The Best Sound of Bali (Part 3) CD
£10.80 (inc VAT)
Age 4 - 18+
- L 14cm x W 13cm x H 1cm
- Stock: 8
Track 1: Gamelan Balaganjur, Banjar Bindu Mambal, Badung (10:22)
Gamelan Balaganjur is a processional ensemble consisting of hand-held Gongs, small tuned Kettle Gongs, eight pairs of Crash Cymbals (Ceng Ceng Kopyak), and two large drums (Kendhang Lanang and Wadon) played by thirty musicians. Balaganjur music is rooted from a standard formal structure, or Tabuh, known as Gilak. Gilak is defined by an eight-beat Gong cycle that normally repeats continuously throughout an entirely Balaganjur performance.
Track 2: Gamelan Bebarongan Jagul Ubud Gianyar (7:08)
One of the instruments for the opening piece played in Barong Dance performance is called Jagul. This piece is played in Gamelan Bebarongan which is typically the same as gamelan Semarapegulingan or Gamelan Palegongan except for the role of drumming technique that used a middle-size drum (Kendhang Bebarongan) played with stick mallet. The word Jagul refers to a giant fish which enjoys playing with the wave and swimming deep in the ocean.
Track 3: Gamelan Selonding Rejang Dewa Tenganan (5:21)
The village of Tenganan Pegringsingan is famous for their Selonding Gamelan which consists of a very old iron bar placed on top of a wooden box resonator. Selonding Gamelan is played only for ceremonial event in the villages that have a ritual belief and especially to accompany Rejang Dance. Selonding Gamelan has a musical characteristic which is sometimes slow and soft and suddenly will turn into very dynamic variation followed with a melodic and rhythmic configuration technique called Kotekan.
Track 4: Gamelan Genggong Ontal-Ontil Batuan Gianyar (6:54)
Gamelan Genggong is one of the traditional Balinese music based on an instrument called Genggong, also known as Jaw Harp. Gamelan Genggong consists of many different kinds of percussion instruments such as Kendhang (drum) as a leading tempo, Tawa-Tawa (Boss Gong) as a time beater, Klenang (Kettle Gong) as the alternate time beater, Rincik (a set of small Cymbals), Guntang (Slating Bamboo instrument) as punctuation instrument and Gong Pulu (a pair of bars with box resonators). The song Ontal-Ontil is a dance piece which describes children who are playing eagerly to catch dragonflies using sticks with glue at the end.
Track 5: Gamelan Rindik Joged Bumbung Jangkrik Tenganan (5:29)
Tenganan Village besides being famous with its Selonding Gamelan, it is also famous with their Rindik Gamelan. Rindik is also known as Gamelan Joged Bumbung which is an instrument made of a tube of bamboo being cut down on the tip to make beautiful sound. Rindik Joged are tuned to a Slendro scale and played with two rubber-tipped mallets.
Track 6: Gong Suling Sinom Ladrang Ubud Gianyar (5:33)
The Gong Suling ensemble is known as the descendant of Gong Kebyar orchestra except the missing of the instrument Trompong and Reyong. All the melodic instruments (metallophones) used in Gong Kebyar are replaced by Sulings (Balinese flute). About 24 musicians are involved and they play Suling Demung, Suling Penyacah, Suling Pemade, and Suling Pemetit. The song played in this anthology is originally a repertoire in Gamelan Semarapegulingan performed with male vocal called Tandak.
Track 7: Kecak, Ubud Gianyar (4:31)
Kecak or Cak or Monkey Dance is a very popular Balinese dance. There are 75 up to 200 men singing and chanting interlocking patterns. The sounds ‘Cak! Cak! Cak!’ are collaborating with a rhythmic group divided into Cak Telu, Cak Lima, Cak Nam, and Cak Pitu produce a very dramatic sound. Besides the basic chanters in the chorus, a few other special chorus members produce multi-layered vocal chanting of Kecak. These include the beat keeper or Juru Kemplung, the melodic leader or Juru Gending, the soloist or Juru Tembang, the narrator or Dalang, and the chorus leader or Juru Tarek.
Track 8: Sanghyang Jaran, Ubud Gianyar (5:54)
The Sanghyang Jarang dance is one of the ritual dances which describes an expression of dancers that ride horses and step right into a fire ball. To start this dance, the dancer must be put into trance through a process of ceremony called Pedudusan. A group of men who are chosen to become Sanghyang sat cross-legged to pray in front of incense smoke led by a Pemangku (a Priest). The song of male choir calls the spirit of Sanghyang Jaran by singing special chants, in which the spirit is invoked.
Track 9: Sanghyang Dedari, Ubud Gianyar (3:59)
Another form of Sanghyang dance is Sanghyang Dedari dance. This dance is performed by two little girls who are still pure. They will become heaven nymphs by inhaling incense, accompanied by Cak chorus chant. The song of a female choir calls onto the heaven nymph Supraba to be present.
Track 10: Gender Wayang, Sukawati Gianyar (4:32)
The Quartet Gamelan Wayang, are suspended metallophones consisting of a pair of ten-key, Slendro-tuned in a medium register and another pair is tuned higher. The musician used two mallets in his left and right hand to play independent parts. Gender Wayang is usually played to accompany Wayang Kulit (Shadow Puppet) performances but in other way it is also played in tooth-filing and cremation ceremonies. The song Kerepetan is typically known as Angkat-Angkatan.
Track 11: Gong Kebyar Puspanjali, STSI Denpasar (5:45)
Gamelan Gong Kebyar is the most popular gamelan in Bali nowadays. This Gamelan is played in temples and other ceremonies. Since the debut of the Kebyar master, I Mario, a lot of new compositions are created. The welcome dance Puspanjali is performed by a group of female dancers that carry an offering as a warm welcome for the guests. This piece is composed by I Nyoman Windha in 1989 and the dance is choreographed by Suasthi Bandem.
Track 12: Gamelan Joged Sari Agung, Jembrana (11:10)
One of the most interesting Gamelan made of bamboo comes from the western part of Bali, Jembrana, called Gamelan Joged. This ensemble is made of larger and richer sonorous bamboo, combined with big drum taken from Gong Kebyar. It is primarily played for Joged Dance. A single or a couple dancers will invite audience to join them in flirtatious and sometimes hilarious duet.
We work with a small number of specialist logistic companies to deliver your order quickly and economically. The delivery method varies, depending on your location and the size of the order, as follows:
Orders up to 5kg – Courier 2 to 3 working day delivery. This would typically include books, smaller instruments, percussion baskets and djembes up to 40cm.
Orders over 5kg – Courier, next working day delivery. Most orders are sent this way.
Large orders – Pallet service, 3 to 5 working day delivery. Used for large orders and those with more fragile contents.
- Above timings are from dispatch date. Time from placing your order will usually be one or two days longer, depending on the order and destination.
- Delivery to offshore or Highland addresses may take longer and may cost more than to UK mainland addresses and we’ll quote and agree the costs with you in advance. Please note that in these cases it’s fine to go ahead and place your order, and there’s no obligation on your part until the delivery costs have been quoted and accepted by you.
- For some destinations, where a courier service isn’t available, we may send by Royal Mail instead.
Orders weighing less than 1kg and not too bulky – Post Office Airmail. This would include books and smaller percussion instruments.
Orders weighing more than about 1kg and large orders – international courier or pallet service. We’ll obtain competitive quotes and agree these with you in advance.
Please note that it’s fine to go ahead and place your international order prior to confirming shipping costs, and that there’s no obligation on your part until the delivery costs have been quoted and accepted by you. Payment for international orders, including shipping costs, is required before dispatch of the goods.
Please let us know straight away if anything arrives damaged or otherwise in a substandard condition and we’ll be happy to replace it, refund the cost or provide you with an alternative product to your satisfaction. Speed is of the essence here as most courier companies will only accept responsibility for damage in transit if the damage is reported within 24 hours of delivery.
In the event of damage, please take photographs, including any damage to the packaging, and email these to us ASAP.
Similarly, if an instrument develops a fault within 12 months of purchase in the course of normal use (though excluding fair wear and tear), please let us know, and we’ll replace it or refund the cost. It’s also very helpful for us to see photos of the issue as this gives us solid information for changing the design, the production method or the packing materials.
But please do contact us before returning any damaged or substandard items. Once we’ve approved their return, please send to: Drums for Schools Limited, 21 Shaftesbury Avenue, Burton Joyce NG14 5GL
We really appreciate your feedback in the case of faults (or if you think an instrument could be improved in any way) and we take all such feedback very seriously indeed.