giyarP7, 309 l-zmbangSariP7,232 Pucung SekarMacapar, 263 Ayak-ayakanP6, 86 ancenna,P 6, 62 Puspanjana,I"¿,.,182 Gambir SawitP Ayak-ayakanP7,222 Pa¡eA¡om, SM, f PuspaVama, Kc,220 51 '¡t¡'ak-aYakan56' 36 PuspaIØama (v. Z),Yr.,222 Ayak-ayakan59, 131 Rena-rena,L¡'233 Jineman Ayak-ayakanßatalon) SM, 154 Mijil \ØcdaringryasSM, 257 Ris-i¡isanPandhan, l-agu Dolanan, 253 ¡ak-ayakanSM, 235 Ris-i¡isanTela, Mijil S7ìdawatenP6, 192 Lagu.Dolanan, 254 KaloranSM, 237 Rujaklen¡k,U,210 Mijil SulastriP7, 315 Mijil larasati59, 126 Tat:nyzP7,316 SandhungKt.,224 Mijil sM,239 SekarPuti, Gd., 184 Uler KambangP6, 193 Umbul DongaSM, 241 SekarTeja, Kt ,226 Uler IGmbang59, 134 Sepuran,Lagu Dolanan, 255 I7idng Klapa59, 136 Buba¡a¡ Srepegan@atalon), 156 Srepegan(v.2),243 LebdaJiwaSM, 234 I(eawang PurnamaSidi 59,78 Srepegan¡Yorya) (v. 3) 5M,24 BasanmP6, I53 YadenP7,307 Srepegan(Y"g¡r.) (v. 4) 5M,245 Brondong Mennrl P7, 275 Sri Katon (Patalon),IÅ,.,152 DanaI[a¡a P6, 157 Sri Katon (v. 3), LÃ., 214 Gendhing Dulsina P6, 159 Sri Katon(v.2), LÅ., 213 Bondhet,P6,46 Gambuh P7, 278 Sukmallang (Paulon),153 Bondhet(togjra)P6,52 Gunung SariW,T79 Sukmallang (v.2), 22Å BoyongP7,205 Ibu PertiwiP5,32 Tebu Kasol,S-A-, 261 Budhcng-budhengP6,57 KembangKates SM, 2t6 Tukang l(a¡r, lagu Dolanan, 256 C.arangGantung, SM, 143 I(ambangKates P7, 281 Umbul Donga,Ayak-ayakan, 241 Cucur Bawuk,SM, 148 IGntap P6, 160 IØantah,Patletan,258 GambirSawit (merong), 59, 60 Ktswa ï?irangrongP6, 162 Gambir Sawit Panærana, P 6, 62 I-ançn Gita [SriNarendr¿]P7,282 Gambi¡Sawit 59, 53 Lançn Gita SriNarendraP7,284 GenesSM, 157 Lans Maya P7, 286 GonjingMiringSM,160 IarasMaya (v.2)P7,288 GandaKusuma Kc Gd. 59,67 MaduMuni SM,217 HasriKaton P7, 209 Megtnrh P7, 290 Jongkang,Kt. Gd. 59,70 PangkurNgrenasmara P5, 34 IGbo¡56,3 PawukirSM, 218 K?gok RespatiP6, 68 PuangP7,292 Kinant]¡iPadhang Bulan SM, 164 PuspaGiwangP7,294 Kocak,56,7 PuspanjalaP6, 164 KututManggungSM, 166 Puspanjala(v. 2) P6, 166 lambangSari SM, 172 PuspaTajem.WarrnP6, 168 l,obon6 SM, 176 Puspa SM, 220 I¡k¿nanta56,l0 Puspa\flarna[2)5M,222 l¡kanana (v. 2), 56, 16 SandhungP7,296 Majemuk56,19 SandhungSM, 224 Ma¡ang Mekar P5, 3 Santi-sundaP5, 36 Onang-orang,P6,74 SekarTeja5M,226 272 YocalMusic of KRT. \Øasitodiningrat Sinom ParijathaP7, 298 RoningTawang P6, 135 Emplek-emplekKerepu SM, 230 Sri Lulut P7,300 RujakJenrkSM, 210 God¡il 59, 124 SubatrGstawa P6, 170 SaraYuda(Soroyudo) P6, 137 Gugur GunungP7, 305 Suba}äsmwa 59, 122 SedyaAsih P7, 251 Kidangtalun 59, 125 Sukmallang @aalon)SM, 153 SembawaP5, 28 ModernisasiDesa P6, 176 SukmaIlang (v.2) SM,2?Å Sþm s6, 17 Rena-renaSM, 233 SumedhangP6, 172 SobrangBetawenP7,227 TropongBang P6, 178 'SØaditr¿ TungalJiwa P6, 174 Sobnng56, 43 P6, lB0 T[edyasmaraP5, 38 Sri Duhita P7,253 IØalangKekek 59, 133 S:iKalol 274 TheY ocalNotation of KRT.'Wasitodiningrar A1aÞ-A1atrøn P¿laran Sendhon Gþr-giyar,309 Ilir-ilir,318 Klolor¿n,47 Ayak-ayakan,222 Pangkur,3l9 Srcpegan Bubaran Pathetan Srepepn,3T Yaden,307 Jugag(slendrd, 322 Gcndhiag Jwe(v.2),327 Slendro Sanga Boyong,205 Jws,323 'W'anmh Andlxgøn HasrilGton,209 (manyura),321 Sinom lngondhanp 95 PancatNyana, 215 SeÞørAgng Pandilori,219 Candr¿ Asmara, 245 Ayøh-ayhan TffÅaSari,225 MadyaI-alita,2M Âyak-ayakan, 131 Mijil Lansati, 126 Ingah Rctna Mulya, 259 LambangSari,232 Sehar Møcøpdt Bubarøn PurnamaSidi, 78 Jirutnan Dwrma,329 Mijil Sulastri,315 Kinanrhi, lagr lans lvladya, 328 Gndhing Tatanya,316 SeÞzrMadlø Gambir Sawir (mcrong), 60 Gambir Sawit Sembung Gilang I{ctauøng Hasri Katon, 330 (inggah),63 BrondongMentul, 275 Sektr Tengøhan Gambi¡ Sawit, 53 Gambuh,278 Maesa l¿ngir, 218 Ganda Kusuma, Kt. Gd.,67 GunungSari, 279 Srepegan Kt. Gd.,70 KambanglGtes, 281 Jongkang, Srepegan, Purnama Sidi, Kt. Gendhing 73 LangenGita Narendra],282 310 [Sri Purnama Sidi (v. 2), Kt. Gendhing 79 lançn Gia Sri Narcndra,284 Renyep, 87 IarasMa¡a, 286 Pelog Nyamat Sumedhang 96 Iaras Maya(v. 2),288 Ladrang Gndhinglhtatøh Megatnrh,290 Pangkur,333 Puang292 Mangun-kung, 139 PuspaGiwang 294 Slendro Nem Ingah Sandhung296 Gambir Sawit Sembung Gilang 63 SinomParijatha, 298 Ada-a¿z S¡i Lulut, 300 Gins,44 Jinnnøn Hasta Kuswala Uler Kambang 134 Ladrang Ageng 45 Hasta Kuswala Alir, lØiting Klapa, 136 Asmarandana,211 46 Menarama¡, 198 .Asma¡andana(v. 2), 233 IGtøaøng Suba Kastawa, 122 AsmarandanaJakalaJa, 23 6 Alah-ayøÞan Bima Ku¡da"238 Ayak-ayaløn,36 Ladrang Moncnr,240 Gendhing Eling-eling Kasmaran, 90 Mugi Rahayu, Ganda 242 IGbor, 3 Suli, 69 Pangkur,246 Kocak,7 Gonjang-ganjing 98 SedyaAsih,251 l¡kananta, t0 Gonjang-ganjing (v. 2), 102 SobrangBeawen, 221 l,okananta (v.2), 16 Hutama, 104 Sri Duhia,253 Majemuk, 19 Jongkang,7l Sri Kaloka,256 Pujangg,23 KagokMadura, 106 Sri Vidada, 260 Pakmpulan, 109 Sri Katon, 264 I-adrøng Pangkur,111 Sumyar,266 Badranaya,IT PurnamaSidi,75 Tebu Sauyun,270 Dirada Mee, 29 PurnamaSidi (v,2),83 Vilujeng,272 Kar¿witan,4 Rondha Malam, 114 Vlaleng(v.2),274 Remeng, 32 Sri Karongron, I 16 Siyem, 17 Sri \Øibawa, 120 Lø.gon 'l7estminste¡, 'Wayang Sobrang 43 65 I-agon, Goleb 324 ]Veah,325 Løgt¿ Iznøran Penghijauan,39 Iøgu God¡il, 124 GonMarga,263 Patheøn KidangTalun, 125 KuwiApa Kuwi,3lI J"æg,42 Valang IGkelc 133 IGdhu,43 Izgu Dohnan 'Süantah,4l Patlteøn Galah-gaj^h,312 Jueag, 138 IXIanuh, 137 JagoIGte,313 SekørAgeng Nyata l(owe ÏØasis,314 Gurnang 48 Sehar.Agcng L¿ncøran SchørMacapøt fançn.Asman, l15 Dhahana,303 Gambuh,49 ScÉarMacapdt (v.2),50 Gugur Gunung 305 Gambuh Sinom logondhang 95 Pucung 48 Indexes 275 Srepegan Buta Galak,249 Piecesin Bedhayanstyle Srepegan,132 Gajah-gajah,251 PamanTani,252 GleyungLÅ.P6, 116 Ris'irisan Pandhan, Gonjang-ganjing(v. 2), td. 59, 102 Slend¡o Manyr¡¡a 253 Ris-irisan Tcla, 254 Hutama,td. 59, 104 Andhcgan Sepuran,255 KembangPepc, Lrl. P6,85 Cekik¡eh lZl Tukang IGyu, 256 KembangPepe (v.2),1À.P6, 129 Kutut Manggung, 170 Kinanthi PadhangBulan, Gd. SM, 164 Izncaran KandhaManyura, td. SM, 199 A1øÞ-øyøhzn Emplek-cmplek Ketepu, 230 langenGita Narendra]P7,282 Ayak-ayakan f [S¡i @atalon), 54 Rena-rena,233 langenGia SriNa¡endr¿ P7,284 Ayak-ayakan (y.2),235 Padteøn Playon,lÅ. P5,24 Kalonn,237 Playon(v. 2),1À.P5,26 Mijit,239 Jug,g259 Sembawa,U.P5,28 UmbulDonga,241 Ifanmh, 258 SumedhangP6, 172 ScÞarAgmg Bubaran SurungDhayun9 LA. P6, 146 Madu Retna, 175 Le,bdaJiwa,234 TCilujengU.P7,272 Tebu lGsol, 26I Gcndhing SeÞø.lulacapat CarangGanung 143 Pieceswith Andhegan Cucur Bawuk, 148 Miiit,262 Genes,157 Pucung263 Ayun-ayun,LÅ.P6,1O4 Gonjing Miring 160 ScÞarMadya Ayun-ayun(v. 2), td. P6, 108 KÌnanthiPadhang Bulan, I 64 KuswaRåga, 165 BrondongMennrl, Kt. W, 275 Budheng-budheng, Gd. P6, Kutut Manggung 166 SrEegøn 57 Eling-elingKasmaran, ld. 59, 90 LambangSari,172 Gepu246 lobong GambirSawit, Gd., 59, 53 176 Srepegan 156 @atalon), Ginonjing Ll. SM, 194 SekarPuri, 184 Srepegan(v.2),243 Gonjang-ganjinglrl. 59, 98 Ingah Srepegan 244 ÇYoWa)k. 3), trGgokRespati, Gd., P6,68 IambangSari, 174 Srepcgan(Yoga) (v. 4), 245 KembanglGcang, lågu P6, 184 Jirctnan Kutut Manggung,Gd. SM, 166 Mijil IØcdaringryas,257 lnbong, Gd. SM, 176 IGøwøng Pu¡namaSidi (v. 2), i.d. 59, 83 KembangKates, 216 Sri Kaloka,l-d.P7,256 Madu Muni,2l7 ìØidaSa¡i Gd.,P7,225 Pawukir,218 Puspa!Øarna, 220 Bawa PuspaVarna (v. 2),222 Sandhunp224 Gndra Asmar¿S.4.., lampah 16 pedotan SekarTeja,226 8-8 P7 (fo¡ ld. Panglarr),245 SukmaIlang (Paralon), 153 KuswaRaga, Sekar Madya SM (for Gd. Sukmallang (v. 2),228 Ifutut Manggung),165 langenAsmara, S-4-, lampah t4 pedotan Lødrang 6-8 59 (ForLxl. Sri llarongron),I 15 Argopeni,186 Madu Rcma,S.A, lampah12pedor:.n5J Asmarandana, 188 SM (for Gd. tobong), 175 Ayun-ayun,191 MadyaLalia, S.À, lampah9 pedoan54 Ginonjing 194 P7 (for t d. Paogkur),2M IGgok Liwung 198 Mangala Gita"S.4-, lampah 15 pedotan8- KembangPete, 146 7 P6 (for Gd. Onang-Ornng),73 Kandha Manyura, 199 RetnaMulya, S.À, lampah12 pedotan4- Kutut Manggung 168 44P7 (forlÀ,. Sri fØidada),259 Moncer,201 SudiraMcitr¿, S.i{",lampah 12 pcdotan5- Pangkur(nçlik),206 7 P6 (for Gd. Bondhet),45 Pangkur,203 PrabuAnom,208 Puspanjana,182 Pieceswith lrama l. ll and lll RujakJeruk,210 Sri Katon (Patalon),152 Argolagu,td., P6, 101 Sri lGton(v.2),213 .Asma¡andana,t,d. SM, 188 Sri Katon(v.3),214 Ama¡andana,U.P7,2ll ,{yun-ayun, lÅ,. P6, 104 I-agon Ayun-ayun(r. 2), td.P6, 108 Jluær,260 Eling-eling IGsma¡¿n,Ld. 59, 90 Løga GunungSari, kl. P6, 118 O¡ek-orek Mon to rc Mabw, 247 Jangglenglren6 LÅ. P6, l2l Pangkur,L¿ 59, lll I-øguDoktan Pangkur,L"d. SM, 203 Aku Duwe Pirik, 248 Pu¡namaSidi (v. 2), Id. 59, 83 276 The VocalNotation of KR-T.'Wasitodiningrat Sri trGloka,LÅ.P7,256 Sri Karongron,Ld. 59, It6 Sri Kretarta,l-d,. P6, 139 Sri Mdada, LÅ.P7,260 Sumyar,f.d.P7,266 Pieceswith lramalV Majemuk,cd. 56, 19 Onangonang Gd.P6,74 Pangkur,U.P7,246 Piecesin Yogya style ,{da-ada,I7ayang Golek PZ 324 Brondong MenaÅ, And\egan W, 277 BrondongMennrlP7,275 Jugag(Mataraman), I¡gon P6,87 Jug¿g,t^agon P6, 196 Jup6 lagon SM, 260 hgon, WayangG olekP7, 324 Srepegan(Yogra) (v. 3) 5M,24 Srepegan(Yogla) (". 4) 5M,245 SrepeganP7,310 SurungDhayung (Y"g¡¿), LÅ.P6, 148 IØetah,Lagon P7,325 Compositionsby K.R.T.Wasitodiningrat Argolagu,Ll. P6, l0l Agopeni, Ld. SM, 186 Basanta,Ks P6, 153 Dhahana,Ln.P7,303 DanaVam,k.P6,157 Duksina,Kt. P6, 159 Dupara,l"d. P6, 113 Gora Marga, Lag,:,P7, 263 GugurGunung Ln.P7,305 Kontap,Kt P6,160 Kupu Kuwe,l:gu DolananP6, 188 Kuwi Apa Kuwi, LaguP7, 3ll Manjilo,l-Ã.P5,22 Mijil Vidawaren,Jineman P6,192 ModernisasiDesa, Ln. P6, 176 PamanTani, lagu DolananSM,252 Penghijauan,lagu 56, 39 PurnamaSidi, Bubaran59,78 PumamaSidi, Gd. 59,73 PumamaSidi, td. 59,75 PurnamaSidi (v.2), Gd.59,79 PumamaSidi (v. 2), td. 59, 83 Puspalalita, Sá. P6, 199 RondhaMalam, Ll. 59, 114 Sepuran,Lagu Dolanan SM, 255 Sopir Bccalst"agu P6, 186 Sri Duhita,LÅ.P7,253 Sri Lulut, Kt. P7,300 Tatanya,Jinem aî P7, 316 Tukang IGyu, lagu Dolanan 9]li/.,256 Tulis K¡esna,lagu DolananP6, l9l Vadera,Bubaran P7, 307 T?aditra,Ln. P6, 'lfedyasmara, 180 Kt P5,38 !flelasenA¡ih, Ln. 'Wesrminsrer, P5,40 Ld. 59, 65 lndexes 277