Recording the Semara Pagulingan has a few technical problems due to the volume of various instruments.
"Semar Pegulingan - chamber music
Semar Pegulingan (Seh-Mahr Peh-Goo-Ling-Ahn) is the cream of Pelog
Gamelan. The name, although difficult to say, means something just as
beautifully complex. Semar means love. Guling (Goo-Ling) means to lie
down. Pe-guling-an changes the meaning to... lie down for the purpose
of. Semar Pegulingan is a musical aphrodisiac, played for the king and
queen as they would lie down for the purpose of love, in their private
chambers of course.
Beyond the sweet intentions, Semar Pegulingan has many advanced
characteristics. The scale is seven tone pelog. From the addition of
two tones to the scale, many more different modes are possible. The
mode of any given section of the music will only use five of the tones
at a time, creating the illusion of "key change" when one of those
tones is substituted for another. Semar Pegulingan was essentially lost
to history until early this century when a visionary Balinese musician
named Lotring recreated the repertoire based on accounts of older
musicians and written records."
The Terompong often starts the music.
Richard recorded a Semara Pagulingan group in Celuk,Sukawati Gianyar, BALI in 2007 with his mobile Protools studio.
This is one of the few new groups in Bali reviving this music which was
almost lost. Led by I Komang Mustika ( who plays Kendang) the quality
of their music is astounding. The music is slower and more melodious
than other traditional gamelans, therefore, more pleasing to the
untrained ear. There is a CD available of this recording in the archives.
The music played on this CD is:
1: Lengker
2: Sinom Ladrang
3: Tabuh Gari
4: Godeg Miring
5: Langsing Tubah
6: Slisir Selendro
7: Kakang Kakang
The layout of the Semara Pagulingan in Celuk
This
chart shows the layout of the group in Celuk, the Kantilan and permade
have alternate polos and sangsih players, a Gentorab( bells) is
included at the back with the Gongs and a Rebab joins the sulings at
the front to assist in the melody ( Pokok).
This Jegog and Calung plays a melody 'bass' part in the music.
The Rambat, a lower tuned instrument, helps with the melody.
The Pemade and Kantilan (tuned one octave higher than the pemade) plays the Kotekan, positioned in alternate polos/sangsih parts.
I Nyoman Mustika plays kendang and leads the group.
The Rebab, played by I Made Subandi.
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