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Gamelan Cto 1.Mus Skala-Niskala Concerto for Keyboard and Balinese Gamelan Bill Alves ©1998 Skala-Niskala Concerto for Keyboard and Balinese Gamelan Bill Alves Instrumentation: Piano or other keyboard tuned to match the gamelan Kantilan (2 parts) Written range: D4 - C#6 (10 keys), sounds one octave higher than written Pemade (2 parts) Written range: D4 - C#6 (10 keys) Ugal Written range: D3 - C#5 (10 keys) Reyong (2 parts on one instrument) Written range: E4 - G#6 (12 pots) Penyacah (optional) Written range: E4 - A5 (8 keys). Some penyacah are in a different octave or have fewer keys. It is permissible to adjust this part to fit the available instruments. Jublag Written range: C#4 - A4 (5 keys). Jegogan Written range: C#3 - A4 (5 keys). Kempur/Gong Written as pitches C#2 and A2, though the absolute pitch of these instruments is not important. Other instruments, such as ceng-ceng, kendang, kempli, or kemong are not used. The piece may be adjusted to accomodate variations in instrumentation found in many Balinese gamelan. This piece may be played either with the full complement of parts as shown above, or with only one of each pair of metallophones (either pengisep or pengumbang). The detuning that is normally a part of the sound of the Balinese gamelan is not necessary in this piece. Performance notes: Notes notated with a staccato should be immediately damped. In sections where there is kotekan (interlocking parts), the notes should be damped after each sixteenth note, even though, for notational convenience, they may be shown in the duration of an eighth note. All other pitches should be damped normally. Dynamics shown are meant in a relative sense, as some instruments, such as the jublag or jegogan, have a limited dynamic range. Though no dynamics are indicated for the gong and kempur, slight variations that follow the overall dynamics of the ensemble may be desirable. Skala-Niskala Concerto for Keyboard and Balinese Gamelan I. Bill Alves Fast, but free tempo (gineman) # # 1U U U & # 4 Ó Ó ∑ ∑ ∑ Ó ‰ ‰ Œ Keyboard # U U U ? ## 4 Ó Ó ∑ ∑ ∑ Ó ‰ ‰ Œ 6 6 . œ U Kantilan 1 # # 4 U . œ œ œ. œ œ œ œ œ J œ œ U j & # 4 ˙ œ œ ‰ Œ ∑ ‰ œ œ J J œ œ ˙ ˙ œ œ ‰ ‰ œ 6 . f 6 œ œ . œ U Kantilan 2 # # 4 U . œ œ œ œ. œ œ œ J œ œ U j & # 4 ˙ œ œ ‰ Œ ∑ ‰ œ J J œ œ ˙ ˙ œ œ ‰ ‰ œ 6 6 . f 6 6 . œ œ . œ U Pemade 1 ### 4 U˙ œ œ. œ œ œ œ œ. œ œ œ œ œ œ J œ œ œ œ œ. œ œ œ œ œ J œ œ œ U j & 4 ‰ Œ J J J J œ ˙ ˙ œ œ ‰ ‰ œ 6 6 . f 6 . œ 6 . œ Pemade 2 # U . œ œ œ œ œ . œ œ œ œ œ U U ## 4 ˙ œ œ. ‰ Œ œ œ œ œ œ œ J œ J œ œ œ œ œ œ J J œ œ ‰ ‰ j & 4 J J œ ˙ ˙ œ œ. œ f Ugal # # U j j U U & # 4 ‰ Œ j œ œ œ j œ œ œ ‰ ‰ j ˙ œ œ œ œ. œ . œ œ œ. œ . œ œ f . œ ˙ ˙ œ œ. œ Penyacah* # # 4 U U U & # 4 Ó Ó ∑ ∑ ∑ Ó ‰ ‰ Œ Jublag # # 4 U U U & # 4 Ó Ó ∑ ∑ ∑ Ó ‰ ‰ Œ Jegogan # U U U ? ## 4 Ó Ó ∑ ∑ ∑ Ó ‰ ‰ Œ Reyong # # U U U & # 4 Ó Ó ∑ ∑ ∑ Ó ‰ ‰ Œ Reyong # # U U U & # 4 Ó Ó ∑ ∑ ∑ Ó ‰ ‰ Œ Reyong # # & # 4 ∑ ∑ ∑ ∑ ∑ Reyong # # 4 & # 4 ∑ ∑ ∑ ∑ ∑ Kempur Gong # U U U ? ## 4 Ó Ó ∑ ∑ ∑ Ó ‰ ‰ Œ *If available Skala-Niskala 2 A In tempo ( 108) Kantilan 1 Ú œ œ ### œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ. œ œ œ œ œ œ œ œ. œ œ œ œ. œ œ Kantilan 2 ### œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ. œ œ œ œ œ œ œ œ. œ œ œ œ. œ œ œ œ Pemade 1 ### œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ. œ œ œ œ œ œ œ œ. œ œ œ œ. œ œ Pemade 2 ### œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ. œ œ œ œ œ œ œ œ. œ œ œ œ. œ œ Ugal # # & # œ j œ œ œ œ œ . œ œ œ œ œ. œ œ œ œ œ œ œ œ. œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Kantilan 1 # # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & # œ œ œ œ œ œ ‰ ‰ ‰ ‰ ‰ Kantilan 2 # # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ ‰ ‰ ‰ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ Pemade 1 # # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & # œ œ œ œ œ œ œ Pemade 2 # # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Ugal # # & # j j œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ. œ œ œ Skala-Niskala 3 Kantilan 1 # # œ U & # œ œ œ œ ‰ Œ ∑ ∑ œ œ ˙ œ œ. Kantilan 2 # # œ U & # œ œ œ œ ‰ Œ ∑ ∑ œ œ ˙ œ œ. Pemade 1 # # œ U & # œ œ œ œ ‰ Œ ∑ ∑ œ œ ˙ œ œ. Pemade 2 # # œ U & # œ œ œ œ ‰ Œ ∑ ∑ œ œ ˙ œ œ. Ugal # # U # ‰ ŒB Free tempo ∑ ∑ & œ 6 6 6 6 œ œ œ . œ œ œ ˙ œ œ œ œ œ œ œ. œ œ œ œ œ. œœœœ œœ œœ œ œ œ œ œ. œ œ œ œ œ. œœ œœ Reyong # # . J J J J J & # ∑ ∑ f 6 6 6 6 . œ œ œ œ. œ œ Reyong # # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & # ∑ ∑ J J J J J f 6 6 6 6 Reyong . ### œ œ œ œ œ. œ œ œ œ œ. œœœœ œœ œœ œ œ œ œ œ. œ œ œ œ œ. œœ œœ & ∑ ∑ J J J J J f 6 6 6 6 Reyong # # j j j # ∑ ∑ j œ œ œ œ œ œ œ j œ œ œ œ œ & œ œ œ œ œ. œ œ . œ œ œ œ. œ œ œ œ œ. œ œ . œ œ Wood of the mallet on the rim (cek). f 3 In tempo œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ ˙˙ ‹ ‹ ‹ ‹ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Reyong # ## Œ J J J J & 3 œ œ œ œ œ œ œ œ œ œ ˙ Reyong # # œ œ œ œ œ œ œ œ œ œ ˙ ‹ ‹ ‹ ‹ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & # Œ 3 Reyong # # œ œ œ œ œ œ œ œ œ œ ˙ œ œ œ œ & # œ œ œ œ œ œ œ œ œ œ ˙ ‹ ‹ ‹ ‹ Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3 J J J J Reyong ### œ œ œ œ œ œ œ œ œ œ ˙ & œ œ œ œ œ œ œ œ œ œ ˙ ‹ ‹ ‹ ‹ Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Kempur Gong ? ### ∑ Ó Œ ∑ ∑ œ Skala-Niskala 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Reyong # # & # J J J J J J J J Reyong # # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & # Reyong ### œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & J J J J J J J J Reyong ### & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ C Free tempo 27 # # & # ∑ ∑ ∑ ∑ Keyboard ƒ # ? ## ∑ ∑ Ó Œ ‰ j œ w œ w Kantilan 1 # # j œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & # Ó ‰ œ œ œ ∑ ƒ Kantilan 2 # # j & # Ó ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ∑ ƒ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Pemade 1 ### j œ œ œ œ & ‰ œ œ œ ∑ ƒ Pemade 2 # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ## j œ œ œ & ‰ œ œ œ ∑ ƒ Ugal # # & # ∑ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ∑ œ œ œ œ œ œ œ œ œ œ ƒœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Reyong # # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & # J J ∑ ƒ Reyong # # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & # ∑ ƒ Reyong # # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & # J J œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ∑ ƒ Reyong ### & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ∑ ƒ Skala-Niskala 5 31 œ œ œ .
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